It’s a boiling hot day – at least by British standards – so I think it’s time to chill out in the shade of my garden with some drinks. Here’s some appropriately smooth jazz sounds from a classic performance by the wonderful Anita O’Day recorded at the Newport Jazz Festival in 1958 and used as part of the film Jazz on Summer’s Day. There are two numbers here: Sweet Georgia Brown, in three movements of contrasting style, followed by a scintillating up-tempo version of Tea for Two with its wry chase sequence that brought the house down.
It’s been a lovely sunny weekend and I’m feeling too lazy to blog properly, so I thought I’d resurrect and update an old post. The video clips in that older version were deleted a while ago, but have now been replaced by one long clip which gives me an excuse to replace this post about the wonderful film Jazz on a Summer’s Day. Not that I need an excuse…
At the 1958 Newport Jazz Festival, Mahalia Jackson (“The world’s greatest gospel singer”) played a lengthy set on the Sunday evening, and her whole concert was so good it was subsequently made available on CD. She wasn’t really a jazz singer, but she was born in New Orleans (in 1911) and her style developed in the shadow of both the jazz and blues traditions that had their origins in her home town.
Three tracks from her 1958 concert made it into the film. Two of them are the sort of exuberant up-tempo stompers typical of Southern gospel music; there’s something about that beat that sets your pulse racing and makes it almost impossible to resist clapping your hands on the off-beat. The fine example here are a jaunty finger-clicking Walk all over God’s Heaven and a highly locomotive rendition of Didn’t it Rain, a tune written by the world’s greatest composer “Trad”. Both of them have the crowd of jazz fans leaping about in the aisles.
As you can hear, Mahalia Jackson’s voice is simply phenomenal. She has so much power and emotional expressiveness that she is in a class on her own when it comes to this kind of music. In fact she gave singing lessons to the young Aretha Franklin, the one “soul “singer who came anywhere close to that quality of voice. But if you really want to hear music with from the soul, listen to Mahalia Jackson.
Although she had a number of hit records, Mahalia Jackson refused to sign for any major record label and performed throughout her life almost exclusively on gospel radio stations. I think she could easily have become a pop star if she had wanted to, but she saw her mission in life to communicate her faith to others through music. She also used a great deal of her earnings to help others by founding school bursaries and through other charitable works.
As in this concert, she usually performed with a backing band of piano, bass and organ but despite the lack of a drummer they build up a tremendous forward momentum.
Terrific though the first two tracks undoubtedly are, what comes next and last is truly sublime. The Lord’s Prayer is such a familiar piece of text to anyone brought up in the Christian tradition that it is difficult to imagine in advance of hearing this performance that it could be sung in such a way. The contrast between this and the previous track is immense, which makes it even more effective. This is no rumbustious rabble-rouser, just a simple and pure expression of her own deep religious faith.
Almost as moving as her singing are the cuts to the audience reaction – the same people who were leaping about a few minutes earlier sit in deep and respectful contemplation. And who wouldn’t.. I’m not a religious man but there is certainly religious music that moves me very deeply, and this is a prime example.
It’s a bit early to be officially Summertime, but the exams are over, the days are long and sunny, the World Cup’s on and … well who really needs an excuse to listen to Sidney Bechet’s all-time classic 1939 BlueNote version of George Gershwin’s great song?
This is a recent discovery I just had to post. It was was made at a private recording session in 1943 in Kansas City, the home town of Charlie Parker. It was never released commercially and features Parker on alto saxophone with just a guitar and drum accompaniment. This recording must have been made during the musicians’ strike of 1942-44 that contributed to the fact the bebop movement (which Parker pioneered) was out of the public eye during its incubation period. Parker had moved to New York City in 1939 and was playing regularly in Harlem jazz clubs during the recording blackout, so I don’t know what he was doing back in Kansas City in 1943 to be making this track.
It’s a fascinating version of the tune calledCherokhee that Parker used as the basis of the bebop classic Ko-ko I discussed in a post last year, and which shows him already playing in a recognizably Parkeresque style, but only hinting at the harmonic adventurousness he was to develop just a year or two later; Ko-ko was first performed, I think, in 1945. Very few examples survive of his playing from this transitional period, so this is a fascinating bit of musical history as well as being a fine performance in its own right.
I couldn’t resist putting up this jaunty duet version of the old Hoagy Carmichael song “Up a Lazy River”, which I first heard over 30 years ago, not only because the (British-born) pianist George Shearing plays so wonderfully on it (listen to his little foray into Harlem Stride around 3.00), but also because it gives me a chance to pay homage to the bass player Brian Torff. Just listen to his solo (starting around 1.55) and you’ll immediately understand why he’s revered amongst jazz musicians for his incredible technique and musical imagination and why so many other double bass players are completely terrified of him!
I had the misfortune a few weeks ago to see a bit of a terrible BBC TV show called Over the Rainbow, the main aim of which seems to be to use TV License payers’ money to provide free advertising for a forthcoming West End production of the Wizard of Oz. Anyway, when I was thinking yesterday about cover versions of tunes that turned out better than the original, the tune Over the Rainbowsprang to mind. Since I’ve been on holiday today – studiously avoiding doing very much at all – I thought I’d put up some interesting jazz versions of that particular song.
There are hardly any tunes ever written that some jazz musician somewhere hasn’t taken a fancy to and done their own original version, however unpromising the raw material. Louis Armstrong had a particularly amazing ability to turn base metal into solid gold, making glorious music out of tunes nobody else wanted to touch. I’ve picked three quite different versions of Over the Rainbow, all of which I think are brilliant despite the mawkish sentimentality of the original song.
The first is from a concert by Keith Jarrett in Tokyo in 1984. As well as being a brilliant jazz musician, Jarrett is an accomplished classical performer who, for example, made an exceptionally fine recording of Bach’s Goldberg Variations a few years ago. Quite a few people seem to get put off by watching his antics at the keyboard. I can see why. I think he sometimes looks like the piano is playing him, rather than the other way around. But if his contortions bother you, just listen to the music, which is just gorgeous…
When I was still at school back in 1980 or 81 I had the good fortune to get to see the great alto saxophonist Art Pepper playing live with a band led by pianist Milcho Leviev. He played so beautifully on that concert that I became an immediate fan and tried to get hold of as many of his records as I could. I was devastated to hear just a couple of years later that he had died. Like many jazz musicians of his generation, Art Pepper had a serious drugs problem and he spent long periods in jail as a consequence. He joked that San Quentin Prison had better musicians than any establishment on Earth.
His tender, lyrical sound and graceful improvisations are beautifully represented on this track recorded with George Cables (piano) and – I think – Charlie Haden (bass) and Billy Higgins on drums.
The last one up is by the great Bud Powell. He was another musician who struggled with narcotics, but he also had serious mental illness to deal with – he suffered numerous breakdowns and was heavily medicated in an attempt treat his schizophrenia. Although he moved to Paris in 1959 to make a fresh start, his self-destructive tendencies caught up with him. The quality of his playing deteriorated, his behaviour became erratic and he eventually died in 1966. Before leaving the States, however, Powell had made a number of recordings in which he demostrated the virtuousity and musical imagination that established him as one of the greatest jazz pianists of all time, and certainly the leading stylist of the bebop era.
Bud Powell’s version of Over the Rainbow is one of my all-time favourite pieces of music. He puts so much variation into the way he plays it, alternating a lush romantic style with jagged boppy lines and dark undertones introducing a strong element of parody juxtaposed with a more orthodox treatment of the melody. As much as I love the other two versions, this is my a favourite. By any standards, it is a masterpiece.
It being a rainy bank holiday weekend, I’ve been working, although I didn’t start until I’d done the Sunday crosswords and watched the football on the telly. Now it’s too late to post anything substantial, so I’ll resort to something from my back catalogue of bookmarked masterpieces from Youtube. This is a wonderful bluesy gospelly piece by the late great Nina Simone, a rare example in my opinion of a cover version being better than the original (in this case by Blind Willie Johnson).
So the short Easter break draws to a close. I haven’t had much time off at all as I’ve been trying to catch up with some papers and other stuff. I was in the department over the weekend and on Monday and have only really had yesterday and today completely off. We’re back teaching on Monday.
However, things haven’t turned out too badly as we’ve got very nice weather right now and it’s set fair for the weekend. I’ve spent most of today in the garden and got quite a lot of preparation done, although my hands are now covered in scratches. It’s still quite warm approaching 7pm so I’ve decided to sit outside and have myself a cocktail before dinner.
I have a complete set of cocktail-making gear: measures, stirrers, shakers, and ice-crusher as well as the various tools needed for making the trimmings, such as a canulating knife. I also have a reasonably complete range of glasses appropriate for various drinks. My taste in cocktails is, however, fairly limited. Not being partial to Gin eliminates quite a few and I’d rather drink a good Malt on its own than have cocktails with cheaper whisky in them. However, I do have several books of cocktail recipes and, now and again, I pick recipes to try out.
My favourite pre-dinner cocktail, especially in summer, is called a Petite Fleur. It’s a great aperitif, with a refreshing sharpness to prime the palate. It’s also very easy to make:
1 Measure White Rum
1 Measure Triple Sec (or Cointreau)
1 Measure Grapefruit Juice (preferably fresh)
Shake the ingredients well together with ice and strain into a chilled cocktail glass. Decorate with a twist of orange peel.
Mentioning this cocktail also gives me the excuse to include the tune of the same name that was a big hit originally for the great Sidney Bechet (and then later on over here in the UK for Monty Sunshine, erstwhile clarinettist of Chris Barber’s band). Here’s the wonderful original version, with Bechet on soprano saxophone, which is the perfect accompaniment to a spot of self-indulgence. Enjoy!
Another quick break from writing gives me an excuse to post another favourite tune…
If you thought that raunchy lyrics were bound to be banned from records made 80 years ago, then just get a load of this.
It was recorded in 1928 by the greatest female blues singer of them all, Bessie Smith (“The Empress of the Blues”), together with Clarence Williams on piano and Eddie Lang on guitar. Bessie Smith was a notoriously loud and sometimes violent woman, who had an insatiable appetite for booze and sex (with, it’s said, both men and women). She also had a voice like no-one else on earth before or since.
This is one of several very naughty records she made in the late twenties, others including “Do your duty” and “Take me for a buggy ride” but this is probably the rudest of the lot. I like the video too. Enjoy!
Well, it’s a cold and rainy Good Friday holiday and I’ve got a stack of work to catch up on. Before I resume after my coffee break, however, I thought I’d share this little bit of Caribbean sunshine with you.
I first came across the name of Othello Molineaux about 30 years ago on a record he made with Monty Alexander, and was completely blown away by his virtuosity on the steel drum, an instrument I thought was very limited until I heard him play it! Here he is demonstrating his astonishing skill and musical imagination at a live concert recorded only last year. It’s great to see he’s still going strong 30 years after I first heard his music!
About a month ago, a typically rambling blog post of mine led to a discussion of the use of unusual instruments in jazz. This would have fit nicely into that thread if I’d remembered it at the time! Better late than never. Remember that if you enjoy this half as much as I do, then I enjoyed it twice as much as you..
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In the Dark 