Tin Tin Deo – Tommy Flanagan Trio

by | Jun 21, 2019 | Trio

Tin Tin Deo was written by Gil Fuller and Chano Pozo … first recorded by James Moody and His Bop Men.  The song has become a jazz standard but I’ve often wondered, “What does it mean?”  It could be an eggcorn of “te entiendo” which is Spanish for “I understand you.”  Granted, that may be a bit of a stretch but lots of old jazz men named their songs based on what they heard rather than what may have been grammatically correct. It’s no farther out than Charles Mingus’ “Ecclusiastics” or Miles Davis’ “Solar” which many people pronounce so-LAR instead of soler.  This recording features Tommy Flanagan on piano, George Mraz on bass and Lewis Nash drums.

Thad Jones & Mel Lewis Big Band

by | Jun 15, 2019 | Big Band

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).

An Earlier, Gentler Sarah

by | Jun 7, 2019 | Vocal

Just two words:  Sarah Vaughan.  That pretty much says it all.  Notice the slight nervousness of a young girl who wasn’t quite yet “Sassy” in this 1958 recording of Lover Man.

Eleven years later, Sarah shows greater polish and raises some goosebumps with Polka Dots And Moonbeams.  Her trio of Johnny Veith (p), Gus Mancuso (b) and Eddy Pucci (d) offer the perfect complement for The Divine One.

Land Of Passion – Hubert Laws

by | May 31, 2019 | Quartet/Quintet

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.

Honeysuckle Rose / Tea For Two – Anita O’Day

by | May 17, 2019 | Vocal

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.

Mr. Pastorius / Eighty One – Miles Davis

by | May 10, 2019 | Quartet/Quintet

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. 

Eighty-One

by Miles Davis | E.S.P.

Poinciana – Ahmad Jamal

by | May 3, 2019 | Quartet/Quintet

“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.

Thelonious Monk In Japan

by | Apr 19, 2019 | Quartet/Quintet

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!

Makin’ Whoopee – Dr. John & Ricki Lee Jones

by | Apr 12, 2019 | Video, Vocal

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!

A Child Is Born – Pepper Adams

by | Apr 5, 2019 | Quartet/Quintet

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.