Anita O’Day was one of the most original and unique voices of 20th century jazz. Since Anita never sang a song the same way twice, I hope you enjoy this rendition of Honeysuckle Rose, because you aren’t likely to hear it again!.
Frequently, Anita liked to combine a bit of vocalese with bebop, as she did here with Tea For Two. It’s a surprising arrangement, featuring both her trio and the usual self-confidence that was her hallmark.
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!
Three weeks ago, I posted Five Faces of Harlem Nocturne and had several inquiries as to why I left out the original 1955 hit recording by Sam “The Man” Taylor. Sam was a jazz and blues player who set the standard for tenor sax solos in both rock ‘n roll and rhythm and blues … and became one of the most requested session sax players in New York during the 1950s. Since I’ve always considered this to be the definitive version in the first place, I have no excuse. None whatsoever. Here to bail me out is Sam “The Man” with The Sixth Face of Harlem Nocturne.
Combine some blues with pop, add a dash of jazz, stir in a bit of boogie woogie with a smattering of rock and roll — not to mention the occasional touch of Louisiana voodoo — and you have the recipe for Dr. John! His music is a perfect example of the influence and integration of jazz with other musical styles, or the other way around if you like. Serve up Ricki Lee Jones as a delicious side dish to provide the Good Doctor with a gentle counterpoint, and it is impossible to keep your feet still whether you usually prefer Led Zeppelin or Miles Davis!
This rendition of the Thad Jones standard A Child Is Born is from a French TV Broadcast, La Grande Parade du Jazz, from Nice on July 16, 1978. The great Bill Evans is at the piano with Marc Johnson on bass, Philly Joe Jones playing drums and the perennially underrated Pepper Adams delivering a memorable solo on baritone sax.
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!
Sunny Side of the Street is an easy, swinging piece recorded in Belgium in 1958, as were all three selections. After solos by Sonny Stitt and Dizzy Gillespie, they cap it with a rare vocal duet … in fact, this may be a first!
Lover Man [Oh Where Can You Be] has become a standard. Laid back and mellow, Sonny’s solo on this one shows why his playing has frequently been compared with Charlie Parker.
Blues Walk is an uptempo tune that seems to completely absorb Stitt. Everyone is clearly having fun here … watch, particularly, the drummer’s face as Sonny soars and Dizzy patiently waits his turn!
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!