The Peter Beets trio performs Waltz in C#m with the world famous Residentie Orkest The Hague (The Hague Philharmonic) at Paard (The Hague). Jazz improvisations on Chopin music were arranged for trio and symphony orchestra by Rob Horsting and Marijn van Prooijen. The trio consists of Peter on piano, Marius Beets playing double bass and Gijs Dijkhuizen on drums.
Through the years, the definitive version of One For My Baby (And One More For The Road) has been associated with Frank Sinatra … but Dianne Reeves gives ‘Old Blue Eyes’ a run for his money on this one. It’s from her 2008 appearance at the Jazzopen Music Festival in Stuttgart, Germany. Her band is comprised of Peter Martin on piano, Peter Sprague playing guitar, James Genus on bass, and Kendrick Scott on drums. Even with all of the energy Reeves typically puts into her performances, she has a lower, slower gear … and I’ve selected two of my more mellow favorites from her live concerts.
Stormy Weather was taken from Dianne’s 2012 performance at Jazzwoche Burghausen, also Germany. It’s a jazz/pop standard that she infuses with anything but a standard feeling … featuring Peter Martin at the piano, Romero Lubambo on guitar, Reginald Veal on bass, and Terreon Gully playing drums behind the vocal instrumentation of Ms. Reeves.
In 2003 a concert was held for Dismas House in St. Louis Missouri, the first halfway house in the country. It featured The Rat Pack … Frank Sinatra, Dean Martin and Sammy Davis Jr. performing at their relaxed, professional finest! The Count Basie Orchestra, led by Quincy Jones, provided much of the accompanying music.
I’ve chosen to highlight Sinatra in this video and selected Get Me To The Church On Time and Luck Be A Lady Tonight from the concert, because their performances are so very, very Sinatra. Old Blue Eyes’ ability to make a song his own is one of the elements that makes him so appealing and these tunes so enjoyable. Now … someone tell me that Frank is not actually jazz or that he doesn’t swing and I’ll be glad to send you some polka records!
The first video is one of only two existing pieces of footage of Charlie Parker in performance. This session was recorded in October 1950 in an effort to add video to some previously recorded audio tracks. Bird was smiling because Hawkins, Rich and company were trying to mime their own improvised solos and it wasn’t working out so well. Bird had a good time with it until he got into “trouble” with the producer for laughing at Hawkins. I believe the tune they are attempting to re-dress is called Celebrity.
The second video is the other piece of performance footage and is entitled Hot House. It was recorded in 1951 and ‘co-features’ Dizzy Gillespie in the days before his trumpet developed its trade mark distinctive ‘curve’. The two audio selections, Lover Man and They Can’t Take That Away From Me are simply more ‘Bird’ at his best, including a cut from his album with strings.
In this session Bird was, of course, on alto, Coleman Hawkins on tenor, Hank Jones played piano, the great Ray Brown played bass, and you’re sure to recognize Buddy Rich on drums.
When Parker got together with Dizzy Gillespie to jam, you knew the music had to be hot, so the tune was bound to be a few degrees above normal, too! If you look closely toward the end, you’ll spot Dick Hyman at the piano.
In celebration of “Bird’s” Centennial”, August 29, 2020, here are a couple of tunes from, perhaps, the greatest recording session of all time at the WOR Studios in New York on November 26,1945. In addition, the video features the original Charlie Parker Quintet playing Out Of Nowhere, also recorded at the WOR Studios a few years later in1947 … with Miles Davis (trumpet), Charlie Parker (alto sax), Duke Jordan (piano), Tommy Potter(bass), Max Roach (drums).
Ko-Ko, which sort of became Bird’s theme song, and Billie’s Bounce are both from the 1945 session. It was the first session in two years due to a ban on such recording to save on shellac as part of the war rationing effort. The dream date called for Parker, of course, Miles Davis on trumpet, Bud Powell on piano, Curly Russell on bass, and Max Roach on drums. However, Bud Powell couldn’t make the date and Dizzy Gillespie ended up playing piano, as well as sitting in for Miles on a few sets!
Next week Bird’s Centennial Celebration Part 2 features the only two existing pieces of footage showing Charlie Parker in performance.
Andre Previn actually started out playing jazz but ultimately became primarily known for his classical piano, conducting, composing and arranging in other genres, including Hollywood films (He scored more than 50 during his career). So, when someone says “Wow, he plays jazz too!” … I say “Wow, he plays classical too!” On Black & Blue Previn teams up with his friends Shelly Manne and Leroy Vinegar, while A Toujours hands the bass over to Red Mitchell. Through the years, with these trios, he recorded an entire jazz series of show tunes, piano standards and works of legendary composers. On Ellington’s Cotton Tail Andre is joined by Joe Pass and Ray Brown for some masterful syncopation!
This is a reunion of sorts, because it’s the first time that Milt Jackson, Benny Golson and Art Farmer have played together since 1958. Whisper Not was recorded at Jazzbaltica, Salzau, Germany in June, 1997. The trio is joined by Ulf Wakenius 0n guitar, Niels-Henning Orsted Pedersen on bass and Jonas Johansen playing drums. Listen for NHOP’s jaw-dropping bass solo. You just don’t hear bigger or better than these giants, who once again prove that music truly is the international language!
Kenny Burrell and Jimmy Smith were a “dynamic duo” on many jazz recordings throughout the years, mostly albums headlined by Jimmy. Jumpin’ Blues, recorded at NYC Town Hall in February of 1985, can be found on Smith’s blockbuster album Midnight Special. It features Kenny Burrell on guitar, Jimmy Smith playing the Hammond B-3, Grady Tate on drums and adds Stanley Turrentine on tenor sax to add yet another dimension to the already potent trio.
Greensleeves was recorded 20 years earlier in 1965 and netted Gil Evans a Grammy Award nomination in 1966 for Best Instrumental Arrangement. The album itself was nominated for Best Instrumental Jazz Performance. Burrell is on guitar, with Roger Kellaway on piano, Grady Tate at the drums, Willie Rodriguez on conga and Joe Benjamin playing double bass. The tune starts out like a lamb, as you would expect, and morphs into a very swinging lion before all is said and done!
Back in June of 2017, I first posted a performance of prodigy pianist Joey Alexander at the tender age of 11 … the same age he performs Giant Steps in the first video, along with Larry Grenadier on bass and Ulysses Owens, Jr. on drums. The bottom video features an original composition entitled Space, from his 2019 Indonesian concert. Now 17, he is even more spectacular and jaw-dropping than ever! Like a fine wine, Joey gets better with age … pretty much on a par with some of his heroes like Chick Corea, Bill Evans and John Coltrane.
In his young life, Alexander has already played with Wynton Marsalis at Jazz at Lincoln Center, played at the Grammy Awards, released no fewer than 5 albums, played at the Montreal and Newport Jazz Festivals and has performed at the White House at the request of two presidents. It has been said that he started playing at 6, and ‘got serious’ at 7. Beyond remarkable!
Speak Like A Child is a composition by Wayne Shorter, recorded in 1983 in Lugano, Italy. It features Herbie Hancock on piano, Ron Carter on bass and Billy Cobham playing drums.
Eye Of The Hurricane is a Hancock original. Also recorded at Palazzo dei Congressie, Lugano in 1983, it displays the unusual and inventive talents of all 3 musicians to the delight of all!
To join our Mark Of Jazz Facebook discussion group.
For more posts and to leave comments on Twitter.
As well as follow and download the Jazz Scene Podcast on iTunes, too!