Stan Kenton’s Artistry In Rhythm was first recorded and released in 1944. It is one of several songs closely associated with this prolific composer, arranger, bandleader and very underrated pianist.
Like Artistry, Tiare features the high powered Kenton Orchestra and is part of a 1972 London concert. Kenton preferred his bands to not swing, instead employing elements of the popular ballroom and classical concert hall.
This 1994 version of Down By The Riverside features Jimmy Smith together with Kenny Burrell and the Carnegie Hall Jazz Band. It is a live performance of his 1966 rendition on the album “Dynamic Duo” with Wes Montgomery doing the guitar chores.
“Peter And The Wolf” has always been one of my favorite Jimmy Smith Albums … and the Finale – Parade and Peter Plays Some Blues, for me, captures the essence of the other 5 movements. The album only recently made it to CD and download. I tried for several years to, at least, obtain the vinyl and finally discovered a single used copy in a little record shop in Detroit for the unheard of price of $3.72! I had even called Rudy Van Gelder at Van Gelder Studios in Englewood Cliffs, New Jersey only to learn that the session tapes had been lost. I’m glad they found them!
The Thad Jones & Mel Lewis Big Band was formed in New York City in 1965, but performed in countries all around the world for decades, including The Soviet Union during The Cold War years. Come Sunday is a Duke Ellington composition written in 1942 as part of the first movement of a suite entitled Black, Brown and Beige. The Groove Merchant is a Jerome Richardson original written for the band’s Central Park North album.
Both tunes performed here are from a September 1969 concert in Soburg, Denmark. The personnel roster reads like a “Who’s Who” of jazz musicians, most of whom went on to individual greatness with their own bands. Featured are Thad Jones (flhrn); Snooky Young, Al Porcino, Richard Williams, Danny Moore (tp); Jimmy Knepper, Eddie Bert, Astley Fennell (tb); Cliff Heather (b-tb); Jerry Dodgion, Jerome Richardson (as); Eddie Daniels, Joe Henderson (ts); Pepper Adams (bars); Sir Roland Hanna (p); Richard Davis (b); Mel Lewis (d).
In The Mood is one of those songs that when you hear it, you naturally think of Glenn Miller. Here, it is in the forefront of “Sun Valley Serenade” a 1941 movie that was the first of only two motion pictures featuring the Glenn Miller Orchestra. The other was 1942’s “Orchestra Wives”.
Chattanooga Choo Choo is also from “Sun Valley Serenade” which, in addition to the Miller Band, features Sonja Henie, John Payne and MIlton Berle, You’ll also enjoy the harmonies of The Modernaires and a dazzling dance performance by The Nicholas Brothers.
Harlem Nocturne was written in 1939 by Earle Hagen and Dick Rogers for the Ray Noble Orchestra, of which they were members at the time. It quickly became a jazz standard and has since been recorded by nearly 100 artists! Here are just 5 different versions, including the very first recording of the tune on Columbia Records by Ray Noble. Then there was a recording by The Viscounts that ran up the Billboard charts, not once but twice … in 1959 and again in1966. Lyrics were eventually added and in 1963 Mel Torme painted a lonely picture of nighttime in New York. While many of the others smack of a certain “stripperesque” quality, the fourth arrangement imparts a certain elegance we’ve learned to expect from Duke Ellington. Finally, a treatment of Harlem Nocturne by Illinois Jacquet that makes all the hairs on the back of my neck stand at full attention!
Sammy Davis Jr. shows his versatility on the old Ed Sullivan Show by playing drums and vibes with the big band. Then two of my favorite Davis vocals, where he equals even Ol’ Blue Eyes’ ability to make a song his own. Though not strictly a jazz musician, Sammy could swing!
“Shiny Stockings”, one of the most enduring songs in jazz, was written by Frank Foster in 1955 while he was with the Count Basie Orchestra. Not being very savvy about such things at the time, Frank gave away the rights and royalties to what has now become a jazz standard.
For years the tune was recorded by artist after artist with the revenues flowing to a company that collected on the publishing rights to songs it had acquired. It wasn’t until the early 2000’s when a close examination of U.S. Copyright Laws finally enabled Foster to collect the royalties that were rightfully his.
Now listen to Dee Dee Bridgewater, J.J. Johnson and Kenny Burrell with the Carnegie Hall Jazz Band in a live performance of that swinging homage to hosiery!
The first time I heard Maynard Ferguson was at the Pinebrook Show Tent in New Jersey and it cost me all of a dollar for a seat on a long wooden bench. I was a kid in my impressionable teens and the tent was only set up for that one summer, but I was in the front row every Friday night. I’ll never forget it! That buck bought around three hours of nearly nonstop jazz performed by the likes of Ahmad Jamal, Count Basie, Dave Brubeck, Lionel Hampton, Art Blakey, (Maynard of course) and so many others! Sometimes I think the musicians had more fun than we did.
For my money, the band Ferguson had during the 60’s was his greatest ever. It was before the days of “Theme From Rocky”, “Pagliacci”, and some of the disco tunes with which he experimented later on. The three cuts below from 1969, to me, represent the sound of that incredible orchestra and the excellence that simmered just below the surface.
Maynard Ferguson and his Orchestra play “Somewhere” from Leonard Bernstein’s musical “West Side Story” on a 1969 TV show. Whether or not you like show tunes, you’ve got to love this rendition by the original “Boss”.
Here is Maynard with his high flying treatment of “One O’Clock Jump”, a song usually associated with the Count Basie Band. Please excuse the time code in the middle of the screen, but the Orchestra was too tuned in to miss!
“Danny Boy” is a bit of a departure for the Ferguson Orchestra but is proof positive that this powerful band had a deeper third gear in addition to hot or mellow … sweet. Brass, not pipes are callin’.
Sunny Side Of The Street was recorded July 16, 1978 in Nice, France. They put on quite a show, with Arnett sounding particularly bright on tenor and Lionel singing and playing drums. Neither is an everyday sight!
Begin The Beguine, also recorded in Nice in ’78, was practically Artie Shaw’s theme song, once upon a time. Here it gets quite a different treatment between the tenor of Arnett Cobb and the vibe virtuosity of Lionel Hampton.
Lionel Hampton was in the Benny Goodman Band and a gig in 1939 required them to fly from Los Angeles to Atlantic City New Jersey. It was the first time Hampton had been on a plane. He began whistling a tune while waiting for the plane to taxi and Goodman asked him what it was. Lionel simply said, “I don’t know. We can call it Flying Home, I guess.” (Hampton later confessed that the tune was a way for him to keep his mind off of the upcoming flight.) They played it for the first time with the Goodman Quartet that night and later that year Goodman recorded the first version of the song. This rendition was filmed in 1965 and features a baritone sax solo that would have made Gerry Mulligan blush!
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