One of the pleasures of (let us say) 2010-2020 in New York City was the many opportunities to hear the brilliant pianist Ehud Asherie play — someone who knew both Bud Powell and Donald Lambert but was utterly himself, always unpredictable, always melodic and swinging. Here, Ehud takes us on a trip around the world, through every kind of pianistic expression from tango to reverie to explosive stride, with FON FON (Ernesto Nazareth), LUSH LIFE (Billy Strayhorn), and SEEMS LIKE OLD TIMES (Carmen Lombardo):
I don’t know when Ehud will play his next New York gig, but I hope it’s soon: we need his quirky wise art.
To start, JAZZ LIVES endorses social distancing, properly positioned mask-wearing (plain or patterned), hand-washing, hand sanitizer, vinyl gloves, intelligent caution, without reservation. But I miss the intimacies that were part of the common culture only five months ago, give or take a hug. When I watch any film or television show on YouTube these days, the casual peck on the cheek given and received causes me a real pang. And hugging? Unendurable.
But enough of sticking hatpins in myself while I try to write.
THE INTIMACY OF THE BLUES is a haunting piece. When I first heard it, without liner notes, I would have wagered that it was composed by Horace Silver — a dark blues march, so stark and elusive. I was startled to learn it was by Billy Strayhorn. And it makes me think of other improvisations that march. OH, DIDN’T HE RAMBLE? has a very clear shouting meaning: “We’re coming back from the cemetery, where we laid our dear friend Keith in the ground. He had a good life, it’s over, but ours isn’t, so we are going to celebrate himself and ourselves.” INTIMACY has no such clear direction: we are going somewhere, our feet are heavy, but where are we headed?
This performance has the same haunting quality, and I treasure it. The players, perhaps looking in to the void or just exploring a medium-slow blues, are Jon-Erik Kellso, trumpet; Evan Arntzen, clarinet; Neal Miner, string bass; Chris Flory, guitar. It took place at Cafe Bohemia on Barrow Street in Greenwich Village, New York City, before Thanksgiving 2019. Ironically or perhaps coincidentally, Cafe Bohemia was the site of the most recent live-jazz performance I was privileged to witness and record, on March 12, 2020.
May we all assemble there again, intimacies no longer forbidden. Until then:
More than ever, I bless the courageous musicians who bare their souls to us. The most mournful song on the darkest stage is a statement of resilience.
Days gone by: December 1946, Wilber, Dick Wellstood, Johnny Glasel, Charlie Trager, Eddie Phyfe. Photograph by William P. Gottlieb.
Robert Sage Wilber, born in 1928, who never played an ugly or graceless note in his life, has left us. I first heard him on recordings more than fifty years ago, and saw him in person first in 1970 with the World’s Greatest Jazz Band. He was a magnificently consistent player — his time, his intonation, his creativity, his vital force, his melodic lyricism — and one of the world’s most versatile. He didn’t care to be “innovative” in the best modern way, but kept refining his art, the art of Louis and Bechet and Teddy Wilson, every time he played.
People who didn’t quite understand his masteries (the plural is intentional) thought of him as derivative, whatever that means, but even when he was playing SONG OF SONGS in the Bechet manner or WARM VALLEY for the Rabbit, he was recognizably himself: passionate and exact at the same time, a model of how to do it. And if you appreciate the jazz lineage, a man who performed with Baby Dodds, Tommy Benford, Kaiser Marshall, Joe Thomas, Sidney Catlett, Billy Strayhorn, Eddie Condon, Vic Dickenson, Ruby Braff, Ralph Sutton, Cliff Leeman . . . so deeply connected to the past while remaining fiercely active, has moved to another neighborhood. I send my condolences to his wife, the singer Pug Horton, and his family.
I was extremely fortunate to cross paths with Bob — not only as an admiring spectator of Soprano Summit, where he and Kenny Davern were equally matched — but as an admiring jazz journalist and videographer. He was not worried about what I captured: he was confident in himself and he trusted that the music would carry him. Here are some glimpses of the Sage in action, in music and in speech.
A session with David Ostwald’s Gully Low Jazz Band (2010) and Daryl Sherman here.
Two parts of an intimate session at Smalls in 2012 with Ehud Asherie and Pug Horton as well here and here.
And a particular prize: a two-part 2015 interview session (thanks to Pug!) here and here.
More than a decade ago, when I began this blog, I worked hard to keep away from the temptations of necrology — my joke is that I didn’t want it to be JAZZ DIES — but if I didn’t write and post something about Robert Sage Wilber, I’d never forgive myself. We will keep on admiring and missing him as long as there is music.
Some music you have to work hard to embrace, and many listeners relish the labor. But other music, no less subtle or rewarding, opens its arms to you in the first four bars. A new CD by Michael Kanan, piano; Dee Jay Foster, string bass; Guillem Arnedo, drums, is a wonderful example of love made audible.
If these names are new to you, please put down whatever you’re attempting to multi-task (on or with) and listen to this leisurely reading of ALL THE THINGS YOU ARE from a live performance in 2017:
This trio also knows how to relax, thus, that rarity, a picture of jazz musicians taking their ease outdoors:
You might know that Michael Kanan is one of JAZZ LIVES’ heroes, not only in this country, but internationally. And the lineage is very pleasing: the saxophone master Joel Press introduced me to Michael, and (aurally) Michael introduced me to Guillem and Dee Jay. For the past decade, Michael spends part of each summer as artist-in-residence at the Begues Jazz Camp, where he’s forged deep musical relationships with these two musical intuitives. The CD came out of a series of concerts the trio did. As Michael says, “There is space, swing, surprises and lots of love. We have tried to capture the spontaneity of the moment in time – a good conversation between the three of us.”
Instead of the usual liner notes, the CD offers splendid artwork by Maria Pichel, who combines bright colors and delicacy to mirror the music within. So here are a few (unsolicited) lines from me.
The late Roswell Rudd told me in 2012, “Playing your personality is what this music is all about. . . . You know, this is a music where you are playing off other people, and you really have to be listening and responding and respecting and complementing what’s going on around you.”
The personalities that come through so clearly here are gentle and intense at once: musicians inspired by the originals but aware that reverent innovation is the only tribute. The magnificent Ellington and Strayhorn compositions are an indelible offering. They aren’t obscure or at least they shouldn’t be, and that asks contemporary artists the question, “All right — what are you going to say about these pieces?”
One approach is reverence taken all the way: a 2018 piano trio could do its best to replicate Ellington, Blanton, Greer, or Strayhorn, Wendell Marshall, Woodyard. Conversely, the improvisers could take the originals and, after one reasonably polite chorus, jump into outer space, perhaps never to return. The Kanan, Foster, Arnedo trio modifies these extremes by creating statements showing their affection for the strong melodies, harmonies, rhythms — but they know that “playing their personalities” is what Ellington and Strayhorn did, and would approve of. So the CD is a series of sweet variations on themes, where (to borrow from Teddy Wilson), “it’s the little things that mean so much.”
In the quiet world of this CD, even a slight tempo change means that listeners have found themselves in a new space, as if you’d come home to find that your partner had repainted the light-gray living room walls a gray with a blue undertone.
What I hear on this disc is the confident playful assurance of musicians who know each other well, are respectful but also relaxed and brave. Michael, Dee Jay, and Guillem are melodists who work together in kind fraternal fashion, so the lead gets passed around, one player moves into the spotlight and the others are happy for him to shine. No cliches; no showboating; no tedious quoting; no formulaic playing or threadbare trademarks; the total absence of post-modern irony; no sense that swing is out of date.
The result is a series of sustained explorations that are full of sweet surprises: the wonderful swinging assertiveness with which C JAM BLUES starts; the touching coda to ISFAHAN; the slightly faster tempo for I LET A SONG that neatly contradicts the self-pitying lyrics; the exposition of LOTUS BLOSSOM would make anyone want to listen with bowed head, and the slightly altered rhythmic pulse that follows made me hear it as if for the first time; JOHNNY COME LATELY is perfect dance music — I defy anyone to stay motionless, even if the dance is happy nodding one’s head in time; Michael’s solo ALL TOO SOON is half-lullaby, half question yearning to be answered; the faster-than-expected I’M BEGINNING TO SEE THE LIGHT reminds me happily of Fifties Jo Jones with Ray and Tommy Bryant, for the trio’s swing is light yet insistent, and the rocking mood continues on through LOVE YOU MADLY; DAY DREAM, the concluding track, also seems a series of questions, some of them with answers.
I would tell any listener, “Play the disc over again, after you’ve let it settle in your mind, take up a comfortable space in your heart. Play it for people who have ears. Let them share the pleasure, the loving inquisitiveness.”
Because I have admired Michael’s playing for some time, I might have over-emphasized his contribution, but Dee Jay and Guillem are the equal of anyone with a more famous name, whether Elder or Youngblood: they play their instruments with honor and grace, avoiding the excesses that lesser players fall into. Forget the snide jokes about bass solos; Dee Jay’s phrases are deft and logical, his time and intonation superb; Guillem, for his part, has such a swinging variety of sounds throughout his kit that he is marvelously orchestral without ever being overwhelming. The beautiful recorded sound, thanks to David Cassamitjana, is reassuringly warm and clear, putting us there, which is where we want to be.
You can hear the music here, on Spotify or iTunes, or purchase that endearing archaic object, an actual physical disc by clicking on “TIENDA” at the same site.
Even if you have as complete an Ellington-Strayhorn collection as possible, this is an essential disc: warm, candid, and gratifying.
And if you’d like to hear more from Michael, Dee Jay, and Guillem in a different but quite uplifting context, visit here also.
Let us again praise Billy Strayhorn. He hasn’t been tangibly on the planet since 1967, but does a day go past without a Strayhorn melody being offered up, reverently, somewhere — even if it is in the jukebox of the imagination?
Here are some of Swee’ Pea’s lovely melodies played in real life by a quintet of sensitive creators: John DiMartino, piano; Dan Block, reeds; Andy Brown, guitar; Nicki Parrott, string bass; Pete Siers, drums, at the Cleveland Classic Jazz Party last September.
U.M.M.G. (for “Upper Manhattan Medical Group”):
RAIN CHECK (which starts late: we in the trade call this “videographer error,” or battery death and resurrection. My apologies.):
CHELSEA BRIDGE, gorgeously:
and of course, that TRAIN, which still will take you to Harlem, even though the price has substantially increased since 1941, when it was (pre-token) five cents:
These musicians know the common language so deeply and beautifully: bless Nancy Hancock Griffith for her work with the Cleveland Classic Jazz Party, now, alas, only a lovely memory.
I invite JAZZ LIVES’ readers and viewers to join Dan Morgenstern and myself for an afternoon conversation about Duke Ellington which took place a few months ago in early March 2018. I don’t ordinarily post ninety-five minutes of video in one heaping serving, but Dan’s narrative is so comfortably wide-ranging and expansive that I couldn’t cut it into sections.
Part One, where Dan begins by remembering himself as a young Danish record collector, comments on various Ellingtonians and admirers, and loops around to the 1938 Randall’s Island Carnival of Swing:
Here’s DUSK — for your spiritual edification, from a HMV 78, too:
Part Two is focused on Duke in the recording studio, with quick asides about Willie Cook, Norris Turney, Harry Carney, Paul Gonsalves, Cat Anderson, and Mercer Ellington:
Part Three begins with Johnny Hodges, Sonny Greer, detours to ripe tomatoes, and returns to Billy Strayhorn, Bob Wilber, and Barney Bigard:
Part Four starts with one of my heroes, Ray Nance, then Cootie Williams, Toney Williams, and offers the famous story about disciplining a wayward Paul Gonsalves:
Part Five again recalls Duke in the recording studio, next to Basie, next to Louis. I wish there were some documentation of Louis sitting in with Duke’s octet!
Finally, Dan’s tale, very amusing, of three bandleaders in one night, which ends with Johnny Hodges on the AT THE BAL MASQUE Columbia lp:
and here is the very pretty ALICE BLUE GOWN:
Blessings and gratitude to the very generous Dan Morgenstern.
Michael Kanan prizes friendship very highly, and not in some abstract way. He is a true Embracer, and his deep love of community lasts longer than a simple hug. He showed us this once again a few Mondays ago at a little gathering at his Brooklyn studio, The Drawing Room.
Michael Kanan
Michael’s colleagues in melodic exploration were his friends and ours, Greg Ruggiero, guitar; Neal Miner, string bass: each of them a thoughtful swinging intuitive orchestra in himself.
Greg Ruggiero
It was a jam session evening, so even though this trio played six songs (you’ll have the first three here) it wasn’t a mini-recital, more a gathering of friends who don’t get to play together often. They hadn’t played together in months, and after Michael had seen the videos, he called them “music in its raw natural state,” but it was an acknowledgment rather than a criticism. I think of them as cherries picked from the tree, their stems still attached, as opposed to cherry pie filling from a can.
Neal Miner
Porter’s YOU DO SOMETHING TO ME:
Strayhorn’s TAKE THE A TRAIN:
Ellington’s I’M JUST A LUCKY SO-AND-SO:
When you’re invited to a party at Michael’s, you go home laden with gifts.
One way to answer the questions “Who was Chappie Willet, why haven’t I heard of him, and why does he deserve a book?” can be found here:
That was recorded in 1937 and is notable — to some — for solos by a young Dizzy Gillespie and others as members of Teddy Hill’s NBC Orchestra. But if there were no solos to concentrate on, keen listeners would notice the depth and complexity of Willet’s composition and arrangement, full of surprises.
An extended BLUE RHYTHM FANTASY, performed by Gene Krupa:
We are trained by the “star system” in jazz to listen for soloists, to disregard the orchestral textures of a performance for the brief passages where Our Person improvises. More erudite listeners will recognize the “charts” created by Mary Lou Williams, Bill Challis, Eddie Durham, Don Redman, Eddie Sauter, Gil Evans, Fletcher Henderson, Benny Carter, Ellington and/or Strayhorn — distinctive expressions of the writer, as recognizable as an individual soloist. John Wriggle’s superb book — a rewarding study of one brilliant arranger, his music, the world in which he operated, and the implications of Wriggle’s research — does a good deal to begin resetting the balance.
Francis “Chappie” Willet (1907-76) was a great arrangers and composer: we have heard his work for Hill, Krupa, Goodman, Armstrong, Lunceford, the Mills Blue Rhythm Band, and Norvo. Yet he is almost unknown and the wonderful settings he created are taken for granted. Consider his arrangement of STRUTTIN’ WITH SOME BARBECUE for Louis Armstrong, heard here in a 1938 performance. But here I ask the reader / listener to consider only the first fifteen seconds of this performance. I know it’s nearly impossible to consider anything but Louis, but try:
In two pages (123-24), Wriggle provides a transcription of what is happening in that opening, and then analyzes it. The reader need not be a musicologist to follow and enjoy this book because Wriggle writes so clearly.
The experience of reading this book — well-organized and exquisitely documented but with beautiful control (some writers, unlike Wriggle, think every dust mote is equally important and thus overwhelm a reader) — is concentric.
Were it simply a biography of Willet, it would be a thin, perhaps limited study. But Wriggle is fascinated by context — “the economic, political, and professional landscape of popular music arrangers working during the Swing Era,” so we learn about the intersection of race and visibility; how arrangers learned their trade and the various rates of pay; Willet’s “Broadway Music Clinic,” music for nightclubs, Broadway shows and theatrical revues; the various clubs and venues themselves. Wriggle examines — I oversimplify here — how Swing Era arranging worked, with close analysis of excerpts from various scores and recordings, and how each arranger had a particularly recognizable identity. He looks closely at the fluid relationships between jazz and the Western classical canon.
The book’s scope is refreshingly broad; at one point, Wriggle analyzes Willet’s elaborately dramatic score for the Lunceford version of YESTERDAYS; a few pages later, we learning all there is to know about a new dance, THE HICKY RICKY — novelty numbers, ballads, and jazz exotica are all considered with particular enthusiasm and research.
Rare photographs add a great deal to the experience, and the collaboration of Wriggle and the University of Illinois Press is a happy one: the book is carefully presented and well-edited. I found no misprints or errors, rare in this century. The paper edition (a manageable 320 pages) is $30.
Reading this book over the past few months, whether I proceeded chronologically or opened it at random, I was always enlightened, ever bored: a great tribute to Wriggle from an impatient and often irritable reader. His background explains a good deal: he is a trombonist, composer, arranger, and scholar, who has transcribed period jazz repertoire for Jazz at Lincoln Center and Vince Giordano’s Nighthawks, and served as music editor for Oscar-winning Hollywood film scores.
As a writer and scholar, he is thoughtful without being pedantic or theoretical, without a confining ideological bias. To get a sense of his and the book’s virtues, I offer excerpts from his interview (from the publisher’s blog) about this work.
As an aspiring composer-arranger, I first took notice of Willet’s music in the mid-1990s, when I was co-hosting a pre-stereo themed jazz program on college radio station WKCR. I heard the 1937 Mills Blue Rhythm Band session he arranged, including a version of “Blue Rhythm Fantasy.” The combination of musical adventurousness and balanced logic in those arrangements is beautiful, and I was an immediate fan. In 1999, I composed and presented a series of “Variations on Blue Rhythm Fantasy” for a new music ensemble I was leading. But as I tried to find more about Willet through standard jazz history sources, it was always a dead end. When I applied to the Rutgers Jazz History and Research program in 2003, I decided I would see if I could make a thesis project of it. A telephone book cold call led me to a musician named Chico Hicks, who had performed with Willet during 1933-34, and the pieces finally began to fall into place.
The more I was able to discover in newspapers and archives, the more I realized what a fascinating figure Willet was. His career reflects so many aspects of the music industry during that period that it made perfect sense to build a book around him. He was really tied into the Swing Era stage entertainment scene, which is something that jazz historians have attempted to ignore for decades as too “commercial.” Willet was also involved in music publishing, home recording, talent booking, and a music school—all the stuff that professional musicians still to do today in order to eke out a living.
Similar to music performers working in recording studios during the 1920s and ‘30s, swing big band arrangers were able to cross lines of racial segregation simply because no one could see them. As long as they weren’t appearing in mixed company on the public stage, it didn’t bother the establishment so much for white bandleaders to hire black arrangers, or vice versa. Whether or not these shrouded work opportunities actually helped to break down inequality is an interesting question—and one that was debated in the African American press at the time. On the one hand, arrangers could be considered pioneers of integration; on the other hand, these less-publicized instances of black writers working for white bands could also be interpreted as another form of exploitation. Some black bandleaders even worried that black arrangers were providing unfair advantage to their white competitors, as concerns regarding music and jazz authenticity were often tied to race. The popular success that white bandleaders enjoyed while playing the music of black arrangers like Jimmy Mundy, Sy Oliver, or Chappie Willet certainly highlighted issues of racism and segregation that America was struggling with leading up to the civil rights era. Willet himself was embraced as a “race man” in the African American press: a role model for economic success in an entertainment industry that was just beginning to consider strategies for integration.
This book attempts to provide a window into the broader world of professional arranging in jazz and popular music: What were these musicians trying to do with their music? How were they trained? Where did they work? How much were they paid? And looking in more detail, I also hope to highlight the artistry involved. Audiences of arranged music are being provided more sonic information than just the song lyrics or featured solos. And a good arranger can transmit a lot of information very effectively.
BLUE RHYTHM FANTASY is a wonderfully enlightening experience. It is readable but dense with information — an old-fashioned book not especially suited for reading on one’s phone — a splendidly-documented exploration of an artist and his musical world that will both answer and raise many questions. I hope John Wriggle will write many more books equally wise and appealing.
One of the quietest of my heroes, lyrical brassman Danny Tobias, has a new CD. It’s called COMPLETE ABANDON — but don’t panic, for it’s not a free-jazz bacchanal. It could have been called COMPLETE WARMTH just as well. And it’s new in several ways: recorded before a live audience — although a very serene one — just last September, in the 1867 Sanctuary in Ewing, New Jersey.
The CD presents a small group, captured with beautiful sound (thanks to Robert Bullington) “playing tunes,” always lyrical and always swinging. The cover photograph here is small, but the music is endearingly expansive. (Lynn Redmile, Danny’s very talented wife, took the photo of Mister T. at the top and designed the whole CD’s artwork.)
Danny is heard not only on trumpet, but also on the Eb alto horn (think of Dick Cary) and a light-hearted vocal on LOVE IS JUST AROUND THE CORNER. He’s joined by his New Jersey friends, the very pleasing fellows Joe Holt, piano; Paul Midiri, vibraphone; Joe Plowman, string bass; Jim Lawlor, drums. And both in conception and recorded sound, this disc is that rarity — an accurate reflection of what musicians in a comfortable setting sound like. The tunes are I WANT TO BE HAPPY; DANCING ON THE CEILING; MY ROMANCE; LOTUS BLOSSOM; COMPLETE ABANDON; THE VERY THOUGHT OF YOU; THIS CAN’T BE LOVE; LOVE IS JUST AROUND THE CORNER; I’M CONFESSIN’; EVERYBODY LOVES MY BABY; GIVE ME HE SIMPLE LIFE; THESE FOOLISH THINGS; PICK YOURSELF UP.
You can tell something about Danny’s musical orientations through the song titles: a fondness for melodies, a delight in compositions. He isn’t someone who needs to put out a CD of “originals”; rather, he trusts Vincent Youmans, Billy Strayhorn, Richard Rodgers. He believes in Count Basie, Bing Crosby, and Louis Armstrong, whether they are being joyous or melancholy. Danny has traveled long and happily in the sacred land of Medium Tempo, and he knows its most beautiful spots.
When I first met Danny — hearing and seeing him on the stand without having had the opportunity to talk with him (this was a decade ago, thanks to Kevin Dorn and the Traditional Jazz Collective at the Cajun) I delighted in the first set, and when he came off the stand, I introduced myself, and said, “Young man, you’ve been listening to Ruby Braff and Buck Clayton,” and young Mister Tobias heard and was gracious about the compliment.
Since then, I’ve understood that Danny has internalized the great swing players in his own fashion — I’m not the only one to hear Joe Thomas in his work — without fuss and without self-indulgence. He doesn’t call attention to himself by volume or technique. Rather, to use the cliche that is true, “He sings on that horn,” which is not at all easy.
Danny’s colleagues are, as I wrote above, his pals, so the CD has the easy communal feel of a group of long-time friends getting together: no competition, no vying for space, but the pleased kindness of musicians who are more interested in the band than in their own solos. The vibraphone on this disc, expertly and calmly played by Paul Midiri, at times lends the session a George Shearing Quintet feel, reminding me of some Bobby Hackett or Ruby Braff sessions with a similar personnel. And Messrs. Lawlor, Plowman, and Holt are generous swinging folks — catch Joe Holt’s feature on GIVE ME THE SIMPLE LIFE.
To purchase the CD and hear sound samples, visit here. Or you can go directly to Danny’s website— where you can also enjoy videosof Danny in a variety of contexts.
CDBaby, not always the most accurate guide to musical aesthetics, offers this assessment: “Recommended if you like Bobby Hackett, Louis Armstrong, Warren Vache.” I couldn’t agree more. And I’m grateful that the forces of time, place, economics, and art came together to make this disc possible. It is seriously rewarding, and it doesn’t get stale after one playing.
The extraordinary art of Ivana Falconi Allen, whimsical, detailed, in love with the textures of the world as it is now and the world as it might be.
Music created by the artist’s husband, performed at the Allegheny Jazz Party, now known as the Cleveland Classic Jazz Party, last September.
Could anything be more gorgeous?
With Harry Allen, tenor saxophone, and Ehud Asherie, piano, Billy Strayhorn’s mournful love letter to the beauty of creation — so rich, so fragile — is an immense blossoming of joy and sadness.
You can hear more music at this level — subtle, individual, poignant or exultant — at the CCJP, which begins this coming Thursday night. And you can see more of Ivana’s art by visiting her Facebook page. The world needs more beauty of the kinds these brilliant individualists create.
I am seriously out of touch with the pop culture of my generation. Wake me at 4 AM, ask me for ten facts about Lester Young, and I can do it. But Neil Young? Sorry. There’s only so much space left on my internal hard drive, and if I choose to devote it to alternate takes of Sally Gooding with Teddy Wilson, go ahead and laugh.
When I received a copy of the fine Chicago bassist Joe Policastro’s new CD, below, I immediately thought that it would be related to Louis Armstrong.
But once I started to listen, I was happy to have been wrong, since the music here is wonderful, an antidote to crabby narrowness. Hear for yourself — the trio of Joe, the fine guitarist Dave Miller (whom I’ve admired — alongside Lena Bloch — in a variety of New York City surroundings), and the listening drummer Mikel Avery — working on the Sixties pop classic WIVES AND LOVERS here. (I had that 45 single — by Jack Jones — in 1963 0r 4.)
Here’s Joe. The music he creates is not as somber as this portrait:
I would like to see this CD in wide circulation, because the improvisations are so delightful. Many of us have an unshakable fondness for certain songs — whether on their own terms, or because of sentimental associations — and we often want to hear jazz musicians improvise on just those songs. I won’t enter into the needless argument whether Strayhorn is better than Porter or whether either of them is better than “those kids” Stevie Wonder and Prince. Truly, once we brush away our associations, a strong melody is appealing, no matter who wrote it or when. Think of Clark Terry and friends jamming on the FLINTSTONES theme.
So I dream of being in a car with a few Official Jazz Fans whose allegiances are clearly defined — let us say early Basie, 1960 Duke, Norvo-Farlow-Mingus, and so on, and playing this CD without identifying it. And when the quibbling breaks out from the back, “Hey, Michael, that sounds good! Who is it? Let me have the CD sleeve so I can stop listening closely to the music and make judgments based on my reactions to people’s names, players and composers both! I’ve got a little conceptual box right here!” I could politely say, “Please. Just listen to the music and tell me what you think. Life is only a Blindfold Test for people who want to be Blindfolded.”
I think they would come to the consensus that the music was superb, as I already have. And then we could discuss players. “That’s Joe Policastro! What a fine bassist he is — I’ve seen and heard him with Andy Brown and Petra van Nuis. He sings on his instrument. And Dave Miller, full of surprise: I admired his work with Lena Bloch some time back. That drummer Mikel is really swinging and paying attention. And Andy twice — Brown and Pratt. Where can I get this disc?”
Of course, some of the imaginary jazz fans in my car might recognize a few of the pop classics. I know they would admire the gleeful, heartfelt transformations that Joe’s trio creates.
This disc would be an absolute hit with people who knew the pop originals but were ready to say how they didn’t like jazz, couldn’t listen to it, didn’t understand what “those people” were doing up there without any music stands.
For the record, the songs are WIVES AND LOVERS (Bachrach) / HARVEST MOON (Neil Young) / CREEPIN’ (Stevie Wonder) / WAVE OF MUTILATION (The Pixies) / MORE THAN A WOMAN (Bee Gees) / PRINCE MEDLEY: CONDITION OF THE HEART and DIAMONDS AND PEARLS / ME AND MRS. JONES (Billy Paul) / US AND THEM (Pink Floyd) / TAKE IT WITH ME (Tom Waits) / DRIVE (The Cars).
This session isn’t rock-pop played by jazz people in safe ways — for old folks who don’t want to be disturbed (i.e., wedding band music for those with delicate sensibilities). There’s a good deal of inspired exploration, guitar sounds that made me think of TWIN PEAKS, energetic percussion. No one would snooze through this disc: it’s not the twenty-first century version of THE HOLLYRIDGE STRINGS PLAY THE BEATLES.
POPS! is engaging inventive music. And we’ll never have too much of that.
Here’s one kind of inspiration: the J.M.W. Turner painting of Old Battersea Bridge, which Billy Strayhorn saw on an early trip to Europe — presumably in 1939 when the Ellington band went overseas:
Battersea Church and Bridge, with Chelsea Beyond 1797 J.M.W. Turner 1775-1851
Strayhorn wrote CHELSEA BRIDGE with this painting (or one by Whistler) in his consciousness. That composition became a splendid evocation in sound for the Ellington orchestra, featuring Ben Webster. Seventy-five years later, I and others in the audience were privileged to see and hear Howard Alden, guitar; Harry Allen, tenor saxophone; Dan Barrett, trombone; Frank Tate, string bass; Ricky Malichi, drums, create their own sensitive evocation of all the inspirations that had come before them, sweetly and memorably adding their own:
Strayhorn when young:
And two delicious additions. First, Billy at the piano:
Second, in the video of CHELSEA BRIDGE from Cleveland, Dan mentions that the preceding song was their performance of Ray Noble’s THE TOUCH OF YOUR LIPS. It would be a shame to deprive listeners of this.
Jazz scholar Michael Zirpolo, who created therewarding biography of Bunny Berigan, has also written a fine study of Billy Strayhorn for the International Association of Jazz Record Collectors(IAJRC)Journal. It’s not a simple reiteration of biographical information; rather, the essay covers the early years of the Strayhorn / Ellington musical association (1939-1942), and it disentangles to a large degree, who wrote what in those years, Duke or Billy, or Duke and Billy.
With characteristic generosity, Mike wants to make his Strayhorn piece, ten thousand words long, available to any interested readers — no fuss, no muss, no cost. You may email Mike at mzirpolo@neo.rr.com and he will send it to you in PDF form for you to read at your leisure.
A portrait of the jazz scholar:
And while you’re reading the latest Zirpolo opus, listen to the Billy Strayhorn Orchestra (directed by Michael Hashim) here. Are you going to their November 20 concert?
I hope that by now, in 2015, people know Billy Strayhorn as more than the composer of LUSH LIFE and of TAKE THE “A” TRAIN, more than half of a team with Duke Ellington out front. This year is Strayhorn’s centenary (his birthday is November 29) and he is receiving some well-deserved attention, although perhaps there will never be enough compensation for the limited attention he received while on this planet.
The Billy Strayhorn Orchestrawill be performing a concert of Strayhorn’s music — with, as always, some surprises — on November 20, 2015, at Baruch College Performing Arts Center in New York City. The very creative and energetic saxophonist Michael Hashim leads the orchestra, which includes Kenny Washington, Mike LeDonne, Art Baron, Bill Easley, Lauren Sevian, Shawn Edmonds, Ed Pazant, David Gibson, Kelly Friesen, Joe Fiedler, Tad Shull, Marty Bound, Jordan Sandke, and Charlie Caranicas.
Here are extended samples from concerts given in 2013 and 2014 by the Orchestra:
PENTONSILIC:
STRAYHORN IN THE FOREGROUND:
The events page for the November 20 concert is here. Beautiful and rare music awaits those who can attend.
Jazz thrives on individuality. The Ancestors always emphasized that a musician’s sound had to be as personal as a voice, instantly recognizable. Ben Webster spent the early part of his career trying to sound like Coleman Hawkins — a necessary stage in the development — then he realized it was time to be Ben Webster.
Two staunch individualists, happily thriving and playing, are swing piano master / singer / composer Mike Lipskin and saxophone master (here on alto and soprano) Mike Hashim. And here are five beauties from their most recent New York City duo-recital, performed for an attentive international audience at Smalls on West Tenth Street in Greenwich Village.
I could have called this post THREE SLOW, TWO ROMPING, but you’ll discern such qualities for yourself as you watch and listen.
James P. Johnson’s wistful love poem, ONE HOUR:
Billy Strayhorn’s reverie, DAY DREAM:
I DON’T STAND A GHOST OF A CHANCE WITH YOU, that lovely ballad, has nearly vanished from the jazz repertoire. I’m glad that Mike and Mike have good memories:
For Bix and the Louisiana Sugar Babes, an affirmation, THOU SWELL:
And for Fats. The history’s inaccurate but the music is on course. CHRISTOPHER COLUMBUS:
Lester Young told François Postif in 1959, “It’s got to be sweetness, man, you dig? Sweetness can be funky, filthy, or anything, but which part do you want?”*
As someone who has sought sweetness all his life, I delight in that statement. I don’t mean stickiness or sentimentality, but a gentle approach to the subject being considered, loving rather than aggressive or passive-aggressive.
I have met many people who are acquainted with jazz in an intellectual way, who value Miles and Trane as modernists influential as Kandinsky or Joyce, but who have missed or disdained the sweetness that can be so integral to the music.
For some of them, jazz is a mystery to be wary of. It is intricate, cerebral, complex, a closed system with no way in for the lay person. This might spring from a sensibility that equates anger with authenticity. Thus, they experience sweet warm music as banal, the faded dance music of oblivious grandparents shuffling around the floor, clinging to each other as the ship tilts dangerously.
“Ben Webster with strings? Oh, that’s beautiful saxophone playing, but does it challenge the listener? It’s too pretty for me!”
I warm to art that embraces me rather than one that says, “Sorry. You are not educated enough or radical enough to appreciate this.” Complexity is always intriguing but not as an aggressive rebuke to the listener. Sweetness can elevate a music that creates a direct line from the creators’ hearts to the hearers’.
And sometimes the dearest and deepest art is a masquerade, where the artists act as if nothing particularly difficult is being created. But consider Edmond Hall, Harry Carney, Tony Fruscella, Bobby Hackett, Frank Chace, or Benny Morton playing a melody, or the 1938 Basie rhythm section, or four quarter notes by Louis on YOU ARE MY LUCKY STAR. To fully understand such gorgeous phenomena would take a lifetime, but at the same time the sounds are immediately accessible as beautiful. This music woos the listener’s ears, brain, heart, and spirit.
Such sweetness, delicate intricacy, conviction, expertise, and deep feeling were all evident when Michael Kanan, piano; Neal Miner, string bass; Greg Ruggiero, guitar, took the stage at Mezzrow on March 23, 2015. Here are three more deep examples:
Michael’s ADORÉE, which he wrote for the late singer Jimmy Scott:
A brisk THE NEARNESS OF YOU:
Ellington’s wonderful THE MOOCHE:
(I thought this performance was especially delicious: in the ideal world, there would be the two-CD set of this trio performing Ellington and Strayhorn.)
Hereis the first part of the beautiful music created that evening.
Lester would have loved to play with this trio. I felt his admiring spirit in the room.
*This quotation comes from THE LESTER YOUNG READER, ed. Lewis Porter (Smithsonian, 1991): 189.
I begin somberly . . . but there are more cheerful rewards to follow.
As the jazz audience changes, I sense that many people who “love jazz” love it most when it is neatly packed in a stylistically restrictive box of their choosing. I hear statements of position, usually in annoyed tones, about banjos, ride cymbals, Charlie Parker, purity, authenticity, and “what jazz is.”
I find this phenomenon oppressive, yet I try to understand it as an expression of taste. One stimulus makes us vibrate; another makes us look for the exit. Many people fall in love with an art form at a particular stage of it and their development and remain faithful to it, resisting change as an enemy.
And the most tenaciously restrictive “jazz fans” I know seem frightened of music that seems to transgress boundaries they have created . They shrink back, appalled, as if you’d served them a pizza with olives, wood screws, mushrooms, and pencils. They say that one group is “too swingy” or “too modern” or they say, “I can’t listen to that old stuff,” as if it were a statement of religious belief. “Our people don’t [insert profanation here] ever.”
But some of this categorization, unfortunately, is dictated by the marketplace: if a group can tell a fairly uninformed concert promoter, “We sound like X [insert name of known and welcomed musical expression],” they might get a booking. “We incorporate everyone from Scott Joplin to Ornette Coleman and beyond,” might scare off people who like little boxes.
Certain musical expressions are sacred to me: Louis. The Basie rhythm section. And their living evocations. But I deeply admire musicians and groups, living in the present, that display the imaginative spirit. These artists understand that creative improvised music playfully tends to peek around corners to see what possibilities exist in the merging of NOW and THEN and WHAT MIGHT BE.
One of the most satisfying of these playful groups is ECHOES OF SWING. Their clever title says that they are animated by wit, and this cheerful playfulness comes out in their music — not in “comedy” but in an amused ingenuity, a lightness of heart. They have been in action since 1997, and when I saw them in person (the only time, alas) in 2007, they were wonderfully enlivening.
This action photograph by Sascha Kletzsch suggests the same thing:
They are Colin T. Dawson, trumpet / vocal; Chris Hopkins, alto sax; Bernd Lhotzky, piano; Oliver Mewes, drums. And they are that rarity in modern times, a working group — which means that they know their routines, and their ensemble work is beautiful, offering the best springboards into exhilarating improvisatory flights. They are also “a working group,” which means that they have gigs. Yes, gigs! Check out their schedule here.
Here is a 2013 post featuring their hot rendition of DIGA DIGA DOO, and an earlier one about their previous CD, MESSAGE FROM MARS, with other videos — as well as my favorite childhood joke about a Martian in New York City here. And while we’re in the video archives, here is a delicious eleven-minute offering from in November 2014:
and here they are on German television with a late-period Ellington blues, BLUE PEPPER:
All this is lengthy prelude to their new CD, aptly titled BLUE PEPPER:
The fifteen songs on the disc are thematically connected by BLUE, but they are happily varied, with associations from Ellington to Brubeck and Nat Cole, composers including Gordon Jenkins, Rodgers, Bechet, Waller, Strayhorn — and a traditional Mexican song and several originals by members of the band: BLUE PEPPER / AZZURRO / BLUE PRELUDE / LA PALOMA AZUL / BLUE & NAUGHTY / BLUE MOON / BLACK STICK BLUES / BLUE RIVER / OUT OF THE BLUE / AOI SAMMYAKU [BLUE MOUNTAIN RANGE] / THE SMURF / BLUE GARDENIA / THE BLUE MEDICINE [RADOVAN’S REMEDY] / WILD CAT BLUES / AZURE.
What one hears immediately from this group is energy — not loud or fast unless the song needs either — a joyous leaping into the music. Although this band is clearly well-rehearsed, there is no feeling of going through the motions. Everything is lively, precise, but it’s clear that as soloists and as an ensemble, they are happily ready to take risks. “Risks” doesn’t mean anarchy in swingtime, but it means a willingness to extend the boundaries: this group is dedicated to something more expansive than recreating already established music.
When I first heard the group (and was instantly smitten) they sounded, often, like a supercharged John Kirby group with Dizzy and Bird sitting in while at intervals the Lion shoved Al Haig off the piano stool. I heard and liked their swinging intricacies, but now they seem even more adventurous. And where some of the most endearing CDs can’t be listened to in one sitting because they offer seventy-five minutes of the same thing, this CD is alive, never boring.
A word about the four musicians. Oliver Mewes loves the light-footed swing of Tough and Catlett, and he is a sly man with a rimshot in just the right place, but he isn’t tied hand and foot by the past. Bernd Lhotzky is a divine solo pianist (he never rushes or drags) with a beautiful lucent orchestral conception, but he is also someone who is invaluable in an ensemble, providing with Oliver an oceanic swing that fifteen pieces could rest on. I never listen to this group and say, “Oh, they would be so much better with a rhythm guitar or a string bassist.”
And the front line is just as eloquent. Colin T. Dawson is a hot trumpet player with a searing edge to his phrases, but he knows where each note should land for the collective elegance of the group — and he’s a sweetly wooing singer in addition. Chris Hopkins (quiet in person) is a blazing marvel on the alto saxophone — inventive and lyrical and unstoppable — in much the same way he plays the piano.
And here is what my wise friend Dave Gelly wrote: It’s hard to believe at first that there are only four instruments here. The arrangements are so ingenious, and the playing so nimble, that it could be at least twice that number. But listen closely and you will discover just a quartet of trumpet, alto saxophone, piano and drums – with absolutely no electronic tricks. The style is sophisticated small-band swing, the material a judicious mixture of originals and swing-era numbers and there is not a hint of whiskery nostalgia in any of it. It’s about time this idiom received some fresh attention and here’s the perfect curtain-raiser.
Most people know pianist / singer / composer Mike Lipskin as a direct link to the great tradition of stride piano — a student of Willie “the Lion” Smith, and an exuberant improviser, someone eager to experiment with key changes, offering “a trick a minute.” The master saxophonist Michael Hashim also offers us dazzling buoyancies whenever he plays, an inexhaustible flow of ideas, wonderfully executed. But both of these players also shine in more pensive modes — sweet balladry, introspective explorations of Ellington and Strayhorn: music to dream by (with a few bouncing swing showpieces for good measure).
An appreciative audience heard them in duet on November 17, 2014, downstairs at Mezzrow (163 West Tenth Street, New York City) and we delighted in their deep improvisations and affection for the songs themselves.
I am delighted to share with you the debut CD of an inspired quartet — the Unaccounted Four — a disc called (appropriately) PLAYGROUND, where the arranged passages are as brilliant as the improvisations, and the two kinds of expression dance beautifully through the disc.
Menno plays cornet, wrote the arrangements, and composed three originals; David plays clarinet and tenor saxophone; Martien plays guitar; Joep is on string bass; Harrie ven de Woort plays the pianola on the closing track, a brief EXACTLY LIKE YOU. The disc was recorded at the PIanola Museum in Amsterdam on four days in May 2014 — recorded superbly by bassist Joep.
The repertoire is a well-stirred offering of “classic” traditional jazz repertoire: STUMBLING, CHARLESTON, LIMEHOUSE BLUES, ROYAL GARDEN BLUES, JUBILEE, EXACTLY LIKE YOU; beautiful pop songs: AUTUMN IN NEW YORK, JEANNINE (I DREAM OF LILAC TIME), ALL GOD’S CHILLUN GOT RHYTHM, LULLABY OF THE LEAVES; originals: WHAT THE FUGUE, UNGUJA, PLAYGROUND; unusual works by famous composers: Ellington’s REFLECTIONS IN D; Bechet’s LE VIEUX BATEAU; and Ravel’s SLEEPING BEAUTY. Obviously this is a quartet with an imaginative reach.
A musical sample — the Four performing JUBILEE and LULLABY OF THE LEAVES:
Here is Menno’s own note to the CD:
A few years ago, I wanted to have my own jazz quartet to play what is known as “classic jazz.” Besides being nice to listen to, I intended the quartet to be versatile, convenient and different. That is why I bypassed the usual format of horn + piano trio. Our instrumentation of two horns, guitar and bass allows for varied tone colors. The venues where we play don’t need to rent a piano, and we don’t have to help the drummer carry his equipment from the car. As for versatility, David Lukacs, Merien Oster and Joep Lumeij are excellent readers and improvisers. They are also great company to hang out with (convenience again).
Our repertoire dates from the 1920s and 30s. The earliest piece is the adaptation of Ravel’s Pavane de la belle au bois dormant (1912); the latest is Ellington’s Reflections in D (1953), not counting my own tunes. While writing the charts, I chose to frame the familiar (and not-so-familiar) tunes in a new setting, rather than following the original recordings. So, for better or worse, the Unaccounted Four sounds like no other band. I promise you will still recognize the melodies, though!
The recording was made at the Pianola Museum in Amsterdam by Joep Lumeij with only two microphones. Minimal editing and postprocessing was done (or indeed possible).
On the last track, Harrie van de Voort operated a pianola which belted out Exactly Like You while we joined in. It is the only completely improvised performance on this disc. Autumn in New York is at the other end of the spectrum with every note written out.
I hope you will enjoy the Unaccounted Four’s particular brand of chamber jazz.
Menno’s statement that the Unaccounted Four “sounds like no other band” is quite true. If I heard them on the radio or on a Blindfold Test, I might not immediately recognize the players, but I wouldn’t mistake the band for anyone else. I think my response would be, “My goodness, that’s marvelous. What or whom IS that?”
Some listeners may wonder, “If it doesn’t sound like any other band, will I like it?” Fear not. One could put the Four in the same league as the Braff-Barnes quartet at their most introspective, or the Brookmeyer-Jim Hall TRADITIONALISM REVISITED. I think of the recordings Frankie Newton made with Mary Lou Williams, or I envision a more contemplative version of the 1938 Kansas City Six or the Kansas City Four.
But here the CD’s title, PLAYGROUND, is particularly apt. Imagine the entire history of melodic, swinging jazz as a large grassy field. Over there, Bobby Hackett and Shorty Baker are talking about mouthpieces; in another corner, Lester Young, Gil Evans, and Miles Davis are lying on their backs staring at the sky. Billy Strayhorn and Claude Thornhill are admiring blades of grass; Frank Trumbauer is introducing Bix Beiderbecke and Eddie Lang to Lennie Tristano and Oscar Pettiford; Tony Fruscella and Brew Moore are laughing at something witty Count Basie has said. Someone is humming ROYAL GARDEN BLUES at a medium tempo; another is whistling a solo from the Birth of the Cool sides.
You can continue this game at your leisure (it is good for insomniacs and people on long auto trips) but its whimsical nature explains PLAYGROUND’s particular sweet thoughtful appeal.
It is music to be savored: translucent yet dense tone-paintings, each three or four-minute musical interlude complete in itself, subtle, multi-layered, full of shadings and shifts. The playing throughout is precise without being mannered, exuberant when needed but never loud — and happily quiet at other times. Impressionism rather than pugilism, although the result is warmly emotional.
Some CDs I immediately embrace, absorb, and apparently digest: I know their depths in a few hearings. With PLAYGROUND, I’ve listened to it more than a half-dozen times, and each time I hear new aspects; it has the quiet resonance of a book of short stories, which one can keep rereading without ever being bored.
For me, it offers some of the most satisfying listening experiences I have had of late.
The CD can be downloaded or purchased from CDBaby, downloaded from iTunes or Amazon; or one can visit Menno’s own site here, listen to sound samples, and purchase the music from him.
Enjoy the PLAYGROUND. You have spacious time to explore it.
Although the physicists explain gravely that time — make that Time — is not a straight line but a field in which we may meander, it often feels as if we are characters in a Saul Steinberg cartoon, squinting into the looming Future while the Past stretches behind us, intriguing but closed off. We anxiously stand on a sliver of Now the thickness and length of a new pencil, hoping for the best.
Jazz, or at least the kind that occupies my internal jukebox, is always balancing (not always adeptly) Then and Now. For some, Then is marked in terms of dates: this afternoon in November 1940, or this one in July 1922. The most absorbed of us can even add artifacts and sound effects: uncontrollable coughing, a trout sandwich, the sound of dancers’ feet in a ballroom.
But for me, Then is a series of manifestations, imagined as well as real, that have no particular date and time.
Bix and Don Murray watching a baseball game. The Chicago flat where Louis and friends drank Mrs. Circe’s gin and told stories. Mezz Mezzrow on the subway. Strayhorn auditioning in Ellington’s dressing room. Mystics Boyce Brown, Tut Soper, and Don Carter, each imagining the universe in his own way. Eddie Condon picking up the tenor guitar. Hot Lips Page shaking a Texan’s hand. Art Hodes and Wingy Manone politely deciding who gets to wear the bear coat tonight. Francene and Frank Melrose having Dave Tough and friends over for a scant but happy meal of rice and peppers. E.A. Fearn making a suggestion. Billy Banks arriving late for the record date. Bird washing dishes while hearing Art Tatum. Joe Oliver having a snack in a Chinese restaurant.
Any jazz fan who has read enough biography can invent her own mythography of the landmarks of Then.
Now, although it recedes as I write this, is a little easier to fix in time and space, in the way one pushes a colored push-pin through a map.
Andy Schumm, cornet and archives; Dan Barrett, trombone; Dan Levinson, reeds; John Sheridan, piano; Howard Alden, banjo; Kerry Lewis, string bass; Ricky Malichi, drums: late in the evening of September 20 at the 2013 Jazz at Chautauqua, now reinvented as the Allegheny Jazz Party.
OLD MAN SUNSHINE (LITTLE BOY BLUEBIRD):
SHAKE THAT JELLY ROLL:
LITTLE WHITE LIES (in an arrangement inspired by British Pathe sound film of the Noble Sissle band — and piling rarity upon rarity — giving us a glimpse of Tommy Ladnier playing):
DEEP NIGHT:
GET GOIN’ (in honor of the Bennie Moten band, which also had spiders to deal with in Kansas City):
KEEPIN’ OUT OF MISCHIEF NOW (Sheridan’s verse gets everyone in the right mood):
RIVERBOAT SHUFFLE:
18TH AND RACINE (a street intersection in Chicago / an Andy Schumm original / the title track of the Fat Babies’ delicious new CD on Delmark Records):
SOMEBODY STOLE MY GAL (with a wonderful surprise at 3:00 — why isn’t there a whole CD of this?):
See you in Cleveland, Ohio, between September 18 and 21, 2014, for more of the same delicious time-superimpositions, courtesy of the Allegheny Jazz Party, where such things happen as a matter of course.
Between 2005 and 2008, the Dutch photographer and jazz scholar Jaap van de Klomp began a series of soulful pilgrimages in honor of the men and women who had created the music he so loves.
The result is the lovely and often sad book of photographs, JAZZ LIVES, which takes its subtitle, TILL WE SHALL MEET AND NEVER PART, from the words chiseled into Lester Young’s gravestone.
Yes, gravestone.
Every jazz lover knows the familiar photographs of our heroes and heroines: Billie Holiday with her dog; Louis Armstrong snappily dressed in London; Charlie Parker on the bandstand. But where are our idols now?
The two hundred and more pages of JAZZ LIVES document where their mortal remains lie: with elaborate gravestones, unmarked plots of overgrown land, monuments proud and forlorn. Jaap took his camera across the United States and Europe to capture these landscapes, resulting in a heartfelt pilgrimage to shrines of the dead. Each photograph is accompanied by a concise biography by Scott Yanow, and the book is organized by instruments once played.
The gravestones sometimes speak of posthumous reputation and fame: huge blocks of costly stone or unmarked areas of grass. A monument for Ellington and empty space for Bud Powell. An essay by Dan Morgenstern opens the book; one by the jazz musician and writer Bill Crow closes it. A simply written but evocative essay by the photographer himself explains something about his travels.
But the graves say so much — by presence and absence, reality and implication — about Scott Joplin, King Oliver, Serge Chaloff, Vic Dickenson, Andrew Hill, Sarah Vaughan, Illinois Jacquet, Django Reinhardt, Jack Teagarden, Britt Woodman, Al Grey, Johnny Dodds, Sidney Bechet, John Carter, Russell Procope, Pee Wee Russell, Jimmy Dorsey, Eric Dolphy, Willie the Lion Smith, Gigi Gryce, Roland Kirk, Coleman Hawkins, Dexter Gordon, John Coltrane, Wardell Gray, Stuff Smith, Red Norvo, Milt Jackson, Lionel Hampton, Hank Mobley, Jelly Roll Morton, Art Tatum, Lil Hardin Armstrong, Thelonious Monk, Bill Evans, Teddy Wilson, Herbie Nichols, Eddie Lang, Charlie Christian, Grant Green, Charles Mingus, Scott LaFaro, Milt Hinton, Jimmie Blanton, George Duvivier, Jo Jones, Zutty Singleton, Denzil Best, Billy Higgins, Sidney Catlett, Gene Krupa, Chick Webb, Ivie Anderson, Bessie Smith, Jimmy Rushing, Frank Sinatra, Billie Holiday, Ray Charles, Johnny Hartman, Mary Lou Williams, Count Basie, Benny Goodman, Billy Strayhorn, Sun Ra, Bennie Moten, W. C. Handy, Tadd Dameron, Benny Carter, Thad Jones, Oliver Nelson, and others.
To give some sense of the breadth of his searching, the gravestones of trumpet players included in this book are: Buddy Bolden, Bunk Johnson, Louis Armstrong, King Oliver, Bix Beiderbecke, Hot Lips Page, Henry Red Allen, Cootie Williams, Roy Eldridge, Dizzy Gillespie, Fats Navarro, Kenny Dorham, Miles Davis, Chet Baker, Clifford Brown, Booker Little, Lee Morgan, Lester Bowie.
Jaap, born in 1940, has been involved with the music and the musicians for more than half a century, including Sonny Rollins, Dexter Gordon, Johnny Griffin, Donald Byrd, Kenny Drew, and Kenny Clarke among others.
But he is not only a person of great feeling and a fine photographer. Jaap is one of those rare souls who wants to share what he has done. He wrote this to me, “The book which is sold out in the Netherlands by now will not be reprinted and has been proven to be physically too heavy for worldwide distribution. In this form I still hope to reach more jazz enthusiasts with a book which was a great pleasure to make.and which is still a very dear project to me.”
He has offered to make his book available as a digital download — for free — to anyone who emails him at info@jaapvandeklomp.nl with JazzLives in the subject line. The whole book is about 150 MB and it might take a few minutes to download.
This is generosity without hidden motive, and it is a beautiful work of art and devotion.
JAZZ LIVES 