Tag Archives: Tadd Dameron

“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!

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“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!

LYRICAL SWING: HOD O’BRIEN and DARYL JOHNS at MEZZROW (March 19, 2016)

HOD JP

At this Mezzrow gig in New York City, a few months ago, the wonderful pianist Hod O’Brien had laryngitis.  But his winding melodies, his ingenious harmonies, and easy swing had their own powerful voices.  He was accompanied — in the simplest meaning of that overused word, which to me suggests a companion at one’s side — by a string bassist I’d never met before, the very youthful Daryl Johns, who will impress you as he did me.

Here are five explorations of that art form, lyrical swing improvisation.

SAVE YOUR LOVE FOR ME (Hod pointed out that this was originally done by Nancy Wilson and Cannonball Adderley, but he felt the tune in a more Basie fashion):

EV’RYTHING I LOVE:

TADD’S DELIGHT (for Mister Dameron):

and two classics —

I CAN’T GET STARTED:

TANGERINE:

Much more to come from this session.  And when I saw Hod in June, he had his voice back.

May your happiness increase!

JOURNEY TO UNMAPPED PLACES: “JAZZ LIVES: TILL WE SHALL MEET AND NEVER PART” by JAAP VAN DE KLOMP

JazzLives Blog

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.

May your happiness increase!

“OUR DELIGHT”: DAMERONIA CELEBRATES PHILLY JOE JONES’ 90th BIRTHDAY (July 16, 2013)

The composer / arranger / pianist Tadd Dameron wrote lovely, twisting melodies and arrangements, and his small groups have their own subtleties and depths.  He has been gone for some decades, sadly, but a very gratifying six-horn tribute group, DAMERONIA, will be creating a special reunion evening at New York’s Jazz Standard to celebrate the ninetieth birthday of drummer Philly Joe Jones.  Trumpeter Don Sickler will be leading an all-star band in a two-set event on July 16th.  Sets will be at 7:30 and 9:30.  Tickets are $20.

In the early 1980s legendary drummer Philly Joe Jones came up with the idea of forming a band, which he called “Dameronia,” to pay tribute to his good friend, composer/arranger Tadd Dameron. The distinctive sounds of Dameron’s melodies, harmonies and arrangements can be heard on recordings of Billy Eckstine, Count Basie, Miles Davis, Fats Navarro and Dizzy Gillespie (among countless others).  Jones wanted to contine the legacy of Dameron’s works, which included jazz standards like “If You Could See Me Now,” “Good Bait” and “Our Delight.” Philly Joe also wanted to promote other compositions and arrangements Tadd conceived for the bands Jones played in.

Jones got Don Sickler working on putting together a book of arrangements modeled after Tadd’s 1953 nonet that Philly Joe had played in, alongside Clifford Brown, Gigi Gryce, Benny Golson and Cecil Payne, and “Dameronia” took shape. Dedicated to creating a historically accurate representation of Dameron’s music, the band recorded two albums (1982, 1983), including the well received “To Tadd With Love,” and played in numerous clubs, concert halls and festivals. “Dameronia” continued to perform even after Jones’ death in 1985, with the Kenny Washington on drums: in 1989 the band performed a special Paris Concert, documented on CD.

When trumpeter/music director Don Sickler asked drummer Kenny Washington how he wanted to celebrate Philly Joe’s 90th birthday, without any hesitation Kenny said “Dameronia!” Kenny then immediately told Don who he thought should be in the new group, and most of them will be playing that evening:

Jerry Dodgion – alto saxophone, flute (recorded with Tadd Dameron and Philly Joe on Tadd’s “Magic Touch” album); Grant Stewart – tenor saxophone; Gary Smulyan – baritone saxophone; Don Sickler – trumpet; Jeremy Pelt – trumpet; Robin Eubanks – trombone; Mike LeDonne – piano; Peter Washington – bass; Kenny Washington – drums.  Tickets and more information here.

May your happiness increase!

DAN BLOCK’S NEW WORLDS: “DUALITY”

As a player expertly able to fit himself into many kinds of music, Dan Block has added his own flavorings to many sessions led by others.  But his finest accomplishments may be the four CDs under his own name: AROUND THE BLOCK (1999); DAN BLOCK PLAYS IZZY BALINE a.k.a. IRVING BERLIN (2004); ALMOST MODERN (2006); FROM HIS WORLD TO MINE: THE MUSIC OF DUKE ELLINGTON (2010).  Each of these discs is the result of deep thinking, superb musicianship, intense feeling, wit, and a pungently lively imagination.

The newest one, DUALITY, is a frankly astonishing presentation of duet performances.

On it, Dan plays tenor and baritone saxophones, Albert system clarinet and bass clarinet, among his friends and peers: Catherine Russell (vocal), Ted Rosenthal (piano), Matt Munisteri (guitar), Mark Sherman (vibraphone), Lee Hudson (string bass), Scott Robinson (reeds), Rossano Sportiello (piano), Paul Meyers (guitar), Saul Rubin (guitar), Tim Horner (drums).

The repertoire Dan has chosen ranges from Ellington, Gershwin, Styne, Beiderbecke, Kern, Dameron, from a sweetly ancient pop song to Brazilian chorino to Shostakovich.  Each piece and each performance has its own logic and splendor.  The music is varied but not self-indulgent; it is beautiful but never merely pretty.

Because creativity is intensely difficult, many experienced improvisers have a series of learned gestures appropriate to the situation they find themselves.  “You want me to fit into a 1929 big band?  OK, I’ll put on that hat.  Back a torch singer?  Can do.  It’s atonal time?  Let me rummage in my case for my special atonal galoshes.”  Dan Block never plays by-the-numbers: rather, in the best spirit, he makes it up as he goes along, adapting himself to the circumstances and adapting the circumstances to himself.

DUALITY is a beautiful representation of the many worlds Dan Block creates for us.  Each of the eleven performances has the depth of feeling and intelligence one would find in a moving one-act play.  The disc becomes a series of gratifying voyages to lands we might have thought we knew — with new beauties revealed to us on the first hearing and on subsequent visits.  There is the bouncing curiosity of THE JAZZ SAMBA, the playful conversational jousting of PITTER PANTHER PATTER, the yearning of IF YOU COULD SEE ME NOW, the water-pistol fight of LYRIC WALTZ, the shimmering melancholy of IN THE DARK . . . and so much more.

I always think it nearly rude to write, “Go here.  Buy this.  Put everything else down and listen.”  But in the case of DUALITY, I feel myself entirely justified.  Dan Block has created music that resonates long after the disc has come to a stop.  A brave explorer, he takes us along on his quests.

You can hear excerpts and purchas DUALITY here and here — and visit Dan’s own site here.

May your happiness increase. 

BEAUTY IN THE CORNER: ROSSANO SPORTIELLO and NEAL MINER (Jan. 25, 2012)

Harold Ross, who edited THE NEW YORKER, once wrote, “Talent doesn’t care where it resides.”  I think of jazz improvisation as a secret beautiful art.  Although the players are happy to have a receptive audience, often the audience’s inattention matters not at all, for the players are creating something that we happen to eavesdrop on. 

This was the feeling that the Beloved and I had listening to pianist Rossano Sportiello and string bassist Neal Miner last Wednesday, Jan. 25, 2012, at Sofia’s Ristorante (211 West 46th Street).  I had originally entertained thoughts of going there as a civilian — an ordinary listener with nothing more complicated in his hands than his drink, but the music was so quietly eloquent that I started videotaping and then asked permission of Rossano and Neal when they took a breather.

Photograph by Lorna Sass. All rights reserved. Copyright 2012.

Listening to Rossano, one hears his delicate touch, his rhythms (romping or subtle), his orchestral sense of the piano balanced with crystal-clear lines, his unerring ear for what Coleman Hawkins called “the choice notes.”  And Neal Miner embodies swinging persuasiveness.  Bass players usually get less attention than people with shiny horns.  Understandable in a way: the bass is in the lowest register and it stands to the rear of the background.  But the horn players I know admire the shape and scope of Neal’s lines and would be delighted to have invented them. 

On some of these performances, the audience is somewhat interactive.  You’ll hear someone’s comment when Rossano began to play a dreamy Liszt piece, “What is this, classical music?”  Yes, sir.  Classical and classic in the best senses of the words.  And rather than be annoyed at the people who chatted while the music was being created, I would simply hope that they went home subliminally elated by the fine loving sounds.  Maybe, with luck, someone might think, “At that bar there’s really nice background music . . . ” 

Early in the evening, a breezy optimism prevailed — even in the face of current economic reality, as the duo swung into THE BEST THINGS IN LIFE ARE FREE:

A Basie improvisation on I GOT RHYTHM changes that began as JUMPIN’ AT THE WOODSIDE and then went its own merry ways:

Indecision was never so pleasantly propulsive as in this UNDECIDED:

And the unexpected high point of the two sets — Liszt’s CONSOLATION # 3 in Db . . . a sweet musing exploration . . . then Rossano took a breath and turned the corner with Neal — uptown — to STOMPIN’ AT THE SAVOY:

And this set concluded with Tadd Dameron’s GOOD BAIT:

Talent, taking up temporary residence on 46th Street.  Beauty in the corner.  Much to be thankful for.