Doug Ramsey on Jazz and other matters...
Fats Waller, composer, pianist, 1941, New York.
Aaron Diehl, piano; Dominick Farinacci, trumpet; 2009, St. Joseph of the Holy Family Church, New York.
Ron Miles: Quiver (enja yellow bird)
Miles’s playing on “There Ain’t No Sweet Man Worth the Salt of My Tears” draws 21st century Denver and 1928 Chicago close. Some of his flurries of wildness on this album are as daring as the work of any modern trumpeter, but the Bix Beiderbecke lyricism in Miles’s soul extends into everything he plays. With just Bill Frisell’s guitar and Brian Blade’s drums, Miles may seem to be operating lean. No, there is richness in their harmonic inventiveness and rhythmic compatibility. The nine pieces are not officially a suite, but unity of conception runs through the performances. This is a satisfying album.
Heather Masse And Dick Hyman: Lock My Heart (Red House)
With The Wailin’ Jennys and the Wayfaring Strangers and appearances on radio’s Prairie Home Companion, Heather Masse has attracted a following among folk and bluegrass fans. This album of duets with master pianist Dick Hyman discloses the jazz foundation that has long been evident in her singing. Their treatments of Strayhorn’s “A Flower is a Lovesome Thing” and Buddy Johnson’s “Since I Fell For You” are ballad perfection. In their delightful “I’m Gonna Lock My Heart and Throw Away the Key,” she manages to combine Billie Holiday and Marilyn Monroe. Hyman’s accompaniments and solos are reminders that this 86-year-old wonder is one of the most interesting pianists alive.
Miles Davis Quintet Live In Europe 1969: The Bootleg Series Vol. 2 (Columbia/Legacy)
This three-CD, one-DVD set finds the trumpeter fomenting even more dramatic change than usual. The first volume in the so-called bootleg series of Davis concert recordings found his primarily acoustic 1967 quintet already tending toward electronic music and rock. Saxophonist Wayne Shorter remains from that band. Here, the transition intensifies. Electric pianist Chick Corea, bassist Dave Holland and drummer Jack DeJohnette accelerate the shift Davis initiated with In A Silent Way. The repertoire is redolent of Davis’s Bitches Brew period. We hear the headiness, excitement and—sometimes—the aimlessness of newfound freedom. The DVD’s superb sound and picture bring the band alive.
Bill Frisell, The Disfarmer Project (La Huit)
Belgian filmmaker Guillame Dero captures the eclectic guitarist Frisell, violinist Carrie Rodriguez, guitarist Greg Leisz and bassist Viktor Krauss in a live performance set to portraits by the 1950s Arkansas photographer Mike Disfarmer. Some of the music was on a 2009 CD mentioned in this Rifftides post. Hearing it in new versions with Disfarmer’s eccentric and vaguely disturbing photos looming over the band is an adventure. Watching interaction and reaction among the quartet increases the fascination. Frisell salts his original compositions with songs by Hank Williams, Arthur Crudup and Cliff Friend.
Paul de Barros, Shall We Play That One Together? The Life and Art of Jazz Piano Legend Marian McPartland (St. Martin’s Press)
The nonagenarian pianist presented de Barros with every biographer’s hope, unrestricted access to his subject’s personal papers and nearly unrestricted access to her private thoughts. He made the most of it, turning exhaustive research and hundreds of hours of interviews into a true story with the sweep of a novel. From the early discovery of McPartland’s musical gift through her wartime service, her ecstatic and stormy marriage to Jimmy McPartland, her growth as a pianist, her deep affair with Joe Morello, and the radio show that made her a national figure, she has had a fascinating life. It makes a splendid read.
Gerry Mulligan and the Concert Jazz Band, Santa Monica 1960 (Fresh Sound)
Mulligan’s Concert Jazz Band had three fewer musicians than most big jazz outfits. Its size permitted precision, flexibility and subtlety, yet the band had the power of sprung steel. In this concert from a half century ago, the CJB is as fresh as yesterday. Arrangements by Mulligan, Bob Brookmeyer, Al Cohn and Johnny Mandel set standards to which big band writers still aspire. Bassist Buddy Clark and drummer Mel Lewis inspired Mulligan, Brookmeyer, Conte Candoli, Gene Quill and Zoot Sims to some of the best soloing of their careers. This beautifully produced issue of the complete concert is a basic repertoire item.
NICE GARNERISMs from Diehl!!!
Before the day is through, I will dig out the version on Satch Plays Fats. Fats is already immortal for this piece alone, in fact on THE BRIDGE alone, which Dizzy noted…
( please forgive afterthought:) When I hear Brubeck and Desmond do “One Moment Worth Years”, I remember that Dave said that it was written to immortalize the moment he heard his first Fats Waller 78.
Another thought: if you blindfold-tested the Waller solo 78s for all the musicians and asked them why the “obscure” ones aren’t universal jazz standards, they would be hard pressed for an explanation!
Diehl & Farinacci get July to the appropriate temperature, yet cool.
Thanks for creating such a nice climate!
Thomas ‘Fats’ Waller’s solo version of “Honeysuckle Rose” from 1941 is not only remarkable because of its impressionistic flavor and lyrical charm but also because there’s a glimpse, yes, of “Kind Of Blue”.
You can hear the impression of the famous three-horns section ’round minute 2:53; sounds exactly like “Freddie Freeloader,” doesn’t it? Some more miles to go, though. — Beautiful!
Brewsk,
Of course I remember the MOMENT I first heard “KInd of Blue”.
And I remember hearing a faint suggestion of Benny Goodman/Charlie Christian “Soft Winds”, within “Freddy Freeloader”.
File Fats under “good as it gets”, and “source material, perpetual.”
PS: Go to you tube, RIGHT NOW, and type in
Benny Goodman and Louis Armstrong 1939
You will hear an air take of the BG Sextet doing “Ain’t Misbehavin” : Satch singing it, then playing in one chorus enough music for an entire career. They give the 1955 “Satch Plays Fats” a run for the money.
On the bridge, and a tag like he would do later, Armstrong shows us that Fats Waller’s “songs” are Perfect.
Terence –
Thanks for the tip! That Ain’t Misbehavin’ is indeed a marvelous gem; Louis Armstrong at his very strongest; listen to those quarter notes: as if they were chiseled, nevertheless swinging, as only Pops could deliver them.