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sheetmusiclibrarypdf · 2 months ago

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Remembering Paul Desmond, American saxophonist and composer

Remembering Paul Desmond, American saxophonist and compopser.

https://player.vimeo.com/video/888301937?h=b4813a2653 Paul Emil Breitenfeld (San Francisco, November 25, 1924-New York, May 30, 1977), known as Paul Desmond, was an American jazz saxophonist (alto saxophone). He was a representative figure of mainstream jazz and cool jazz, specializing in ballads and melodic improvisation; It is also characterized by its quotes from classical music and folk songs. Born to a German father and an Irish mother, alto sax player Paul Desmond, received his first notions of music from hands of his father, who for some time had been playing the organ in a silent movie theater to accompany movie scenes and later arranged for dance orchestras. Desmond studied at San Francisco Polytechnic and at State College where she obtained a diploma in the clarinet, an instrument that had always fascinated her. It was in 1950 when he decided to adopt the alto sax as his definitive instrument and with which he had his first dabbles with professional music within Jack Fina's group. Influenced by the teacher, Johnny Hodges and especially by the sound of Pete Brown's sax, he responded to the call, ten years later, of the pianist Dave Brubeck, with whom he remained for a whopping seventeen years and whom he had known since 1943. In That group, Paul Desmond was the most talented musician of all and essentially contributed to the combo's success with his characteristic melodic style, of great purity and full of vigor and sweetness at the same time. His contribution to the great albums of Dave Brubeck, especially in the extraordinary song: "Take Five" for Columbia recorded in 1962 with the album "Time Out" was extraordinary and from then on, Desmond was recognized as the alma mater of the quartet. by Brubeck.

Outside the context of Brubeck's group, Paul Desmond recorded, not without some displeasure on Brubeck's part, some extraordinary albums with baritone sax player, Gerry Mulligan, and with guitarist, Jim Hall. Paul Desmond also recorded several albums under his name, mainly when the quartet dissolved. In the seventies, Paul Desmond almost disappeared from the jazz music scene due to his endemic attacks of laziness, his problems with alcohol and also due to the appearance of the first symptoms of the disease that would take his life: lung cancer. In 1972 he briefly reappeared alongside Dave Brubeck at the Newport Jazz Festival. He decided to write his own autobiography but again laziness prevented him from getting past the first chapter. In 1974 he settled in the famous "Half Note" in New York with his own quartet where night after night he delighted his numerous followers. An underrated saxophonist until very recently, today critics recognize him what was denied him in life: being one of the great jazz musicians of the entire West Coast of the United States and a master in the art of improvisation, with his sound being recognizable. from the first notes. Equipped with fine humor (Desmond's pseudonym, he looked it up in a telephone directory), he left all his money to the Red Cross, his Steinway piano to the Bradley's club and specified in his will that his body be cremated because, literally, I didn't want to be a monument on the way to the airport. His main influences were Johnny Hodges and especially the sound of Pete Brown's sax, also the melodic tone of Lester Young and Art Pepper. Paul Desmond's playing is fluid and airy, with little vibrato, with a much softer sound than other saxes, which is its charm. His very pure sound, his easy and inspired phrasing and his sense of swing make him one of the most popular musicians of West Coast Jazz.

Paul Desmond produced a light, melodic tone on the alto saxophone. He said he was trying to sound 'like a dry martini'. With a style similar to that of Lee Konitz, another of his influences, he quickly became one of the best-known jazz saxophonists of his time. Much of the success of Brubeck's classic quartet was due to the juxtaposition of their fluid style over Brubeck's sometimes relatively heavy, polytonal piano. An underrated saxophonist in the eighties, current critics recognize him as one of the great jazz musicians of the West Coast of the United States and a master in the art of improvisation, his sound being recognizable from the first note. His rare facility for improvised counterpoint is perhaps most evident on the two albums he recorded with baritone sax player Gerry Mulligan (Mulligan-Desmond Quartet and Two of a Mind). Desmond's playing was also notable for his ability to produce extremely high notes on his saxophone. Desmond played a Selmer Super model alto saxophone fitted with an M. C. Gregory model 4A-18M hard rubber mouthpiece, both from 1951, with a 3 ½ moderate hard Rico reed. In New York, the highways that lead to the different airports pass in front of several cemeteries.

Discography

1950The Dave Brubeck OctetDave BrubeckFantasy Records1951Brubeck/DesmondDave BrubeckFantasy Records1951Jazz at StoryvilleDave BrubeckFantasy Records1951Modern Complex DialoguesDave BrubeckAlto Records1951How Long, Baby How Long, Pt. 1&2Jack SheedyCoronet Records1951The Man I Love c/w Down in Honkytonk TownJack SheedyCoronet1952Jazz at the BlackhawkDave BrubeckFantasy1952The Dave Brubeck QuartetDave BrubeckFantasy1953Jazz at OberlinDave BrubeckFantasy1953Jazz at the College of the PacificDave BrubeckFantasy1954Dave Brubeck at Storyville 1954Dave BrubeckColumbia Records1954Jazz Goes to CollegeDave BrubeckColumbia1954Brubeck TimeDave BrubeckColumbia1954Gerry Mulligan/Paul DesmondPaul Desmond, Gerry MulliganFantasy1955Jazz: Red Hot And CoolDave BrubeckColumbia1955Chet Baker Quartet Plus: The Newport Years, Vol. 1Chet BakerPhilology Records1956The Paul Desmond Quartet With Don ElliottPaul DesmondFantasy1956–57Dave Brubeck Quartet Live in 1956-57 Featuring Paul DesmondDave BrubeckJazz Band1956Live From Basin StreetDave BrubeckJazz Band1956Jazz Impressions of U.S.A.Dave BrubeckColumbia1957ReunionDave Brubeck w/ Dave Van KriedtFantasy1957Jazz Goes to Junior CollegeDave BrubeckColumbia1957Dave Digs DisneyDave BrubeckColumbia1957Blues in TimePaul Desmond, Gerry MulliganVerve Records1958In EuropeDave Brubeck QuartetColumbia1958Newport 1958Dave BrubeckColumbia1958Jazz Impressions of EurasiaDave BrubeckColumbia1959Gone with the WindDave BrubeckColumbia1959Time OutDave BrubeckColumbia1959St. Louis BluesDave BrubeckMoon Records1959First Place AgainPaul DesmondWarner Bros.1960Southern SceneDave BrubeckColumbia1960Brubeck and RushingDave Brubeck w/ Jimmy RushingColumbia1960Bernstein Plays Brubeck Plays BernsteinDave Brubeck w/ Leonard BernsteinColumbia Records1960Tonight Only w/ Carmen McRaeDave BrubeckColumbia1961Time Further OutDave BrubeckColumbia61, 63, 64The Complete Recordings of the Paul Desmond Quartet With Jim HallPaul DesmondMosaic Records1961Take FiveDave BrubeckColumbia1962Desmond BluePaul DesmondRCA Victor1962Countdown - Time in Outer SpaceDave BrubeckColumbia1962Bossa Nova U.S.A.Dave BrubeckColumbia1962Brandenburg Gate: RevisitedDave BrubeckColumbia1962Late LamentPaul DesmondRCA/Bluebird Records1962Two of a MindPaul Desmond, Gerry MulliganRCA Victor1962Brubeck in AmsterdamDave BrubeckColumbia1963At Carnegie HallDave Brubeck QuartetColumbia1963Take TenPaul DesmondRCA Victor63, 64, 65Easy LivingPaul DesmondRCA Victor1963Glad to Be UnhappyPaul DesmondRCA Victor1963Time ChangesDave BrubeckColumbia1964Jazz Impressions of JapanDave BrubeckColumbia1964Jazz Impressions of New YorkDave BrubeckColumbia1964In Concert 1964Dave BrubeckJazz Connoisseur1964Bossa AntiguaPaul DesmondRCA Victor1964Dave Brubeck in BerlinDave BrubeckColumbia Records1965The Canadian Concert of Dave BrubeckDave BrubeckCan-Am Records1965Angel EyesDave BrubeckColumbia1965My Favorite ThingsDave BrubeckColumbia1965Time InDave BrubeckColumbia1966Anything Goes!Dave BrubeckColumbia1966The QuartetDave BrubeckEuropa Jazz1966Jackpot!Dave BrubeckColumbia1967Bravo! Brubeck!Dave BrubeckColumbia1967Buried TreasuresDave BrubeckColumbia/Legacy1967Take Five LiveDave BrubeckJazz Music Yesterday1967The Last Time We Saw ParisDave BrubeckColumbia1968SummertimePaul DesmondA&M/CTI1969From the Hot AfternoonPaul DesmondA&M/CTI1969Bridge Over Troubled WaterPaul DesmondA&M/CTI1971The Only Recorded Performance of Paul Desmond With the Modern Jazz QuartetPaul DesmondFinesse Records1972We're All Together Again for the First TimeDave Brubeck/Gerry Mulligan/Paul DesmondAtlantic Records1973SkylarkPaul DesmondCTI Records1973Giant BoxDon SebeskyCTI1974She Was Too Good to MeChet BakerCTI1974Pure DesmondPaul DesmondCTI1975Like Someone in LovePaul DesmondTelarc Records1975ConciertoJim HallCTI19751975: The DuetsDave Brubeck/Paul DesmondHorizon Records1975The Paul Desmond Quartet LivePaul DesmondHorizon1976At Bourbon Street, Toronto 10/75Paul DesmondArtists House197625th Anniversary ReunionDave BrubeckHorizon1977You Can't Go Home AgainChet BakerHorizon1977The Best Thing for YouChet BakerA&M1977WatermarkArt GarfunkelColumbia Read the full article

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bamboomusiclist · 10 months ago

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3/8 おはようございます。John Lee Hooker / Free Beer And Chicken ABCD-838 等更新完了しました。

Peggy Lee / Dream Street dl8411 Dorothy Carless / the Carless Torch r403 Flip Philips / Collates mgc109 Lee Konitz Plays With The Gerry Mulligan Quartet Pjlp2 Wynton Kelly / It's All Right V8588 Miles Davis / Walkin' prlp7076 Joe Pass / Virtuoso #3 2310805 Martial Sola / Piano Jazz mfp5064 Kjell Baekkelund Bengt Hallberg / Contrasts sntf601 Stanley Turrentine / the Look of Love Bst84286 Herbie Hancock / the Prisoner Bst84321 Manhattan Transfer And Gene Pistilli / Jukin' ST-778 Lightnin' Slim / London Gumbo EX8023SO-1 T-Bone Walker Joe Turner Otis Spann / Super Black Blues　BT-29003 Sippie Wallace / Sippie SD19350 Jimmy Yancey Mama Yancey / Chicago Piano Volume1 SD7229 Lonnie Mack / The Wham Of That Memphis Man F-1014 David Rea / Slewfoot KC32485 John Lee Hooker / Free Beer And Chicken ABCD-838 Olodum / Egito Madagascar 101404325

~bamboo music~

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530-0028 大阪市北区万歳町3-41 シロノビル104号

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justforbooks · 5 years ago

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Lee Konitz, jazz alto saxophonist who was a founding influence on the ‘cool school’ of the 1950s died aged 92

The music critic Gary Giddins once likened the alto saxophone playing of Lee Konitz, who has died aged 92 from complications of Covid-19, to the sound of someone “thinking out loud”. In the hothouse of an impulsive, spontaneous music, Konitz sounded like a jazz player from a different habitat entirely – a man immersed in contemplation more than impassioned tumult, a patient explorer of fine-tuned nuances.

Konitz played with a delicate intelligence and meticulous attention to detail, his phrasing impassively steady in its dynamics but bewitching in line. Yet he relished the risks of improvising. He loved long, curling melodies that kept their ultimate destinations hidden, he had a pure tone that eschewed dramatic embellishments, and he seemed to have all the time in the world. “Lee really likes playing with no music there at all,” the trumpeter Kenny Wheeler once told me. “He’ll say ‘You start this tune’ and you’ll say ‘What tune?’ and he’ll say ‘I don’t care, just start.’”

Born in Chicago, the youngest of three sons of immigrant parents – an Austrian father, who ran a laundry business, and a Russian mother, who encouraged his musical interests – Konitz became a founding influence on the 1950s “cool school”, which was, in part, an attempt to get out of the way of the almost unavoidable dominance of Charlie Parker on post-1940s jazz. For all his technical brilliance, Parker was a raw, earthy and impassioned player, and rarely far from the blues. As a child, Konitz studied the clarinet with a member of Chicago Symphony Orchestra and he had a classical player’s silvery purity of tone; he avoided both heart-on-sleeve vibrato and the staccato accents characterising bebop.

However, Konitz and Parker had a mutual admiration for the saxophone sound of Lester Young – much accelerated but still audible in Parker’s phrasing, tonally recognisable in Konitz’s poignant, stately and rather melancholy sound. Konitz switched from clarinet to saxophone in 1942, initially adopting the tenor instrument. He began playing professionally, and encountered Lennie Tristano, the blind, autocratic, musically visionary Chicago pianist who was probably the biggest single influence on the cool movement. Tristano valued an almost mathematically pristine melodic inventiveness over emotional colouration in music, and was obsessive in its pursuit. “He felt and communicated that music was a serious matter,” Konitz said. “It wasn’t a game, or a means of making a living, it was a life force.”

Tristano came close to anticipating free improvisation more than a decade before the notion took wider hold, and his impatience with the dictatorship of popular songs and their inexorable chord patterns – then the underpinnings of virtually all jazz – affected all his disciples. Konitz declared much later that a self-contained, standalone improvised solo with its own inner logic, rather than a string of variations on chords, was always his objective. His pursuit of this dream put pressures on his career that many musicians with less exacting standards were able to avoid.

Konitz switched from tenor to alto saxophone in the 1940s. He worked with the clarinettist Jerry Wald, and by 20 he was in Claude Thornhill’s dance band. This subtle outfit was widely admired for its slow-moving, atmospheric “clouds of sound” arrangements, and its use of what jazz hardliners sometimes dismissed as “front-parlour instruments” – bassoons, French horns, bass clarinets and flutes.

Regular Thornhill arrangers included the saxophonist Gerry Mulligan and the classically influenced pianist Gil Evans. Miles Davis was also drawn into an experimental composing circle that regularly met in Evans’s New York apartment. The result was a series of Thornhill-like pieces arranged for a nine-piece band showcasing Davis’s fragile-sounding trumpet. The 1949 and 1950 sessions became immortalised as the Birth of the Cool recordings, though they then made little impact. Davis was the figurehead, but the playing was ensemble-based and Konitz’s plaintive, breathy alto saxophone already stood out, particularly on such drifting tone-poems as Moon Dreams.

Konitz maintained the relationship with Tristano until 1951, before going his own way with the trombonist Tyree Glenn, and then with the popular, advanced-swing Stan Kenton orchestra. Konitz’s delicacy inevitably toughened in the tumult of the Kenton sound, and the orchestra’s power jolted him out of Tristano’s favourite long, pale, minimally inflected lines into more fragmented, bop-like figures. But the saxophonist really preferred small-group improvisation. He began to lead his own bands, frequently with the pianist Ronnie Ball and the bassist Peter Ind, and sometimes with the guitarist Billy Bauer and the brilliant West Coast tenor saxophonist Warne Marsh.

In 1961 Konitz recorded the album Motion with John Coltrane’s drummer Elvin Jones and the bassist Sonny Dallas. Jones’s intensity and Konitz’s whimsical delicacy unexpectedly turned out to be a perfect match. Konitz also struck up the first of what were to be many significant European connections, touring the continent with the Austrian saxophonist Hans Koller and the Swedish saxophone player Lars Gullin. He drifted between playing and teaching when his studious avoidance of the musically obvious reduced his bookings, but he resumed working with Tristano and Marsh for some live dates in 1964, and played with the equally dedicated and serious Jim Hall, the thinking fan’s guitarist.

Konitz loved the duo format’s opportunities for intimate improvised conversation. Indifferent to commercial niceties, he delivered five versions of Alone Together on the 1967 album The Lee Konitz Duets, first exploring it unaccompanied and then with a variety of other halves including the vibraphonist Karl Berger. The saxophonist Joe Henderson and the trombonist Marshall Brown also found much common ground with Konitz in this setting. Konitz developed the idea on 1970s recordings with the pianist-bassist Red Mitchell and the pianist Hal Galper – fascinating exercises in linear melodic suppleness with the gently unobtrusive Galper; more harmonically taxing and wider-ranging sax adventures against Mitchell’s unbending chord frameworks.

Despite his interest in new departures, Konitz never entirely embraced the experimental avant garde, or rejected the lyrical possibilities of conventional tonality. But he became interested in the music of the pianist Paul Bley and his wife, the composer Carla Bley, and in 1987 participated in surprising experiments in totally free and non jazz-based improvisation with the British guitarist Derek Bailey and others.

Konitz also taught extensively – face to face, and via posted tapes to students around the world. Teaching was his refuge, and he often apparently preferred it to performance. In 1974 Konitz, working with Mitchell and the alto saxophonist Jackie McLean in Denmark, recorded a brilliant standards album, Jazz à Juan, with the pianist Martial Solal, the bassist Niels-Henning Orsted Pedersen and the drummer Daniel Humair. That year, too, Konitz released the captivating, unaccompanied Lone-Lee with its spare and logical improvising, and a fitfully free-funky exploration with Davis’s bass-drums team of Dave Holland and Jack DeJohnette.

In the 1980s, Konitz worked extensively with Solal and the pianist Michel Petrucciani, and made a fascinating album with a Swedish octet led by the pianist Lars Sjösten – in memory of the compositions of Gullin, some of which had originally been dedicated to Konitz from their collaborations in the 1950s. With the pianist Harold Danko, Konitz produced music of remarkable freshness, including the open, unpremeditated Wild As Springtime recorded in Glasgow in 1984. Sometimes performing as a duo, sometimes within quartets and quintets, the Konitz/Danko pairing was to become one of the most productive of Konitz’s musical relationships.

Still tirelessly revealing how much spontaneous material could be spun from the same tunes – Alone Together and George Russell’s Ezz-thetic were among his favourites – by the end of the 1980s Konitz was also broadening his options through the use of the soprano saxophone. His importance to European fans was confirmed in 1992 when he received the Danish Jazzpar prize. He spent the 1990s moving between conventional jazz, open-improvisation and cross-genre explorations, sometimes with chamber groups, string ensembles and full classical orchestras.

On a fine session in 1992 with players including the pianist Kenny Barron, Konitz confirmed how gracefully shapely yet completely free from romantic excess he could be on standards material. He worked with such comparably improv-devoted perfectionists as Paul Motian, Steve Swallow, John Abercrombie, Marc Johnson and Joey Baron late in that decade. In 2000 he showed how open to wider persuasions he remained when he joined the Axis String Quartet on a repertoire devoted to 20th-century French composers including Erik Satie, Claude Debussy and Maurice Ravel.

In 2002 Konitz headlined the London jazz festival, opening the show by inviting the audience to collectively hum a single note while he blew five absorbing minutes of typically airy, variously reluctant and impetuous alto sax variations over it. The early 21st century also heralded a prolific sequence of recordings – including Live at Birdland with the pianist Brad Mehldau and some structurally intricate genre-bending with the saxophonist Ohad Talmor’s unorthodox lineups.

Pianist Richie Beirach’s duet with Konitz - untypically playing the soprano instrument - on the impromptu Universal Lament was a casually exquisite highlight of Knowing Lee (2011), an album that also compellingly contrasted Konitz’s gauzy sax sound with Dave Liebman’s grittier one.

Konitz was co-founder of the leaderless quartet Enfants Terribles (with Baron, the guitarist Bill Frisell and the bassist Gary Peacock) and recorded the standards-morphing album Live at the Blue Note (2012), which included a mischievous fusion of Cole Porter’s What Is This Thing Called Love? and Subconscious-Lee, the famous Konitz original he had composed for the same chord sequence. First Meeting: Live in London Vol 1 (2013) captured Konitz’s improv set in 2010 with the pianist Dan Tepfer, bassist Michael Janisch and drummer Jeff Williams, and at 2015’s Cheltenham Jazz Festival, the old master both played and softly sang in company with an empathic younger pioneer, the trumpeter Dave Douglas. Late that year, the 88-year-old scattered some characteristically pungent sax propositions and a few quirky scat vocals into the path of Barron’s trio on Frescalalto (2017).

Cologne’s accomplished WDR Big Band also invited Konitz (a resident in the German city for some years) to record new arrangements of his and Tristano’s music, and in 2018 his performance with the Brandenburg State Orchestra of Prisma, Gunter Buhles’s concerto for alto saxophone and full orchestra, was released. In senior years as in youth, Konitz kept on confirming Wheeler’s view that he was never happier than when he didn’t know what was coming next.

Konitz was married twice; he is survived by two sons, Josh and Paul, and three daughters, Rebecca, Stephanie and Karen, three grandchildren and a great-grandchild.

• Lee Konitz, musician, born 13 October 1927; died 15 April 2020

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theloniousbach · 2 years ago

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ON SAX/BASS/DRUMS TRIOS

NICOLE GLOVER with Tyrone Allen and Kayvon Gordon, SMALL’S JAZZ CLUB, 21 AUGUST 2022, 1st set Couch Tour

LEW TABACKIN with Boris Kozlov and Jason Tiemann, SMALL’S JAZZ CLUB, 6 AUGUST 2022, 2nd set Almost Couch Tour

RUDRESH MAHANTHAPPA with and Rudy Royston, SMOKE JAZZ CLUB, 26 AUGUST 2022, 2nd set Couch Tour

No chordal instrument is daring and, since my first exposure was Ornette Coleman, it has also meant VERY daring. Then there was John Coltrane having McCoy Tyner sit out for Chasin’ the Trane and Sonny Rollins at the Village Vanguard. But then Gerry Mulligan and Chet Baker had a significant quartet and Warne Marsh played with Red Mitchell. There’s also Lee Konitz’s Motion which, cool school and standards be damned, is one VERY daring album. More recently Mark Turner has recorded with the Fly Trio and Melissa Aldana had Crash Trio.

NICOLE GLOVER favors this format and she is a bold player, but Tyrone Allen and especially Kayvon Gordon and much subtler than her previous team of Daniel Duke and Nick Capaccio. And that allows her to be subtler too. There’s probably also more than some defensiveness in her no nonsense approach, but at this show she actually introduced tunes and bandmates. She acknowledged that this was a good audience (a Sunday 7/9:30 gig, not the usual Thursday at 10:30 one) which she commented that she only says when she means it. So she was in a good performer mood, not simply good musician mood. She is articulate, but probably both shy and disinclined to prevaricate. They opened with the likely original Open or Close which I wondered if it was Ornette Coleman with both spare figure/riff opening into a twisty melody. Allen had an acceleration and was, as the format demands, steady and full. It was Gordon who could dance around amusing himself and us with thoughtful comments. They are a good team and they serve her music too. She does Clifford Jordan’s Glass Bead Games often and it was welcome here in its early 1970s glory. Allen’s A Side was bass driven yes but much more than a riff. She arranged Vincent Youman’s Without A Song (and damn if I didn’t hear the bridge from The Song Is You in there). It was very much forward looking but I have not been aware of her doing Great American Song Book standards much. Instead it’s typically worthy fare like the Mulgrew Miller closer Eleventh Hour. As a WGCO podcast with Nate Chinen put it, she’s a bad ass with a capital B, but it’s good to see her take advantage of this band to find more spaces in the music.

LEW TABACKIN has been a name only for the entirety of my jazz listening, pigeon holed as the lead voice in the big band he co-led with Toshiko Akiyoshi. From what I read, she was the composer and arranger, but still it was a big band. But he’s been playing in this sparest of formats for a time, often with Boris Kozlov on bass. He’s 82 now and Akiyoshi, still alive, is 93 this year. He’s a bit of a gruff old man (I may be projecting) but he is full, inventive, and active. I kept thinking of Konitz but, frankly even more, Rollins. All three know tons of tunes and their improvisation is linear and melody based rather than chordal. The first was a standard I of course didn’t place but it stretched without filler. Garden at Light Time seems to be a regular flute showcase and it was evocative, as it was meant to be, of Japan. Plenty of “Orientalism” but also some realism and grit. Oscar Pettiford’s Tricotism had drive and intricacy for both Kozlov and Tabackin. Billy Strayhorn’s Chelsea Bridge was wonderful but a jazz piece to honor by stretching. Tabackin’s on Studio F, he described as free bop, but it also had a Monk quote and lots of busy playing. The closer was necessarily short but had a pleasant relaxed swing. He’s an interesting player and, not that he did, he doesn’t need to hide in Akiyoshi’s arrangements.

RUDRESH MAHANTHAPPA reconvened his Hero Trio to continue his rich engagement with Charlie Parker’s music. Rudy Royston is still magic behind the kit but Harish Raghvan replaces Francois Moutin on the bass. Raghvan’s playing was solid and just what is needed in this situation, of a piece with Allen with Glover and Kozlov with Tabackin, but I found his tone shallow. I’m perfectly willing to blame the room or the feed, but Smoke’s streams are usually so good. And, to be fair, Royston’s crisp cymbals and rolling tom toms were rich. Together they created quite a bed for Mahanthappa’s alto. The Parker tunes were deeper in the catalog as I hadn’t even heard the opener Segment. It took me a moment to get my bearings and, frankly, it didn’t seem all that Parkerish, rather like his Bird Calls album. Still the table was set to capture Parker’s playful spirit and humor and, particularly on Parker’s Red Cross, I could hear the play that Ornette Coleman also tapped into. They also did I Can’t Get Started and I’ll Remember April (also on Lee Konitz’s Motion in precisely this ensemble) to make the point that Parker played popular songs and not the Great American Song Book of jazz standards. To that end, he played Stevie Wonder’s Overjoyed in honor of all the music he heard on Sesame Street. But the most memorable tune was the theme to the video game Animal Crossing. It was catchy and jaunty and, though I can’t be sure where the theme bled into the improvisation, it was a reminder that jazz is everywhere. I came to a deeper appreciation of Mahanthappa’s appealing musical spirit and new levels of accessibility emerged for me.

This trio format requires an inventive, melodic horn (Glover is allowing herself more space with her new more lithe rhythm section; Tabackin was remarkably so; and I could hear more of Mahanthappa’s aesthetic this time around), strong basses as the rock (check again, but they are the ones stuck with the heavy lifting), and dancing drummers (Gordon got to subtly flavor things with Glover whereas Royston was more of a force but sill light on his feet.).

The sax/bass/drums combination is a challenge these nine musicians met in worthwhile ways. It was good to explore it with them.

#concert review #jazz #couch tour #almost couch tour #smoke jazz club #small’s live #small’s jazz club #2022

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852recordstores · 3 years ago

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https://www.852recordstores.com/products/lee-konitz-plays-with-the-gerry-mulligan-quartet-blue-note-tone-poet-series

Lee Konitz / Gerry Mulligan - Lee Konitz Plays With The Gerry Mulligan Quartet Blue Note Tone Poet Series LP 2021

Limited 180gm vinyl LP pressing in gatefold jacket.

Three giants of West Coast Jazz came together in this deeply swinging session recorded for the Pacific Jazz/World Pacific label in 1953. Alto saxophone master Lee Konitz joins with the great Gerry Mulligan on baritone saxophone and legendary trumpeter Chet Baker on a half-live, half-studio program of standards along with one Mulligan original. The group is supported by bassists Carson Smith and Joe Mondragon with Larry Bunker on drums for this spontaneous and inventive jazz treasure.

Blue Note Tone Poet Series

The Blue Note Tone Poet Series was born out of Blue Note President Don Was’ admiration for the exceptional audiophile Blue Note LP reissues presented by Music Matters. Was brought Joe Harley (from Music Matters), a.k.a. the “Tone Poet,” on board to curate and supervise a series of reissues from the Blue Note family of labels.

Extreme attention to detail has been paid to getting these right in every conceivable way, from the jacket graphics and printing quality to superior LP mastering (direct from the master tapes) by Kevin Gray to superb 180 gm audiophile LP pressings by Record Technology Inc. Every aspect of these Blue Note/Tone Poet releases is done to the highest possible standard. It means that you will never find a superior version. This is IT.

Blue Note Records’ Tone Poet Audiophile Vinyl Reissue Series is produced by Joe Harley and features all-analog, mastered-from-the-original-master-tape 180g audiophile vinyl reissues in deluxe gatefold packaging. Mastering is by Kevin Gray (Cohearent Audio) and vinyl is manufactured at Record Technology Incorporated (RTI).

A1: I Can't Believe That You're In Love With Me

A2: Sextet

A3: Lover Man

A4: Lady Be Good

B1: Carson City Stage

B2: Cherry

B3: Makin’ Whoopee

B4: Motel

Release Date: 17 Sept 2021

#Leon_Konitz

#Konitz-Solal

#Gerald_Joseph_Mulligan

#Blue_Note

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haightstreetrecords · 7 years ago

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Lee Konitz Plays w/ The Gerry Mulligan Quartet http://www.ebay.com/itm/-/172835262439 Chet Baker 1st Prs 1953 #Vinyl PJ #Records $149.99 #Vinylmusic #vinyligclub #vinylshop #vinylrecords #vinyladdiction #vinylcommunity #nowspinning #VinylCollectors #vinylcollection #recordshop #recordstore #recordsforsale #recordlover #recordcollectors #recordcommunity #vinyljunkie #vinylcollective #musiconvinyl #Music #ThirtyThree #Stereo

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arnostskvrdleta · 8 years ago

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Jazz

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riffsstrides · 7 years ago

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Bill Frisell, Thomas Morgan

Small Town

ECM, 2017

Bill Frisell: guitar; Thomas Morgan: double bass.

In Emma Franz's revelatory documentary, Bill Frisell: A Portrait, the guitarist talks about the many guitars he owns, and how he rarely gets to plays them—the consequence, amongst other things, of the plight musicians face when traveling by air these days. Not three months after the film's premiere at South By Southwest this past March, comes Small Town—a live recording from New York's heralded Village Vanguard that represents a number of firsts for the veteran guitarist. It's Frisell's first album for ECM as a leader/co-leader since 1988's Lookout for Hope; though, after a couple of decades of considerable activity as a guest on the label, he's begun to resurface in recent years on albums including Andrew Cyrille's unexpected (and excellent) 2016 ECM outing, The Declaration of Musical Independence, and pianist Stefano Bollani's wonderfully optimistic Joy in Spite of Everything (2014). It's also the first time, at least in some time, that he can be seen with a Gibson semi-acoustic guitar in-hand rather than the solid body Fender (or Fender-like) guitars that have largely dominated his work in recent years (though he was seen similarly using a Gibson ES-335 at his mind-blowing "Bill Frisell Plays Lennon" show, from the 2012 TD Ottawa Jazz Festival). That said, Frisell demonstrates an unalterable truth about guitar...or any instrument, for that matter. Yes, his Gibson(s) lacks the intrinsic "twang" for which his Fenders have been so important on many of his roots/Americana-centric recordings. Still, from his very first note/chord on an eleven-minute exploration of Paul Motian's title track from It Should've Happened a Long Time Ago (ECM, 1985)—the former bandleader/drummer's first album to feature the trio that, with Frisell and saxophonist Joe Lovano, lasted over a quarter century before Motian's passing in 2011, and recently collected into one of the label's Old & New Masters reissue box sets—the sound—the everything—is unmistakably Frisell. But, most importantly, Small Town represents the guitarist's first recorded encounter with Thomas Morgan in the intimate setting of a duo, the double bassist having first shown up on Frisell's film soundtrack homage, When You Wish Upon a Star (Okeh, 2016). As superb as When You Wish Upon a Star undeniably is, it's in the more naked, completely vulnerable environs of the duo—where the need for musical trust is, perhaps, at its most crucial—that the profound chemistry shared by these two thoroughly synchronized players becomes even clearer. Frisell's discography (as leader, co-leader and guest) has, since his first major recording, Eberhard Weber's Fluid Rustle (ECM, 1979), grown almost exponentially...a pace that Morgan seems to be matching, albeit not yet as a leader. Still just 35, Morgan has already built up a remarkable rich and varied résumé with other ECM artists including John Abercrombie (2009's Wait Till You See Her); the late Masabumi Kikuchi (2012's Sunrise); Tomasz Stanko's New York Quartet (2013's Wisława ); Chris Potter (2013's The Sirens); Jakob Bro 2015's Gefion); Giovanni Guidi (2013's City of Broken Dreams); Craig Taborn (2013's Chants); and David Virelles (2014's Mbókò), amongst others—and that's not to mention non-label work with significant artists ranging from David Binney and Dave Liebman to Steve Coleman and Dan Weiss. A bassist whose rare intuition is praised by Frisell as possessing "this way of almost time- traveling, as if he sees ahead of the music and sorts it all out before he plays a note...anticipating me in the moment," the guitarist also makes an important assessment of something else the pair share. Referring to the two of them as "quiet personalities," Frisell enthuses about playing with Morgan: "Whenever I play guitar," he says, "that's my true voice. It's not so dissimilar with Thomas, I think. Playing the bass is his natural way of expressing himself." Indeed, whether on record or seeing him perform, Morgan exudes a quiet introspection. Like Frisell, he seems to possess an innate ability to take a single piece of music and interpret it so differently each and every time—even with (or, perhaps, as a result of) a context that is so relatively spare and sketch- like. Frisell may be one of jazz's most fervent followers of the concept that any music can provide endless grist for exploration, with the guitarist still playing songs—originals, jazz standards, Great American Songbook tunes, and country, blues and bluegrass songs—that he first introduced, live or on record, in some cases as far back as two or more decades ago. Motian's "It Should've Happened a Long Time Ago," its simple but memorable melody providing both Frisell and Morgan with a context to explore surprisingly expansive territory—even as the pair remains completely aligned with the heart of the song at all times—is an atmospheric, gentle and attractive entry point to this 70-minute set that covers a lot of musical ground. While Frisell's tone is generally less effects- heavy than on some of his other projects, a multilayered cloud of loops can still be found closing the track, just as a thick tremolo infuses his countrified, Maybelle Carter-inspired title track. Other originals including Frisell's rubato yet eminently lyrical "Song for Andrew No. 1"—first heard on its namesake, Andrew Cyrille's The Declaration of Musical Independence but here expanded to also reference "Worse and Worse," from Frisell's Bill Frisell, Ron Carter, Paul Motian (Nonesuch, 2006)—and "Poet," an introduction, written by the guitarist, to Morgan's sole compositional contribution to Small Town, "Pearl." One of the bassist's first compositions, its melody was written on a subway during his first year at school in New York. That these two interconnected pieces—both thematically driven but with "Pearl" being the more change-heavy of the two—seem like two peas in a pod only goes to further demonstrate the deep connection that's evolved between Frisell and Morgan...and over a relatively short period of time. An impromptu "Subconscious Lee" was pulled out spontaneously when the duo learned that the song's composer, saxophonist Lee Konitz—with whom Frisell has collaborated on Kenny Wheeler's 1998 ECM masterpiece, Angel Song, and the completely impromptu quartet date, Enfants Terrible: Live at the Blue Note (Half Note, 2012)—was at the show as a spectator. It provides Frisell and Morgan a chance to flex their more traditional jazz chops with a swinging pulse, even as Frisell injects his characteristic idiosyncrasies and wit, bolstered firmly by Morgan—here, as throughout the set, ever the empathic accompanist and contrapuntal conversationalist. If there's any single precedent for Morgan, it would have to be the late Charlie Haden—a bassist who, like Morgan, was capable of playing in any musical context, while always favouring the one perfectly right note over an unnecessary many. While Morgan proves himself a beyond-capable player, it's in his ever-ideal choices, keen intuition and forward-thinking combination of push and pull that make him one of the most in-demand double bassists to have emerged in the past decade or so. Whether it's on a relatively faithful version of the folkloric "Wildwood Flower" (written by Joseph Philbrick Webster and Maud Irving in 1860, but made popular by the Carter Family in 1928) or an initially almost unrecognizable look at Fats Domino's "What a Party"—its rocking roots only emerging well over a minute in, along with the more familiar melodies—Morgan simultaneously provides both the kind of firm anchor and responsive melodic foil that allows Frisell the freedom to move at will, as virtually all eight tracks evolve organically and inevitably...all while, at the same time, doing so with surprising unpredictably. The Village Vanguard is a perfect venue for live recordings, in particular intimate ones such as Small Town, with over 70 renowned live albums recorded in this legendary venue, from John Coltrane, Gerry Mulligan and McCoy Tyner to Brad Mehldau, Keith Jarrett and Frisell himself, on the "East" disc of the two-disc East/West (Nonesuch, 2005). With Paul Zinman sharing the Village Vanguard soundboard with James Farber—the latter, well-known to ECM fans for his work at Avatar Studios, where Small Town was mixed by Farber, label head/producer Manfred Eicher, Frisell and Morgan—Small Town manages to sonically capture a live ambience while, other than applause at the end of some songs, its crystal clarity and warmth also belie its origins. In his 2011 All About Jazz interview, Bill Frisell: Ramping It Up, the guitarist responded to the idea, held by some, that his career can be defined by "periods," saying: "For me, all those things [his varied musical interests] have been pretty much there as long as I've been recording. I don't really think of it that way, but if I'm cornered and have to think about it, all the stuff has always been there. I always get uncomfortable being put into slots—that first I was an 'ECM' guy, then I was a 'Downtown' guy, and then I was an 'Americana' guy. While I was making ECM records, I was also playing with Ronald Shannon Jackson. All these things have been happening simultaneously." Six years later, with other recordings and now Small Town, Frisell proves that it's possible to bring together original music, country music, jazz standards and more in an unfettered duet setting. At the end of the day, categories matters not; genres matter not; sources matter not. Great music is where you find it and, in the hands of two players as liberated as Frisell and Morgan, anything from a rock and roll tune to a film score's title song ("Goldfinger," played with a combination of drama and levity, surprisingly capturing all the song's key arrangements despite there being just two players) can come together in a program that feels not just cohesive; it feels as though these eight songs were made to be played together. And whether Small Town's sequencing mirrors the order of the performance or not also matters not; either way, every one of these seemingly disparate musical pieces are, in the hands of Frisell and Morgan, completely of a kind. It's been a long time since Frisell has made a duo recording...almost 35 years, in fact, dating right back to the guitarist's very first solo album, In Line (ECM, 1983), where half the program was overdubbed solo guitar, the other half a duo session with Norwegian double bassist and ECM label mate Arild Andersen. That Frisell's first album for ECM as a leader/co-leader in three decades should also be a duo recording with a double bassist may be—is, most likely—purely coincidental, but there's a wonderful sense of closing a circle with Small Town. Thirty years on, Frisell is still a humble, quiet and considerate musician who seems as awe- struck, at times, to be playing with the many greats with whom he's collaborated as they do him. But as a player, a composer and a conceptualist, he's come a long way. Partnered with Morgan—yet to reveal himself as a leader, but at this point quickly becoming one of his generation's most ubiquitous, recognizable bassists and, like Frisell, a player who seems to quietly intuit what often goes past many others—Frisell has released an album that brings so many of his personal touchstones together while, at the same time, bringing its diverse program together into a unified whole. No doubt there's plenty more to come from these two—including a number of tour dates this coming summer—but with Small Town, Frisell has clearly found another ideal musical foil to add to his growing cadre of musicians with whom he collaborates on a regular basis. Intimate, beautiful and deep, while at the same time knotty, witty and curiously skewed, Small Town delivers, in many ways, on the promise of In Line's five duo tracks 35 years on, with a live set that proves great music isn't just where you find it; it's everywhere.

JOHN KELMAN in All About Jazz

#Bill Frisell #Thomas Morgan #Small Town #ECM #JOHN KELMAN #All About Jazz #discos #SPOTIFY

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diyeipetea · 7 years ago

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365 razones para amar el jazz: una portada. Lee Konitz Plays With The Gerry Mulligan Quartet [275] [A New Perspective 29]

Una portada: Lee Konitz Plays With The Gerry Mulligan Quartet (Pacific Jazz Records, 1953). Fotografía de William Claxton.

Seleccionado por José Luis Luna Rocafort. Vigésima novena entrega de la serie A New Perspective: una selección de portadas de jazz en las que la fotografía es el elemento central.

Parte de esta grabación se puede escuchar en la cuarta entrega del especial dedicado a Gerry…

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#A New Perspective #Gerry Mulligan #Gerry Mulligan Quartet #José Luis Luna Rocafort #Lee Konitz #Pacific Jazz Records #William Claxton

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jazzworldquest-blog · 8 years ago

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USA: 1st Annual LuluFest, Presented by Peggy Stern in Austin, TX June 3, Features Women-Led Bands

1st Annual LuluFest In Austin, Texas To Be Presented Saturday, June 3 By Ritenuto Foundations, Inc. In Collaboration with The St. Edward's University Music Department & Festival Founder/Artistic Director Peggy Stern

Women Bandleaders, Including Helen Sung, Ingrid Jensen, Albanie Falletta, Susanna Sharpe, & Peggy Stern, Are the Focus of LuluFest

May 22, 2017

Pianist/composer Peggy Stern is passionate about creating opportunities for women bandleaders to present their music. In 2004, she founded the Wall Street Jazz Festival, which was held for 12 consecutive years in Kingston, New York, for exactly that purpose. After relocating to Austin, Texas in the spring of 2013, Stern was inspired to continue the festival's concept in Austin's forward-thinking community.

Her new brainchild, the first annual LuluFest, is a women-led band festival that will premiere on Saturday, June 3, with concerts from 5 to 10pm and workshops scheduled throughout the day. The festival, presented by Ritenuto Foundation, Inc., in collaboration with the St. Edward's University Music Department and founder/artistic director Peggy Stern, will feature a broad spectrum of music -- from jazz to Western swing to Latin and Brazilian. The concert series will be held on Saturday, June 3, from 5:00 to 10:00 pm, at the Jones Auditorium in the Ragsdale Center at St. Edward's University, 3001 S. Congress Avenue, Austin.

The focus of LuluFest will be women bandleaders, both seasoned and up-and-coming, who have committed their lives to music.

"These festivals are my attempt to even things out, between men and women bandleaders," says Stern. "Obviously we have a long way to go, but having women in charge of the music they are presenting helps to change the tone of the jazz culture, for future (and present) composers and leaders."

The evening concert schedule is as follows:

5pm: Albanie Falletta Trio, featuring Masumi Jones

6pm: Susanna Sharpe Brazilian Quartet

7pm: Ingrid Jensen Quartet

8pm: Helen Sung Trio

9pm: Estrella Salsa, featuring Peggy Stern, Suzi Stern (no relation), Joey Colarusso, Ingrid Jensen, Daniel Durham, Mike Longoria

Daytime workshops will be instrument specific: Piano (Helen Sung); Trumpet (Ingrid Jensen); Vocals (Suzi Stern); Drums (Masumi Jones). From 12 to 1:30pm, the workshops will take place in St. Edward's University's Carriage House, and from 2 to 3:30pm, a master class will be held in the Jones Auditorium.

Workshop passes can be bought separately at $30 for adults and $15 for students, or interested musicians can buy a festival pass for $50 that grant access to both the workshops and concerts.

More information about the artists, the concept of the Festival, and fees and directions can be found at lulu-fest.com. This project is supported in part by the Cultural Arts Division of the City of Austin Economic Development Department.

Pianist/composer and native Philadelphian Peggy Stern lived, worked, and taught in New York, Boston, San Francisco, and Seattle, and toured widely throughout Europe, the U.S., Canada, Australia, and Japan, before relocating to Austin in 2013. Her music has a particularly broad ethnic base -- in addition to European and American classical music, it draws from Brazilian, African, Jewish, Irish, Cuban, and traditional jazz influences. Joining the vibrant music scene in her new home city, she intends to create a new (for her) musical genre, which she calls Cowboy Jazz.

Peggy has recorded and/or toured with such musicians as Lee Konitz, Diane Schuur, David "Fathead" Newman, Gary Peacock, Gene Bertoncini, Bud Shank, Thomas Chapin, Machito, Gerry Mulligan, and Emily Remler, to name a few. Among the many women bandleaders whom she booked to appear at her Wall Street Jazz Festival were Sheila Jordan, Ingrid Jensen, Christine Jensen, Jay Clayton, Dena DeRose, Su Terry, Claire Daly, Jamie Baum, Teri Roiger, Roberta Piket, Virginia Mayhew, Laura Dubin, Sheryl Bailey, Allison Miller, Marilyn Crispell, Jenny Scheinman, Natalie Cressman, and her own Estrella Salsa.

Peggy Stern's most recent recording is Z Octet (2016, Estrella Productions).

"It has been 16 years since Peggy Stern last applied her piano, composing and arranging talents to a mid-sized ensemble. Z Octet was worth waiting for . . . . Stern's writing weaves piano, clarinet, cello, trombone, flute, bass and drums into rich and often surprising textures. . . . The CD ends with an unlisted bonus track that makes enchanting use of cello, trombone and flute. The whole album is a bonus." -- Doug Ramsey, Rifftides

"This is Duke Ellington's brilliance, Maria Schneider's local color, and Miles Davis' diamond hard seriousness all melded and tempered by a singular mind and talent into a cogent and familiar musical statement." -- C. Michael Bailey, All About Jazz

"Peggy Stern has taken from her experiences playing in the bands of Eddie Henderson, Machito and Lee Konitz to weave a very special tapestry of indefinable music that bobs and weaves like a boxer named Ali." -- Mike Greenblatt, Classicalite

"This is music possessed of great explosions, bristling rhythms, dynamic contrasts starkly illuminated, and with unrelenting dramatic thrust. It is a record to die for." -- Raul da Gama, Jazz da Gama

Photography: Brenda Ladd

Web Sites: peggystern.com, lulu-fest.com

Media Contact:

Terri Hinte [email protected] 510-234-8781

via Blogger http://ift.tt/2qXF9m4

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bamboomusiclist · 10 months ago

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3/8 おはようございます。Dorothy Carless / the Carless Torch r403 等更新完了しました。

Peggy Lee / Dream Street dl8411Dorothy Carless / the Carless Torch r403Flip Philips / Collates mgc109Lee Konitz Plays With The Gerry Mulligan Quartet Pjlp2Wynton Kelly / It’s All Right V8588Miles Davis / Walkin’ prlp7076Joe Pass / Virtuoso #3 2310805Martial Sola / Piano Jazz mfp5064Kjell Baekkelund Bengt Hallberg / Contrasts sntf601Stanley Turrentine / the Look of Love Bst84286Herbie Hancock /…

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newonspotify · 11 years ago

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Album Information

Album - Lee Konitz Plays With the Gerry Mulligan Quartet

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Artist - Lee Konitz

Available Territories - AD AR AT AU BE CA CH DE DK EE ES FI FR GB GR HK IE IS IT LI LT LU LV MC MX MY NL NO NZ PL PT SE SG TR TW

#Lee Konitz #Lee Konitz Plays With the Gerry Mulligan Quartet #spotify #music #newonspotify

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bamboomusiclist · 2 years ago

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2/8 おはようございます。Chick Corea / Return to Forever ecm1022st 等更新しました。

Tete Montoliu / Jazz 30148B/30147B Count Basie / At The Piano dl5111 Lee Konitz / Plays With The Gerry Mulligan Quartet pjlp-2 Sarah Vaughan / Hot Jazz rlp-1024 Margaret Whiting / Sings Rodgers And Hart h-209 Lee Konitz / the Real Lee Konitz 1273 Eddie Lockjaw Davis / Cookbook vol2 Prlp7161 Yusef Lateef / Other Sounds njlp8218 Oliver Nelson / Afro American Sketch prlp7225 Miles Davis / Diggin' Prlp7281 Modern Jazz Quartet / Milt Jackson Quintet MJQ prlp7059 Prestige All Stars / Wheelin'&Deelin' prlp7131 Red Garland / Red in Bluesville Prlp7157 Chick Corea / Return to Forever ecm1022st Jorge Ben / Big Ben PHM 200-170 Robson Jorge / Robson Jorge 137997 Mutantes / Tudo Foi Feito Pelo Sol 410.6001 Doors / Other Voices eks75017 Doors / LA Woman eks75011 Doors / the Doors eks74007

~bamboo music~ https://bamboo-music.net [email protected] 530-0028 大阪市北区万歳町3-41 シロノビル104号 06-6363-2700

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theloniousbach · 5 years ago

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Program Notes: WGTE-FM’s Jazz Spectrum, 4 July 2020, “Birth of the Cool” and Jazz Arrangements

I have brought over to my old friend's jazz show, my community radio practice of using a theme to explore and organize a program. I think of it as asking questions of the music and reporting on what I find. When I fill in locally, it is for shows with regular hosts who are very knowledgeable and strong partisans of their music. In the case of the Eastern European folk music show, that knowledge is an essential guide.

While both the listeners and I have a more common language, a theme does make it easier certainly to put together three or four hours. I strive to have a very light touch, meaning to share my curiosity rather than be didactic.

I leave it to listeners/readers to determine if I am too reflexively professorial.

But, my premise was that Miles' "Birth of the Cool" opened up a world of small ensemble arranging via the contributions of Gil Evans, Gerry Mulligan, and John Lewis. I do showcase their subsequent work, but I start with "Birth of the Cool" examples from each of them interspersed with cuts from the Claude Thornhill Orchestra which included in 1946-1947 Evans, Mulligan, and Lee Konitz who is also a key part of "Birth."

It is remarkable to remember what can be done to develop musical ideas within the three minute recording length of the era. I'm a child of the 1950s, the LP, and Blue Note so that the emphasis on soloists stretching out, so that this whole exercise is a rediscovery of another side of jazz. Of course, Ellington's Blanton/Webster band's recordings which I know fairly well are similar examples. But I think of them too as miniatures. "Birth" and Thornhill offer succinct solos but also and especially very creative contexts for soloists to say their piece as quickly as possible. Here, the harmonic invention is vertical and in the ensemble whereas I learned from soloists on their own spreading out the creation horizontally.

But, from the start, "Birth of the Cool" grabbed me. It was indeed cool and Miles, Konitz, and Mulligan himself had subtle palettes to draw on. Those elements were emerging in the Thornhill Orchestra too and that interplay and juxtaposition helps me hear opportunities. I similarly mean only to suggest continuities and extrapolations in the post-"Birth" work of Evans, Mulligan, and Lewis just as Miles's playing, however many times he reinvented himself, always has some cool, some bebop, some modal throughout his career.

Subtle palettes--chords are voiced in unexpected,open ways with layers of instruments in fresh, delightful ways. In the smaller ensembles I know best, I realize through this exercise that it is the pianist often who is the ensemble. Bill Evans, say, is both playing chords in wide open, often "cool," ways while and through those voices trying to capture in the moment what these great arrangers are doing planfully.

I explore Evans's work with familiar collaborations with Davis, both "Porgy and Bess" and, later, "Blues for Pablo" from "Miles Ahead." There's also more Konitz is a latter day nonet, stretching out on a Charlie Parker tune which also probes the two great alto players quite different but equally great and therefore core similarity. I also get some Thelonious Monk in there with a Hall Overton arrangement from the Town Hall concert.

The "Song of the Week" is the only song song on "Birth," "Darn That Dream." There's the early Benny Goodman version with MIldred Bailey as well as Billie Holiday, Sarah Vaughn, and Dinah Washington. The instrumental versions are from Monk, Dexter Gordon, and Ahmad Jamal, whose work offered Miles another set of possibilities.

The last hour starts with a Black History Month All Year Round segment that unfolds from Eric Dolphy's arrangement of "Follow the Drinking Gourd" from the Africa/Brass sessions which are foregrounded by Ellington's "Work/Pt. 1" from "Black, Brown, and Beige" and Oliver Nelson's "Going Up North." The segment concludes with Herbie Hanckock's "I Have a Dream." By the later Blue Note years, he had expanded his use of horns that actually made his electronic Mwandishi band a nifty fusion outlier.

The last segment has some Mingus in the form of an orchestration of a spontaneous composition from his "Plays Piano" album. I ponder that in appreciation of Mingus's genius--he creates voicings on the fly and then goes back to flesh out what he was hearing in the moment that he sat at the piano. There's also Carla Bley using the Liberation Music Orchestra to imagine "Blue in Green," using that familiar tune as a touch point to get at what she is striving for. Finally, there's Amina Figarova's brilliant response to 9/11/2001, "Numb." She leads a sextet with a three horn frontline which includes flute. She writes and plays well, but it is enhanced by having such a band at her disposal.

Her work--and the whole show--has helped me listen better, to connect parts of the tradition, to hear the orchestra in the ensemble/piano and to hear the vertical invention in the arrangement/ensemble.

PLAYLIST

Set 1 Miles Davis, Birth of the Cool, “Move”

Claude Thornhill Orchestra, The Early Cool, “Polka Dots and Moonbeams” Miles Davis, Birth of the Cool , “Jeru”

Claude Thornhill, Early Cool “A Sunday Kind of Love”

Miles Davis, Birth of the Cool, “ Boplicity” Modern Jazz Quartet & Orchestra “Concertino for Jazz Quartet & Orchestra: Second Movement – Passacaglia”

Set 2

Miles Davis, Birth of the Cool, “Rocker”

Gerry Mulligan, Age of Steam, “K-4 Pacific”

Gerry Mulligan, Complete Concert Jazz Band, “Blueport”

Set 3

Miles Davis, Porgy and Bess, “It Ain’t Necessarily So”

Lee Konitz, Lee Konitz Nonet, "Chi Chi”

Set 4 Miles Davis, Birth of the Cool, “Darn That Dream”

Mildred Bailey, There Will Never Be Another You, “Darn That Dream”

Thelonious Monk, The Unique Thelonious Monk, “Darn That Dream”

Sarah Vaughan, No Count Sarah, “Darn That Dream”

Set 5

Billie Holiday, Complete Billie Holiday on Verve, “Darn That Dream”

Dexter Gordon, Daddy Plays Horn, ”Darn That Dream”

Clifford Brown with Dinah Washington, Dinah Jams, “Darn That Dream”

Ahmad Jamal, Chamber Music of the New Jazz, “Darn That Dream”

Set 6

Miles, Miles Ahead, “Blues for Pablo”

Thelonious Monk, Orchestra at Town Hall, “Monk’s Mood”

Set 7

Duke Ellington, Black Brown and Beige, “Part I”

Oliver Nelson Orchestra, Afro American Sketches, “Going Up North”

John Coltrane, Complete Africa/Brass Sessions, “Song of the Underground Railroad”

Herbie Hancock, The Prisoner, “I Have a Dream”

Set 8

Charles Mingus, Let My People Hear Music, “Adagio Ma Non Troppo”

Charlie Haden and the Liberation Music Orchestra, Time/Life, “Blue in Green”

Amina Figarova, September Suite, “Numb”

#2020 #jazz spectrum #jazz

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