Search Results for: target

Looking for the earliest Slim Gaillard clip I could find, I came across a sequence from Olsen and Johnson’s manic 1941 hit movie Hellzapoppin’. Gaillard plays piano and guitar, with his constant companion of the period, the great Slam Stewart, on bass. Among the several dozen uncredited musicians and dancers is the Duke Ellington cornetist Rex Stewart, done up in a cook’s outfit. If anyone can identify the clarinetist, trombonist and drummer, please send a comment. You’ll see some of the most aggressive jitterbugging ever filmed, but keep your ears open to the jam session that inspires the dancers. The funny little man in the opening scene is Hugh Herbert.

They don’t make them like this anymore. How could they?

The Rifftides staff is going to take a couple of days off and trek across the mountains to watch the Mariners play the Tigers. The links are for the benefit of those in, say, Casablanca or Tarnow who may not be familiar with the quaint US sporting culture.

In the meantime, enjoy this video of Miguel Zenon and two of his homeboys at work in their native San Juan, Puerto Rico, last December. The bassist is Ricky Rodriguez, the drummer Henry Cole.

More on Zenon soon. Have a pleasant weekend 

A few years ago, research disclosed that Louis Armstrong was not born on the Fourth of July,
1900, but a little more than a year later. No matter; Armstrong believed that Independence Day was his birthday and identified himself with the United States of America. As his career and popularity developed and the magnitude of his genius became apparent, the country he loved–and much of the rest of the world–adopted him as a symbol of the spirit of America.

Much of Armstrong’s reputation stemmed from the audacity, the inventiveness, the sheer visceral and intellectual excitement of his work in the late 1920s with his Hot Five and Hot Seven. And yet, barely more than a decade after they were made, the Hot Five and Hot Seven recordings had all but disappeared. That situation disturbed a fan who found a way to do
something about it and went on to become one of the greatest jazz record producers. The young man was George Avakian (pictured here), now in his ninetieth year. New York Sun columnist Andrew Wolf chose the eve of the Fourth of July to retell the story of Avakian’s determination to see that Armstrong’s revolutionary music became available to new generations of listeners.

There is a key figure in Armstrong’s career who still is alive and has a great story to tell of Satchmo, and his own story of American ingenuity and his contribution to the music industry.

George Avakian, a spry and energetic 89-year-old, is my neighbor here in Riverdale. As a student at the Bronx’s Horace Mann School in the late 1930s, he came up with what was then a revolutionary idea — the reissue of collections of music of the past.

To read all of Wolf’s column, and see a terrific photograph of Armstrong, go here.

Thanks to Avakian’s early labors, Armstrong reissues moved through 78 rpm albums, LPs, cassette tapes and CDs into the era of digital downloading. This box set has all of the Hot Fives and Hot Sevens.

Here is the Armstrong Hot Seven in 1927 playing “Potato Head Blues.” Armstrong’s final chorus is one of the wonders not just of jazz improvisation, but of all twentieth century music.

Happy Independence Day.

It appears that Ernestine Anderson is going to be able to stay in her house–at least for now.
News of the seventy-nine-year-old singer’s impending eviction traveled quickly around the world last week, and people responded. Help came from fans, old friends–including Quincy Jones–and just plain folks who sympathized. Here are the most recent essential facts from The Seattle Post Intelligencer.

Folks over the weekend held benefits. And dozens upon dozens in the city, across the state and nationwide deposited help at Bank of America to help meet Anderson’s $45,000 payment deadline by Monday.

See Robert L. Jamieson, Jr.’s Post Intelligencer column for the whole rescue story and how officials are looking into whether Anderson’s dilemma ties into the predatory lending scandal mitigating the housing crisis. Her mortgage payments on a modest house are $4,422 a month. That special Bank of America account for Anderson will continue to accept funds

Among those who jumped in, Pat Strosahl, the major domo of The Seasons performance hall, offered Anderson a booking with a guaranteed fee and a promise to donate proceeds of the gate to help with her financial problem. Anderson is now scheduled for an October 15 appearance as part of The Seasons Fall Festival in Yakima, Washington, across the Cascade mountains from Seattle.

Last week, jazz lost two journeyman artists valued for their dependability, versatility and
swing. On the west coast, bassist Dave Carpenter died suddenly of a heart attack at the age of forty-eight. Most recently, Carpenter had been in drummer Peter Erskine’s trio, which also included pianist Alan Pasqua. A veteran of the Buddy Rich, Woody Herman, Maynard Ferguson and Bill Holman big bands, he also worked with Bill Perkins, Jack Nimitz, Al Jarreau, Herb Geller, Bill Cunliffe, Jan Lundgren, Terry Gibbs, Buddy DeFranco and Richard Stoltzman, to name a few. In as great demand in Los Angeles studios as he was in clubs, Carpenter has a list of recording credits as long as both of your arms. To see the list and hear brief samples, go here.

On Saturday, pianist Ronnie Mathews died in New York of pancreatic cancer. He was seventy-two. Mathews toured and recorded extensively with Max Roach, Freddie Hubbard, Roy Haynes, Dexter Gordon, Louis Hayes, and Woody Shaw. He had long associations with tenor saxophonist Johnny Griffin, drummer T. S. Monk, and trumpeter Roy Hargrove. See and hear him in this video clip of Griffin’s quartet. Ignore the superfluous list of personnel from YouTube; the rhythm section is Mathews, drummer Kenny Washington and bassist Ray Drummond. The locale is the Village Vanguard in New York, not somewhere in Europe. Otherwise, YouTube got it right. Due to the site’s ten-minute limit, the performance fades away before it ends, but it provides a generous idea of Mathews’ skill as an accompanist and a soloist.

It sometimes takes Rifftides posts a while to catch up with their subjects. On August 22, 2006, I reported the results of research into the matter of a high school teacher who received a lot of attention in 1993 for using Frank Sinatra to punish miscreant students. Sinatra did not come to class to administer the discipline. Bruce Janu, the teacher, made the wayward kids listen to Sinatra recordings. Over the weekend, Mr. Janu, who teaches at John Hershey High School northwest of Chicago, e-mailed a message to bring us up to date.

Someone recently sent me your blog post about the teacher who used Frank Sinatra as punishment. Well, I am that teacher. I still teach and I still use Sinatra in the classroom. Not so much for punishment anymore…more for enlightenment. I put extra-credit Frank
Sinatra questions on every test and often play Sinatra. In my Contemporary American Text class, I teach the history of jazz and, of course, include some Sinatra there as well. During the whole hoopla surrounding the “detention club,” (it was a slow news day) some reporters attempted to get Sinatra’s comment. Through his press person, it was relayed to the media that Sinatra had “no comment” other than to say that there are plenty of young people who like his music. I hope that in the years that I have been doing this, some kids have grown to appreciate a great singer.

In his teaching of sociology, Mr. Janu incorporates film study. He has developed a parallel career as a documentarian. His first full-scale film, about the genocide in Sudan, last year won awards for best documentary at two film festivals. Facing Sudan has screened at a dozen other festivals across the United States, from Charlotte, North Carolina, to Port Townsend, Washington. For more about Bruce Janu and Facing Sudan, go here.

The Rifftides post three weeks ago with the video of Peggy Lee’s and Frank Sinatra’s “Nice Work if You Can Get It” brought so much comment that another Lee installment seems justified. Here she is with her husband Dave Barbour on guitar. The song is Lee’s composition “Maňana,” a huge hit in 1947. In the current DVD pick (center column), I mention Lee’s devotion to Barbour. In this clip, there is more evidence of it, and of the kind of playing that made him one of the great jazz guitarists of his era. This performance has an air of carefree fun, but the musicianship–by husband and wife–is serious.

This CD has a few of Lee’s recordings from the 1940s, with Barbour leading the bands and playing guitar. This boxed set from Mosaic has even more of their collaborations, plus Barbour also playing for June Christy on some tracks. It includes transitory pop recordings, but there is a high ratio of quality to ho-hum.

Friends and admirers of Bob Florence, including his Limited Edition band, gathered at the Catalina Bar and Grill in Hollywood on June 15 to pay tribute to the arranger, composer, leader and pianist.. Florence died exactly a month earlier at the age of seventy-five. In Florence’s honor, the piano remained silent. A jazz fan and videographer, Mike Kaiser, captured the Limited Edition playing Billy Strayhorn’s “Chelsea Bridge in Florence’s arrangement and posted it on the Daily Motion web site. The band is made up of Los Angeles luminaries. Trombonists Charlie Loper and Bob McChesney are featured soloists in the Strayhorn. Guitarist Larry Koonse also solos. The drumming, done with his patented combination of energy, precision and looseness, is by Peter Erskine.

Around 1955 (I must have been in kindergarten), I went to a concert at the 5th Avenue Theater in Seattle and for the first time heard Ernestine Anderson. She sang with a big band. I was impressed with the quality of her voice, her phrasing, her time, the lack of gimmickry in her delivery and how she looked in her red gown. A year or so later, when she was in Sweden she recorded with Harry Arnold’s band. The long-playing record that resulted, Hot Cargo, was one of the best vocal albums of the decade and remains an example of Anderson at the peak of her talent.

Over the years, Anderson’s career and the quality of her singing have had their ups and downs. Now, she faces a discouraging down. At the age of seventy-nine, she is in financial trouble and about to be evicted from her house in Seattle. Friends and admirers are trying to raise money to stop or delay the eviction. They have set up a rescue account for her at the Bank of America. Time is short. She is scheduled to be kicked out at the end of June. Details are in this column by Robert L. Jamieson, Jr. of the  Seattle Post Intelligencer

If you need to be inspired to help, watch this performance by Anderson with pianist Monty Alexander, bassist Ray Brown and drummer Kenny Clare in Berlin in 1978. Those are the musicians. Ignore the You Tube identifications, except for Brown; they got him right.  

For more on Anderson’s dilemma and information about her life and career, visit her web site.

From time to time, Rifftides readers have suggested that in evaluations of music I should pay more attention to sound quality. Like many musicians and critics, although certainly not all, I concentrate more on the notes than the reproduction. Once when Paul Desmond and I were listening to an ancient LP, I apologized for the scratches. Desmond was no technophobe; he loved the electronic wonders of his time. If he were around now, he would have an iPhone or a Blackberry, an iPod or a Zune–maybe all of those–and the best home theater and sound system available. But what he said that day was, “As long as I can hear what everybody’s doing, I don’t worry about scratches. It can be on a record, a tape or a strip of cellophane, for all I care. I listen to the music.” We agreed on that.

Audiophile sound, then, is not a primary requirement for my listening, but I appreciate it and have reasonably good equipment, so when Rifftides reader Michael Baldwin suggests a listening comparison, I’m willing to play along. Mr. Baldwin writes:

In a head-to-head comparison between the “Keepnews Collection” reissue CD series and the corresponding OJC CDs, which do you think sounds better? It seems to me that Joe Tarantino is utilizing the 24-bit remastering process well, and that the Keepnews versions uniformly sound better than their OJC counterparts, which are essentially flat transfers from the original master tape without any “futzing about.” Your opinion, please?

Orrin Keepnews produced the original recordings for Riverside, Milestone or Landmark. He co-founded Riverside and founded the other two. The labels are all now owned by Concord Music Group. Most of the recordings in the Keepnews series appeared in the first instance as long-playing vinyl records, then at least once as compact discs. This time around, engineer Tarantino remastered them with the latest digital technology and Keepnews produced them for reissue. For A/B comparison, I listened to the five most recent releases in the Keepnews Collection. They are:

McCoy Tyner, Fly With the Wind (Milestone)

Coleman Hawkins, The Hawk Flies High (Riverside)

Sonny Rollins, The Freedom Suite (Riverside)

Wes Montgomery, Incredible Jazz Guitar (Riverside)

Nat Adderley, Work Song (Riverside)

For the comparison, I fed two compact disc players into my sound system, played the OJC and Keepnews Collection CDs simultaneously and switched back and forth. I have no scopes or other test equipment. If I had, they might well show that the two players have different characteristics, although they sound the same to me when I do an A/B test playing identical copies of the same CD. The only test devices I own are attached to the sides of my head, so there is nothing scientific about my conclusions. To paraphrase Lester Young, I can’t tell you about your ears on your head, I can only tell you about my ears on my head. Your reactions might be more complex and extensive. Mine are simple.

In all five cases, I found that the stereo effect in the new versions is less dramatic than in the OJCs, that there was less inherent gain (volume) and that the high frequencies seem rolled off a bit. In general, the OJCs sounded brighter, more lively.

I must emphasize that I am splitting hairs. To apply the Desmond standard, in both versions I could hear what everybody was doing. These albums contain some of the best playing that Montgomery, Adderley, Hawkins and Rollins recorded in the late 1950s and early ’60s, and some of Tyner’s finest work of the ’70s. If you own the OJCs, I see no reason to ditch them in favor of the OK Collection versions. If you own neither and buy the new releases, you will have high quality reproductions of five imperishable old masters.

Make that six old masters. Mr. Keepnews deserves a lot of credit for preserving this music in the first place, and each CD in the OK Collection includes a new essay with his recollections and reevaluations.

The Rifftides staff invites you to use the comment function at the end of this item and let us know the results of your own comparison test.  

In the 1970s, Red Garland told me about the pianists who influenced him when he was learning. He mentioned Nat Cole, James P. Johnson, Luckey Roberts, Teddy Wilson and Bud Powell. Then he said,

Tatum, of course was the master. He was Mr. Piano. The first time I heard a Tatum record–I think it was “Tiger Rag”–I thought it was at least three pianists.

Garland was far from the only listener who was convinced that Art Tatum’s 1933 recording of “Tiger Rag” was the work of more than one pianist–or the product of multiple recording. Seventy-five years later, “Tiger Rag” and other Tatum masterpieces are recreated with digital wizardry in sound exponentially more pristine than that of the 78 rpm shellac or the LP and CD reissues of later decades. They are no less astonishing, but I am not persuaded by the gee-whiz promotion surrounding the project that they are more so.

 Zenph Studios captured four of Tatum’s 1933 recordings and his 1949 Shrine Auditorium concert on special software and processed them for reproduction on a Yamaha Disklavier concert grand piano. They played them back on the Disklavier on the stage of The Shrine in Los Angeles and recorded as if Tatum had been at the keyboard. The results are on a Sony Classical CD which, like the LP and CD of the real Tatum performances that preceded it, is called Piano Starts Here: Live at The Shrine, with a banner across the top of the cover: Zenph Re-Performance. Tatum’s notes are reproduced with uncanny accuracy. I have done A/B comparisons of the Zenph and the Columbia Jazz Masterpieces CD, which is still available, and been impressed with the Zenph folks’ victory over the shortcomings of the original recordings, including unfavorable ambient sound, inconsistent recorder speeds, scratches and pops. In separate tracks, ten of the thirteen pieces play again in binaural stereo versions meant to be heard on headphones, placing the listener as if he were Tatum on the piano bench. It’s quite an experience.

After decades of hearing the Tatum recordings with all of their flaws, I’m not sure whether I find the computerized versions too perfect, too smoothed-out. Maybe that’s simply a matter of experience having wired my brain to expect what my ears have always heard. My recommendation to anyone wanting to experience Tatum for the first time is to listen to him directly before you meet him channeled through the medium of the computerized piano. Either way, the first time you hear Tatum’s “Tiger Rag,” you may be as incredulous as was the young Red Garland.

For a review of a New York stage show inspired by the Zenph re-performance of Tatum, see Marc Myers’ JazzWax.

The Red Garland quote is from a chapter in this book.

Saxophonist, composer, arranger, band leader and educator Bill Kirchner is also a broadcaster. For several years, the Jazz From The Archives series has been airing on Sunday nights on WBGO-FM in Newark, New Jersey, just across the river from New York City. It is also heard on the worldwide web. Kirchner is one of several jazz experts who host the program in rotation. His next installment will feature a fellow musical polymath. Here’s Kirchner’s announcement.

Pianist/composer/arranger/producer Michael Abene (b. 1942–pronounced uh-BEN-ee) is one of jazz’s “quiet as it’s kept” heroes–hugely respected by musicians, but virtually unknown by the general public. First heard as a teenaged prodigy with the Newport Youth Band in the late 1950s, he has had a varied and highly productive career for a half-century. (He’s currently musical director of the WDR Big Band in Cologne, Germany.)

We’ll hear Abene’s arrangements for the Maynard Ferguson, Mel Lewis, and GRP All-Star big bands, the Burt Collins/Joe Shepley Galaxy, and singers Patti Austin and Anita Gravine. Plus some samples of Abene’s solo piano.

The show will air this Sunday, June 22, from 11 p.m. to midnight, Eastern Daylight Time at 88.3 FM. NOTE: If you live outside the New York City metropolitan area, WBGO also broadcasts on the Internet. 

To hear Kirchner and his guest make music together, try this CD. He and Abene play duets on Ellington’s and Strayhorn’s “Rock Skippin’ at the Blue Note” and “The Star Crossed Lovers,” and Jule Styne’s “Bye Bye Baby.” Kirchner also duets with pianists Marc Copland and Harold Danko.

Rifftides reader and keen-eared critic Larry Kart writes about the June 15 item below:

 Lovely singing by both, but LaRosa will be news to some of us. As it happens, I’m old enough (b. 1942) to vaguely remember him from his Arthur Godfrey days, have heard since then that he was excellent on standards (when I heard him on Godfrey I probably was too young to know what a standard was; besides I couldn’t stand AG), and that he had grown as an interpreter over the years. I’d say, in addition to much else, that in this performance the (I assume) sheer physical pleasure LaRosa takes in singing is quite something. Are there any later recordings available that capture him at his best?

The best one I know of is Better Than Ever. LaRosa and an orchestra packed with superior New York jazz and studio musicians recorded it in 1996. In this CD, he excels in ballads, among them “I’ll Be Seeing You,” “My Foolish Heart” and an exceptional interpretation of “Here’s That Rainy Day.” His time feeling in the jump tunes–or whatever they’re called these days–is admirable. I’ve never heard “Volare” delivered with so much joy. LaRosa is the focus, but there are solos here and there by saxophonist Ted Nash, guitarist Gene Bertoncini, pianist Pat Rebillot and trombonist Michael Davis.

The Frank Sinatra-Peggy Lee video generated a batch of interesting comments and a lead to a clip featuring Lee and Julius LaRosa, a singer we don’t hear much about these days…but should. Points of interest: LaRosa at ease riding on Nelson Riddle’s arrangement of a little-known song, and Lee, unaccompanied, swinging the first six notes from a dead stop as she heads into the chorus in “Don’t Get Around Much Anymore.” We don’t get to hear Nat Cole sing or play in this video, but it’s his show.

Anyone with a large compact disc collection will understand the difficult choice I faced: get rid of several hundred CDs (at least), build a wing on the house to accommodate the collection or find a way to make the existing shelves hold more. The point of desperation was approaching, fast. Then a friend casually mentioned that he had found the solution to his own CD space problem. The answer was vinyl sleeves sold by a company called Jazz Loft. I told him that my concern was not being able to keep the booklets and tray cards with the discs. That is why transferring all of the music to an iPod was not a consideration. Look at the demonstration on the Jazz Loft web site, he said. I watched the demo video and ordered 100 of the sleeves to test the system. The test satisfied me. I ordered a thousand. I’ll no doubt order a thousand more.

As Alex Ross of The New Yorker points out in his testimonial on the site, one CD now takes
up about a tenth of the shelf space it did in a conventional jewel box. The small downside is that in the sleeves the spines of the tray cards are not as easy to read as they were in the jewel boxes. Filing alphabetically, I have no trouble finding the CD I’m looking for. Random browsing is slightly more difficult that it was, but that is a small price to pay for the gain of space.

I have no connection with Jazz Loft other than as a consumer; no endorsement deal, no price cut. I’m sure that there are other companies in the vinyl sleeve game, but this is the one with which I’m happy. If passing along the information helps other Rifftiders who suffer from the effects of CD proliferation, I’m even happier.

My wife asks what I’ll do when all the shelf space is taken by the sleeves. I’ll face that problem when it comes. By then, Steve Jobs will probably have perfected a brain implant connected to all of the music in the world. There’s a scary thought.

Transferring the discs from hard plastic boxes to soft vinyl sleeves takes time. I use it to catch up on my listening.

Does anybody want to buy a thousand empty jewel boxes?

James Carter, Present Tense (Emarcy). When he burst onto the jazz scene from Detroit in the early ’90s, Carter’s virtuosity on an arsenal of woodwinds sometimes overrode content in his music. After a three-year recording hiatus, he reappears with no loss of dazzle and with the benefits of self-editing. Carter mixes original compositions and classics. Highlights: the rhythmic intensity of his flute work on Dodo Marmarosa’s “Dodo’s Bounce,” his reflective gospel coda to a speedy baritone saxophone romp through Gigi Gryce’s “Hymn of the Orient,” his bass clarinet evocation of Eric Dolphy on “Bro. Dolphy.”

David Braid Sextet, Zhen (DB). The pianist-composer and five other prominent Canadians 
 stomp with gusto in “Fishers of Men,” create compelling lyricism in “Lydian Sky” and find something new in Coltrane’s “Giant Steps.” Braid’s sidemen include bassist Steve Wallace, drummer Terry Clarke and the remarkable saxophonist Mike Murley. Superior small-band music arranged by Braid with ingenuity and wit.

 
Swiss Jazz Orchestra and Jim McNeely, Paul Klee (Mons). Swiss Jazz Orchestra leader George Robert asked McNeely to compose an album’s worth of pieces inspired by Klee’s paintings. “I’ve always loved Klee’s work, so I put a lot of research into his life and his methods and his writings,” McNeely told me recently. The result is eight Klee impressions incorporating the vision and resourcefulness of one of the best living writers of music. They include a conceptualization of Ad Parnassum (seen here) that matches its inspiration’s mystery, allusion and whimsy. To learn more about McNeely, go to All About Jazz for a comprehensive verbatim interview.

Rosa Passos, Romance (Telarc). The greatest mistress of Brazilian song since Elis Regina sings a dozen love songs. Accompanied by small groups of superb musicians from her country, she sustains an air of enchantment and saudade, her small, rich voice simultaneously transmitting innocence and world-weariness.

 Ellis Marsalis, An Open Letter to Thelonious (ELM). If you’re not going to be
swallowed by Thelonious Monk’s mystique, recording a program of Thelonious Monk tunes with a rhythm section and a tenor saxophone requires a strong sense of self. Marsalis has that sense. He doesn’t solo on piano like Monk and he doesn’t comp like Monk behind saxophonist Derek Douget, who does not play like Charlie Rouse. Yet, the two of them, drummer Jason Marsalis and bassist Jason Stewart observe the letter of Monk’s music in the ensembles while accommodating it to their own spirits in their improvisation. Once, in his unaccompanied “‘Round Midnight,” Marsalis offers as a direct tribute an oh-by-the-way Monkish interval of a second. “Jackie-ing,” with its off-beat metre between Marsalis and Douget, is pure joy. I’ve been listening to Marsalis for forty years. I’ve never enjoyed him more than in this recording.