Combine four of the top drummers in jazz: Louis Bellson, Philly Jo Jones, Shelly Manne, and Irv Cottler –– with the flying feet of the multi-talented Caterina Valente –– and you have the formula for a truly unique performance on 1964’s popular Hollywood Palace television show (top). Then (bottom), Caterina and Ella Fitzgerald are joined by (believe it or not) Perry Como, in a spirited scat version of Al Jolson’s 1920’s swinging hit Avalon. Vintage television!
Roy Hargrove was known as one of the premier players in jazz for the past quarter-century. As an incisive trumpeter, doubling on flugelhorn, Roy was discovered by Wynton Marsalis in the 1980s. He embodied the brightest promise of his jazz generation, both as a young steward of the hard bop tradition and a savvy bridge to both hip-hop and R&B. His assertive sound embodied a tone that could evoke either burnished steel or silk and satin. Here we have both.
The topmost video I’m Not So Sure, recorded in 2007 at the New Morning in Paris, features Roy Hargrove on trumpet, Justin Robinson on alto sax, Gerald Clayton playing piano, Danton Boller at the bass, and Montez Coleman on drums. It’s funky beat is guaranteed to treat your feet! Below that to the left, Top of My Head moves all your parts with some straight ahead bop and features Roy adding a bit of vocal. The performance was for a public radio gig … and along with Hargrove on trumpet and Robinson on alto, Tadataka Unno played piano, Ameen Saleem played bass, and Quincy Phillips was at the drums. Finally, at the lower right, silk and satin are served well as flugelhorn replaces trumpet and Chivas replaces cement in the very mellow What a Wonderful World, recorded by the quartet in 1999. Roy Hargrove takes up the flugel, Mulgrew Miller is on piano, Pierre Boussaguet plays bass, and Alvin Queen is at the drums.
I have only two words for you … Samara Joy. Samara is a marvelous young jazz singer from a musical family in the Bronx New York, who has an incredibly bright future and might even out-Ella Ella one of these days! Samara’s album “Linger Awhile,” was released in September 2022, winning the award for Best Jazz Vocal Album, and she also won Best New Artist at the 2023 Grammy Awards.
The first tune (top) is the Billy Strayhorn tune Lush life … one of my perennial favorites. Next (middle left) listen to her impeccable phrasing on Can’t Get Out of This Mood, followed by Lady Be Good (middle right) as she channels Ella and adds a few ear-popping twists of her own. Finally Samara’s poignant video of Guess Who I Saw Today (bottom), a song originally composed for the Broadway musical revue New Faces of 1952. She was a new face on the jazz scene in 2021, now at the tender age of 24, if she stays on the straight-and-narrow this chanteuse is going places! Currently, she is touring the globe.
Again, please forgive the long absence of new posts on our website. Other obligations have caused me to temporarily divert my time and resources to a different endeavor, but I intend to resume regular music posts in the spring, with occasional random postings before that whenever possible. Meanwhile, continuing in the spirit of the season, and with gratitude for your continuing interest in the Mark Of Jazz, I have brought Days of Auld Lang Syne forward from our Jazz Scene Podcast page … my way of wishing you a healthy and HAPPY NEW YEAR! May 2024 bring you all the peace, joy, and success you could wish for.
Apologies for a long absence of new posts on our website. Other obligations have caused me to temporarily divert time and resources elsewhere, but I intend to resume regular music posts in the spring, if not before. Meanwhile, in the spirit of the season, and with gratitude for your hanging in there with me at the Mark Of Jazz, I have brought The Christmas Show forward from our Jazz Scene Podcast page. I’ll try to be timely in re-posting our New Years program as well. May you enjoy every minute of this musical Christmas card and have the Merriest of all Christmases with the ones you love!
From 1949 to 1978, The George Shearing Quintet was a household name and a staple in anyone’s record collection. Between George’s “Locked Hands” style of playing and the addition of vibes to the group, their sound was unique. The original group was comprised of Margie Hyams (vibes), Chuck Wayne (guitar), later replaced by Toots Thielemans, John Levy (bass), Denzil Best (drums), and of course Shearing himself (piano). The quintet underwent several changes through the years, until finally it was disbanded, in favor of trio, duo, and solo performances … until toward the end of his career Shearing made several recordings with major vocalists such as Mel Torme, Nat Cole (Pick Yourself Up – bottom), Nancy Wilson, Peggy Lee and others.
Move (above) was one of the earlier quintets after Joe Roland had replaced Margie Hyams on vibes; the tune is one of the less mellow arrangements for which the group became known. The Duke (below) is a tune written by Dave Brubeck as a nod to the great Duke Ellington. It’s a live performance with Neil Swainson accompanying Sir George Shearing on bass.
With her behind-the-beat phrasing and ironic interpretation of lyrics, Carmen McRae is considered one of the most influential jazz vocalists of the 20th century. Her heartfelt rendition of Monk’s ‘Round Midnight in 1962 (above) was only a precursor of the greatness to come. Carmen is joined here by pianist Norman Simmons, bassist Victor Sproles, and drummer Walter Perkins.
Nearing the end of her career in 1990, she performed one of my personal favorites –– On Green Dolphin Street –– in Tokyo (below left) at the Good Day Club, together with Eric Gunnison (p), Scott Colley (b), and Mark Pulice (d).
In 1980, during what some say was her “prime” (never figured how anyone can determine that, especially with the great ones), McRae paints some vivid word pictures (below right) with Miss Otis Regrets; she makes you feel like you personally missed a lunch date, but fortunately, we don’t have to miss Carmen’s impassioned performance of the Cole Porter tune.
With a strong background in R&B, and a close friendship with Ray Charles, it was only natural for saxophonist David Newman to be introduced to the world by Charles himself, through his first album––Fathead. For most of his career, Newman remained best known for his solo on Hard Times, one of the featured songs from that debut album.
Red Top is a wonderfully straight ahead jazz tune written by Lionel Hampton, performed by David “Fathead” Newman. Normally, I list the accompanying personnel, but this time, I couldn’t track anyone down––not even the singing drummer. On Newman’s Chillin’ album, everyone sounds so precisely the same that I will risk a guess, and list the group that appears on the album. Both the video and recording are circa 1998, so it may be a relatively safe bet. I’m guessing that in addition to “Fathead” on tenor, John Hicks played piano, Steve Novosel was on bass, Winard Harper on drums, and Bryan Carrott played vibes.
The second video is the familiar Blue Bossa and features “Fathead” Newman and Houston Person on dual tenor saxes, along with the Rein deGraaff Trio. It was also recorded in 1998, when they were entering their twilight years but still going strong!
Versatility abounds at The 1982 Montreal Jazz Festival with “What A Little Moonlight Can Do.” As Carmen McRae once said, “”There’s really only one jazz singer—only one: Betty Carter.”
Betty Carter is something of an acquired taste, largely owing to her fondness for ‘scat singing’ … which is also an acquired taste. Most folks either end up loving scat or hating it, but if you love it no one did it better, not even Ella. Well-l-l, maybe it’s a tie because each is so unique. Where Ella scat sings like a horn player, Carter thinks like a rhythm section and scats more like a bass player. (Below left) “Blue Moon” takes us back to France in 1968 and a younger Betty heading up The Betty Carter Trio with The Boy Edgar Orchestra. Cees Slinger played piano, Jacques Schols bass, and John Engels was on drums. (Below right) “What’s New” is another stellar performance from The 1982 Montreal Jazz Festival, featuring a most memorable Betty Carter bringing the lyrics to life, Khalid Moss on piano, Lewis Nash playing drums and Curtis Lundy on the bass.
In 1998, Betty Carter wowed The Nice Jazz Festival with her inimitable style and the Rodgers and Hart standard, “Isn’t It Romantic.” The festival was held in July and she left us merely two months later in September.
Although Mel Torme spent most of his career as a singer, he was also a drummer, pianist, arranger, author and prolific song writer. Since the age of 4, when he made his first stage appearance, and for the next 60 years, he entertained worldwide audiences with a unique, finely tuned voice that earned him the nickname of “The Velvet Fog” … much to his chagrin. As you listen to his renditions of A Nightingale Sang In Berkeley Square (L) and When Sunny Gets Blue (R) you’ll have to form your own opinion about smoooth.
Sorry, no scat singing this time. If you want to hear ‘scat’ just follow this link to our March 31, 2017 post with Mel Torme and Buddy Rich as they blow the lid off the place! I’ve moved my 1989 interview with Mel from our Jazz Scene Podcasts page to this week’s post so you can enjoy it below.
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