Speak Like A Child is a composition by Wayne Shorter, recorded in 1983 in Lugano, Italy. It features Herbie Hancock on piano, Ron Carter on bass and Billy Cobham playing drums.
Eye Of The Hurricane is a Hancock original. Also recorded at Palazzo dei Congressie, Lugano in 1983, it displays the unusual and inventive talents of all 3 musicians to the delight of all!
In 1958 Benny Golson was inspired by the woman he was dating to write “Along Came Betty”. It has since become a favorite of saxophonists, guitarists and piano players. Eventually, Jon Hendricks wrote some lyrics. The first recording of “Along Came Betty” was on the seminal hard bop album “Moanin’” by Art Blakey and the Jazz Messengers. It featured an all-Philadelphia cast of Art Blakey (drums), Lee Morgan (trumpet), Benny Golson (tenor saxophone), Jymie Merritt (bass) and Bobby Timmons (piano).
The ensemble for this updated performance consists of Javon Jackson (Tenor), Phill Harper (trumpet), Benny Green (piano), Robin Eubanks (trombone), Peter Washington (bass) and of course Art Blakey (drums).
For nearly 70 years, Sonny Rollins has been one of the most influential saxophonists in jazz. Like Miles Davis, he has experimented with many different sounds and evolved through several stylistic periods … but I prefer his more straight ahead stuff the most, as exemplified here.
Here’s To The People is an original tune, recorded live in 1992 at the Philharmonic Hall in Munich, Germany. Sonny’s sextet includes Clifton Anderson on trombone, Mark Soskin at the piano, Jerome Harris on electric guitar, the great Bob Cranshaw on electric bass, and Yoron Israel playing drums. If you like a driving tenor sax, this one’s for you!
I’m An Old Cowhand incorporates Rollins and a couple of the most innovative collaborators in jazz, with a highly creative effort that will take you back to the cowboy movies of your kidhood. Listen for Shelly Manne on drums and Ray Brown on bass escorting you across musical lines to the days of Bob Steele, Lash LaRue and Johnny Mack Brown!
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.
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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