Jake Hanna said — more than once — “When you get too far from Basie, you’re just kidding yourself.”
Reedman Matthias Seuffert knows this well, and put his knowledge into action at the 2014 Whitley Bay Classic Jazz Party, with a delightful set of Basie music. Matthias diverted us with his tenor saxophone and clarinet; Enrico Tomasso played trumpet; the rhythm section, essential, was Martin Litton, piano; Henri Lemaire, rhythm guitar; Malcolm Sked, string bass; Richard Pite, drums.
EASY DOES IT:
Eddie Durham’s TOPSY:
THESE FOOLISH THINGS:
COUNTLESS BLUES, in honor of the 1938 Kansas City Six:
SHOE SHINE BOY:
BLUE AND SENTIMENTAL, for Herschel:
and moving into the Fifties, FLIGHT OF THE FOO BIRDS (don’t let all that manuscript paper seem intimidating):
“Easy does it” isn’t just a bumper sticker or a catchphrase: it’s a way of life both inside and outside jazz. What would happen if we tried to live the Basie way? Worth considering.
And on a more pragmatic note, each of the musicians seen in the videos will be playing at the 2015 Mike Durham Classic Jazz Party — November 6-8. I’ve already started to look into airplane tickets and fares . . . a sign of great moral commitment to this Party. If you’ve never been there, and you can get there, and you don’t . . . why, you’re just kidding yourself. Where have I heard those words before?
May your happiness increase!
Posted in "Thanks A Million", Bliss!, Generosities, Ideal Places, Irreplaceable, It's All True, Jazz Titans, Mmmmmmmmmmmmm!, Pay Attention!, Swing You Cats!, That Was Fun!, The Heroes Among Us, The Real Thing, The Things We Love, Wow!
Tagged Count Basie, EASY DOES IT, Eddie Durham, Enrico Tomasso, Henri Lemaire, Herschel Evans, Jake Hanna, Jazz Lives, Kansas City Six, Malcolm Sked, Martin Litton, Matthias Seuffert, Michael Steinman, Mike Durham, Mike Durham Classic Jazz Party, Richard Pite, Rico Tomasso, swing, the Basie way, Whitley Bay Classic Jazz Party
Today would have been Lester Young’s one-hundredth birthday.
His centenarybecame a media event weeks ago. Smithsonian Magazine and the Wall Street Journal carried articles celebrating Lester’s life and art; Ted Gioia has written what looks like a fine book proposing that everything that was once outsider cutlure, “hip,” “cool,” the property of only a few trend-setters, originated with Pres. Online, there are sites devoted to the occasion (I could send someone a Pres e-card this morning, or I could subscribe to a jazz video site that promises me a new one emailed every day).
All these celebrations seem good omens that our culture, typically ignorant or dismissive of jazz, is paying attention to a heroic figure.
Would the attention have pleased Lester? I hope so. I have in my mind’s eye the account of a birthday party given in his honor at Birdland in the Fifties, where Lester cut the obligatory first piece of cake for the photographers while holding his horn in the other hand, playing I DIDN’T KNOW WHAT TIME IT WAS, both witty and apt.
And I was cheered by the blogpost written by Fernando Ortiz de Urbina, where he states the heretical but resounding truth that Lester’s influence outweigh’s Charlie Parker’s. You should read it here: http://jazzofftherecord.blogspot.com/2009/08/lester-young.html — his blog, not incidentally, is named EASY DOES IT, in Lester’s honor. And as I write this, WKCR-FM is playing Lester’s music — for free — and it can be accessed online at http://www.wkcr.org.
But I wonder how much posthumous affection and attention we would have to give Lester to make up for the hurts he suffered. His feelings, once wounded, stayed that way. His father threw him out of the family band because he couldn’t read music (although he played his part magnificently by ear); later, his section-mates in the 1934 Fletcher Henderson band mocked him because he didn’t sound like their idol Coleman Hawkins, and insisted that Fletcher get another tenor player; John Hammond discouraged Count Basie from raising Lester’s salary although Lester was that band’s star; he could not make a success of his own small band; the United States Army did its best to destroy him; a legion of “grey boys” played his phrases back to him in clubs and concerts for more money; he ended his days in New York, sitting by his window, playing mournful Frank Sinatra records, drinking cognac.
It is no accident that some of his most unforgettable solos — BLUES IN THE DARK, I LEFT MY BABY, FINE AND MELLOW — sound like a heartbroken man trying to hold back tears. Can love that comes too late make up for its absence? I don’t think so.
Posted in Awful Sad, Irreplaceable, Jazz Titans, Pay Attention!, The Real Thing
Tagged BLUES IN THE DARK, centenary, Charlie Parker, Coleman Hawkins, Count Basie, EASY DOES IT, Fernando Ortiz de Urbina, FINA AND MELLOW, Fletcher Henderson, Frank Sinatra, I LEFT MY BABY, jazz blog, Jazz Lives, Lester Young, Michael Steinman, Ted Gioia, Willis Handy Young, WKCR-FM