The great alto saxophonist and long-term mainstay of the Duke Ellington Orchestra Johnny Hodges passed away 50 years ago today, on 11th May 1970.
Here’s the piece that was his signature tune, Jeep’s Blues – played during a very famous live concert by the Ellington band at the Newport Jazz Festival in 1956.
Feast your ears on that huge soulful sound that was perfect for playing the blues!
Follow @telescoper
I have, on a few occasions posted pieces of Jazz that cross over different eras and here’s a wonderful example that has been in my head for a while. Bright Mississippi is a typically quirky composition by Thelonious Monk, a man often described as the ‘High Priest of Bop’. This version in a live performance by a band led in 2009 by Allen Toussaint, however, gives it a joyously carefree New Orleans treatment.
Follow @telescoperAnd now for something completely different.
I was listening to the radio last night – specifically to Bernard Clarke’s Blue of the Night on RTÉ Lyric FM – as a result of which I heard a fascinating piece of music by a composer who is new to me, John McClachlan. The composition I heard was a miniature with an astrophysical theme called Sagittarius A* (the name of the supermassive black hole at the centre of the Milky Way Galaxy) . It turns out that this piece is the first of 12 such miniatures composed during the ‘cultural wave’ of the current Covid-19 lockdown. I gather one is going to played every evening on Blue of the Night for the next few weeks.
All these miniatures are on astrophysical themes, which gives me another excuse for posting them in a playlist here!
Follow @telescoperThe Coronavirus continues to cut a swathe through a generation of great Jazz musicians. The latest sad news is of the passing of bass player Henry Grimes at the age of 84.
Henry Grimes was very active in the 50s and 60s, playing with such luminaries as Sonny Rollins and Thelonious Monk, and appearing on some classic recordings, but he dropped out of the music scene as a performer for roughly thirty years from about 1970 during which time he was virtually destitute. He returned to music around 2002 after a Jazz fan tracked him down and bought him a double bass to play – he had sold his instrument decades earlier – and remained active until his death.
When I heard last night of the death of Henry Grimes the first thing that popped into my mind was this sequence from the movie Jazz On A Summer’s Day. You can see shot of the young Henry Grimes right at the beginning in this clip of the Thelonious Monk trio playing Blue Monk at the Newport JJazz Festival in 1958; Roy Haynes was the drummer.
Rest in peace, Henry Grimes (1935-2020)
Follow @telescoperMy word this Covid-19 pandemic is having a terrible effect on the Jazz world. I heard this evening that it has now taken from us the great alto saxophonist Lee Konitz at the age of 92 after a career lasting 75 years.
I can’t possibly do justice here to the memory of such a legend but at least I can post one of my favourite tracks of his, a live performance from the 1950s of a tune called Ablution. If Lee Konitz hadn’t announced it at the start the comping of pianist Ronnie Ball would have told you straight away that this is a contrafact built on the chords of the famous Jerome Kern tune All The Things You Are, the unusual chords of which have made it a popular vehicle for jazz musicians to improvise on ever since it was written back in 1939.
In the bebop era it was typical practice to base original compositions on top of the chord sequences of standard tunes in such a way as to hide their foundations from the casual listener. A famous example of this was the Charlie Parker – Dizzy Gillespie session in which they decided to play a variation on the standard Cherokee. It went well until they absent-mindedly played the actual theme of Cherokee at which point there was a cry of anguish from the control room from a producer who had obviously hoped that if they stayed off the original melody he wouldn’t have to pay composer’s royalties. So off they went again called the next take Ko Ko and created one of the Charlie Parker classics.
Although Lee Konitz had a tone much more reminiscent of Paul Desmond than Charlie Parker he had a wonderfully agile and inventive way of playing that had echoes of Bird at the same time as being definitely his own style, as I hope you will agree after listening to this!
Here are just two classic albums that Lee Konitz played on relatively early in his career, if you want to check them out
R.I.P. Lee Konitz (1927-2020)
Follow @telescoperI think it’s time to share a bit more music, so here’s a track from an album I have on vinyl that features a quartet led by guitarist Hank Garland with Gary Burton on vibes, Joe Benjamin on bass and the great Joe Morello on drums. It was recorded in June 1960 which means that Gary Burton was only 17 years old at the time! You’d never know that by listening to his superb playing. The tune is a bebop standard called Move which was written by drummer Denzil Best and based on rhythm changes, though to my ears the bridge sounds a bit different.
Follow @telescoperI’m not a great aficionado of Country music, but I was very sad to hear at the weekend of the death of one of its icons, and possessor of an iconic beard, Kenny Rogers. Here as a tribute is one of big hits, a song with a message for those of us who like a flutter now and then..
Follow @telescoper
I heard on Friday that my upstairs neighbours were going away for a few days for the St Patrick’s Day break, so I took the opportunity afforded by this solitude to take this baby out of its box and have a bit of practice.
I don’t have my usual tenor sax with me in Maynooth: it’s in safe (?) keeping elsewhere (that’s a long story). Here it is, pictured a few years ago in my house in Cardiff:
The soprano sax may be a much smaller and lighter instrument than the tenor but it is more of a handful to play in tune. I always thought this was my own incompetence but it seems to be agreed by proper musicians.
My usual practice is to warm up with scales and other exercises then play along a bit with some backing tracks made for the purpose with just a rhythm section. Playing simple riffs on the chords is a good way to settle in, then you can start to improvise properly.
I wouldn’t say my attempts to revive my long neglected musicianship have been very successful so far – not least because they were never very good in the first place – but it’s a nice diversion.
I suspect that many people will be looking for things to do to stop them getting bored over the next few weeks and months.
Follow @telescoperAs it was foretold, this afternoon to the College Chapel at Maynooth, which looks like this inside:
This was in fact the first time I’ve set foot inside the Chapel. The occasion was the annual Spring Concert by Maynooth University Choral Society, accompanied by the Irish Choral Sinfonia, in a performance of Haydn’s great oratorio The Creation.
It’s worth mentioning that Haydn started preparing to write his Creation in 1796, which is just a year after St Patrick’s College in Maynooth was established (as the National Seminary of Ireland). This work was therefore was a good choice for the year in which the College celebrates the 225th year of its own creation.
Although the College Chapel is quite large it provided a very intimate setting for this great masterpiece (in that the audience was very close to the musicians and singers) and provided a very distinctive acoustic. Curiously, this was the first time I had heard this work performed in English.
The solo vocalists – Claudia Boyle (soprano), Andrew Gavin (tenor) and Simon Morgan (bass) – were all excellent, as were the choir and orchestra. All in all it was a hugely enjoyable experience, even if the wooden seats were a bit unforgiving!
After the performance there was a Buffet Supper in Pugin Hall, which I had assumed would just be sandwiches but which turned out to be a very nice meal with wine at which I got chatting to some very friendly people. Admission to the event was by invitation only, but the guest list was not restricted to folk from Maynooth University.
As the token astrophysicist present a few people asked me what was shown in the picture on the cover of the programme. Not being a proper astronomer I didn’t know but I am reliably informed that it is the Eagle Nebula (M16), though it is reversed left to right which I claim as an excuse for not recognising it…
Follow @telescoper
In the Dark 