Ballads. Put your feet up on a rainy Sunday afternoon and let the music wash away the week. In a rare appearance together, John Coltrane and Stan Getz were actually supposed to be playing Autumn In New York … but it’s the one tune they don’t play! The medley they do play consists of Autumn Leaves, What’s New and Moonlight In Vermont. Besides Coltrane and Getz on tenors, Wynton Kelly is at the piano, Paul Chambers is on bass and Jimmy Cobb plays the drums.
Take The ‘A’ Train to Jazz At The Philharmonic in Paris. The year was 1960 and Roy Eldridge was featured with all stars like Benny Carter, Don Byas, Coleman Hawkins and Jo Jones, among others from the ‘who’s who’ of jazz. An historic performance of the Ellington tune!
An Eldridge original, Rosetta, was performed just 5 years later in Paris at the Jazz festival à la Mutualité with notables such as Earl Hines, Stuff Smith, Ben Webster, Don Byas and Kenny Clarke, to name just a few of the all-stars on hand.
Sharky’s Machine is a brutal, hard-boiled crime drama starring Burt Reynolds as a burned-out Atlanta cop transferred to the absolute slime hole of Atlanta’s vice department, after a drug deal turns sour. It’s a very different role for Reynolds from the more lovable, buffoonish roles we have come to know. The soundtrack that drives the movie is superb, featuring Randy Crawford, Manhattan Transfer, The Crusaders, Sarah Vaughan, Joe Williams, Chet Baker, Peggy Lee and more!
In the top video I’ve combined the opening title sequence for the movie (1981) with a live performance of Street Life, by singer Randy Crawford and The Crusaders in 2003 at Montreux … including founder Joe Sample on piano and Ray Parker, Jr. on guitar. This is followed by two tunes from the soundtrack album, 8 To 5 I Lose by Joe Wiliams and My Funny Valentine by the very sultry Julie London. Topping things off is The Manhattan Transfer with, arguably, the most outstanding version they’ve recorded of Route 66. So, take a listen and get your kicks!
On June 6th 1944, 76 years ago, a bunch of mostly American and Brit kids saved the world from Nazism and preserved the freedom we, now, seem so ready to relinquish. Danny Boy seemed the right mood and Glenn Miller the right orchestra for a salute to all those heroic members of The Greatest Generation who so willingly made the ultimate sacrifice for liberty and justice for all.
Happy Reunion was a frequent concert feature for Gonsalves in the Ellington band’s later years. Here, Paul was at the end of his career and no longer anywhere near his prime. Still, if you take into account the close, enduring friendship between these men, and the fact that they even died only 4 months apart, this rare collaboration with just the two of them, makes for a tender and most memorable moment.
The story behind this performance seems to be that Paul Gonsalves, who had a long history of alcohol and drug abuse, had been under the weather and was late for a rehearsal with the full band. The usual Ellington strategy with a wayward musician was to call upon him for one solo after another. This video was recorded the next afternoon as the legendary tenor man again shows up late and is greeted by Ellington with, “Stinky, you juiced again?” At the end of the classic duo’s number, Gonsalves requests four kisses … an Ellington specialty. It’s a happy reunion and everything is forgiven, as always.
Unsquare Dance is a song written by Dave Brubeck in 7/4 time … a most unusual time signature that seems to be as much fun to play as it is to hear! Brubeck recorded the video for PBS broadcast in 2001, live with the London Symphony Orchestra. His son Chris appears at the piano as well. Below that is the original 1961 recording of Unsquare Dance by Dave and his quartet. If you listen closely at the end, drummer Joe Morello sighs relief from the intensity of the tune with a quiet laugh and a “Yaaa!”
In the simplest terms … Oscar Peterson plays more notes per measure than are able to be played with only 10 fingers and 88 keys. But, he plays them just the same and makes it look easy! Joe Pass is his perfect complement, as you’ll hear in both Cakewalk, also called ‘Noreen’s Nocturne’ (The top tune) and Soft Winds (The bottom one). Notice the red circles on the music sheet … that’s what Peterson’s chart typically looks like and, if you are familiar with Oscar, you know how it sounds.
He is joined on both songs by Dave Young on bass, Martin Drew playing drums and of course the Pass magic on guitar. Are these guys having fun, or what??
The Glenn Miller Orchestra Scandinavia, based in Stockholm Sweden, began operations July 1st 2010 with permission and authorization from Glenn Miller Productions in New York. The band is led by Jan Slottenäs and, arguably, offers the finest reproduction of the original Glenn Miller sound anywhere.
Moonlight Serenade (The video above) became Glenn Miller’s signature song … opening and closing each performance of the band. Below, Perfidia (Spanish for “perfidy”, meaning faithlessness, treachery or betrayal) is a throwback to the 1940s, replete with a vocal group that does The Modernaires proud. In The Mood (Just below that) is a familiar tune for anyone who has ever seen a World War II movie! While a frequently requested dance number for the Miller Band, it became closely associated with the war and the 40s era itself. GMO Scandinavia primarily performs in Sweden, Norway, Denmark and Finland. These videos were recorded at the Vasterås Concert Hall in Sweden, during 2015.
It’s no mystery why The Doodlin’ Song is so infectious when sung by Dave Lambert, Jon Hendricks and Annie Ross. Many have performed it, but Lambert, Hendricks & Ross (Later Lambert, Hendricks & Bavan) own the franchise!
What do you get when you spell “Nigeria” backwards? Would you believe Airegin, with some incredible scat singing by Dave and Jon! Annie lays back here but discretely chimes in to round out the rich sound of these masters of Vocalese.
Born in a London suburb, Cleo Laine showed early singing talent, which was nurtured by her Jamaican father and English mother. She gained recognition in both jazz and pop, becoming known for her scat singing, evidenced here in Crazy Rhythm.
In Don’t Talk about me When I’m Gone Cleo uses her more than 3 octave vocal range to subtle advantage. Her big break came when she met composer, saxophonist Sir John Dankworth in the 50s … they remained a team for most of her career..
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