Blues On Sunday was recorded at the Philharmonic Hall in Munich during the Munich Piano Summer 1994. Joshua Redman is on saxophone, Brad Mehldau at the piano, Christian McBride on bass and Brian Blade plays drums.
The 1970 Beatles tune Let It Be was performed by the Joshua Redman Quartet in 2013 at Jazz In Marciac. It features Joshua Redman, saxophone; Aaron Goldberg, piano; Reuben Rogers, contrabass; and Gregory Hutchinson, drums.
While most often listed as a saxophonist, I prefer the sound of Frank Wess on the flute. Though the tune is nameless, Flauta Jazz uses the same chords as Ellington/Strayhorn Take The ‘A’ Train. Sound Familiar?
The Very Thought Of You is a jazz and pop standard, first recorded and published in 1934 with music and lyrics by Ray Noble. Frank Wess applies his own magic touch along with big band backing.
The first song is from Shelly Manne’s Check Mate album, based upon the T.V. show (1960-1962) of the same name … it’s called The Isolated Pawn.
Shelly Manne and his Men are comprised of Russ Freeman on piano, Richie Kamuca on tenor, Conte Candoli playing trumpet, Monte Budwig at the bass and, of course, Shelly Manne himself on drums. Shelly has been called “the most musical drummer who ever lived” and virtually any of his solos will bear that out.
The second tune is Speak Low, from the 1943 Broadway play One Touch of Venus and features the same ensemble. Both performances were recorded live in 1962 for Jazz Scene U.S.A. at Shelly’s Manne Hole in Los Angeles, CA.
Chet Baker and Paul Desmond are not a pairing you hear everyday, which is why I wanted to share them here even though the audio-video synchronization seems a bit off. The addition of Bob James on keyboards, Ron Carter playing contrabass and Steve Gadd’s drums round out a combo with a sound that swirls the Autumn leaves to new heights … and is irresistible if your toes or fingers tend to tap!
Everyday I Have The Blues is a blues song that has been recorded in a variety of styles over the years, with the two most familiar versions by the Count Basie Orchestra and B.B. King. The McGriff/Crawford arrangement brings it back from a big band setting to it’s funkier roots, opening up with Jimmy uncharacteristically playing piano, along with the more familiar Hammond that is featured throughout.
The tune was recorded in San Diego California in 1989 with Jimmy at the organ, Hank Crawford on alto sax, Bob DeVos on guitar and Jimmy Smith at the drums. You can hear the B.B. King and Basie [with Joe Williams] recordings just below the video.
Whether playing jazz, pop or R&B, flutist Hubert Laws possesses a distinctive, instantly recognizable sound. While he swings with the best of them, his classical roots are evident throughout his music. Laws’ contributions to the Count Basie Big Band, Gil Evans Orchestra and The Crusaders, as well as his own highly successful jazz ensembles, notably place him in the company of the most recognized and respected flutists in the history of jazz,
“Land Of Passion”, a Hubert Laws original, features Hubert on flute, David Budway, piano, Rob Mullins, keyboards, John Leftwich, bass, and Ralph Penland, on drums.
Blue Mitchell was the complete trumpet player, with a direct, lightly swinging sound that fit right in with Blue Note records’ musical mindset of the 1960s. That sound comes through loud and clear on “Hi-Heel Sneakers” as he is joined by Junior Cook on tenor sax, Chick Corea piano, Gene Taylor on bass and Al Foster playing drums.
Mitchell often tends to be overlooked today, perhaps because he spent most of his career as a much sought after side man. Given that he led his own group for only a short period of time, he never really had the chance to stand out in the public eye, despite his considerable talent. Listening to “Park Avenue Petite” it’s easy to hear where he got the nickname “Blue”. Here he’s joined by Wynton Kelly at the piano, Sam Jones on bass and Philly Joe Jones on drums.
Miles Davis and his band recorded Mr. Pastorius on October 18, 1989 at Chelsea Studios in New York City. The tune was written by Marcus Miller as a tribute to bassist Jaco Pastorius and features Miles on trumpet, Marcus Miller on bass, Kenny Garret playing alto sax, Ricky Wellman drums and Adam Holzman on Keyboards.
Eighty-One is from the 1965 Miles Davis album E.S.P. Call it hard bop, post bop or modal jazz … by any other name, it still features the solid sound of Miles’ trumpet and some of the top musicians in jazz. Wayne Shorter plays tenor, Herbie Hancock is at the piano, Ron Carter is on double bass and Tony Williams plays drums. It was recorded during one of my favorite periods of Davis’ several evolutions.
“Poinciana” was written in 1936 by Nat Simon and Buddy Bernier, based on a Cuban folk song called “La canción del árbol”. Ahmad Jamal included a jazz cover version of the song in his album “Poinciana”, released in 1963, and it has since become associated with him to the extent that it might actually be considered his theme song. It is certainly his most requested song during personal appearances.
Bolivar Blues was recorded in 1963 in Japan just two days after the concert that produced the Columbia set Monk in Tokyo. This studio session was created for TV broadcast while Thelonious Monk was touring the country,
Evidence was part of that same studio session and featured Monk on piano, Frankie Dunlop drums, Butch Warren playing bass and the incomparable Charlie Rouse on sax. Charlie has the uncanny ability to match Thelonious’ unique style note for note!
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!