My Man / Fine and Mellow – Billie Holiday

by | Jul 26, 2019 | Vocal

My Man is another intoxicating performance by Billie Holiday, assisted by Jimmy Rowles at the piano. Her message is delivered with all of the raw honesty that made her so beloved.  As nearly as I can determine, this rendition was recorded in the late 50s or early 60s.

Fine and Mellow was recorded in 1957 together with Billie’s All Star Big Band.  While a big band doesn’t generally lend itself to a feeling of intimacy, there is no denying Holiday’s ability to rise above the power of all those instruments and pull you up close.

Blues In B-Flat – Barry Harris

by | Jul 20, 2019 | Trio

Blues in B-Flat was recorded by The Barry Harris Trio live at Dizzy’s in New York, during June of 2017.  At the age of 90 he is still going strong both performing and teaching.  When he is not on the road, Harris holds weekly music workshop sessions in New York City for vocalists, students of piano and other instruments.  Alongside Barry in the trio are bassist Ray Drummond, and drummer Leroy Williams.

Everyday I Have The Blues – Jimmy McGriff

by | Jul 12, 2019 | Quartet/Quintet

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.

Everyday I Have The Blues

by B.B. King

Everyday I Have The Blues

by Count Basie/Joe Williams

Squatty Roo / Five O’Clock Whistle – Ray Brown

by | Jun 28, 2019 | Solo/Duo, Trio

Squatty Roo was recorded in 2002 at the Bern Jazz Festival by the Ray Brown Trio.  It’s a kicky little tune written by Johnny Hodges, with Ray of course on bass, Larry Fuller at the piano and Karriem Riggins playing drums.

Five O’Clock Whistle is an exercise in “lyrical bassism” (My term, not theirs).  John Clayton joins Ray Brown in a duo setting that will have you wide-eyed and keen-eared from beginning to end.   This is something you just never hear … but here it is!

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.