Duke Jordan died on Tuesday in Copenhagen. The news summons thoughts of the beauty of his piano playing and the gentleness of his personality. Jordan’s touch, harmonic sensitivity and gift for the creation of melodic lines made him a favorite colleague of Charlie Parker, Stan Getz, Gene Ammons and Chet Baker, to name a few who benefited from his artistry. He had worked earlier with Roy Eldridge, Coleman Hawkins and the Savoy Sultans, but his playing on Parker’s 1947 recordings on the Dial label, when he was twenty-five, brought him his first wide recognition. His introductions to ballads were often little masterpieces. The four bars leading into Parker’s “Embraceable You” constitute one of the most exquisite moments in all of recorded jazz, and one of the most imitated.
In the days of three-minute records, Jordan rarely had more than sixteen bars of solo time in Parker’s quintet or sextet sessions, but he invariably constructed short stories with beginnings, middles and endings, never filling the time with random improvisation. An example of his cogency is in the middle of “Quasimodo,” which happens to also be “Embraceable You” under the guise of an original Parker melody line. Both of those pieces are on this CD.
A prodigious composer, Jordan’s most famous piece is “Jordu,” a staple of the modern jazz repertoire. “No Problem” may be a close second. He wrote it for the sound track of Roger Vadim’s Les Liaisons Dangereuses. He was also the co-composer, as Jacques Marray, of the soundtrack for that 1959 film, with contributions by Thelonious Monk. After he moved to Copenhagen in 1978, Jordan recorded copiously as a leader and with Chet Baker, Doug Raney, Clifford Jordan and others.
The times I was privileged to be around him, Jordan was quiet, easy in his skin and earnest. He was the pianist for Sam Most’s 1976 album Mostly Flute, which had Tal Farlow on guitar, bassist Sam Jones and drummer Billy Higgins. In the liner notes, I recounted a recording session incident that typified Duke’s attitude.

“The More I See You” is taken at a bright medium-up tempo. Duke’s introduction recalls some of the gems he recorded with Parker, and he has one of the best solos of the date. In the control room, heads were shaking in admiration during this one, and afterward when Jordan walked in asking, “Was that all right?” everyone broke up.

Duke Jordan, dead at eighty-four.

Rifftides reader Mel Narunsky writes:

Now that I’ve had a chance to see the Monica Zetterlund & Bill Evans videos, I think that “Lucky To Be Me” was outstanding – and far superior to the “Waltz For Debby” effort which I’m sure they subsequently improved upon.
I have always thought that the Tony Bennett recording with Evans of “Waltz For Debby” is unbeatable if only (but not only) for the fact that they stick to 3/4 throughout (this is after all what a waltz really is). I’ve never found a recording by Evans himself that doesn’t go into 4/4.
The Zetterlund/Evans video of “Once Upon A Summertime” was also very good.

If you watch the YouTube video of “Lucky To Be Me” linked above, you will hear the music but see amateur shots of scenery. Here’s the explanation filed by the YouTube contributor, who identifies himself or herself as 60otaku.

Music and an image do not have a direct relation. Please understand the situation…(^^;) A chief aim is music to the last ! Personnel; Monica Zetterlund (vocal) Bill Evans (piano) Chuck Israels (bass) Larry Bunker (drums)

Steven Bernstein writes from New York regarding my piece in the July 27 Wall Street Journal about trumpeter Randy Sandke (You can read it here if you’re an online WSJ subscriber). He is concerned about my speculative aside that in Sandke’s Subway Ballet, Bernstein plays…”what may be this century’s first recorded solo on slide trumpet.”
“Thanks for a great article on Randy Sandke,” he says. “I wish more journalists would support this incredible musician.” Then he takes me to task.

Since you are a journalist/historian, I’d like to clarify a statement you made about the slide trumpet in the 21st century. I am a professional trumpeter /bandleader in NY for the last 25 years–started a band called Sex Mob 11 years ago in which I ONLY play the slide trumpet…..have played it on numerous cds, tv shows, movie soundtracks, dance pieces etc. There are two slide trumpet players in Europe (that I know of), Luca Bonvini and Axel Dorner….and a bunch of young kids out there inspired by me who are starting to play it. You might be interested in hearing Sex Mob. We play compositions ranging from “Blue and Sentimental” to “Nirvana” and lots in between. My 9-piece band the Millennial Territory Orchestra started off playing pieces by Tiny Parham and Cecil Scott and expanded out. Our debut CD was just released on Sunnyside.
So anyway, about 100 slide trumpet solos recorded this century, and it’s just starting…
Keep yer ears oiled
Sb

I just ordered a new bottle of oil.
This famous photograph of King Oliver’s Creole Jazz Band in 1923 shows Louis Armstrong playing a slide trumpet. His cornet, the instrument he most often used with the band, is in front of him.
The photographer arranged the group with wonderful symmetry, but it is unlikely that Johnny Dodds often performed seated on the piano in that excruciating posture. From left to right, Honoré Dutrey, Baby Dodds, King Oliver, Armstrong, Lil Hardin, Bill Johnson, Johnny Dodds. To hear Armstrong and Oliver in a complete performance of “Chimes Blues”, click here. The cornet solo is Armstrong’s, his first on record. The date was April 6, 1923.

Our Girl In Chicago, Terry Teachout’s partner in blog, reminds us that that yesterday was Philip Larkin’s birthday. I admire Larkin’s poetry more than his reactionary jazz criticism, so I celebrate him half enthusiastically. Nonetheless, it is a reason to call your attention to a Larkin poem we recently posted, along with one by Miller Williams, during the discussion of Tom Sancton’s book Song For My Fathers about growing up in New Orleans and in traditional jazz. If you missed it or would like to read it again, go here.

Jan Stevens, the proprietor of the Bill Evans Web Pages, wrote:

I enjoyed Marc Myers’s observations regarding the rare video of the late Danish vocalist Monica Zetterlund with Bill Evans, performing “Waltz for Debby”. Some clarifications: about two weeks after the October 1966 recording sessions for his Verve album, A Simple Matter of Conviction (the first one with Eddie Gomez on bass), Bill and Eddie departed for Scandanavia for several dates. Arnie Wise was on drums for Bill at the time, but he did not make the trip, so Alex Riel, a well-known Danish drummer, played. Riel had worked a few gigs with Bill before, and was then working in a most notable trio with pianist Kenny Drew and bassist Neils-Henning Orsted Pedrson. (There is another Evans trio video with Riel from this same tour, circulating on the Web.)
This rehearsal we see on the video was done on October 25, 1966, while preparing for the televised concert, a charity event at the Royal Theater in Copenhagen. As far as the late Ms. Zetterlund (who died in a fire on May 12, 2005 — see my page), Bill enjoyed her work very much, and was first impressed when he heard her own “Debby” version in 1964, entitled “Monica’s Vals”. When he subsequently did his first European in late summer of that year, his manager Helen Keane arranged for them to meet and they recorded the Waltz for Debby” album for the Phillips record label.
Bill always smoked Camels, but this is the only time I have ever seen him shown smoking a cigar!
Jan Stevens

Please note that a Bill Evans Web Pages link is now in the Other Places section of the right-hand column.

While I am meeting deadlines for writing that pays even more than Rifftides, why not have reader Marc Myers guide us to a fascinating video. He writes:

Talk about one of those video clips that just stops you cold: Go here and dig Monica Zetterlund and Bill Evans on “Waltz for Debby.”

This must have been a run-through for the record date. For my money, this is the definitive “Debby.” It’s brighter and more lyrical than the Vanguard sessions. And as you will see, Monica and Bill are both instantly absorbed by the moment–but in very different ways. Monica seems overwhelmed and somewhat stunned by the sheer beauty of Bill’s playing. Bill appears to be both distracted and in love with the sound of Monica’s interpretation–so much so that he turns away to fully absorb it. Watch Monica’s facial expressions and twitches as she milks the beauty of this song. And who knew Bill dug cigars?

Two interesting moments: About halfway through, Monica either forgets the words or is fooled by Bill’s comping–but still manages to work her way out of it smoothly. Also, the midsection where Bill transitions from straight 3/4 time to a swinging waltz, it’s hard to tell if this was Monica’s idea, signaling Bill that she was comfortable enough to handle the improv, or Bill’s “chart.” I always thought from the recording that this transition was Bill’s doing. Now I’m not so sure. Fascinating.

At the end, it’s hard to tell if Bill was displeased by Monica’s quasi-casual treatment or blown away by it. And when it’s over, both seem to want each other’s praise but neither gives it up. But Bill’s definitely moved. At any rate, there’s a whole lot going on here. What was Bill’s impression of Monica? Did he take her seriously?

Marc Myers
NYC

Unfortunately, we won’t have the answers to those questions from them. They’re both gone. It seems unlikely that this was a rehearsal for the album. Eddie Gomez is the bassist in the video clip. Chuck Israels, who preceded Gomez in the trio, played bass on the album, which was recorded in 1964. Larry Bunker was the drummer. Gomez joined Evans in 1966. We don’t see the drummer in the YouTube video. Nor is he identified.

The record date to which Mr. Myers refers resulted in this album, which seems to be available singly only as an import. It is also part of the eighteen-CD box set The Complete Bill Evans on Verve. That is the wonderful collection infamous for its packaging–a rusty steel box containing another rusty steel box with swing-out sleeves holding the CDs. Verve should have offered a tetanus shot with each one. The Vanguard sessions are the famous Sunday at the Village Vanguard, a sublime live recording of the 1961 Evans trio with bassist Scott LaFaro and drummer Paul Motian .

It was a weekend of contrasts. I reread All Quiet on the Western Front, recovered from it on a long road bike trek that began with a one-mile climb up a steep grade (I refuse to submit to a testosterone exam), picked a few quarts of blackberries and played in a jam session in which, at one point, the rhythm section consisted of three guitars. That was a new and uplifting experience.
Now, it’s time to get serious. I’m on deadline for an essay to accompany a Thelonious Monk collection in the Riverside Profiles series. Blogging will be in the back of my mind, but that’s where it will have to stay for today and, possibly, tomorrow. Have a good Monday.

Too many pieces of music finish too long after the end.

– Igor Stravinsky

You might try taking the horn out of your mouth.

– Miles Davis, after John Coltrane said he found it difficult to play short solos

The new book and DVD recommendations are finally in place under Doug’s Picks in the right-hand column. I stretched the DVD category to make you aware of a discovery. I doubt that you’ll be sorry.

Readers have asked why Rifftides does not allow comments to be posted directly. I want the opportunity to review comments and, when it feels right, to respond to them in context and with editorial discretion. It has developed, as I thought it would, that Rifftides readers are not inclined to inititiate the kinds of shouting matches that infect too many web sites, so that has never been a worry. But there is another reason: spam. About half of the alleged comments that I receive are spam. If I allowed them to pop up unsupervised, you would be seeing random insults from web trawlers, pitches for ringtones and viagra and opportunities for a wide variety of personal services from members of all of the sexes. Not on this weblog, folks.
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