Archive for the Jazz Category

How Time Passes

Posted in Jazz with tags , , , on February 15, 2017 by telescoper

I don’t seem to have had much time recently to post any lengthy pieces about music, and today is no exception, but I couldn’t resist sharing this fascinating title track from the album How Time Passes which was recorded in New York City in October 1960. It features Don Ellis on trumpet and  Jaki Byard on piano (with Ellis doubling on piano sometimes to allow Byard to play saxophones) along with Ron Carter on bass and Charlie Persip on drums. The album is a fascinating collection of modern jazz performances informed by  contemporary classical music, a blend that came to be known as Third Stream. This track is particularly unusual because of its elastic approach to tempo – it is constantly speeding up and slowing down in a way that makes you wonder how the band stays together – but it also features some beautiful work on trumpet by Don Ellis.

 

P.S. As well as being a superb jazz musician, Don Ellis was also a fine composer. Among other things he wrote the theme music for the film The French Connection. Not a lot of people know that.

 

 

Anachronic Anthropology

Posted in Jazz with tags , , , , on February 7, 2017 by telescoper

I’m struggling a bit with a heavy cold (or at least I hope that’s what it is) and I had a two-hour lecture earlier today so I’m going to go home and crash out. To keep my readers (Sid and Doris Bonkers) amused, I decided to repost this piece which I’ve actually posted before almost eight years ago. It’s an oddity, but quite an interesting one I think.

The Anachronic Jazz Band is, I think, now defunct but they were from Paris originally. The style they played in could probably be described as like the New York style of the late 1920s, with definite touches of Bix Beiderbecke. On the other hand, the tunes they played all came from the bebop era of modern jazz, such as this one which is the Charlie Parker classic Anthropology. 

You might think that an uncompromising bebop number like this would pose unsurmountable challenges for a traditional jazz outfit, but I think they pull it off rather well. I think though that they were probably helped by the fact that this tune, like many modern jazz compositions, is actually based on a chord progression belonging to a much more familiar tune. In this case the harmonies actually derive from George Gershwin’s standard I Got Rhythm….

Anyway, perhaps the efforts of this fine little band go some way to showing that there’s more continuity between traditional and modern jazz than one might suppose…

 

 

Boogie Woogie Boogie – Errol Garner

Posted in Jazz with tags , , on February 3, 2017 by telescoper

I have lately posted a number of classic boogie woogie and blues performances by the great Jimmy Yancey. Here’s a piece that’s related but really very different, recorded in 1944 by a musician not usually associated with boogie woogie at all, Errol Garner, who was 23 when this track was made.  The story I heard about this is that the studio bosses leant on the young and impressionable pianist to do play some things that he wasn’t keen on, including a bit of boogie woogie. Eventually Garner acceded to their request, and produced what I think is a minor masterpiece called Boogie Woogie Boogie. Note the way he doesn’t stick to the same left-hand figures throughout the track which makes this much more varied than most recordings in this genre. I particularly like the transition at about 1:35 where it all goes a bit “Batman”!  It also has a distinctively dark minor-key feel to it, which is rather atmospheric.

Have a good weekend!

 

 

Cotton Tail

Posted in Jazz with tags , , , , on January 16, 2017 by telescoper

It’s been a very busy and rather trying day so I’m in need of a bit of a pick-me-up. This will do nicely! It’s the great Duke Ellington band of 1940 playing Cotton Tail. This tune – yet another constructed on the chord changes to George Gershwin’s I Got Rhythm – was written by Ben Webster and arranged by Duke Ellington for his orchestra in a characteristically imaginative and inventive way. Webster’s “heavy” tenor saxophone dominates the first half of the track, but the real star of the show (for me) is the superb brass section of the Ellington Orchestra whose tight discipline allows it to punch out a series of complicated riffs with a power and precision that would terrify most classical orchestras. And no wonder! The Ellington band of this era was jam-packed  with talent, including: Rex Stewart (cornet); Wallace Jones, Ray Nance, and Cootie Williams (trumpet); Juan Tizol,  Joe”Tricky Sam” Nanton, and Lawrence Brown (trombones). Listen particularly to the two sequences from 1.33-1.49 and 2.35-2.59, which are just brilliant! Enjoy!

P.S. The drummer is the great Sonny Greer.

How Long Blues – Jimmy Yancey

Posted in Jazz with tags , on January 13, 2017 by telescoper

Over the past weeks I’ve been posting tracks by the legendary pianist Jimmy Yancey. They seem to have proved quite popular, so here’s another one. This differs from the others (which were in the boogie-woogie style) in being a slow blues rather than an up-tempo boogie-woogie romp. It’s quite an old song, dating back to 1928, of which many versions have been made over the years, but this is an atmospheric masterpiece that shows what a superb interpreter of the blues Jimmy Yancey was. That gently rocking left hand and the beautiful articulation of the right hand seem to underline the sense of loss conveyed in the lyrics to the song, which is about a man whose lover who has left him:

Heard the whistle blowin’, couldn’t see no train
Way down in my heart, I had an achin’ pain
How long, how long, baby how long

You won’t hear many better – or more haunting – performances the blues than this. And who cares if there’s a bit of surface noise on the record?

Peter Coles and Ken Colyer

Posted in Biographical, Jazz with tags , , on January 5, 2017 by telescoper

My piece just before Christmas about Clem Avery prompted me to do a bit more searching on the internet for jazz-loving family friends and acquaintances. It didn’t take me long to find this (which I got from this website):

ken-colyer3-mid-1970s

The photograph was taken at the Lambton Arms in Chester-le-Street sometime during the 1970s. The gentleman on the left playing cornet is none other than “The Guvnor”, Ken Colyer. Next to him, on trombone, is Peter Coles. No, not me, but my uncle Peter!

Here’s another photo of him, taken from the same website. This also dates back to the 1970s but this one shows him with “Mighty” Joe Young’s band playing at The Honeysuckle in Gateshead. Joe Young is on bass.

mighty-joes-band

 

The Young Charlie Parker plays Cherokee

Posted in Jazz with tags , , , , on December 22, 2016 by telescoper

I came across this rare treasure on Youtube and couldn’t resist sharing it here. It features a very young Charlie Parker, with the relatively unknown Efferge Ware on guitar and Little Phil Phillips on drums, playing the jazz standard Cherokee. This track was recorded in 1941 (when he was only 21 years old) in Bird’s home town of Kansas City. There is a gap in Charlie Parker’s discography between 1942 and 1944, which was when the American Musicians Union called a strike which led to a ban on all commercial recordings. When the ban game to an end Charlie Parker’s recordings with Dizzy Gillespie, Max Roach, Bud Powell and others unleashed the new harmonic language of bebop on the general public from New York City where it had been incubating during the strike. Parker’s style had evolved greatly in the intervening two years which no doubt made his playing sound all the more revolutionary when the ban was lifted. Although this version of Cherokee is to some extent a pre-bebop recording, you can hear the originality and beauty of Bird’s improvisation (complete with cheeky quotation from the “Popeye” theme) and it’s clear where he was heading.

The sophisticated and complex chord sequence of Cherokee (with its trademark ii-7–V7–I progressions) made it a firm favourite with bop musicians who tended to play it even faster than this earlier version.
In 1945, during what was arguably the first ever bebop recording session, Charlie Parker and Dizzy Gillespie decided to play a variation of Cherokee using the same chords but a different head. During the first take the musicians absent-mindedly played the theme from Cherokee at which point there was a cry of anguish from the control room uttered by a producer, who obviously had hoped that if they stayed off the actual tune he wouldn’t have to pay composer’s royalties. They started again, made another take, called it Ko-Ko, and it became one of the classics.

The 1941 version is valuable from a historical perspective but you don’t have to be interested in that to enjoy the wonderful fluidity and invention of Bird’s playing. Happy Christmas!

Sam Rivers – Zip!

Posted in Jazz with tags , , , , on December 20, 2016 by telescoper

And now for something completely different. About five years ago I wrote a post aftering reading of the death, at the age of 88, of the legendary jazz musician Sam Rivers who passed away on 26th December 2011. Sam Rivers was born in 1923 and started playing professionally during the bebop era of the early 1950s. Later he evolved a unique avant garde style that was nevertheless firmly based in the jazz traditions he had grown up with. He was probably best known as a tenor saxophonist, but could also play flute, clarinet, piano and viola.

I first heard Sam Rivers on Humphrey Lyttelton’s BBC Radio Show The Best of Jazz in 1979. Humph was clearly a great admirer of Sam Rivers, especially the superb trio he formed with the brilliant Thurman Barker (drums) and Dave Holland (bass). The energy and vitality of the track he played made a lasting impression on me. The album was called Contrasts, by the way, and the track in question called Zip. I bought the album straight away. At least almost straight away, because it wasn’t the sort of record you could buy in the shops; I had to send away for it.

Anyway, I’ve now discovered that someone has posted this track on Youtube, so here it is. Enjoy!

Memories of Clem Avery

Posted in Biographical, Jazz with tags on December 19, 2016 by telescoper

All the talk about trumpets last week reminded me of an old family friend by the name of Clem Avery. There’s a very nice tribute to Clem on a website run by guitarist Roly Veitch (whence I got the photographs).

clem1

Clem Avery (1933-2008)

Clem, who passed away in November 2008, was a very close friend of my father  who died just a year earlier in 2007.  They had known each other since at least the early 60s and had played music together on many occasions (Clem on trumpet and, in later years, bass and my father on drums). That they remained good friends for such a long time is a bit surprising since at one point Clem actually sacked my Dad from his band for being too heavy-handed on the cymbals. Having heard my father play on a few occasions I think Clem probably had a point. But Clem wasn’t the sort of person you could really fall out with for long, and their friendship survived this musical falling-out.

We did try to get Clem to come to my Dad’s funeral but he couldn’t make it. I think it was because he was already suffering from the cancer that would eventually take him.

Roly’s web tribute mentions a long-term residency at the Golden Lion pub in Winlaton during the 70s and 80s in which my Dad (real name Alan) is mentioned under his nickname “Chas”. I heard the band play there on a couple of occasions and they were really good, the presence of Roly Veitch’s (electric) jazz guitar giving them a refreshingly different sound to many other traditional bands.  

I can’t add much to Roly’s piece other than to endorse what he wrote about Clem. Firstly that he was a very accomplished musician who had a far better technique than many much more famous trumpeters. His style was very firmly based on that of Bunk Johnson, though he appreciated good music of many other kinds. As well as playing the jazz that he loved, he also worked as a music teacher and, from time to time, as a session musician. I even saw him on The Tube once (the TV programme, not the London Underground)! When he played trumpet his eyebrows had a tendency to move up and down in coordination. When they were at maximum elevation he looked a lot like Stan Laurel (at least in younger years before he grew a beard). Here is an old picture that makes that comparison a bit easier to imagine:

clem51

What I remember most about Clem, however, was just that he was an extraordinarily nice man. He was tall and rather thin with a thoughtful disposition, a  wonderfully laid back attitude to life and a fine dry sense of humour. He was very knowledgeable about many things besides music too. I often sat talking with him in my Dad’s shop in Benwell (where Clem worked on a part-time basis for a while). History (especially local history) was a speciality of his and he was never short of stories to tell.

The Rocks – Jimmy Yancey

Posted in Jazz with tags on December 8, 2016 by telescoper

I recently posted a piece of music by the great blues and boogie-woogie pianist Jimmy Yancey. According to the blog stats page that post is proving quite popular so I thought I’d add another piece the same musician. This is Jimmy Yancey’s characteristically bluesy take on The Rocks, based on one of the more conventional left-hand patterns used in boogie-woogie that you will probably recognize from many other musical contexts.