Tag Archives: Miles Davis

BOB MERRILL CELEBRATES THE TRUMPET KINGS in FLORIDA (January 19 / 20, 2018)

Even though the snow is beginning to melt, the thought of going to Florida for some warm music is very attractive: Bob Merrill’s shows at the Kravis Center in West Palm Beach, to be exact.

The amiable and expert Bob — trumpet, vocals, original compositions — has put together a concert presentation, engaging, hot, and sweet, to warm up our winter.  Here’s a sample from his 2011 presentation (with John Colianni, Jon Burr, and Vinny Raniolo):

For those who can’t hop a plane to Florida to see and hear Bob, he’s generously offered us another piece of Trumpet King memorabilia: the wonderful Herb Snitzer photograph of brass royalty (Louis was of course on the bus somewhere):

and since even I couldn’t identify everyone correctly without some notes, here’s the crib sheet:

and Herb autographed this wonderful photograph for Bob:

Another idea for those who can’t get themselves to the shows.  Check out Bob’s CDs here and here.  He’s got the right ideas.

May your happiness increase!

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DAN MORGENSTERN RECALLS GENE AMMONS, DEXTER GORDON, ERROLL GARNER, DON BYAS, AND CHICAGO DAYS (September 29, 2017)

On this wintry day — the blizzard outside my New York window looked like bits of ripped-up tissues falling from the skies — what could be more warming than thirty-five minutes with Dan Morgenstern telling tales of his Chicago days, including the story of Gene Ammons’ release from jail?  And Dan reminds us that jazz “is a communal music,” and tells tales of King Kolax and jazz on television as well:

and here’s the second part where Dan talks about jazz on television — the wonderful show “JUST JAZZ,” produced by Robert Kaiser and featuring Erroll Garner, Don Byas, Dexter Gordon, Bobby Hackett and Vic Dickenson:

Thank you, Dan, for warming not only this day but any other day you’re on the scene.

May your happiness increase!

“RADICAL SWING TRIO”: TAD SHULL, ROB SCHNEIDERMAN, PAUL GILL at MEZZROW (September 3, 2017): THE SECOND SET

On September 3, I had the immense pleasure of visiting Mezzrow, that shrine for fascinating rhythms and floating melodies, to hear two sets by tenor saxophonist Tad Shull, pianist Rob Schneiderman, and string bassist Paul Gill.  Ted called the group his “Radical Swing Trio,” which to him means a return to the roots: strong melodies, logical emotive improvisations, lovely ballads.  And, as I said the first time, don’t be put off by “Radical”: this trio would have been forward-looking but comfortable in the fabled New York jazz past, although they are far from being archaeologists.  Listen, and be delighted.

Here ‘s their first set.

Tad began the second set with Dizzy Gillespie’s onomatopoetic OO-BOP-SH’BAM from 1946:

Harold Arlen’s lovely ballad, OUT OF THIS WORLD, with Latinate roots:

Tadd Dameron’s GNID — one of those whimsical titles invented in the recording studio (I would guess) for an endearing melody:

The gorgeous ballad by Jule Styne and Sammy Cahn, only sixteen bars, which in some way belongs to the youthful Sinatra — I FALL IN LOVE TOO EASILY:

Wayne Shorter’s BLACK NILE:

And the justly famous blues line (think of Miles, Lucky Thompson, Gene Ammons), WALKIN’:

Very rewarding music — in the tradition but original and lively.

May your happiness increase!

“RADICAL SWING TRIO”: TAD SHULL, ROB SCHNEIDERMAN, PAUL GILL at MEZZROW (September 3, 2017): THE FIRST SET

Jazz from a Sunday night on West Tenth Street, but hardly as ordinary as those words would suggest, for the site was not just the Street, but Mezzrow, that wonderful jazz club now beginning its fourth year of sustaining the musical community:

The participants I enjoyed on September 3 were the “Radical Swing Trio”: Tad Shull, tenor saxophone; Rob Schneiderman, piano; Paul Gill, string bass.  Here’s their first set.

If the word RADICAL scares you off, it’s merely (I think) a way of saying that this trio, although aware and respectful of the past, players and composers and idioms, is not tied to it: they create rather than replicate.  And swing is not tied to any year: it flourished in 1960 as well as in 1940.  Hear for yourself how beautifully Tad, Rob, and Paul make it blossom in 2017.

Tadd Dameron’s TADD’S DELIGHT:

Jackie McLean’s OMEGA:

THE NEARNESS OF YOU.  “In D.”:

Eddie Harris’ FREEDOM JAZZ DANCE:

Monk’s WELL, YOU NEEDN’T:

and as a closer, Hank Mobley’s SOUL STATION:

Another set was just as exhilarating, with seriously focused, lyrical performances of music associated with Dizzy Gillespie, Dameron, Miles, Wayne Shorter, and a pair of lovely ballads.  It, too, will appear here.

May your happiness increase!

I CALL ON MICHAEL HASHIM (PART ONE: July 19, 2017)

“Triptych,” photograph by Phillip Johnston, 2017

One of the first musicians I met when I returned to live jazz in New York (2004-2005) was the wonderful drummer Kevin Dorn, and through Kevin I met a number of musical individualists.  One who made a powerful impression on me was saxophone master — no hyperbole here — Michael Hashim , whom I have heard over the years, memorably, on alto, tenor, and soprano.  If you’ve been on the scene since the middle Seventies, you’ve run into Michael (sometimes “Mike”) playing with everyone from Jimmy Rowles, Benny Carter, Sammy Price, the Widespread Jazz Orchestra, and now with a variety of small groups and happily with the Microscopic Septet.

The saxophones of the Microscopic Septet: Phillip Johnston, Michael Hashim, Don Davis, Dave Sewelson, 2017

Michael is also singular because of his sharply focused memory for people and sounds and events (and, sometimes, absurdities) and his wide range of interests. I can talk with him about art, comix, photography, literature, and I will come away more deeply informed.  You will also see in these video interviews his dazzling articulateness: none of this is scripted, but he’s never at a loss for words: he’s not affected but his speech is polished and balanced.

Earlier this summer, as another tributary to the interviews I’ve been doing with Dan Morgenstern (and there are more), I casually asked Michael if he’d be interested in sitting for my camera.  He was, and so we spent a few hours on the afternoon of July 19, my admiring Michael’s insights and feeling terribly fortunate that I could record them for posterity.  And, as you can see, he enjoyed himself.

Incidentally, since I called on Michael (in the words of that venerable magazine feature by Pete Martin in The Saturday Evening Post sixty years ago) to tell us stories, to be a spiritual tour guide to worlds that many of us never encountered, I have chosen photographs of his very expressive face — without the ubiquitous saxophone attached.

Here are two of the five segments I recorded: lose yourself in Michael’s tales. They are memorable and irreplaceable, full of surprises.

First, a wonderful collection of faces and places, including — in one breath — Miles Davis and the World’s Greatest Jazz Band, memories of the great jazz film collector David Chertok, ending with words of wisdom from patriarch Jon Hendricks:

Second, recollections of Jimmy Rowles and his world:

And since Michael is music as well as words, here is a 2012 duet performance with pianist Spike Wilner of a beautiful Ellington song:

There’s more to come.  How reassuring it is to me to know that Michael Hashim exists and flourishes.

May your happiness increase!

“SPEEDY RECOVERY”: MAY 1949

Most formulaic greeting cards you can buy in the chain pharmacies are now probably three or four dollars, and they are pleasant enough expressions of sentiment (or humor) that the sender hopes will make the patient feel better. Or, as a display on the side-table, they suggest, “I have friends who care about me!” which is an entirely understandable sentiment.

Here is a singular jazz get-well card, from May 1949.  It costs a bit more: ten thousand dollars.  But you’ll see why.

and a closer look at the signatures:

The seller explains:

Unique, one of a kind, original vintage concert program for the Festival International de Jazz held at the Salle Pleyel in Paris [France] from 8th May – 15th May, 1949, featuring Charlie Parker, Miles Davis, Sidney Bechet, and many more. The program has been authentically signed and inscribed on the front cover by Charlie Parker (“Speedy Recovery Charlie Parker”), Miles Davis (“Best Wishes Miles Davis”), Tadd Dameron (“Get well quick Tadd Dameron”) and Max Roach (“Wishing A Speedy Recovery Max Roach”). Also signed inside the program by Don Byas (“Best regards Don Byas”). The original owner of the program was a young British jazz fan. He married in 1949 and he and his wife honeymooned on the continent and attended the Paris Jazz festival at this time. Judging from the various inscriptions we must assume he wasn’t feeling well the night he obtained the autographs. The festival, by the way, marked the first European appearances for both Charlie Parker and Miles Davis.

Moving inside the souvenir booklet:

and:

and:

and:

the Don Byas signature as well as a photograph of Jimmy McPartland, the man no one associates with this festival:

and:

finally, the back cover:

The souvenir booklet is, of course, incredibly rare.  But what delights me as much as its existence is the untold short story of the young British fan and his new bride.  He must have approached his heroes and told them, not only that he admired them and would like them to sign his program, but that he was ill. Were the Americans charmed by the young couple and their English accents?  Were they feeling paternalistic to the ailing young man?  (Notice that Don Byas either didn’t hear the young man’s tale or didn’t care much about it.)  But he obviously made enough of an impression on the American jazz stars for them to write kind words to him.

I even wonder if he was ill in their hotel room after the concert and his young bride took the program to Bird, Miles, Tadd, Max, and Don, and prettily asked a favor of them, explaining that her husband was out of sorts. And we don’t know why he was sick.  Was it the strange food that had made him ill?  The crossing to France?  We can only imagine these events, but it’s clear that someone prized this souvenir of his and his bride’s honeymoon.  And now it’s on eBay.  What that says about us I couldn’t begin to fathom.

This I can fathom, though — some music from that festival:

May your happiness increase!

“PLASTIC, OR PAPER?”

Late last year, I did one of my periodic eBay browsings, which have provided many images for this blog.  The items below are no longer for sale, but the images are available for us to linger over.

In HERE AT THE NEW YORKER, Brendan Gill told a story of showing his friend, the writer William Maxwell, a Roman coin he had bought, and Maxwell thoughtfully saying, “The odds are on objects.”  A cryptic utterance, but my time spent on eBay suggests that Maxwell was right.  For one thing, objects are longer-lived than their owners, and they are put up for sale.

These thoughts are motivated by yet another visit to that site — in this case, to a “store” which has folded its tents as far as jazz and big band collectors are concerned.  But they offered these four artifacts for sale.  The seller knew their value: the prices ranged from $279.20 to $2,399.20.  But looking is free.

Here is a postwar V-Disc, its talk and music taken from the April 26, 1947 WNEW Saturday Night Swing Session, hosted by Art Ford, featuring Louis, Jack Teagarden, Sidney Catlett, Roy Ross, accordion; Nicky Tagg, piano; an unidentified string bassist.  Louis and Jack used the same pen:

louis-v-disc-front

That’s an authentic signature (to me) even if Louis didn’t have his pen, filled with green ink, on hand.

louis-v-disc-rear-signed-by-jackI coveted that disc intensely for a few minutes, then calmed myself down by thinking of the impossibility of displaying it properly — honoring Louis yet turning Jack’s “face” to the wall.  And the price, of course.  Here’s another piece of holy paper, even though this slip has been reproduced in a book on Bird (however, the seller has offered a note from the Parker collector Norman Saks, verifying the authenticity):

bird-cash-advanceWhat I would like to know, of course, is the name of the person who advanced Bird the money — not a small sum in 1950.  Whether Bird actually went to the doctor, and for what reasons, I leave to you.

From Bird to Miles — in 1957:

miles-1957and a close-up of that somewhat faded ink signature:

miles-signatureFinally, a contract for Billie to perform at the Tiffany Club in 1952:

billie-1952-contract

and a close-up of her signature and pianist / bandleader Buster Harding:

billie-1952-signature

Since none of these objects is as durable as a coin, it’s marvelous that they have survived.  Did their owners keep them safe for love of Louis, Jack, Miles, and Billie, or because of an awareness of their monetary value?  Or both?  I can’t surmise, but I am glad that these things exist for us to look at, and perhaps own.

May your happiness increase!