Archive for the Jazz Category

Friday Music Quiz: The Yardbird Suite

Posted in History, Jazz with tags , , on September 30, 2016 by telescoper

Not much time to write today so I thought I’d put up a bit of music to end the week. This is a classic from 1946, featuring Charlie Parker leading a band that included a very young Miles Davis. The Yardbird Suite an original composition by Parker, and has become a jazz standard, but he never copyrighted the tune so never earned any royalties from it.

Now, here’s a little question to tease you with. Can anyone spot the connection between this tune and a notable event that occurred today, 30th September 2016?

Answers through the comments box please!

 

Happy 70th Birthday to the “Third Programme”!

Posted in Jazz, Music, Opera, Uncategorized with tags , on September 29, 2016 by telescoper

I’ve just got time for a quick post-prandial post to mark the fact that 70 years ago today, on September 29th 1946, the British Broadcasting Corporation (BBC) made its first radio broadcast on what was then called The BBC Third Programme. The channel changed its name in 1970 to BBC Radio 3, but I’m just about old enough to remember a time when it was called the Third Programme; I was only 6 when it changed.

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It was a bold idea to launch a channel devoted to the arts in the depths of post-War austerity and it was perceived by some at the time as being “elitist”. I think some people probably think that of the current Radio 3 too. I don’t see it that way at all. Culture enriches us all, regardless of our background or education, if only we are given access to it. You don’t have to like classical music or opera or jazz, but you can only make your mind up if you have the chance to listen to it and decide for yourself.

My own relationship with Radio 3 started by accident at some point during the 1990s while I was living in London. I was used to listening to the Today programme on Radio 4 when I woke up, but one morning when my alarm switched on it was playing classical music. It turned out that there was a strike of BBC news staff so they couldn’t broadcast Today and had instead put Radio 3 on the Radio 4 frequency. I very much enjoyed it to the extent that when the strike was over and Radio 4 reappeared, I re-tuned my receiver to Radio 3. I’ve stayed with it ever since. I can’t bear the Today programme at all, in fact; almost everyone on it makes me angry, which is no way to start the day.

Over the years there have been some changes to Radio 3 that I don’t care for very much – I think there’s a bit too much chatter and too many gimmicks these days (and they should leave that to Classic FM) – but I listen most days, not only in the morning but also in the evening,  especially to the live concert performances every night during the week. Many of these concerts feature standard classical repertoire, but I particularly appreciate the number of performances of new music or otherwise unfamiliar pieces.

I also enjoy Words and Music, which is on Sunday afternoons and Opera on 3, which includes some fantastic performances Live from the Metropolitan Opera in New York, and which is usually on Saturday evenings. And of course the various Jazz on 3 programmes: Jazz Record Requests, Jazz Line-up, Geoffrey Smith’s Jazz, etc.

It’s not the just the music, though. I think BBC Radio 3 has a very special group of presenters who are not only friendly and pleasant to listen to, but also very knowledgeable about the music. They also have some wonderful names: Petroc Trelawny, Clemency Burton-Hill, and Sara Mohr-Pietsch, to name but a few. There’s also a newsreader whose name I thought, when I first heard it, was Porn Savage.

I feel I’ve found out about so many things through listening to Radio 3, but there’s much more to my love-affair with this channel than that. Some years ago I was quite ill, and among other things suffering very badly from insomnia. Through the Night brought me relief in the form a continuous stream of wonderful music during many long sleepless nights.

I wish everyone at BBC Radio 3 a very happy 70th birthday. Long may you broadcast!

 

Jazz Samba – Bill Evans & Jim Hall

Posted in Jazz with tags , , , on September 21, 2016 by telescoper

A couple of weeks ago I posted an item about a classic recording of On Green Dolphin Street featuring the great pianist Bill Evans. At the weekend I was listening to some CDs from my collection and thought I’d post a track from one of them, an album called Intermodulation (recorded in 1966) which features Bill Evans in collaboration with the guitarist Jim Hall. One of the notable things about Bill Evans’s On Green Dolphin Street was the “two-handedness” of his playing which gives his improvisations a very rich harmonic structure. In this recording, however, apart from the introduction and ending he uses practically only his right hand. The reason for this change in style is simple: he wanted to leave space for Jim Hall’s guitar chords to be heard. Anyway, it’s a lovely piece with a real sense of dance to it, and in which the pairing of these two great musicians is heard to great combined effect. Enjoy!

Back On Green Dolphin Street

Posted in Biographical, Jazz with tags , , , , , on September 12, 2016 by telescoper

I was listening to this wonderful track yesterday and couldn’t resist reposting a piece I wrote I wrote about it over 7 years  ago. If I were ever to be asked on one of those programmes where you have to pick examples of your favourite music, this would probably be the first I’d write on my list.

Years ago in 1980, when the great pianist Bill Evans passed away suddenly, Humphrey Lyttelton paid tribute to him on his radio programme “The Best of Jazz” by playing a number of tracks featuring him. I didn’t really know much about Bill Evans at the time – I was only 17 then – but one track that Humph chose has been imprinted on my mind ever since, and it’s one of those pieces of music that I listen to over and over again.

The track is On Green Dolphin Street, as recorded in 1958 by the great Miles Davis sextet of the time that featured himself on trumpet, John Coltrane on tenor sax, Julian “Cannonball” Adderley on alto sax, Jimmy Cobb on drums, Paul Chambers on bass and Bill Evans on piano. This is the same band that played on the classic album Kind of Blue, one of the most popular and also most innovative jazz records of all time, which was recorded a bit after the recording of On Green Dolphin Street.  I love Kind of Blue, of course, but I think this track is even better than the many great tracks on that album (All Blues, Flamenco Sketches, Blue in Green, etc). In fact, I’d venture the opinion – despite certainty of contradiction – that this is the greatest Jazz recording ever made.

On Green Dolphin Street was suggested to Miles Davis the band’s leader by the saxophonist Cannonball Adderley. It was the theme tune from a film from the late 1940s. It’s also the title of a more recent very fine novel by Sebastian Faulks.

I think the Miles Davis version demonstrates his genius not only as a musician himself but also as a bandleader. On Green Dolphin Street definitely bears the Miles Davis hallmark, but it also manages to accommodate the very different styles of the other musicians and allows them also to impose their personality on it. This is done by having each solo introduced with a passage with the rhythm section playing a different, less propulsive, 3/4 time behind it. This allows each musician to set out their stall before the superb rhythm section kicks into a more swinging straight-ahead beat  (although it still keeps the 3/4 feel alongside the 4-4, courtesy of brilliant drumming by Jimmy Cobb) and they head off into their own territory. As the soloists hand over from one to the other there are moments of beautiful contrast and dramatic tension, especially – and this is the reason why Humph picked this one in 1980 – when Bill Evans takes over for his solo from Cannonball Adderley. He starts with hesitant single-note phrases before moving into a richly voiced two handed solo fully of lush harmonies. It’s amazing to me to hear how the mood changes completely and immediately when he starts playing, and it always sends shivers down my spine.

Not that the other soloists play badly either. After Bill Evans’s short but exquisite prelude, Miles Davis takes over on muted trumpet, more lyrical and less introspective than in Kind of Blue but still with a moody,  melancholic edge. He’s followed by John Coltrane’s passionately virtuosic solo which floods out of him in an agonized stream which contrasts with Miles’ poised simplicity. By contrast, Cannonball Adderley is jaunty and upbeat, sauntering through his solo up to that wonderful moment where he hands over to the piano. Then Miles Davis takes over again to take them to the conclusion of the piece.

I’m not into League tables for music, but this is definitely fit to put up alongside the greatest of them all…

R.I.P. Rudy van Gelder (1924-2016)

Posted in Jazz with tags , , , , on September 1, 2016 by telescoper

One of the sad items of news that appeared last week while I was indisposed was the death at the age of 91 of legendary recording engineer Rudy van Gelder. He was the man who established the sound of a huge proportion of the greatest Jazz records made in the 1950s and 60s, including classic albums on the Blue Note, Prestige and Impulse labels by musicians of the calibre of Miles Davis, John Coltrane, Sonny Rollins and Art Blakey. It’s quite unusual for sound engineers to become famous, but Van Gelder certainly did and his passing has left us with a priceless legacy of extraordinary music.

By sheer coincidence, one of the books I took with me to read in hospital was this:

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Written by Richard Havers, this is an excellent illustrated history of the legendary record label, Blue Note. Blue Note began with a number of classic recordings from the era of Sidney Bechet, Edmond Hall and Bunk Johnson, but it was the post-bebop era that really established the label  in terms of sound and distinctive artwork:
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Van Gelder’s  first recording studio was set up in his house in Hackensack, New Jersey, and it was probably because of the unsuitable shape of the room he used that he experimented so much with, e.g.,  the number and placing of microphones and in the way he mixed the tapes do produce a much fuller sound than was typical for jazz recordings of that era.  He moved to a bigger house – again with a built in studio – later on, but stuck by many of his earlier innovations.

One immediate result of his habit of close-miking both solo and backing instruments – he was known to use three mikes on the drums, which was unheard of at the time – and recording them as “hot” as possible, was that he guaranteed that his records would have a huge and vibrant sound when played on a gramophone or jukebox. He also captured the unique sound that Miles Davis created when he played the trumpet with a Harman mute. When Miles moved from Prestige to another label he asked their engineers to reproduce exactly what Van Gelder had done. They wouldn’t -or couldn’t – do it.

Not everyone approved of Van Gelder’s approach. You can read some severe criticisms here. Some musicians – including Charles Mingus – didn’t like the sound at all either. But there’s no question that what he did brought a new dimension to what was an extraordinarily creative time for Jazz. An astonishing fraction of the great records described in the book I mentioned above were recorded by him. As a tribute I’m including the record that for me established the Blue Note sound, Moanin’ by Art Blakey and the Jazz Messengers recorded in Van Gelder’s Hackensack Studio, New Jersey in 1958, the cover of which is shown above.

Rest in Peace, Rudy Van Gelder (1924-2016).

Get Happy!

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

Back in Cardiff I was going through my collection of old LPs and found this track on a Blue Note collection. It’s standard written by Harold Arlen called Get Happy. I hadn’t listened to it for ages and I’d forgotten how great it is. It was recorded in 1953 by a six-piece band led by trombonist Jay Jay Johnson, with Clifford Brown (trumpet), Jimmy Heath (tenor saxophone), John Lewis (piano), Percy Heath (bass) and Kenny Clarke (drums). They’re all great musicians, and they make a wonderfully rich ensemble sound for a small band, but the star of the show is without doubt the great Clifford Brown , whose solo is absolutely sensational. Just listen to the way he plays the bridge on his first chorus. Superb!

Minor Swing (for the National Day of Belgium)!

Posted in Jazz with tags , , on July 21, 2016 by telescoper

Not far from the hotel in which I stayed during my visit to Ghent last week is a small but pleasant jazz bar called Minor Swing. I mentioned to some colleagues as we passed by the place that it was clearly named after the tune by Django Reinhardt (who was born in Belgium). In fact it was something of a signature tune for him. Anyway, Radio 3 reminded me this morning that today (21st July)  is Belgian National Day so I thought I’d mark the occasion on this blog by posting a version of Minor Swing that demonstrates Django’s superlative gift for melodic improvisation, together with violinist Stephane Grappelli and the Quintet of the Hot Club of France.

Dizzy Atmosphere

Posted in Jazz with tags , , , on July 6, 2016 by telescoper

Whenever I’m in dire need of inspiration – which happens a lot these days – I usually turn to music. I found this not long ago and decided to share it here because it’s not just inspirational, but awe-inspiring. I don’t have any information about the date or location of this  recording of Dizzy Atmosphere – except that it’s obviously live, and that it features the composer Dizzy Gillespie on trumpet after a great solo by the great Charlie Parker on alto saxophone. Bird is absolutely on fire in this performance!  In case you’re interested this is yet another bebop standard that’s built on rhythm changes though it is in an unusual key (A♭) for such pieces. Anyway, never mind about that, just listen to Bird flying through this!

 

Jazz and Physics

Posted in History, Jazz, The Universe and Stuff with tags , on May 26, 2016 by telescoper

No time for a full post today, so I’ll just share this intriguing picture I found on the interwebs of two great figures from very different fields: Jazz trumpet legend Louis Armstrong and pioneering quantum physicist, Niels Bohr.

Armstrong-Bohr

When I first saw this I assumed it had been photoshopped, but I’m reliably informed that the picture is genuine and that it was taken in Copenhagen in 1959. Other than that I know nothing of the circumstances in which it was taken. I’d love to hear from anyone who knows the full story!

Buddy DeFranco Plays Rhythm Changes

Posted in Jazz with tags , , , on April 21, 2016 by telescoper

The late great Buddy DeFranco was the musician who finally convinced me that I’d never be any good at playing the clarinet, though I still make the occasional half-hearted attempt. He nevertheless remains a musical hero of mine, not least because he was one of the few people to play clarinet in a “modern” style. I found this transcription of one of his solos on Youtube a while ago and thought I’d share it here. Twelve choruses of rhythm changes at a brisk tempo provide the foundation for a great jazz musician who unleashes a flood of improvisation. Feel free to play along at home!