New Talkmarkets article here:
http://www.talkmarkets.com/content/commodities/why-inflation-protection-doesnt-gold-hyperinflation-cataclysm?post=127161&uid=4644
*** FUTURE POSTS WILL ALSO APPEAR AT 'NOW AND NEXT' : https://rolfnorfolk.substack.com
Monday, March 20, 2017
Sunday, March 19, 2017
Sunday Music: "Rule, Britannia!" by Wiggia
A rummage through the archives for British musicians since the forties in modern jazz produces a mixed bag of results. On the home front the list is fairly well spread since that date and encompasses instrumentalists and vocalists.
The difficulty comes when reviewing those who made it on the world stage or at least became recognised in the USA , recognition there being the open sesame to world fame if not riches.
Those that made it across the pond are a relatively small band which is not surprising as breaking into a music scene as a jazz musician in the states is never going to be easy when they have so much home grown talent in what has now become a niche market.
George Shearing, Sir George after being knighted at the age of 87 in 2007, was a Battersea-born Londoner. Born blind to working class parents he was the youngest of nine, and he started to play the piano at the age of three. A pub in Lambeth was his first gig and after a relatively short spell he emigrated to the USA in ‘47. Influenced by Fats Waller and Teddy Wilson, his style was almost immediately successful and he formed his own group with Buddy de Franco and then formed the George Shearing quintet.
Two hugely successful singles of his own compositions, Lullaby of Birdland and September in the Rain guaranteed a career as performer and composer for the decades to come. He also had more than a passing interest in classical music and performed with several orchestras, along with TV appearances and playing with a long list of of musicians including Mel Torme with whom he won two Grammys, and later toured with Torme in the UK, a true international star and a rarity in the jazz world.
Some of his appearances were somewhat formulaic simply because his status would demand it but he was a true jazz musician at heart with a huge appeal.
Tubby Hayes also cracked it in the states, the most accomplished all round musician we have probably produced in modern jazz, a true multi instrumentalist. He was one of those whom you put an instrument in front of and he just played it, from vibes to flute but best remembered as a tenor sax player to most.
I had the pleasure of seeing Tubby live at the old Ronnie Scotts and at the Manor House pub by the tube station of the same name in north London where jazz artists appeared on many Sunday nights.
He started out with Kenny Baker in ‘51 and soon joined various British big bands of the period including Ambrose, Vic Lewis, Roy Fox , Parnell and then formed his own octet in ‘55. In ‘57 to ‘59 he played as joint leader with Ronnie Scott in the Jazz Couriers, a fondly remembered period; an invitation to play at the Half Note club in NY in ‘61 cemented his credentials over there and he played with many across the pond luminaries and returned again to the states in ‘62, ‘64 and ‘65 when he played at Shelly Manne's Mann-Hole in Los Angeles.
Back in the UK he formed his own big band and appeared on TV in his own series and also appeared in several films as well as being a much sought after session musician.
The sixties heralded a music revolution. Jazz suffered as a consequence and Tubby felt the impact along with many others so he toured abroad as London venues had changed their musical tastes. At this time he was in a rather painful story of drugs, difficult and personal relationships (he was married twice) and there are some anecdotes. A partner of his helped him access drugs. All created a very muddled and confused last few years, his health rapidly declined and he had breathing problems that stopped all playing at one time. He then had a heart operation that was successful but a second in ‘73 wasn’t and he died in Hammersmith hospital at the age of 38.
Looking back it seems scarcely possible that so much had been put into those brief years. Much of his catalogue went missing and items became rare and collectible. I am fortunate to have a couple in my collection.
Here he is with Jimmy Deuchar on trumpet and introduced by Humph in ‘65:
"Humph": Humphrey Lyttleton was a self taught trumpeter and almost everything else throughout his long career as musician, composer, arranger, band leader, TV show host, radio ditto and raconteur extraordinaire and columnist plus; he even designed his own house in Hertfordshire. His privileged background reads like a chapter from Tom Brown's Schooldays and is worth a trip to Wiki for that alone.
He started out in music with a trumpet influenced by Louis Armstrong and his early years were in the blues tradition of traditional jazz, but he moved to mainstream in the sixties and by the end of his playing career could be said to have moved into a gentle form of modern jazz )my interpretation !) so he merits being here.
Above all Humph had style, be it with words or music, and is missed in all the professions he touched.
His personnel changed much over the years and he toured to sell out crowds everywhere. He also introduced Canadian singer Stacey Kent to the UK, Elkie Brooks sang with the band on several occasions and he even toured with Helen Shapiro in the nineties.
A small aside was that he hated telephones, a trait he shared with my late father who would disconnect the wires if he thought anyone was going to call him.
Here he is with Elkie:
Vic Feldman certainly cracked the American jazz scene, this was seen as important at the time as all American jazz artists had an inherently superior status attached to them.
Feldman was a musical prodigy, a young talent who became a world known pianist and percussionist and whose vibe playing became a trade mark despite the fact most people thought he was a better pianist.
Feldman came from a musical family and he played in a trio that had his brothers as the other partners for awhile. He went to work in the USA in ‘55 and on return while at his club Ronnie Scott suggested he emigrate to the USA; he did in ‘57.
He worked with Woody Herman at first and then Buddy de Franco, and then formed his own group on the West Coast that included the talented bassist Scott la Faro who was tragically killed in an auto accident aged 25. He played with various bands and groups including Miles Davis who asked him to join his group full time but Feldman said no, preferring the occupational safety of studio work as opposed to touring.
Settling in LA he specialised in film TV and session work and worked outside the jazz environment with the likes of Frank Zappa and Steely Dan.
Here with Scott la Faro and playing both piano and vibes.
During and after the forties big bands still held sway at the top of the music scene here and in the states, we had several big bands during this period but one stood out head and shoulders above the rest: Ted Heath. A tenor saxophonist himself at an early age he switched to trombone.
He actually started his musical career with his brother and three other musicians busking outside London Bridge station and on local streets. Heath was spotted and asked to join Jack Hylton's band; his lack of experience meant the gig was short lived.
He then played with various bands and rejoined Hylton in the late twenties and then a residence at the Kit Kat club followed, where he was influenced by touring American bands like Dorsey.
In ‘28 he joined Ambrose where he learnt to be a bandleader and his trombone playing developed the style he became famous for. Geraldo's orchestra followed during the war years and during this time a Heath composition “That Lovely Weekend “ was produced and the royalties he received from its success allowed to him to form his own band. It followed the American line-up style and was influenced by Glenn Miller; success followed touring with Lena Horne and backing Ella Fitzgerald. He became a huge hit and had long runs at the London Palladium.
1956 saw Heath make the trip to the states for a tour that was not only a sensation but cemented his standing in the jazz pantheon of great bands.
The 50s were the peak of his fame with a huge recording output and European tours. He carried on through the sixties and was still having chart successes in the states. In ‘64 he collapsed on stage in Cardiff with a cerebral thrombosis and though he recovered it was to all intents the end of his career. He died in ‘69 aged 67.
Here they are playing their version of Lionel Hampton's signature tune “Flying Home”:
John Dankworth did the reverse, playing at an early stage in his career in the States, playing the Newport jazz festival in ‘59, the band performed at the Birdland club in NYC and he shared the stage with Duke Ellington with whom he had a life long association. At this time Cleo Laine became the band's singer and he married her in ‘58. His biography is long and deserves a separate read so a link is the best way to access his history and the legacy he left:
https://en.wikipedia.org/wiki/John_Dankworth
He was also a composer wrote many theme tunes for TV and films including the “Avengers”. This is a video at the end of his career and sadly his life, back playing in the States with Cleo:
There are/were many others who had an influence on the British jazz scene but few who made an international career or impression. There is a flaw in my selection: Humph was never an international success, though he did record in the states with Sydney Bechet in ‘49, but his all round presence in playing, talking about and presenting jazz was a huge part of the music's promotion and for that alone he deserves his place.
Those that made it across the pond are a relatively small band which is not surprising as breaking into a music scene as a jazz musician in the states is never going to be easy when they have so much home grown talent in what has now become a niche market.
George Shearing, Sir George after being knighted at the age of 87 in 2007, was a Battersea-born Londoner. Born blind to working class parents he was the youngest of nine, and he started to play the piano at the age of three. A pub in Lambeth was his first gig and after a relatively short spell he emigrated to the USA in ‘47. Influenced by Fats Waller and Teddy Wilson, his style was almost immediately successful and he formed his own group with Buddy de Franco and then formed the George Shearing quintet.
Two hugely successful singles of his own compositions, Lullaby of Birdland and September in the Rain guaranteed a career as performer and composer for the decades to come. He also had more than a passing interest in classical music and performed with several orchestras, along with TV appearances and playing with a long list of of musicians including Mel Torme with whom he won two Grammys, and later toured with Torme in the UK, a true international star and a rarity in the jazz world.
Some of his appearances were somewhat formulaic simply because his status would demand it but he was a true jazz musician at heart with a huge appeal.
Tubby Hayes also cracked it in the states, the most accomplished all round musician we have probably produced in modern jazz, a true multi instrumentalist. He was one of those whom you put an instrument in front of and he just played it, from vibes to flute but best remembered as a tenor sax player to most.
I had the pleasure of seeing Tubby live at the old Ronnie Scotts and at the Manor House pub by the tube station of the same name in north London where jazz artists appeared on many Sunday nights.
He started out with Kenny Baker in ‘51 and soon joined various British big bands of the period including Ambrose, Vic Lewis, Roy Fox , Parnell and then formed his own octet in ‘55. In ‘57 to ‘59 he played as joint leader with Ronnie Scott in the Jazz Couriers, a fondly remembered period; an invitation to play at the Half Note club in NY in ‘61 cemented his credentials over there and he played with many across the pond luminaries and returned again to the states in ‘62, ‘64 and ‘65 when he played at Shelly Manne's Mann-Hole in Los Angeles.
Back in the UK he formed his own big band and appeared on TV in his own series and also appeared in several films as well as being a much sought after session musician.
The sixties heralded a music revolution. Jazz suffered as a consequence and Tubby felt the impact along with many others so he toured abroad as London venues had changed their musical tastes. At this time he was in a rather painful story of drugs, difficult and personal relationships (he was married twice) and there are some anecdotes. A partner of his helped him access drugs. All created a very muddled and confused last few years, his health rapidly declined and he had breathing problems that stopped all playing at one time. He then had a heart operation that was successful but a second in ‘73 wasn’t and he died in Hammersmith hospital at the age of 38.
Looking back it seems scarcely possible that so much had been put into those brief years. Much of his catalogue went missing and items became rare and collectible. I am fortunate to have a couple in my collection.
Here he is with Jimmy Deuchar on trumpet and introduced by Humph in ‘65:
"Humph": Humphrey Lyttleton was a self taught trumpeter and almost everything else throughout his long career as musician, composer, arranger, band leader, TV show host, radio ditto and raconteur extraordinaire and columnist plus; he even designed his own house in Hertfordshire. His privileged background reads like a chapter from Tom Brown's Schooldays and is worth a trip to Wiki for that alone.
He started out in music with a trumpet influenced by Louis Armstrong and his early years were in the blues tradition of traditional jazz, but he moved to mainstream in the sixties and by the end of his playing career could be said to have moved into a gentle form of modern jazz )my interpretation !) so he merits being here.
Above all Humph had style, be it with words or music, and is missed in all the professions he touched.
His personnel changed much over the years and he toured to sell out crowds everywhere. He also introduced Canadian singer Stacey Kent to the UK, Elkie Brooks sang with the band on several occasions and he even toured with Helen Shapiro in the nineties.
A small aside was that he hated telephones, a trait he shared with my late father who would disconnect the wires if he thought anyone was going to call him.
Here he is with Elkie:
Vic Feldman certainly cracked the American jazz scene, this was seen as important at the time as all American jazz artists had an inherently superior status attached to them.
Feldman was a musical prodigy, a young talent who became a world known pianist and percussionist and whose vibe playing became a trade mark despite the fact most people thought he was a better pianist.
Feldman came from a musical family and he played in a trio that had his brothers as the other partners for awhile. He went to work in the USA in ‘55 and on return while at his club Ronnie Scott suggested he emigrate to the USA; he did in ‘57.
He worked with Woody Herman at first and then Buddy de Franco, and then formed his own group on the West Coast that included the talented bassist Scott la Faro who was tragically killed in an auto accident aged 25. He played with various bands and groups including Miles Davis who asked him to join his group full time but Feldman said no, preferring the occupational safety of studio work as opposed to touring.
Settling in LA he specialised in film TV and session work and worked outside the jazz environment with the likes of Frank Zappa and Steely Dan.
Here with Scott la Faro and playing both piano and vibes.
During and after the forties big bands still held sway at the top of the music scene here and in the states, we had several big bands during this period but one stood out head and shoulders above the rest: Ted Heath. A tenor saxophonist himself at an early age he switched to trombone.
He actually started his musical career with his brother and three other musicians busking outside London Bridge station and on local streets. Heath was spotted and asked to join Jack Hylton's band; his lack of experience meant the gig was short lived.
He then played with various bands and rejoined Hylton in the late twenties and then a residence at the Kit Kat club followed, where he was influenced by touring American bands like Dorsey.
In ‘28 he joined Ambrose where he learnt to be a bandleader and his trombone playing developed the style he became famous for. Geraldo's orchestra followed during the war years and during this time a Heath composition “That Lovely Weekend “ was produced and the royalties he received from its success allowed to him to form his own band. It followed the American line-up style and was influenced by Glenn Miller; success followed touring with Lena Horne and backing Ella Fitzgerald. He became a huge hit and had long runs at the London Palladium.
1956 saw Heath make the trip to the states for a tour that was not only a sensation but cemented his standing in the jazz pantheon of great bands.
The 50s were the peak of his fame with a huge recording output and European tours. He carried on through the sixties and was still having chart successes in the states. In ‘64 he collapsed on stage in Cardiff with a cerebral thrombosis and though he recovered it was to all intents the end of his career. He died in ‘69 aged 67.
Here they are playing their version of Lionel Hampton's signature tune “Flying Home”:
John Dankworth did the reverse, playing at an early stage in his career in the States, playing the Newport jazz festival in ‘59, the band performed at the Birdland club in NYC and he shared the stage with Duke Ellington with whom he had a life long association. At this time Cleo Laine became the band's singer and he married her in ‘58. His biography is long and deserves a separate read so a link is the best way to access his history and the legacy he left:
https://en.wikipedia.org/wiki/John_Dankworth
He was also a composer wrote many theme tunes for TV and films including the “Avengers”. This is a video at the end of his career and sadly his life, back playing in the States with Cleo:
There are/were many others who had an influence on the British jazz scene but few who made an international career or impression. There is a flaw in my selection: Humph was never an international success, though he did record in the states with Sydney Bechet in ‘49, but his all round presence in playing, talking about and presenting jazz was a huge part of the music's promotion and for that alone he deserves his place.
Friday, March 17, 2017
Friday Night Is Music Night: Music and more, for St Patrick's Day, by JD
Tonight's music offering is a celebration of all things Irish!
Some Guinness was spilled on the bar-room floor
when the pub was shut for the night.
Out of his hole crept a wee brown mouse
and stood in the pale moonlight.
He lapped up the frothy brew from the floor,
then back on his haunches he sat.
And all night long you could hear him roar,
'Bring on the goddam cat!'
This is a song written by Dominic Behan who also wrote the more famous McAlpine's Fusiliers. Both songs were inspired by the many thousands of Irishmen who came to the UK in the post war years to help with "Building up and tearing England down"
A long time ago I spent a couple of years working for Wimpey and they did indeed have a lot of Irish working for them and they would all tell me that Wimpey was an acronym for We Import More Paddies Every Year!
"A few light taps upon the pane made him turn to the window. It had begun to snow again. He watched sleepily the flakes, silver and dark, falling obliquely against the lamplight. The time had come for him to set out on his journey westward. Yes, the newspapers were right: snow was general all over Ireland. It was falling on every part of the dark central plain, on the treeless hills, on the Bog of Allen and, farther westward, softly falling into the dark mutinous Shannon waves. It was falling, too, upon every part of the lonely churchyard on the hill where Michael Furey lay buried. It lay thickly drifted on the crooked crosses and headstones, on the spears of the little gate, on the barren thorns. His soul swooned slowly as he heard the snow falling faintly through the universe and faintly falling, like the descent of their last end, upon all the living and the dead."
- James Joyce, 'The Dead'
So far we have had a taste of drinking and singing and dancing and death; another great passion among the Irish is horse racing and at this time of year there is the annual (temporary) emigration to England for the Cheltenham Festival, a week of racing at its best. Irish trainers and jockeys will, once again, win most of the races! Their number one jockey at the moment is Ruby Walsh [ https://en.wikipedia.org/wiki/Ruby_Walsh ] and he is such a legend that Christy Moore has written a song about him -
And here is Ruby Walsh's father, Ted Walsh a famous jockey in his day and now a very successful trainer, telling a very funny story about how he met Prince Charles when they both fell at the same fence in a race many years ago-
The Irish...
Be they kings, or poets, or farmers,
They're a people of great worth,
They keep company with the angels,
And bring a bit of heaven here to earth
Some Guinness was spilled on the bar-room floor
when the pub was shut for the night.
Out of his hole crept a wee brown mouse
and stood in the pale moonlight.
He lapped up the frothy brew from the floor,
then back on his haunches he sat.
And all night long you could hear him roar,
'Bring on the goddam cat!'
This is a song written by Dominic Behan who also wrote the more famous McAlpine's Fusiliers. Both songs were inspired by the many thousands of Irishmen who came to the UK in the post war years to help with "Building up and tearing England down"
A long time ago I spent a couple of years working for Wimpey and they did indeed have a lot of Irish working for them and they would all tell me that Wimpey was an acronym for We Import More Paddies Every Year!
"A few light taps upon the pane made him turn to the window. It had begun to snow again. He watched sleepily the flakes, silver and dark, falling obliquely against the lamplight. The time had come for him to set out on his journey westward. Yes, the newspapers were right: snow was general all over Ireland. It was falling on every part of the dark central plain, on the treeless hills, on the Bog of Allen and, farther westward, softly falling into the dark mutinous Shannon waves. It was falling, too, upon every part of the lonely churchyard on the hill where Michael Furey lay buried. It lay thickly drifted on the crooked crosses and headstones, on the spears of the little gate, on the barren thorns. His soul swooned slowly as he heard the snow falling faintly through the universe and faintly falling, like the descent of their last end, upon all the living and the dead."
- James Joyce, 'The Dead'
So far we have had a taste of drinking and singing and dancing and death; another great passion among the Irish is horse racing and at this time of year there is the annual (temporary) emigration to England for the Cheltenham Festival, a week of racing at its best. Irish trainers and jockeys will, once again, win most of the races! Their number one jockey at the moment is Ruby Walsh [ https://en.wikipedia.org/wiki/Ruby_Walsh ] and he is such a legend that Christy Moore has written a song about him -
And here is Ruby Walsh's father, Ted Walsh a famous jockey in his day and now a very successful trainer, telling a very funny story about how he met Prince Charles when they both fell at the same fence in a race many years ago-
The Irish...
Be they kings, or poets, or farmers,
They're a people of great worth,
They keep company with the angels,
And bring a bit of heaven here to earth
Tuesday, March 14, 2017
Sunday, March 12, 2017
Sunday Music: A Change Of Pace, by Wiggia
To get away from the obvious superstars of jazz I thought a change of pace was called for, a window of opportunity to show something outside the mainstream, and a chance for different instruments to shine.
Our own Victor Feldman was a vibes player though I preferred him as a pianist, a more than accomplished musician who made the grade in the states and lived there he even was a sideman for Miles Davis, and our other star of the same period multi instrumentalist Tubby Hayes played vibes along with almost anything you threw at him, I will spotlight Hayes on another occasion as being almost certainly our greatest jazz performer, he deserves a bit more than a single showing.
In many ways Lionel Hampton was the leading vibes player in most people's eyes. After forming his own orchestra in 1940 his signature tune “Flying Home” was THE vibraphone classic. As well as the vibraphone Hampton was a pianist drummer and actor and bandleader. They don’t make 'em like that any more.
Anyway the vibes player here is Terry Gibbs. Born in 1924 and still with us, he played with nearly all the big bands of the era: Dorsey, Rich, Goodman, Bellson , Shavers, Woody Herman et al, plus his later big bands in his own name were up there with the best.
Here he is at 87 performing “You Go To My Head”….
Terry Gibbs also gives us another performance, with a now rare chance to see a clarinettist at work, not uncommon in the Goodman era but much less so nowadays, and this one is as good as they get: Buddy De Franco, with a storming rendition of “Air Mail Special” this from the Johnny Carson Show in ‘82 - two for the price of one.
The Hammond organ has really been exploited for its value in blues and all genres of rock to good effect, in jazz much less so, Wild Bill Davis was probably the earliest Hammond player in Jazz and Jack McDuff and Jimmy Smith in the sixties, Smith was a huge success and his Blue Note albums sold like rock albums and he deserves a place on here in his own right, but I am going to give you Larry Young who with the Blue Note album Unity featuring Woody Shaw on trumpet, Joe Henderson tenor sax and Elvin Jones on drums. This album from ‘66 is considered to be Young's finest work; judge for yourself on “Zoltan”:
Stephane Grappelli born in 1908 founded the Hot Club de France in ‘34 with Django Rheinhardt and became a regular into old age on radio and television with his jazz violin. Here he is live in Warsaw in ‘91 playing How High the Moon - he never seemed to lose it, did he !
A more modern exponent of the amplified violin was Billy Bang, here with the haunting “Rainbow Gladiator”. Billy who died in 2011 was another who played to the end. Though the enthusiasm was always there the direction of his music changed and I preferred the earlier work.
When the French Horn is mentioned in a jazz context Julius Watkins is the name that invariably comes up. He made the niche his own with some delightful works, with his sextet here “Garden Delights”. Watkins played with many of jazz's luminaries including Miles Davis, John Coltrane, Kenny Burrell, the list is endless, but his music endures. This number is from his Blue Note album of ‘55.
The harp is not an obvious jazz choice and this lady Dorothy Ashby pioneered its usage, “There's a Small Hotel” from her 1958 Hip Harp album could be treated as a curiosity, but it shouldn’t be, this is the real deal.
Frank Wess was a saxophonist and flutist with the Basie band for many years and despite extensive solo work will be best remembered for his Basie years and indeed on this number, “The Very Thought of You”, the Basie influence can be heard in his own band, but that is hardly a bad thing is it !
There have been other appearances by rare or unusual instruments in a jazz context, all of the nine different saxophones, bass clarinet as used by Ellington’s orchestra at his ‘47 Carnegie Hall concerts, various brass including tuba multi string guitars and others like the odds and ends that Roland Kirk seemed to keep finding and using to good effect. Most were one offs or novelties, even the harmonica found a niche and a good one with Larry Adler. An example where many rarer instruments are included on one album is Woody Shaw's 1978 “Rosewood”, all to great effect as the album won the Downbeat readers poll for the album of the year; on there are flugelhorn, soprano sax, flute, piccolo flute, bass trombone, electric piano , congas and harp, fabulous album and no novelty value, just great music.
Our own Victor Feldman was a vibes player though I preferred him as a pianist, a more than accomplished musician who made the grade in the states and lived there he even was a sideman for Miles Davis, and our other star of the same period multi instrumentalist Tubby Hayes played vibes along with almost anything you threw at him, I will spotlight Hayes on another occasion as being almost certainly our greatest jazz performer, he deserves a bit more than a single showing.
In many ways Lionel Hampton was the leading vibes player in most people's eyes. After forming his own orchestra in 1940 his signature tune “Flying Home” was THE vibraphone classic. As well as the vibraphone Hampton was a pianist drummer and actor and bandleader. They don’t make 'em like that any more.
Anyway the vibes player here is Terry Gibbs. Born in 1924 and still with us, he played with nearly all the big bands of the era: Dorsey, Rich, Goodman, Bellson , Shavers, Woody Herman et al, plus his later big bands in his own name were up there with the best.
Here he is at 87 performing “You Go To My Head”….
Terry Gibbs also gives us another performance, with a now rare chance to see a clarinettist at work, not uncommon in the Goodman era but much less so nowadays, and this one is as good as they get: Buddy De Franco, with a storming rendition of “Air Mail Special” this from the Johnny Carson Show in ‘82 - two for the price of one.
The Hammond organ has really been exploited for its value in blues and all genres of rock to good effect, in jazz much less so, Wild Bill Davis was probably the earliest Hammond player in Jazz and Jack McDuff and Jimmy Smith in the sixties, Smith was a huge success and his Blue Note albums sold like rock albums and he deserves a place on here in his own right, but I am going to give you Larry Young who with the Blue Note album Unity featuring Woody Shaw on trumpet, Joe Henderson tenor sax and Elvin Jones on drums. This album from ‘66 is considered to be Young's finest work; judge for yourself on “Zoltan”:
Stephane Grappelli born in 1908 founded the Hot Club de France in ‘34 with Django Rheinhardt and became a regular into old age on radio and television with his jazz violin. Here he is live in Warsaw in ‘91 playing How High the Moon - he never seemed to lose it, did he !
A more modern exponent of the amplified violin was Billy Bang, here with the haunting “Rainbow Gladiator”. Billy who died in 2011 was another who played to the end. Though the enthusiasm was always there the direction of his music changed and I preferred the earlier work.
When the French Horn is mentioned in a jazz context Julius Watkins is the name that invariably comes up. He made the niche his own with some delightful works, with his sextet here “Garden Delights”. Watkins played with many of jazz's luminaries including Miles Davis, John Coltrane, Kenny Burrell, the list is endless, but his music endures. This number is from his Blue Note album of ‘55.
The harp is not an obvious jazz choice and this lady Dorothy Ashby pioneered its usage, “There's a Small Hotel” from her 1958 Hip Harp album could be treated as a curiosity, but it shouldn’t be, this is the real deal.
Frank Wess was a saxophonist and flutist with the Basie band for many years and despite extensive solo work will be best remembered for his Basie years and indeed on this number, “The Very Thought of You”, the Basie influence can be heard in his own band, but that is hardly a bad thing is it !
There have been other appearances by rare or unusual instruments in a jazz context, all of the nine different saxophones, bass clarinet as used by Ellington’s orchestra at his ‘47 Carnegie Hall concerts, various brass including tuba multi string guitars and others like the odds and ends that Roland Kirk seemed to keep finding and using to good effect. Most were one offs or novelties, even the harmonica found a niche and a good one with Larry Adler. An example where many rarer instruments are included on one album is Woody Shaw's 1978 “Rosewood”, all to great effect as the album won the Downbeat readers poll for the album of the year; on there are flugelhorn, soprano sax, flute, piccolo flute, bass trombone, electric piano , congas and harp, fabulous album and no novelty value, just great music.
Saturday, March 11, 2017
Germany may drive Greece, not to despair but into the arms of Russia
Germany's merciless pursuit of the Greeks for debt could turn Greek minds to a rapprochement with Russia.
The Germans are opposing a debt "haircut" and look to the IMF to do something else instead - http://www.reuters.com/article/us-eurozone-greece-germany-idUSKBN1650AX
"Bavarian Finance Minister Markus Soeder called for a tougher stance in negotiations with Greece, suggesting Athens should only get fresh aid from its lenders against additional collateral such as cash, gold or real estate" - http://www.reuters.com/article/us-eurozone-greece-esm-regling-idUSKBN15Z0JE
(htp for both links to Anonhq)
In addition to recent talk of a rapprochement between Russia and Turkey, last year Russky Mir was already predicting that the EU's economic squeeze will result in a partnership with Moscow (“GREECE CAN ONLY EMERGE FROM EUROPEAN DESOLATION UNITED WITH RUSSIA”, 19 June 2016).
A cover for discussions could be provided by fresh negotiations around the Burgas–Alexandroupoli pipeline, first proposed in the 1990s and far from dead; or the "Turkish stream" gas pipeline, an arm of which is to run into Greece.
Let's not forget that the Communists tried to take over Greece at the end of WW2.
What utter folly and blind greed, to make the Greeks suffer until they turn.
A modern-day Graham Greene would now be frequenting the cafés and restaurants of Alexandroupoli and Thessaloniki.
The Germans are opposing a debt "haircut" and look to the IMF to do something else instead - http://www.reuters.com/article/us-eurozone-greece-germany-idUSKBN1650AX
"Bavarian Finance Minister Markus Soeder called for a tougher stance in negotiations with Greece, suggesting Athens should only get fresh aid from its lenders against additional collateral such as cash, gold or real estate" - http://www.reuters.com/article/us-eurozone-greece-esm-regling-idUSKBN15Z0JE
(htp for both links to Anonhq)
In addition to recent talk of a rapprochement between Russia and Turkey, last year Russky Mir was already predicting that the EU's economic squeeze will result in a partnership with Moscow (“GREECE CAN ONLY EMERGE FROM EUROPEAN DESOLATION UNITED WITH RUSSIA”, 19 June 2016).
A cover for discussions could be provided by fresh negotiations around the Burgas–Alexandroupoli pipeline, first proposed in the 1990s and far from dead; or the "Turkish stream" gas pipeline, an arm of which is to run into Greece.
Let's not forget that the Communists tried to take over Greece at the end of WW2.
What utter folly and blind greed, to make the Greeks suffer until they turn.
A modern-day Graham Greene would now be frequenting the cafés and restaurants of Alexandroupoli and Thessaloniki.
Friday, March 10, 2017
Monday, March 06, 2017
Four months to go
Prince Charles: 100 months to save the world
The Prince of Wales is to issue a stark warning that nations have "less than 100 months to act" to save the planet from irreversible damage due to climate change.
Gosh, we now have only four months left till doomsday. Are we worried? Is anyone worried? Was anyone ever worried? Worried enough to do something?
A key feature of the catastrophic climate narrative is how so many people in the public arena are induced to make predictions of doom. Alarming celebrity briefings must be distilled from scenarios created by climate models, but we have known for a long time that climate models cannot make long-term predictions of future climate states.
In sum, a strategy must recognise what is possible. In climate research and modelling, we should recognise that we are dealing with a coupled non-linear chaotic system, and therefore that the long-term prediction of future climate states is not possible.
IPCC Working Group I: The Scientific Basis, Third Assessment Report, Chapter 14.
In February 2016 climate scientist Dr. John Christy presented testimony to Congress demonstrating how climate models grossly exaggerate and overestimate the impact of atmospheric CO2 levels on global temperatures .
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This year Judith Curry produced a lay overview of climate models for the GWPF. Among many other criticisms she wrote.
There are valid concerns about a fundamental lack of predictability in the complex nonlinear climate system.
Yet Prince Charles must have been firmly convinced that his climate predictions were scientifically plausible, likely to happen and not liable to be derailed by that fundamental lack of predictability. As far as one can tell he remains convinced to this day.
Let us move on from Prince Charles to Thomas Kuhn. It’s a substantial jump but I’m sure we can cope.
To the extent, as significant as it is incomplete, that two scientific schools disagree about what is a problem and what a solution, they will inevitably talk through each other when debating the relative merits of their respective paradigms. In the partially circular arguments that regularly result, each paradigm will be shown to satisfy more or less the criteria that it dictates for itself and to fall short of a few of those dictated by its opponent. There are other reasons, too, for the incompleteness of logical contact that consistently characterizes paradigm debates. For example, since no paradigm ever solves all the problems it defines and since no two paradigms leave all the same problems unsolved, paradigm debates always involve the question: Which problems is it more significant to have solved? Like the issue of competing standards, that question of values can be answered only in terms of criteria that lie outside of normal science altogether, and it is that recourse to external criteria that most obviously makes paradigm debates revolutionary.
Thomas S. Kuhn - The Structure of Scientific Revolutions (1962)
If Kuhn was right, then perhaps we should ask a few questions based on criteria that lie outside of normal science altogether. Why did Prince Charles claim that we are doomed when the IPCC stated quite clearly that the long-term prediction of future climate states is not possible? He is not a celebrity poseur and does not appear to be virtue-signalling.
Who briefs him and with what object? Why does he still seem to believe that we are doomed? This is the kind of criterion we should focus on – the politics of manipulated behaviour.
Who briefs him and with what object? Why does he still seem to believe that we are doomed? This is the kind of criterion we should focus on – the politics of manipulated behaviour.
Sunday, March 05, 2017
MUSIC: Art Blakey and the Jazz Messengers, by Wiggia
Whilst being able to appreciate their ability along with the double bass, I have never really warmed to drum solos any more than double bass solos, their job is to hold the rhythm in place for group or band.
In the big band era drum solos would provide an interlude with the likes of Gene Krupa and Buddy Rich showing their mettle in front of their own bands, all very showbiz, but great drummers in their own right though there were many of the elongated solos that matched marathon dancing and had me reaching for off switch or legging it to the bar. As with all there are exceptions, for me Art Blakey stands out as not only a supreme master craftsman but also someone whom one hears in all his groups yet never intrudes, his drum solos being simply an extension of that amazing drive he pushed all his groups along with.
Born in 1919 he started as so many of his contemporaries with big bands, in his case Fletcher Henderson then Billie Eckstine and then went on to work with be bop founders of Monk Parker and Gillespie. In the mid fifties he founded the Jazz Messengers with Horace Silver the pianist but the group over the years became known more for the nurturing of new found talent and the list was impressive. It included Freddie Hubbard, Wayne Shorter, Wynton Marsalis, Lee Morgan and Bennie Golson.
Blakey had a hard upbringing, losing his single parent mother shortly after he was born and being raised by a woman family friend who took in him and his siblings for some time but it was a period of little hard facts.
His early career is also somewhat muddied although he did start as a pianist, switching to drums in the thirties but who he played with and when is a bit fragmented to say the least during the period up to his big band appointment, and even after that he went and lived in Africa for a couple of years and converted to Islam whilst there. It was suggested that he as with many other black musicians at the time used Islamic names to circumvent the race laws that prevailed in many states at the time, though it seems he forgot all that shortly after return, a sort of George Harrison moment. Horace Silver left the Jazz Messengers after the first year and Blakey added his name to the group where it remained until his last appearance in 1990; he died soon afterwards of lung cancer.
His was a hard bop group when it started out and despite all the reincarnations with his steady stream of new talent this driving style with a blues undertone remained.
This classic is from ‘58 with Lee Morgan on trumpet Benny Golson on sax and Bobby Timmons on piano.
The above quintet was the quintessential Jazz Messengers and the most remembered, it stayed as a quintet for most of its life though an earlier 17 piece big band had the Messengers name and luminaries such as Hank Mobley, Clifford Brown and Jackie McLean played with them.
Below from the “Big Beat” album on Blue Note is The Chess Players; not only on this album is Blakey's unrelenting driving style showcased but it also contains one of the finest trumpet solos in modern jazz by Lee Morgan.
And from the same album It’s Only a Paper Moon, again showing the drumming style of Blakey in all its glory and another tour de force by Morgan.
In ‘61 Blakey added the trombone to his group and it became a sextet, here at Nurnberg in Germany in ‘88 his young band once again show why the Messengers were so popular around the world.
An even bigger group in an “All Stars” tour in Japan in ‘82, giving Curtis Fuller on trombone a chance to shine, an instrument Blakey included for much of the Messengers' life yet rarely seen in modern jazz combos. The number is Blues March written by by Benny Golson who is on tenor sax with Wynton Marsalis on trumpet.
Blues March - Art Blakey and All Star Jazz Messengers (1982) from Wynton Marsalis on Vimeo.
Mosaic was a big success as an album for Blakey and the Messengers recorded in ‘61 live at the Village Gate. It had a slightly different personnel in Freddie Hubbard , trumpet and Cedar Walton piano. Here we have Children of the Night.
Still bringing on young talent: Reflections in Blue, a ‘78 recording and Stretching the number recorded in the Netherlands in ‘78 with……Valerie Ponomarev (trumpet) Robert Watson (alto sax) David Schnitter (tenor sax) James Williams (piano) Dennis Irwin (bass) Art Blakey (drums)
Blakey's discography is enormous, there seems to be almost no one he has not played with or backed. He played with Thelonious Monk at the beginning the middle and end of his career and Monk despite having the hugely talented Dannie Richmond on drums for a very large part of his career always placed Blakey in the No.1 slot.
Art was certainly someone who enjoyed life, even if the drugs of the period played their part, he smoked heavily drank and loved food, plus with four marriages and several long time relationships it could be said he stretched the phrase bon viveur to the limit.
I finish with something that is short, it is only part of the number being played and as for the rest who knows where it is, but it shows Blakey in Africa at a Jazz Fesival in ‘87 near the end of his career, still more than capable and with a big band that are really having a blow, featuring Woody Shaw on trumpet and Herbie Hancock on piano, a Night in Tunisia.
Woody Shaw deserves a mention in his own right. Considered by many to be the last great innovator on the trumpet, he was born with perfect pitch and a photographic mind considered to be way ahead of his time; it was a loss to jazz when he died young, his ending is from his biography:
By the late 1980s Shaw was suffering from an incurable degenerative eye disease and was losing his eyesight. Details of the accident are unclear, but on February 27, 1989, Shaw was struck by a subway car in Brooklyn, NY, which severed his left arm. Shaw suffered complications in the hospital and died of kidney failure on May 10, 1989. He was 44 years old.
In the big band era drum solos would provide an interlude with the likes of Gene Krupa and Buddy Rich showing their mettle in front of their own bands, all very showbiz, but great drummers in their own right though there were many of the elongated solos that matched marathon dancing and had me reaching for off switch or legging it to the bar. As with all there are exceptions, for me Art Blakey stands out as not only a supreme master craftsman but also someone whom one hears in all his groups yet never intrudes, his drum solos being simply an extension of that amazing drive he pushed all his groups along with.
Born in 1919 he started as so many of his contemporaries with big bands, in his case Fletcher Henderson then Billie Eckstine and then went on to work with be bop founders of Monk Parker and Gillespie. In the mid fifties he founded the Jazz Messengers with Horace Silver the pianist but the group over the years became known more for the nurturing of new found talent and the list was impressive. It included Freddie Hubbard, Wayne Shorter, Wynton Marsalis, Lee Morgan and Bennie Golson.
Blakey had a hard upbringing, losing his single parent mother shortly after he was born and being raised by a woman family friend who took in him and his siblings for some time but it was a period of little hard facts.
His early career is also somewhat muddied although he did start as a pianist, switching to drums in the thirties but who he played with and when is a bit fragmented to say the least during the period up to his big band appointment, and even after that he went and lived in Africa for a couple of years and converted to Islam whilst there. It was suggested that he as with many other black musicians at the time used Islamic names to circumvent the race laws that prevailed in many states at the time, though it seems he forgot all that shortly after return, a sort of George Harrison moment. Horace Silver left the Jazz Messengers after the first year and Blakey added his name to the group where it remained until his last appearance in 1990; he died soon afterwards of lung cancer.
His was a hard bop group when it started out and despite all the reincarnations with his steady stream of new talent this driving style with a blues undertone remained.
This classic is from ‘58 with Lee Morgan on trumpet Benny Golson on sax and Bobby Timmons on piano.
The above quintet was the quintessential Jazz Messengers and the most remembered, it stayed as a quintet for most of its life though an earlier 17 piece big band had the Messengers name and luminaries such as Hank Mobley, Clifford Brown and Jackie McLean played with them.
Below from the “Big Beat” album on Blue Note is The Chess Players; not only on this album is Blakey's unrelenting driving style showcased but it also contains one of the finest trumpet solos in modern jazz by Lee Morgan.
And from the same album It’s Only a Paper Moon, again showing the drumming style of Blakey in all its glory and another tour de force by Morgan.
In ‘61 Blakey added the trombone to his group and it became a sextet, here at Nurnberg in Germany in ‘88 his young band once again show why the Messengers were so popular around the world.
An even bigger group in an “All Stars” tour in Japan in ‘82, giving Curtis Fuller on trombone a chance to shine, an instrument Blakey included for much of the Messengers' life yet rarely seen in modern jazz combos. The number is Blues March written by by Benny Golson who is on tenor sax with Wynton Marsalis on trumpet.
Blues March - Art Blakey and All Star Jazz Messengers (1982) from Wynton Marsalis on Vimeo.
Mosaic was a big success as an album for Blakey and the Messengers recorded in ‘61 live at the Village Gate. It had a slightly different personnel in Freddie Hubbard , trumpet and Cedar Walton piano. Here we have Children of the Night.
Still bringing on young talent: Reflections in Blue, a ‘78 recording and Stretching the number recorded in the Netherlands in ‘78 with……Valerie Ponomarev (trumpet) Robert Watson (alto sax) David Schnitter (tenor sax) James Williams (piano) Dennis Irwin (bass) Art Blakey (drums)
Blakey's discography is enormous, there seems to be almost no one he has not played with or backed. He played with Thelonious Monk at the beginning the middle and end of his career and Monk despite having the hugely talented Dannie Richmond on drums for a very large part of his career always placed Blakey in the No.1 slot.
Art was certainly someone who enjoyed life, even if the drugs of the period played their part, he smoked heavily drank and loved food, plus with four marriages and several long time relationships it could be said he stretched the phrase bon viveur to the limit.
I finish with something that is short, it is only part of the number being played and as for the rest who knows where it is, but it shows Blakey in Africa at a Jazz Fesival in ‘87 near the end of his career, still more than capable and with a big band that are really having a blow, featuring Woody Shaw on trumpet and Herbie Hancock on piano, a Night in Tunisia.
Woody Shaw deserves a mention in his own right. Considered by many to be the last great innovator on the trumpet, he was born with perfect pitch and a photographic mind considered to be way ahead of his time; it was a loss to jazz when he died young, his ending is from his biography:
By the late 1980s Shaw was suffering from an incurable degenerative eye disease and was losing his eyesight. Details of the accident are unclear, but on February 27, 1989, Shaw was struck by a subway car in Brooklyn, NY, which severed his left arm. Shaw suffered complications in the hospital and died of kidney failure on May 10, 1989. He was 44 years old.
Friday, March 03, 2017
Friday Night Is Music Night: A Celtic Miscellany, by JD
A selection of traditional music this evening:
JD's curtain-raiser is a traditional Irish song, "Siúil a Rún" (Go, My Love) sung by Nolwenn Leroy https://www.youtube.com/watch?v=wvkSrG69yeo - but unfortunately not embeddable; to give an idea of it, a different version by Clannad is given below:
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JD's curtain-raiser is a traditional Irish song, "Siúil a Rún" (Go, My Love) sung by Nolwenn Leroy https://www.youtube.com/watch?v=wvkSrG69yeo - but unfortunately not embeddable; to give an idea of it, a different version by Clannad is given below:
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Sunday, February 26, 2017
Thelonious Monk, a survey by Wiggia
Yes, that was his real name and his middle name was Sphere. largely self-taught, he toured with evangelists in his teens playing the organ, and by his late teens was finding work playing jazz. he then landed a job as the house pianist at Milton's Playhouse in Manhattan where his playing style developed.
Here he met in after-hours sessions Dizzy Gillespie Charlie Parker, Charlie Christian, Kenny Clarke and later Miles Davis; it was an instrumental period during which much of what was to become be-bop was formed.
For a variety of reasons his recording during this early period was spasmodic as was his earning power and although with Blue Note at the time most of what was recorded then did not sell well, it was also during this Blue Note period on the album Criss Cross that the characteristic of Monk's unique jazz style, which embraced percussive playing, unusual repetitions and dissonant sounds was first employed on record, and as he famously said "The piano ain't got no wrong notes!" and in ‘61 followed up with this: “You know anybody can play a composition and use far-out chords and make it sound wrong. It’s making it right that’s not so easy.”
Before the music this short film featuring band members including Sonny Rollins is worth watching as the Muso’s describe their life in music with Monk at that definitive time:
Coltrane, Monk and Rollins Are Definitive from Concord Music Group on Vimeo.
There is an element in his playing, I think, to be found in Brubeck's work a little later which was expanded by block chording.
After ‘52 he signed with the Prestige label and his first significant albums available to the public were issued but despite working with Miles Davis (who found Monk's style “difficult to work with), Max Roach, Art Blakey and Rollins, the sales were still not great.
In one of life's little vignettes he went to Paris and here from Wiki met……..
In 1954, Monk paid his first visit to Paris. As well as performing at concerts, he recorded a solo piano session for French radio (later issued as an album by Disques Vogue). Backstage, Mary Lou Williams introduced him to Baroness Pannonica "Nica" de Koenigswarter, a member of the Rothschild family and a patroness of several New York City jazz musicians. She was a close friend for the rest of Monk's life, including taking responsibility for him when she and Monk were charged with marijuana possession.
It was at Riverside Records ‘55 - ‘61 that Monk found his wider audience and recognition amongst the jazz buying public. “Brilliant Corners” with Sonny Rollins playing mainly Monk's own compositions was his first big seller. Here below is the title track from that album……it is worth noting it was so difficult to play that the recording was stitched together from several takes.
From this period Bags Groove, Blue Monk, and Round Midnight were all destined to become jazz standards. From 62 – 68 he was with Colombia records which gave him greater exposure and several classic albums came from that source, Misterioso, Criss Cross, and Straight, No Chaser among them.
That was really the end of his recording life. Apart from the aforementioned bits and pieces, Black Lion Records in ‘71 did a very good 3 CD compilation that’s worth seeking out.
During the Riverside period other to-become-classic Monk albums were released, including Monk's Music, Thelonious Monk with John Coltrane, At the Blackhawk etc etc. Many were live club recordings and the one at the Five Spot Cafe with Johhny Griffin is a good one.
There was also Thelonious Monk Orchestra at the Town Hall, an album that had Monk's music and Hall Overton's arrangements; it failed to some degree for lack of time and inadequate sound yet had the makings of something special. Sadly it was never followed up, this and a ‘63 concert at the Philharmonic Hall were the only large ensemble works of Monk, yet the good bits on this album justified more in this vein. Here to give a flavour of the Town Hall album is Little Rootie Tootie, it has a wonderful bass quality to sound provided by the brass section that had been supplemented in this tentet.
And here is a rare piece of good judgment by the Beeb to record Monk playing his classic composition Straight No Chaser with Charlie Rouse on tenor. Mind you, the Beeb were guilty of a lot of good taste back then in many areas; not now.
This recorded in Denmark in ‘66 is Don’t Blame Me, a piano solo showing all the art and craft that he had in his own inimitable style; lovely piece.
As with so many jazz musicians of that era drugs were never far from the scene and Monk's strange behaviour later in life that went undiagnosed by the medical profession meant he had withdrawn from public life by the mid seventies and his patroness cared for him in NY as she had earlier when he was struggling for work, until his death in ‘82. She also, it should be noted, cared for Charlie Parker in his last days; strange but true.
From his live gig at the Five Spot Cafe with Johnny Griffin on tenor, “Blue Monk”, another unmistakable Monk composition:
Those lost early years, recording wise, and his sparse later output meant that releases during those last years and after his death were often bad recordings, parts of sessions and forgotten items cobbled together. Amongst all of that were some very good works that deserved to be heard and much that should have stayed in the box. It was very much a lottery as to what you purchased of his works as everyone cashed in on the grounds that all had a historic musical reason to be heard. Of course Monk was gone and almost certainly wasn’t capable of directing what should or should not be released in his last years anyway; most has since disappeared.
Having said that, the old Esquire label with its lovely thick vinyl platters had a couple of good ones I seem to remember; that now seem also to have disappeared .
This next is not all Monk, he plays two piano solos and then at this ‘69 Berlin concert you get Joe Williams thrown in and the “divine” Sarah Vaughan as well, your full pound's worth and good sound quality to boot:
Finally, the Thelonious Monk Quartet with John Coltrane playing Ruby My Dear from 1957:
I only saw Monk live once at the Festival hall in London. It was not the greatest of experiences as the performance was late starting and Monk himself did not appear on stage for three numbers, leaving his “trio” to carry on without him. When he did deign to appear there was no apology, nothing. This was I think in the early seventies; whether he was being a diva or on something and getting his head together before appearing on stage is as mysterious now as then, though we do know through biographies on the man that odd behaviour had become almost the norm later in life and he had been hospitalised after being picked up by the police on one occasion, so we never will know how much of that manifested itself in public. But it did little for the concert as many people were slightly pissed-off by the time he appeared,. Doesn’t stop me appreciating his music of course; it’s just a small anecdote from years ago.
Here he met in after-hours sessions Dizzy Gillespie Charlie Parker, Charlie Christian, Kenny Clarke and later Miles Davis; it was an instrumental period during which much of what was to become be-bop was formed.
For a variety of reasons his recording during this early period was spasmodic as was his earning power and although with Blue Note at the time most of what was recorded then did not sell well, it was also during this Blue Note period on the album Criss Cross that the characteristic of Monk's unique jazz style, which embraced percussive playing, unusual repetitions and dissonant sounds was first employed on record, and as he famously said "The piano ain't got no wrong notes!" and in ‘61 followed up with this: “You know anybody can play a composition and use far-out chords and make it sound wrong. It’s making it right that’s not so easy.”
Before the music this short film featuring band members including Sonny Rollins is worth watching as the Muso’s describe their life in music with Monk at that definitive time:
Coltrane, Monk and Rollins Are Definitive from Concord Music Group on Vimeo.
There is an element in his playing, I think, to be found in Brubeck's work a little later which was expanded by block chording.
After ‘52 he signed with the Prestige label and his first significant albums available to the public were issued but despite working with Miles Davis (who found Monk's style “difficult to work with), Max Roach, Art Blakey and Rollins, the sales were still not great.
In one of life's little vignettes he went to Paris and here from Wiki met……..
In 1954, Monk paid his first visit to Paris. As well as performing at concerts, he recorded a solo piano session for French radio (later issued as an album by Disques Vogue). Backstage, Mary Lou Williams introduced him to Baroness Pannonica "Nica" de Koenigswarter, a member of the Rothschild family and a patroness of several New York City jazz musicians. She was a close friend for the rest of Monk's life, including taking responsibility for him when she and Monk were charged with marijuana possession.
It was at Riverside Records ‘55 - ‘61 that Monk found his wider audience and recognition amongst the jazz buying public. “Brilliant Corners” with Sonny Rollins playing mainly Monk's own compositions was his first big seller. Here below is the title track from that album……it is worth noting it was so difficult to play that the recording was stitched together from several takes.
From this period Bags Groove, Blue Monk, and Round Midnight were all destined to become jazz standards. From 62 – 68 he was with Colombia records which gave him greater exposure and several classic albums came from that source, Misterioso, Criss Cross, and Straight, No Chaser among them.
That was really the end of his recording life. Apart from the aforementioned bits and pieces, Black Lion Records in ‘71 did a very good 3 CD compilation that’s worth seeking out.
During the Riverside period other to-become-classic Monk albums were released, including Monk's Music, Thelonious Monk with John Coltrane, At the Blackhawk etc etc. Many were live club recordings and the one at the Five Spot Cafe with Johhny Griffin is a good one.
There was also Thelonious Monk Orchestra at the Town Hall, an album that had Monk's music and Hall Overton's arrangements; it failed to some degree for lack of time and inadequate sound yet had the makings of something special. Sadly it was never followed up, this and a ‘63 concert at the Philharmonic Hall were the only large ensemble works of Monk, yet the good bits on this album justified more in this vein. Here to give a flavour of the Town Hall album is Little Rootie Tootie, it has a wonderful bass quality to sound provided by the brass section that had been supplemented in this tentet.
And here is a rare piece of good judgment by the Beeb to record Monk playing his classic composition Straight No Chaser with Charlie Rouse on tenor. Mind you, the Beeb were guilty of a lot of good taste back then in many areas; not now.
This recorded in Denmark in ‘66 is Don’t Blame Me, a piano solo showing all the art and craft that he had in his own inimitable style; lovely piece.
As with so many jazz musicians of that era drugs were never far from the scene and Monk's strange behaviour later in life that went undiagnosed by the medical profession meant he had withdrawn from public life by the mid seventies and his patroness cared for him in NY as she had earlier when he was struggling for work, until his death in ‘82. She also, it should be noted, cared for Charlie Parker in his last days; strange but true.
From his live gig at the Five Spot Cafe with Johnny Griffin on tenor, “Blue Monk”, another unmistakable Monk composition:
Those lost early years, recording wise, and his sparse later output meant that releases during those last years and after his death were often bad recordings, parts of sessions and forgotten items cobbled together. Amongst all of that were some very good works that deserved to be heard and much that should have stayed in the box. It was very much a lottery as to what you purchased of his works as everyone cashed in on the grounds that all had a historic musical reason to be heard. Of course Monk was gone and almost certainly wasn’t capable of directing what should or should not be released in his last years anyway; most has since disappeared.
Having said that, the old Esquire label with its lovely thick vinyl platters had a couple of good ones I seem to remember; that now seem also to have disappeared .
This next is not all Monk, he plays two piano solos and then at this ‘69 Berlin concert you get Joe Williams thrown in and the “divine” Sarah Vaughan as well, your full pound's worth and good sound quality to boot:
Finally, the Thelonious Monk Quartet with John Coltrane playing Ruby My Dear from 1957:
I only saw Monk live once at the Festival hall in London. It was not the greatest of experiences as the performance was late starting and Monk himself did not appear on stage for three numbers, leaving his “trio” to carry on without him. When he did deign to appear there was no apology, nothing. This was I think in the early seventies; whether he was being a diva or on something and getting his head together before appearing on stage is as mysterious now as then, though we do know through biographies on the man that odd behaviour had become almost the norm later in life and he had been hospitalised after being picked up by the police on one occasion, so we never will know how much of that manifested itself in public. But it did little for the concert as many people were slightly pissed-off by the time he appeared,. Doesn’t stop me appreciating his music of course; it’s just a small anecdote from years ago.
Friday, February 24, 2017
Friday Night Is Music Night: Musical Balm, by JD
Sunday, February 19, 2017
Java Jazz Man: The Genius Of Charles Mingus, by Wiggia
Almost all of the current jazz musicians have been influenced by the past, some more than others. Indeed some despite their own fame could almost be called tribute acts; that would be grossly unfair, yet for those there is a very close relationship with the music that influenced them.
For others that early influence only drove them on down a path of their own, Charlie Mingus was one such artist. Notoriously difficult to work with, he was uncompromising and would berate anyone who did not toe his line and sackings were not unusual or fights - he was sacked by Ellington for fighting .
His Wiki page is worth a read and is comprehensive….. https://en.wikipedia.org/wiki/Charles_Mingus
Very few bassists, even famous ones, break through to become band leaders, composers, writers; in fact it is difficult to think of anyone other than Mingus who achieved that status. Much of his music coming from a hard bop and soul influenced background was ground-breaking, his bigger groups and bands especially so.
And he also, if they could stand the pace, produced some outstanding musicians that played alongside and went on to form their own groups, people like Pepper Adams and Horace Parlan, just two of many.
Mingus must be one of a very small group of musicians who have played with Louis Armstrong , Duke Ellington and Charlie Parker; he could never be accused of being stuck in a groove.
His first major work in his own name came in ‘56 with Pithecanthropus Erectus [aka Java Man - Ed.] that also showcased Jackie Mclean on alto, one of my favorite saxophonists but clearly a Parker disciple, and the talented pianist Mal Waldron. There were elements of free jazz in this album but with Mingus there were elements of almost everything in all his albums and there were a lot of them in the sixties.
For me it was his Mingus Ah Um album that really got me hooked on his music and that was followed by Blues and Roots and many more.
This is a ‘75 Montreux Jazz Festival recording of Goodbye Pork Pie Hat from the Ah Um album and featuring a wonderful solo from Gerry Mulligan and the opener from pianist Don Pullen. The drummer here is Danny Richmond who was with Mingus to the very end, one of the greatest jazz drummers of his era.
And for a complete change of mood, from the same period ‘57 Ysabel’s Table Dance from the Tijuana Moods album.
This from a live ‘64 concert has an amazing piano solo from Jaki Byard and features Eric Dolphy on bass clarinet and if nothing else shows that modern jazz can swing with the best when you have musicians of this calibre.
Hardly needs any introduction, Moanin’ from the ‘59 Blues and Roots album at the time a number that was as Eric Dolphy would say “Far Ahead” made an enormous impression at the time and still does as a jazz standard of the highest quality.
Finally a tribute to the man, a Mingus album: Me Myself and Eye 1978, Mingus composed and wrote the album but was by this time, a year before his death, unable to play, suffering as he was from ALS; but this big band did him proud with this rendition of “Devil Woman” featuring Laryll Coryell on guitar Michael Brecker on tenor sax and Randy Brecker on trumpet; also, there are Pepper Adams on Baritone and Lee Konitz alto.
DEVIL WOMAN CHARLES MINGUS from rascaldani on Vimeo.
Of all the albums of modern jazz I have, Mingus remains along with Roland Kirk at or near the top of most played. His work is lauded as comparable with classical compositions and is used as teaching material in many forms of music, a giant of music whatever the form.
For those interested this film Triumph of the Underdog is worth watching, a Mingus biography.
Charles Mingus Triumph of the Underdog by filmow
_____________________________________
Sackerson adds:
A favourite with both Wiggia and JD is "Money Jungle" (1962), where Mingus plays with Max Roach and Duke Ellington:
For others that early influence only drove them on down a path of their own, Charlie Mingus was one such artist. Notoriously difficult to work with, he was uncompromising and would berate anyone who did not toe his line and sackings were not unusual or fights - he was sacked by Ellington for fighting .
His Wiki page is worth a read and is comprehensive….. https://en.wikipedia.org/wiki/Charles_Mingus
Very few bassists, even famous ones, break through to become band leaders, composers, writers; in fact it is difficult to think of anyone other than Mingus who achieved that status. Much of his music coming from a hard bop and soul influenced background was ground-breaking, his bigger groups and bands especially so.
And he also, if they could stand the pace, produced some outstanding musicians that played alongside and went on to form their own groups, people like Pepper Adams and Horace Parlan, just two of many.
Mingus must be one of a very small group of musicians who have played with Louis Armstrong , Duke Ellington and Charlie Parker; he could never be accused of being stuck in a groove.
His first major work in his own name came in ‘56 with Pithecanthropus Erectus [aka Java Man - Ed.] that also showcased Jackie Mclean on alto, one of my favorite saxophonists but clearly a Parker disciple, and the talented pianist Mal Waldron. There were elements of free jazz in this album but with Mingus there were elements of almost everything in all his albums and there were a lot of them in the sixties.
For me it was his Mingus Ah Um album that really got me hooked on his music and that was followed by Blues and Roots and many more.
This is a ‘75 Montreux Jazz Festival recording of Goodbye Pork Pie Hat from the Ah Um album and featuring a wonderful solo from Gerry Mulligan and the opener from pianist Don Pullen. The drummer here is Danny Richmond who was with Mingus to the very end, one of the greatest jazz drummers of his era.
And for a complete change of mood, from the same period ‘57 Ysabel’s Table Dance from the Tijuana Moods album.
This from a live ‘64 concert has an amazing piano solo from Jaki Byard and features Eric Dolphy on bass clarinet and if nothing else shows that modern jazz can swing with the best when you have musicians of this calibre.
Hardly needs any introduction, Moanin’ from the ‘59 Blues and Roots album at the time a number that was as Eric Dolphy would say “Far Ahead” made an enormous impression at the time and still does as a jazz standard of the highest quality.
Finally a tribute to the man, a Mingus album: Me Myself and Eye 1978, Mingus composed and wrote the album but was by this time, a year before his death, unable to play, suffering as he was from ALS; but this big band did him proud with this rendition of “Devil Woman” featuring Laryll Coryell on guitar Michael Brecker on tenor sax and Randy Brecker on trumpet; also, there are Pepper Adams on Baritone and Lee Konitz alto.
DEVIL WOMAN CHARLES MINGUS from rascaldani on Vimeo.
Of all the albums of modern jazz I have, Mingus remains along with Roland Kirk at or near the top of most played. His work is lauded as comparable with classical compositions and is used as teaching material in many forms of music, a giant of music whatever the form.
For those interested this film Triumph of the Underdog is worth watching, a Mingus biography.
Charles Mingus Triumph of the Underdog by filmow
_____________________________________
Sackerson adds:
A favourite with both Wiggia and JD is "Money Jungle" (1962), where Mingus plays with Max Roach and Duke Ellington:
What is the matter with Hugo Rifkind? Three competitions.
![]() |
Is Hugo Rifkind seeing things? |
Another précis challenge, this time of Hugo Rifkind's latest in the Spectator magazine:
http://www.spectator.co.uk/2017/02/i-went-to-see-disney-world-and-saw-a-dying-country/
The original is 905 words long. Condense into 200 words or fewer (I think it can be done in half that). You may or may not wish to retain this excerpt, on Rifkind's seeing Trump's beach resort and apartment complex:
"If I said it was like seeing a swastika banner on the Arc de Triomphe, I would of course be exaggerating ridiculously; but I find on reflection that I am totally going to say it anyway."
[Experienced précis-ers will know that "of course" and "totally" are expendable, but once one starts down that road it is hard to know where to stop, with this writer. The function of such phrases is, of course, emotional, an attempt to gain complicity with the befuddled but self-consciously right-thinking reader. "Totally" is a usage a little too old for current cool, though. Should he have tried for a winsomely humorous "totes"?]
Alternatively, you may wish to write an essay on the state of America, as it exists in Hugo's mind, and how you think it is in reality. The Spectator article is dated 18 February, 28 days after Trump's Presidential inauguration, but the magazine is available in shops 2 days earlier and Rifkind's experience dates back to the previous week. Here is his conclusion, after 3 weeks of Trump's occupation of the Oval Office:
"This is the stench of death. This is broken. This is America running out of road."
Extra marks will be rewarded for some consideration of events years or decades earlier than February 20, 2017 that may have influenced the society and economy of the USA.
Finally, you may instead prefer to consider Rifkind's performance against generally accepted standards of journalism - see here for Wiki's briefing:
https://en.wikipedia.org/wiki/Journalism_ethics_and_standards
In your discussion, you may wish to make reference to a rumour that Rifkind failed to fact-check before sending it "viral" on Twitter, that implied incestuous impulses in Trump. The original is now unavailable, but a version of it can be found listed on a Google search:
"Guido" guys it here - https://order-order.com/2016/11/29/week-hugo-rifkind/ - ending:
You may also like to consider an earlier Rifkind article in the Spectator, also with salacious undertones:
http://www.spectator.co.uk/2016/11/trump-the-pick-up-artist-who-seduced-america/
- the concluding paragraph of which reads:
"Plenty of people seem to believe that Trump does this, too. That whenever he says his latest arresting, infuriating, insane thing, he’s also playing a trick, trying to wind people up. Personally, I don’t buy it. More to the point, though, I’m not sure it makes any difference. Likewise those sieg heils in those Washington restaurants. For show? For real? In the end, the question is meaningless. This is what they give us, so this is who they are. The trick is all there is. The carapace is sealed. Everything beneath has rotted away."
The "sieg heil" (you will detect here a long-running theme in the mind of the writer) is a glance at a function which had nothing to do with Trump personally but serves this journalist's purpose in the form of guilt by association (however tenuous). The incident in question is covered here:
https://www.washingtonpost.com/news/local/wp/2016/11/21/d-c-restaurant-apologizes-after-hosting-alt-right-dinner-with-sieg-heil-salute/?utm_term=.aa72a2d9fb19
You may be tempted to draw an ironic analogy with the dangerously inflammatory, lying, misleading and calumniating propaganda of Julius Streicher; you must resist doing so.
Saturday, February 18, 2017
Flynn's firing: part of Trump's deception plan against Democrat-supporting spooks?
The dismissal of President Trump's National Security Adviser, Lt-Gen. Michael Flynn, is a smokescreen hiding a successful operation to identify subversive elements in the intelligence community, claims writer Thomas Wictor.(1)
According to Wictor, different versions of a false story about discussions between Flynn and the Russian Ambassador to the US were fed into the community as a "barium meal" to disclose how classified information is illegally passed on in order to undermine the President, and who is prepared to use it. Acting Attorney General Sally Q. Yates is, he says, the first to be unmasked by the deception.
Wictor draws an analogy with the disinformation that revealed where the Japanese were going to attack in the Pacific in June 1942, and led to the Americans' destruction of four enemy aircraft carriers in the Battle of Midway.(2)
If so, hit and sunk, Mrs Yates. She was fired on January 30 for defying Trump's selective immigration moratorium; that's the mainstream media story, anyhow.(3)
The battle in the shadows goes on. But if Wictor is right, the intelligence community is on notice that long terms of imprisonment could await those who dare to plot the downfall of the nation's Chief Executive.
_______________________________________
(1) http://www.thomaswictor.com/leakers-beware/
(2) http://www.slate.com/blogs/quora/2013/11/20/u_s_in_world_war_ii_how_the_navy_broke_japanese_codes_before_midway.html
(3) https://www.theguardian.com/us-news/2017/jan/30/justice-department-trump-immigration-acting-attorney-general-sally-yates
According to Wictor, different versions of a false story about discussions between Flynn and the Russian Ambassador to the US were fed into the community as a "barium meal" to disclose how classified information is illegally passed on in order to undermine the President, and who is prepared to use it. Acting Attorney General Sally Q. Yates is, he says, the first to be unmasked by the deception.
Wictor draws an analogy with the disinformation that revealed where the Japanese were going to attack in the Pacific in June 1942, and led to the Americans' destruction of four enemy aircraft carriers in the Battle of Midway.(2)
If so, hit and sunk, Mrs Yates. She was fired on January 30 for defying Trump's selective immigration moratorium; that's the mainstream media story, anyhow.(3)
The battle in the shadows goes on. But if Wictor is right, the intelligence community is on notice that long terms of imprisonment could await those who dare to plot the downfall of the nation's Chief Executive.
![]() |
Image: http://freshlybakedcollectibles.com/wp-content/uploads/2014/02/Spy_vs_Spy_3.jpg |
(1) http://www.thomaswictor.com/leakers-beware/
(2) http://www.slate.com/blogs/quora/2013/11/20/u_s_in_world_war_ii_how_the_navy_broke_japanese_codes_before_midway.html
(3) https://www.theguardian.com/us-news/2017/jan/30/justice-department-trump-immigration-acting-attorney-general-sally-yates
Friday, February 17, 2017
Friday Night Is Music Night: Sudamericanos, by JD
This week we have a Latin American flavour! (Programme notes at the end.)
____________________________________
Notes:
"Girl from Ipanema" (Garota de Ipanema) was written by Antônio Carlos Jobim in 1962 with lyrics by Vinicius de Moraes. It is thought to be the second most recorded pop song in history, second only to Paul McCarthey's "Yesterday" The English lyrics were added later. According to a recent BBC programme about the song Moraes hated the English translation as it turned the girl into an object of lust where the Portuguese lyric was all about 'this vision of grace' Here is a good explanation of the difference between the two- https://oregonexpat.wordpress.com/2012/10/09/garota-de-ipanema/
Violetta Parra was a Chilean singer and songwriter whose most famous song was "Gracias a la Vida" https://en.wikipedia.org/wiki/Gracias_a_la_Vida
"Alfonsina y el mar" was written by Ariel Ramírez with lyrics by Félix Luna. Ramírez plays piano here for Mercedes Sosa. The song is about Argentina's most famous poet Alfonsina Storni who committed suicide in the Mar del Plata. She had incurable breast cancer so took that option instead of living in pain for years. "Although her biographers hold that she jumped into the water from a breakwater, popular legend is that she slowly walked out to sea until she drowned." The lyrics of the song reflect that legend. https://www.poemhunter.com/alfonsina-storni/biography/
I was intruduced to the music of Mercedes Sosa by my (ex) wife many years ago and I have loved it ever since. Sosa was a huge star in the Spanish speaking world and was admired and respected by musicians all over the world to the point where she recorded with the likes of Joan Baez, Luciano Pavarotti and even Shakira!
Mercedes Sosa's funeral was broadcast live on Argentine TV and the song "Alfonsina y el mar" was sung and played there.
____________________________________
Notes:
"Girl from Ipanema" (Garota de Ipanema) was written by Antônio Carlos Jobim in 1962 with lyrics by Vinicius de Moraes. It is thought to be the second most recorded pop song in history, second only to Paul McCarthey's "Yesterday" The English lyrics were added later. According to a recent BBC programme about the song Moraes hated the English translation as it turned the girl into an object of lust where the Portuguese lyric was all about 'this vision of grace' Here is a good explanation of the difference between the two- https://oregonexpat.wordpress.com/2012/10/09/garota-de-ipanema/
Violetta Parra was a Chilean singer and songwriter whose most famous song was "Gracias a la Vida" https://en.wikipedia.org/wiki/Gracias_a_la_Vida
"Alfonsina y el mar" was written by Ariel Ramírez with lyrics by Félix Luna. Ramírez plays piano here for Mercedes Sosa. The song is about Argentina's most famous poet Alfonsina Storni who committed suicide in the Mar del Plata. She had incurable breast cancer so took that option instead of living in pain for years. "Although her biographers hold that she jumped into the water from a breakwater, popular legend is that she slowly walked out to sea until she drowned." The lyrics of the song reflect that legend. https://www.poemhunter.com/alfonsina-storni/biography/
I was intruduced to the music of Mercedes Sosa by my (ex) wife many years ago and I have loved it ever since. Sosa was a huge star in the Spanish speaking world and was admired and respected by musicians all over the world to the point where she recorded with the likes of Joan Baez, Luciano Pavarotti and even Shakira!
Mercedes Sosa's funeral was broadcast live on Argentine TV and the song "Alfonsina y el mar" was sung and played there.
Thursday, February 16, 2017
"Famine, The Unanticipated Catastrophe", by Jim in San Marcos
![]() |
Image source: http://www.ccis.edu/courses/hist323mtmcinneshin/week08/feedingchinamanopium.jpg
The Great Bengal Famine of 1770, commented on by Adam Smith in "The Wealth of Nations" (1776) was caused by links between China tea, silver and opium.
https://defence.pk/threads/opium-wars-connection-to-indian-bengalis-famine-genocide-by-britian.288292/One starting point to explore the issue is here: |
(Image and caption added by Sackerson)
____________________________________________People assume that famines are caused by a poor growing season. This is true in agrarian societies where everyone farms. However, a financial world banking catastrophe could lead to the same result; where starvation occurs from lack of funds to purchase food. Also, we may be fast approaching a limit where food production can’t keep up with the increased population. War in the Middle East, is curbing a lot of farm production, which is leading to starvation for many.
And then there is global warming. Once the North polar ice cap melts, the Gulf Stream ocean current could change its direction a tad, making Eastern Europe too cold for food cultivation.
A famine could affect a large part of the world’s population. We are at a point now, where bad weather, financial instability or political instability, could determine who will live or die. A nuclear skirmish in a quest to grab resources, could make food very scarce in some areas.
The next famine will not be anticipated. It may be an economic or financial disaster that triggers it. When it happens, the logistics of transporting food to those that need it could be very hard to accomplish. Imagine a high-density population area like India, where many are already at starvation levels and barely surviving. This could be the end of the road for them.
Without the means to purchase food, life is a real struggle. Most of us are not in a position to grow and produce the food we need; we pay others to provide it to us. Those in the third world who are starving to death slowly, could be the medium for new super diseases that the rest of the world will have to deal with in the future. It is this group, with very weakened immune systems, that could be the incubator for a future plague far worse than any war imaginable.
The funny thing is, the third world was our source of cheap labor. As our economy slows down, the funds that made life possible for them will disappear. That thought worries me. A hungry mountain lion is not going to knock on your door and bargain with you over the price of its next meal -- your pet dog in the back yard.
________________________________
Reposted from Jim's site, original here:
http://greatdepression2006.blogspot.co.uk/2017/02/famine-unanticipated-catastrophe.html
Sunday, February 12, 2017
The Saxophone Range: A Gallery Of Classics, by Wiggia
Following on from the tenor sax all the other versions of the instrument fall into place, none more so than the alto sax with which Charlie Parker did so much with to change the direction of modern jazz and begat be bop. Although he died at the age of 34 he packed more into those years than most of us would in treble that time. There is to much to write about Parker without filling pages so a link to his Wiki page is justified, he earned his dues as they say:
https://en.wikipedia.org/wiki/Charlie_Parker
There was also an autobiographical film of his troubled life, “Bird”, made in 1988 .
This is “Koko” with Dizzy Gillespie and Max Roach on drums recorded in 1945, Parker's and jazz's first be bop album.
In direct contrast to the style of Parker there was Johnny Hodges with the Ellington Orchestra and Paul Desmond who became hugely popular with Dave Brubeck; a million miles away from Parker in style but giving huge pleasure to millions on record and live.This from Hodges is almost an Ellington and Hodges calling card:
And here from the Pacific College album, the Oberlin album before this was one of my first jazz album buys, with Brubeck in ‘53; a classic Desmond performance:
At the other end of the sax scale is the baritone. Normally a backing instrument, it was used by Gerry Mulligan, a New Yorker by birth. He was an early cool jazz exponent, an accomplished piano player and also of other reed instruments , and he was also an arranger and composer. He played with all the greats of the time and several small groups later in life including Brubeck; a unique sound.
This is another case of little of value live being available; here with Ben Webster is as good as it gets. Mulligan was also responsible for a rash of jazz film scores after he was responsible for the score to I Want to Live in ‘58, a film that had Susan Hayward in the title role:
Gerry-Mulligan-&-Ben-Webster-Quintet_Whos-Got-Rhythm.mp4 from brunosaeg on Vimeo.
And whilst others like Pepper Adams made a mark with the instrument, the only other player that I liked was Serge Chaloff. This is a later number and better recording, giving tonality of the instrument full justice. Not nearly enough was heard of Serge, who apart from a heroin addiction that caused gaps in his playing also developed cancer of the spine and played and lived in appalling agony in his last years.
Roland Kirk was a multi-instrumentalist who not only played a wide range of them on records and live but often several together; this wasn’t a gimmick, it was part of his approach to his music. He was another who despite being blind from an early age and suffering poor health - he had two strokes and the last one was fatal - gave so much in his performances that he became hugely popular and rightly so, one of my personal favourites. Here he is with McCoy Tyner in ‘75, just two years before his passing:
Another of the younger (he is in his sixties now) exponents of the saxophone is the hugely accomplished David Murray. This version of Billy Strayhorn's Chelsea Bridge is as good as any:
This is for JD who some time ago said (in jest?) That no one could play the soprano sax in the modern age. John Coltrane made this number one of his greatest hits with the instrument. Again the original album version available has awful sound; this one is not great, but it is live and gives a half decent version of this iconic number:
My favorite things - John Coltrane from A JAZZ SUPREME on Vimeo.
The forties through the sixties begat most of the greats of the saxophone era following the foundations laid by the likes of Carter et all. It also saw the start of another form of music started by Ornette Coleman, free jazz - that was also the title of his ‘61 album that started the movement. I personally have never been able to go that route: whilst appreciating the technical ability and the fact that proponents were as with all “art” trying to move on to the new, I simply did not enjoy listening to most of it so my recollections are few and muted.
The only one from whom I have heard anything I like is Anthony Braxton who is prolific in his output, over a hundred albums since the sixties and a multi reed instrumentalist; not all is my type of music but amongst his more staid works are items I like and as a promoter of this style he is as good as any currently playing, and easier on the ear. Later, apart from playing all saxophones from piccolo to ultra bass, he also started to play the piano more than in the past as he went on another tangent, none of which was my cup of tea , but this is:
I could go on forever, there are just so many old and new that should be on any list, and that is the problem. All “lists” are finite, that is the nature of them, so I will finish with this from one of the most celebrated modern jazz albums of all time, Something Else, where we have in a stellar group Julian “Cannonball” Adderley playing alongside Miles Davis; for me, Adderley's solo is up there with any of them - enjoy:
https://en.wikipedia.org/wiki/Charlie_Parker
There was also an autobiographical film of his troubled life, “Bird”, made in 1988 .
This is “Koko” with Dizzy Gillespie and Max Roach on drums recorded in 1945, Parker's and jazz's first be bop album.
In direct contrast to the style of Parker there was Johnny Hodges with the Ellington Orchestra and Paul Desmond who became hugely popular with Dave Brubeck; a million miles away from Parker in style but giving huge pleasure to millions on record and live.This from Hodges is almost an Ellington and Hodges calling card:
And here from the Pacific College album, the Oberlin album before this was one of my first jazz album buys, with Brubeck in ‘53; a classic Desmond performance:
At the other end of the sax scale is the baritone. Normally a backing instrument, it was used by Gerry Mulligan, a New Yorker by birth. He was an early cool jazz exponent, an accomplished piano player and also of other reed instruments , and he was also an arranger and composer. He played with all the greats of the time and several small groups later in life including Brubeck; a unique sound.
This is another case of little of value live being available; here with Ben Webster is as good as it gets. Mulligan was also responsible for a rash of jazz film scores after he was responsible for the score to I Want to Live in ‘58, a film that had Susan Hayward in the title role:
Gerry-Mulligan-&-Ben-Webster-Quintet_Whos-Got-Rhythm.mp4 from brunosaeg on Vimeo.
And whilst others like Pepper Adams made a mark with the instrument, the only other player that I liked was Serge Chaloff. This is a later number and better recording, giving tonality of the instrument full justice. Not nearly enough was heard of Serge, who apart from a heroin addiction that caused gaps in his playing also developed cancer of the spine and played and lived in appalling agony in his last years.
Roland Kirk was a multi-instrumentalist who not only played a wide range of them on records and live but often several together; this wasn’t a gimmick, it was part of his approach to his music. He was another who despite being blind from an early age and suffering poor health - he had two strokes and the last one was fatal - gave so much in his performances that he became hugely popular and rightly so, one of my personal favourites. Here he is with McCoy Tyner in ‘75, just two years before his passing:
Another of the younger (he is in his sixties now) exponents of the saxophone is the hugely accomplished David Murray. This version of Billy Strayhorn's Chelsea Bridge is as good as any:
This is for JD who some time ago said (in jest?) That no one could play the soprano sax in the modern age. John Coltrane made this number one of his greatest hits with the instrument. Again the original album version available has awful sound; this one is not great, but it is live and gives a half decent version of this iconic number:
My favorite things - John Coltrane from A JAZZ SUPREME on Vimeo.
The forties through the sixties begat most of the greats of the saxophone era following the foundations laid by the likes of Carter et all. It also saw the start of another form of music started by Ornette Coleman, free jazz - that was also the title of his ‘61 album that started the movement. I personally have never been able to go that route: whilst appreciating the technical ability and the fact that proponents were as with all “art” trying to move on to the new, I simply did not enjoy listening to most of it so my recollections are few and muted.
The only one from whom I have heard anything I like is Anthony Braxton who is prolific in his output, over a hundred albums since the sixties and a multi reed instrumentalist; not all is my type of music but amongst his more staid works are items I like and as a promoter of this style he is as good as any currently playing, and easier on the ear. Later, apart from playing all saxophones from piccolo to ultra bass, he also started to play the piano more than in the past as he went on another tangent, none of which was my cup of tea , but this is:
I could go on forever, there are just so many old and new that should be on any list, and that is the problem. All “lists” are finite, that is the nature of them, so I will finish with this from one of the most celebrated modern jazz albums of all time, Something Else, where we have in a stellar group Julian “Cannonball” Adderley playing alongside Miles Davis; for me, Adderley's solo is up there with any of them - enjoy:
Friday, February 10, 2017
Wednesday, February 08, 2017
The Scorcher
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source |
Although it would have been difficult for Pringle to look other than a gentleman, with his slim athletic figure clothed in the sweater, the cycling suit, and the cap and badge (especially the badge), he presented a fair likeness of the average Sunday scorcher. The manners of the tribe he fortunately saw no necessity to assume.
To perfect the resemblance, the scorcher being comparable to a man who shall select a racehorse for a day's ride over country roads, it was necessary to "strip" his machine, so, removing the mudguards and brake, and robbing the chain of its decent gear-case, he substituted the "ram's-horn" for his handlebar.
R Austin Freeman and John Pitcairn – The Adventures of Romney Pringle (1902)
The scorchers are still with us but I'm not so sure about the gentleman cyclists who looked down on them with such disdain over a century ago.
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