Reading Gary Giddins’s tribute to Jaki Byard in the February Jazz Times stimulated memories of that astounding pianist. Giddins builds his article around the CD called Sunshine Of My Soul, reviewed in Rifftides last March. The magazine is now on news stands. The piece is not available on line.

Memory 1
I was at the recording session for the Phil Woods album Musique Du Bois in RCA’s storied Studio B in New York in 1974. The rhythm section was Byard, bassist Richard Davis and drummer Alan Dawson. Phil later wrote that the album “never settled, never got off the paper,” but that he liked my liner notes. I am flattered by his second asssertion puzzled by the first; the album still sounds good to me. When 32 Jazz reissued Musique Du Bois as a CD, they eviscerated the notes, but in this book they are reproduced intact. Here’s a snippet:

Jaki Byard wanders in, looking, as always, slightly bemused and mystical. He greets the others and sets about testing the piano. Asked how he likes it, Byard says, “It’s a piano. I had a good one once, in France.” The universal suffering of jazz pianists; an endless chain of inadequate instruments binds them together as surely as their love for Art Tatum.

Memory 2
Paul Desmond and I stood in the ballroom of the Royal Orleans hotel during the 1969 New Orleans Jazz Festival listening to a jam session that included Byard and Roland Kirk. Jaki finished a virtuosic piano solo, then jumped to his feet, grabbed an alto saxophone and played with an intensity to match Kirk’s wildness. Desmond said, “I wish he’d mind his own business.”
Memory 3
Later that week, among the guests on a television program I hosted were Byard, Desmond, Al Belletto and Danny Barker, who I have always considered the world’s second greatest rhythm guitarst after Freddie Green. In a discussion of Kansas City style, I asked Byard and Barker to demonstrate. They had never played together. Jaki demurred. He said that he couldn’t do justice to what Count Basie had perfected. I coaxed. Finally, he moved to the piano, Barker unsheathed his guitar and two great musicians of widespread generations worked their way into into a blues that captured the essence of Basie and Green. How I wish that I had a recording of that encounter.
Memory 4
The house band at the ’69 New Orleans JazzFest was Byard, trumpeter Clark Terry, tenor saxophonist Zoot Sims and bassist Milt Hinton, with Dawson on drums. Among their appearances were an evening on a Mississippi riverboat and support for assorted soloists at main festival events. This CD captures their concert with Sarah Vaughan, one of her most inspired and most likely the only recording she made between 1967 and 1971. On this CD the house band backs trumpeters Roy Eldridge, Dizzy Gillespie, Buck Clayton, with Terry and Bobby Hackett making a guest appearance on Eldridge’s set. Byard’s kaleidoscopic solo on “Rifftide” with Eldridge was a highlight of the festival.
Jaki has received a good deal of attention lately with the release of a previously unissued 1964 Cornell University concert by the Charles Mingus Sextet–covered in this Rifftides review–and a Jazz Icons DVD of several of the Mingus group’s European concerts the same year. It would be difficult to exaggerate the importance of the musicianship and excitement he contributed to that remarkable band and, indeed, to music in the last half of the twentieth century. The mystery of his 1999 death at seventy-six by gunshot in his home remains unsolved.
For a substantial profile of Jaki Byard, including audio clips of him and musicians who admired him, go to this NPR profile.

New Year’s Day – Now is the accepted time to make your regular annual good resolutions. Next week you can begin paving hell with them as usual.–Mark Twain
The only way to spend New Year’s Eve is either quietly with friends or in a brothel. Otherwise when the evening ends and people pair off, someone is bound to be left in tears.–W.H. Auden
Drop the last year into the silent limbo of the past. Let it go, for it was imperfect, and thank God that it can go.–Brooks Atkinson
May all your troubles last as long as your New Year’s resolutions.–Joey Adams
Ring out the old, ring in the new,
Ring, happy bells, across the snow:
The year is going, let him go;
Ring out the false, ring in the true.
–Alfred, Lord Tennyson
For last year’s words belong to last year’s language and next year’s words await another voice.–T.S. Eliot

Hugh Massingberd, the longtime obituaries editor of The Telegraph of London, died on Christmas day at the age of sixty. From 1986 to 1994, Massingberd converted the dullest page in the paper into one so entertaining that his obits were collected in six anthologies. In her obituary of Massingberd in today’s New York Times, Margalit Fox wrote that he spoke “frankly, wittily and often gleefully ill of the dead.” She provided translations of some of his terms.

To dispatch his subjects, Mr. Massingberd used the thinnest of rapiers, but also the sharpest. Cataclysmic understatement and carefully coded euphemism were the stylistic hallmarks of his page. Here, for the benefit of American readers, is an abridged Massingberd-English dictionary:

“Convivial”: Habitually drunk.

“Did not suffer fools gladly”: Monstrously foul-tempered.

“Gave colorful accounts of his exploits”: A liar.

“A man of simple tastes”: A complete vulgarian.

“A powerful negotiator”: A bully.

“Relished the cadences of the English language”: An incorrigible windbag.

“Relished physical contact”: A sadist.

“An uncompromisingly direct ladies’ man”: A flasher.

To read all of the Massingberd obituary, go here.

The French Jazz Academy has awarded pianist Roger Kellaway its Le Prix Du Jazz Classique for his 2007 CD Heroes.The album is by Kellaway’s trio with guitarist Bruce Forman and bassist Dan Lutz. Nat Cole had such a drummerless trio and inspired Art Tatum to use the same instrumentation. Oscar Peterson, who adored Cole and Tatum, had a similar group from 1950 to 1958, with Ray Brown on bass, and guitarist Irving Ashby followed by Barney Kessel and then Herb Ellis. Although he is one of the great individualists among modern jazz pianists, Kellaway keeps the Cole-Tatum-Peterson tradition alive through the repertoire on Heroes. Peterson was one of Kellaway’s major influences before Kellaway became a success on the New York scene at the age of twenty-two. They remained close musically and as friends. When I talked with Kellaway a couple of hours ago, he said, “Losing Oscar and getting this award in such close proximity makes me wonder if there’s something going on–something mysterious.”
He said that he will go to Paris to receive the award January 7 in a ceremony at the Châtelet Theater. The French Jazz Academy Awards is the oldest and most serious music awards ceremony in France. Created in 1955, it is like the Grammy Awards with class. The voters are 60 independent journalists, photographers, writers and radio and TV producers. Kellaway was not nominated for a 2008 Grammy. Roger told me that while he’s in Paris, he hopes to meet with Madame Eglal Farhi, the celebrated proprietor of the New Morning club in the Tenth Arrondissement. In France, New Morning is to modern mainstream jazz what the Blue Note was in the 1960s. It would seem a perfect fit for Kellaway.

The Canadian broadcaster Len Dobbin sent this Oscar Peterson anecdote to the Jazz West Coast listserve:

Oscar, after having visited friends outside of London, was waiting for a train back. The train station platform was on the foggy side when he spotted a man who looked familiar. He approached him and asked would he be Charles Laughton. Laughton replied he was and Oscar told him how much he enjoyed his work. Laughton then asked Oscar his name and what he did and when Oscar said he was a pianist, Laughton asked, “Jazz or classical?” When Oscar said jazz, Laughton asked him if he had any pot. Oscar’s answer was negative. Laughton walked away.
Pepper Adams told me that Laughton and Elsa Lanchester were known to serve pot as the post- dinner course at their home.
Len Dobbin

A new web site, The Sound, is devoted to Stan Getz and his music. The site is in its early stages but already has much of interest, including three pages of photos, ten videos and several full-length audio performances by Getz. The brief biography needs work. In the mold of the 21st Century show biz puffery that has crept into jazz PR, it has little biographical information and reads more like a tribute or a news release than a serious account of the artist’s life. The real bio, a good one, is relegated to an easily overlooked link in small type that reads “detailed biography.” The discography has no information beyond a chronological list of recording titles. The forum section operates under a set of admirable no-nonsense rules designed to keep discussions civil. The attractive site, which has great potential, is overseen by Getz’s daughter Beverly. To visit the Stan Getz web site, click here.

I am adding to Other Places a link to Night Lights, a fine web log by David Brent Johnson of WFIU at Indiana University.
The current offering at JazzWax is a moving account of Jelly Roll Morton’s last recording session and his shameful, racist, mistreatment by ASCAP. I don’t know if film of Moton performing exists. But if you’d like an explanation and demonstration of Morton’s piano style, you can’t do better than this visit with Dick Hyman.

For those interested in knowing more about Oscar Peterson, the British journalist Steve Voce, in the British newspaper The Independent, provides a 2700 word obituary-as -essay. Among his anecdotes is one that illustrates the regard in which Peterson was held by other pianists. It also captures Duke Ellington’s generosity and wryness. Peterson idolized Ellington, who was twenty-six years older.

Following Oscar Peterson on stage at a concert in 1967, Duke Ellington remarked: “When I was a small boy my music teacher was Mrs Clinkscales. The first thing she ever said to me was, ‘Edward, always remember, whatever you do, don’t sit down at the piano after Oscar Peterson’.”

As for Peterson’s effect on younger pianists, Voce tells this story:

Earlier, in 1945, a 16-year-old John Williams, later to be Stan Getz’s pianist, was on tour in Canada with the Mal Hallett band and was playing in Montreal. “All the talk in the crowd was of a brilliant local pianist,” said Williams, “and as we played, suddenly, between numbers, the packed audience in the dance hall parted like the Red Sea and this huge guy came up towards the bandstand. With some insight, I vacated that piano bench quick and he sat down. He played, and we were stunned. I had never heard anyone play like that.”

Like all of Voce’s posthumous portraits of musicians, his Peterson piece is thorough and illuminating. To read it, click here.
For a reminder that Peterson had modes other than flash and fire, watch this video clip of him teamed with another of his heroes, Count Basie. The bassist is Niels Henning Ørsted-Pedersen, the drummer Martin Drew. At the end, O.P. beams like a schoolboy who has just won a prize.

The sad news from Canada on this Christmas Eve is that Oscar Peterson died yesterday at home in Toronto. He was 82. One of the great piano figures of his time, Peterson was an inspiration to virtually every jazz pianist who followed him, his influence equaled only by his slightly younger contemporary Bill Evans.

Oscar Peterson
The Canadian national newspaper The Globe And Mail quotes Peterson’s friend Tracy Biddle on his importance as a symbol to Canadians.

“He broke out of Canada. He’s one of the first people. We talk of Celine Dion and Shania Twain and Alanis Morissette and Bryan Adams. Oscar Peterson did what they did years ago as a black person. So what he’s done is incredible.”
The keyboard titan, who recorded almost 200 albums, played alongside the greats of the jazz world: Louis Armstrong, Count Basie, Charlie Parker, Roy Eldridge, Duke Ellington, Nat King Cole, Stan Getz, Dizzy Gillespie and Ella Fitzgerald.
“It makes you want to sing,” the late Ella Fitzgerald once said of Peterson’s piano work.

To read the entire Globe And Mail obituary, go here.
To remember Oscar at his happiest, watch this 1958 performance by his incomparable trio with bassist Ray Brown and guitarist Herb Ellis.
The New York Times today published a retrospective collection of articles about Peterson from the early 1990s to 2007. The definitive biography of Peterson is Gene Lees’ The Will To Swing.

Kate McGarry, The Target (Palmetto). McGarry’s singing evaded me. I don’t mean that I didn’t get it. I mean that I had never heard it. Then, during a recent engagement at Jazz Alley in Seattle, Luciana Souza mentioned that the guitarist appearing with her, Keith Ganz, was married to “the wonderful singer Kate McGarry.” I took that as a recommendation.Back at Rifftides world headquarters, I listened to The Target. I’m glad I did. McGarry incorporates intriguing approaches to vocal color, timbre and phrasing that seem to come from folk and pop sources as much as from jazz . In the 1920s hit “Do Something,” she swings as straight ahead as the young Anita O’Day. In Ganz’s delightful “New Love Song,” she evokes blithe sophistication worthy of Blossom Dearie. Steven Cardenas’s “She Always Will,” with McGarry’s lyrics, might be the meditation of an Irish troubador. I much prefer her sinuous take on Sting’s “Sister Moon” to the composer’s.
On several standards, McGarry maintains balance between respect for the song and a search for new possibilities. The resulting creative tension produces memorable versions of “The Lamp Is Low” and “The Heather On The Hill,” in which she includes the seldom-heard verse of the Lerner and Loewe classic. In “It Might As Well Be Spring,” she nudges and teases the time and succeeds in every harmonic chance she takes. Throughout, the intonation of her light voice is down the middle, even in the vocalese on a difficult unison passage with Ganz’s guitar in Souza’s demanding “No Wonder.” McGarry’s other accompanists are Gary Versace on piano, organ and accordian; bassist Reuben Rogers; drummer Greg Hutchison. On three pieces, there are solos by the daring tenor saxophonist Donny McCaslin. Experts at illusive, suggestive improvising, Ganz and Verace solo on several tracks.