Sassy and Sultry Diana Krall

by | May 23, 2025 | Quartet/Quintet, Vocal

Some of Diana Krall’s fans are not necessarily jazz fans. Many seem to want a stronger focus on the vocals, which is quite understandable given how great Krall is at the microphone … and they want her to sing in a more straightforward, singer-songwriter/pop fashion, rather than using her voice as a jazz instrument or inserting improvisational passages into her piano playing.  But, that’s not who Diana is. She’s a jazz artist who puts on jazz shows. She has been playing since the age of four and performing since the age of fifteen.

During her concerts, vocals are just a part of the attraction. True jazz fans get this, and appreciate the lengthy spotlights given to Krall’s band mates as well: bassist John Clayton, drummer Jeff Hamilton, and guitarist Anthony Wilson are all phenomenal players with so much to say musically that is absolutely worth hearing. (Above) is something on the soft side from the group with Cry Me a River and (below) they pick up the tempo with East of the Sun. See what you hear!

The Artistry of Stan Kenton Pt. 2

by | May 16, 2025 | Big Band

Stan Kenton’s music has been described as “combining formal education with big-band jazz.” Blending jazz with other musical genres, he created what became the popular stage (or concert) band movement of the 1960s and ’70s … and each of these tunes is a prime example.

(Above) is Malagueña … an old Spanish folk song with flamenco stylings,dating back to the 1800s, by Cuban composer Ernesto Lecuona. It’s the story of a man telling a woman––from Málaga, Spain––how beautiful she is, and how he would love to be her man, but that he understands her rejecting him for being too poor. (Below) the Kenton Orchestra’s rendition of George Gershwin’s iconic Rhapsody in Blue. The Rhapsody is one of Gershwin’s most recognizable creations, and a key composition that defined the Jazz Age. The video was shot with a personal camcorder during a 1972 Copenhagen concert, but was never produced commercially. Chuck Carter is out front with a memorable solo on baritone sax.

The Artistry of Stan Kenton Pt. 1

by | May 10, 2025 | Big Band, Vocal

Several years ago, it became necessary for me to lay over in Chicago. I was traveling with a fellow who liked folk and country music, and even took his banjo on the road with him for entertainment during sometimes lonely nights in a strange town. Reggie had not ever really listened to jazz. To my profound delight, I discovered that Stan Kenton was playing at a supper club called Mr. Kelly’s … and I conned him into going. Kenton was his usual brand of spectacular. During the first show, all my friend could say was “Outrageous! Outrageous!!” Reg was hooked, and it took absolutely no arm twisting to get him to stay for the second show, which elicited equally enthusiastic responses from the newly christened jazz buff! Such was the magnetism of Stan Kenton and his orchestra. For anyone else who is somehow not familiar with the excellence of Stan Kenton––bandleader, pianist, and composer––you’re in for a treat.

(Above) The riveting Kenton rendition of Jimmy Webb’s Grammy Award winning song, MacArthur Park … recorded during the band’s 1972 European tour. (Top left) is There Will Never Be Another You, a 1976 throwback to the vintage Kenton sound, with Anita O’Day and The Four Freshmen. Finally, (Bottom left) is Intermission Riff, the Stan Kenton standard that was the tune that hooked me on his full, rich style and exceptionally creative arrangements.

Jaws!

by | May 3, 2025 | Big Band, Quartet/Quintet

Virtually from the beginning of his career, Eddie “Lockjaw” Davis achieved one of the primary goals of all jazz musicians: to have his own sound. Most jazz fans are able to identify “Jaws” within two or three notes. Was he a bop, swing, hard bop or early R&B improviser? Duke Ellington’s description of a “beyond category” perfectly fit “Jaws” because his highly individual voice always stood apart from everyone else. No one seems quite sure how Davis acquired the moniker “Lockjaw” (later shortened to “Jaws”) … it is thought that it either came from the title of a tune, or from his way of biting hard on the saxophone mouthpiece.

The top video, If I Had You, was recorded live in 1985 at the Jazzhus Slukefter Club in Copenhagen Denmark. Lockjaw was on tenor, Niels Jorgen Steen played piano, Jesper  Lundgaard was on bass, and Ed Thigpen was at the drums. In the middle is the jazz standard Green Dolphin Street from his Eddie “Lockjaw” Davis album … but there is nothing standard about his ‘saxy’ approach to this popular 1947 tune.  Finally, “Jaws” delivers an outrageous solo in this 1965 live performance of Jumpin’ at the Woodside … also featuring Rufus Jones on drums, Freddie Green on guitar and the rest of the Basie Band in its prime!

Green Dolphin Street

by Eddie Lockjaw Davis | Eddie Lockjaw Davis