Daily Archives: December 10, 2008


This is what I found on my blog — visually lovely and cheering in addition. I am very grateful to know that these pages are being read in Japan, a country where intelligent awareness of jazz is far higher than at home. I salute you!

BILLIE HOLIDAY Thanks DOC CHEATHAM and HOAGY CARMICHAEL Thanks DICK CARYビリーホリデーのおかげでドキュメントチーザムとカーマイケルHOAGYおかげでディックケアリー
May 15, 2008 2008年5月15日 · No Comments コメントはありません

Two particularly endearing compact discs have arrived, and I haven’t stopped playing them.特に2つのかわいらしいコンパクトなディスクに到着しており、私は彼らの再生が停止されていません。 They’re on the Swedish Kenneth label, the jazz-child of the jazz scholar and producer Gosta Hagglof, who also happens to be one of the world’s most fervent Louis Armstrong fans and specialists.彼らは、スウェーデンのケネスラベルにして、ジャズ、ジャズ学者生産Gosta Hagglofと、子供でも起こるのか、世界で最も熱心なファンや専門家のルイアームストロングする。 (His site, “Classic Jazz Productions,” is on the blogroll to the right.) (彼のサイトは、 “クラシックジャズプロダクションは、 “右のブログロールにあります。 )

For forty years now, Gosta has been producing records and CDs of heartwarming jazz, featuring Maxine Sullivan, Benny Waters, Kenny Davern, Doc Cheatham, and others, alongside Swedish jazz stars, including the quite spectacular cornetist-trumpeter Bent Persson, reedman Claes Brodda, and others. 40年には、 Gosta 、マキシンサリバン氏は、ベニーウォーターズ、ケニーダヴァーン、ドクチーザムなど、かなり壮観なcornetist -トランペッターベントパーソン、リード奏者クラースブロッダを含むスウェーデンのジャズスター、一緒に備えて記録し、心温まるジャズのCDを製作されていますなどがあります。 These sessions have an inimitable looseness, somewhere between live performances (think of the St. Regis jam sessions without Alistair Cooke) or the slightly more formal Teddy Wilson Brunswicks, lyrical and propulsive.これらのセッション、ライブパフォーマンスの間のどこか(アリステアクックなく、セントレジスジャムセッションを考える)や、少しフォーマルなテディウィルソンBrunswicks 、叙情的で独特の緩みを推進している。 Here’sa much younger Gosta greeting Louis at the airport in 1965: the warm feeling passing back and forth is immediately evident.以下に多くの若いGostaあいさつ空港で1965年にルイ:温かい気持ちを前後に通過すぐに明らかにされています。

Now, Gosta has issued Dick Cary: The Wonderful World of Hoagy Carmichael (Kenneth CKS 3410), and A Tribute to Billie Holiday: Doc Cheatham and his Swedish Jazz All Stars featuring Henri Chaix (CKS 3407).さて、 Gostaディックケアリー発行しています: カーマイケルの素晴らしい世界Hoagy (ケネス中正3410 ) 、 トリビュートビリーホリデー:ドクチーザムと彼のスウェーデンのジャズ全て星印アンリChaixをフィーチャー (中正3407 ) 。 You might initially think that there have already been more than enough tributes to Hoagy and Billie, but these discs are stirringly good.まず最初は既にHoagyとビリーするのに十分な貢納物以上されているが、これらのディスクの心を動かして良いと思うかもしれない。



Before my time, Long Island was a hotbed of jazz — Miff Mole was born in Freeport, and there were thriving colonies of jazz musicians in Queens: Louis, of course, in Corona; James P. Johnson, Fats Waller, Milt Hinton, Roy Eldridge and many others.  Red Allen had a steady gig at the Blue Spruce Inn in Roslyn.   

When I first became aware of jazz, like love, it was just around the corner.  Louis and the All-Stars came to the Island Garden in Hempstead in 1967; I saw Jimmy McPartland, Vic Dickenson, Joe Wilder, Milt Hinton, Dick Hyman, Buddy Tate, Jo Jones, Dill Jones, Budd Johnson, Connie Kay, and Teddy Wilson in concerts, usually free ones in the parks. Teddy, Roy Eldridge, Wilbur Little, and Joe Farrell played hour-long gigs in the shopping center Roosevelt Field in 1972.   The International Art of Jazz had wonderful concerts — I remember a quartet of Ruby Braff, Derek Smith, George Duvivier, and Bobby Rosengarden.  Ray Nance did a week in a club in Hicksville!   

Some years later, a traditional jazz society whose name now escapes me held concerts in Babylon, with Peter Ecklund, Dan Barrett, Joe Muranyi, Marty Grosz, and others.  Nancy Mullen told me of evenings when Ecklund would show up in a little Port Jefferson spot and play beautifully.  Sonny’s Place, in Seaford, had name jazz players for years.

Now, I know that most of the musicians I’ve listed above are dead.  Try as I might, I can’t make Red Allen come back to Roslyn.  But I wonder:  Is there any Mainstream jazz on Long Island?   Could it be that it has retreated utterly to safer urban refuges?  I would be grateful for any information on some place(s) where the band strikes up a familiar melody to improvise on.  It could even be  “Satin Doll,” although I would hope for better. 

Or has the region I live in given itself over completely to cellphone stores, nail salons, and highways?  Say it ain’t so, Jo (Jones, that is).