#goodbye porkpie hat

[jt1674]

[krispyweiss]

Song Review: Joni Mitchell - “Goodbye Porkpie Hat” (Live, 1978)

The first time Joni Mitchell played “Goodbye Porkpie Hat” live on stage, the song already sounded like a standard.

That piano-and-voice debut - recorded at the 1978 Bread & Roses festival in California - follows in the wake of “Coyote” and “Traveling (Hejira) [Demo]” to further preview Joni Mitchell Archives, Vol. 4: The Asylum Years (1976-1980), which arrives Oct. 4.

Singing and scatting acrobatically over Herbie Hancock’s equally limber piano, Mitchell lands an instant knock-out punch, as evidenced by the 40-second ovation that follows the song no one had ever before experienced.

“Whoo, I love to play with Herbie,” Mitchell says through the applause.

Grade card: Joni Mitchell - “Goodbye Porkpie Hat” (Live, 1978) - A

10/1/24

[fugengulsen]

“Goodbye Porkpie Hat” | Jeff Beck Tribute 5-23-23 | Song 12 (Derek Trucks)

[findareading]

早いところ私が読み進まないと、この哀れなジャネット嬢は私の頭の中で延々苦しみ続ける。私が読み進まないかぎり、いつまでたってもコートも金の鍵も見つからない。いや、別の読者のところではもう見つかっているのかもしれない。すでにハッピーエンドを迎えているジャネットだっているかもしれない。きっとそうだ。これだけ苦しいことが連続するのだから、最後はきっと金の鍵とともに幸福な場面に至る。そうあって欲しい。そう信じる。そう祈ろう。

— 吉田篤弘著「金曜日の本──『クロークルームからの報告』より」（『針がとぶ──Goodbye Porkpie Hat』2022年8月再版、中公文庫）

[parkerbombshell]

Rules Free Radio Feb 27

Tuesdays 2pm - 5pm  EST Rules Free Radio With Steve  Caplan bombshellradio.com On the next Rules Free Radio with Steve Caplan, we’ve got some new releases with a retro sound. One is a new band called The Electromagnates, one is a new release from an obscure 60s Garage Rock Psychedelic band called The Mystic Tide, and one is by The Weeklings. Other new music by J. Robbins, Lime Garden, El Perro Del Mar, whistler Molly Lewis, Crawlers, William Doyle, Levitation Room, Les Amazones D'Afrique, and one or two more. The Searchers, Dave Edmunds, The Lemon Twigs, Dot Allison, Jimmy Page, Carla Olson, The Troggs, The Motels, Beck, Fountains of Wayne, and others. In the third hour, we’ll hear some new Jazz releases by Joel Ross and John Surman mixed in with Nina Simone, Horace Silver, Charles Mingus, and Bill Frisell. The Weeklings - All The Cash In The World The Searchers - Hearts In Her Eyes The Wonders - That Thing You Do! Dave Edmunds - Girls Talk The Lemon Twigs - Ghost Run Free The Sensitive Drunks - There She Goes The Electromagnates - Airwave Hello Dolph Chaney - Cool In The Sunshine Spygenius - Metamorphosis Foo Fighters - Learn to Fly J. Robbins - Old Soul Fountains of Wayne - Bought for a Song The Mystic Tide - Frustration Carla Olson - I Can See For Miles The Mystic Tide - Why Jimmy Page - She Just Satisfies Lime Garden - Love Song El Perro Del Mar - Between You And Me Nothing Camera Obscura - Tears For Affairs Dot Allison - Shyness of Crowns Molly Lewis - The Crying Game The Troggs - Love Is All Around Crawlers - Call It Love The Motels - He Hit Me (And It Felt Like a Kiss) Bill Baird - Night of the Living Dad The Asteroid No.4 - I Want to Touch You William Doyle - Now in Motion Beck - Mixed Bizness Les Amazones D'Afrique - Mother Murakoze Levitation Room - Cool It, Baby Ghost Note - Dry Rub Nina Simone - African Mailman Steve Herberman Trio - Delilah Vijay Iyer, Linda May Han Oh, Tyshawn Sorey - Free Spirits/Drummers Song Horace Silver - Lonely Woman Joel Ross - Mellowdee Charles Mingus - Goodbye Porkpie Hat John Surman - Flower in Aspic Bill Frisell - Invisible Read the full article

[morningwalksposts]

06.02.2024

tuesday ~ 06.02.2024

jeff beck - goodbye porkpie hat

beck, bogart, appice - superstition

jeff beck - shapes of things

jeff beck - brush with the blues

[itsmarjudgeloveclassicrock59]

The Guitar Gods - Jeff Beck w Tal Wilkenfeld - "Goodbye Porkpie Hat" - "...

[theloniousbach]

COUCH TOUR: ROBERTA PIKET AT MEZZROW’S, 2nd sets

STANDARDS with Andy McKee and Victor Jones, 2 DECEMBER 2022

ORIGINALS with Todd Coolman and Billy Mintz, 3 DECEMBER 2022

For this two night run she had separate trios with separate agendas. For the standards, she had Andy McKee and Victor Jones, especially, playing big and rich. For originals, mostly hers but a couple of Mintz’s, she had Todd Coolman and her husband (bigger than he is with Alan Broadbent, but still a master of subtlety).

Her tunes—and his—reflect her big sound but were more introspective than her take on originals. So they were quite interesting and revelatory, particularly on the heels of the standards which includedSam Rivers’ Beatrice was exquisite, but there was also Chick Corea’s Humpty Dumpty, How Deep is the Ocean to open, a nice Goodbye Porkpie Hat, and Just In Time. As she did in both sets, she sang a Tune—Just in Time on Friday and Mintz’s Looking Down On the Stars. She has an instrumentalist’s voice, thin but expressive. I think it was Lee Konitz who suggested to his students that they follow his example to sing as a way of discovering what they want to do on their instrument. So, applying that logic—and because I am no judge of vocals, I listened to her to understand how she approached the piano.

And her approach, particularly on standards, is to ornament and provide flourishes. She has ideas to add to the structures of the tunes whereas on the originals her invention obviously goes into building structures from the ground up. Also, in those structures, she has a more personal conception to convey.

Both Mintz and Jones offered impressive cymbal work, but they each fit their leader’s level of extroversion for each night. Similarly McKee and Coolman, both steady and inventive, fit in with their respective bands. McKee and Jones seem to have brought a previous connection. Mintz has that same kind of rapport with Harvie S, but he and Coolman were just as effective.

She had a good run. I’m glad I was there for it.

[zazamatic]

goodbye porkpie hat

[sklogw]

11

goodbye porkpie hat by mingus <3

[dustedmagazine]

Simon Moullier Trio – Countdown (Fresh Sound New Talent)

Time, and more specifically timekeeping, remains a fundamental component of jazz. Rhythmic signatures frequently form the basis of musical momentum, doubling as the chassis atop which melodic and harmonic development occurs. Countdown is French vibraphonist Simon Moullier’s ode to and exegesis on both the pleasures and perils of time in such contexts. It’s also a follow-up to his 2020 debut, stripped away from the protections of a larger ensemble setting. Bassist Luca Alemanno and drummer Jongkuk Kim are equally dialed in to the cause and the music is an inviting variation on math-minded jazz that never gets lost in the tall weeds of chops for chops’ sake.

Moullier picks a particularly challenging prospect as both title piece and opener, John Coltrane’s sticky wicket steeplechase. Velocious and vertiginous, it’s a dizzyingly ornate and accelerated excursion, but all of the moving parts are audible from start to breathless stop. Moullier’s mallets advance the melody and sturdy, swinging braid of Alemanno and Kim matches him at every move. The remainder of the program is a passel of standards, starting with Thelonious Monk’s “Work.” Another finely spun theme statement caroms through an obstacle course of suspensions and deviations. Once again, the three players are in synchronous step, adding accents and flourishes, keeping a close collective eye of the figurative stopwatch undergirding their interaction.

“I Concentrate on You,” “Nature Boy” and “The Song as You” reference different signposts on the songbook spectrum. The trio attacks and devours each of them with undisguised relish. Moullier’s educational background includes studies in classical and ethnic percussion, in part through study at Berklee College of Music. Those early influences contribute not only to his palette, but also a staunch refusal to rely on tropes or gimmicks. It’s an unwritten credo shared with his colleagues with evidence apparent all over these interpretations. Mingus’ “Goodbye Porkpie Hat” is unmistakable and yet still leagues different from the composer’s various conceptions in its bridging of slow burn melodic maturation and incremental rhythmic tension. Time as a resource and measure of expression is most definitely on Moullier’s side.

Derek Taylor

[jefferyryanlong]

FEEL with DJ Jeff Long - October 23, 2019

i have only one itchin’ desire

Introduction of the Players / Eye of the Hurricane (live) - Herbie Hancock Frelon Brun - Miles Davis Cold Sweat (Part I) - James Brown Fire - The Jimi Hendrix Experience Sombrero Sam - The Charles Lloyd Quartet Caramba! - Lee Morgan Watermelon Man* - Herbie Hancock The Simple Man - Tommy Guerrero Mirage Blanc (White Ghost) - Willie Ruff Goodbye Porkpie Hat - Charles Mingus Romaine - Jim Hall Stormy - Gabor Szabo Libra’s Dream - Oliver Sain  Angela (the Theme from “Taxi”) - Bob James Suicide Is Painless - Johnny Mandel Glide Time - The High Llamas Monica - Tortoise Misterioso - Sonny Rollins Tapestry from an Asteroid - Sun Ra Abdullah and Abraham - Chico Hamilton Russian Lullaby - John Coltrane Naima - Jack Wilkins The Other Woman - Nina Simone Stella by Starlight - Miles Davis How Come U Don’t Call Me Anymore - Prince Still Water - The Four Tops Baby I Need Your Loving - The Four Tops Astral Whine (An Elegy to Any War) - Moacir Santos 

* - by request

KTUH FM Honolulu - ktuh.org

[serpentinesheldonserpentine]

Wired

Before I knew of Mingus or Lester Young, I knew Goodbye Porkpie Hat from this recording. Hey I was a kid, okay? Wired also introduces Jeff’s collaboration with Jan Hammer. 

[widowerthoughts]

returning because I can

I made it back to the cemetery today, and it did indeed feel better. I didn't stay long at all though. It was extraordinarily cold. I paced around on frozen grass and sang a couple songs, quietly. I played Goodbye Porkpie Hat. Then I went off to get lunch and read the paper. I don't actually have much to do there, except to literally be there. That's the part that I can give, I suppose. I can't improve her situation, except to sweep up the headstone a bit. I have to assume that she's either entirely unreachable and gone, or perfectly happy in heaven. Either way I can't really make her happier. I certainly can't bring her back. But I can make a statement, to her, to myself, to God, to whoever passes by while I'm there, that I love her and care enough to be there.

[thefyuzhe]

Buster Keaton | Due Marines e un Generale | War Italian Style | 1966

Franco Franchi | Ciccio Ingrassia

Buster Keaton’s finale incredibly has him say goodbye to the world and the comedy team of Franco and Ciccio by slipping out of his Nazi uniform and putting on his little fellow costume and porkpie hat to evade detection.

[theloniousbach]

PROGRAMMER’S NOTES: CELEBRATING CHARLES MINGUS ON WGTE’S JAZZ SPECTRUM, 16 APRIL 2022

Please consider listening to the stream at the WGTE.org website or on the TuneIn app tonight from 7-11 CDT.

Charles Mingus was born a century ago next week, 22 April 1922. As we did for Thelonious Monk five years ago and as the long-time host did in 1999 for Duke Ellington, Jazz Spectrum devotes multiple shows to honor these giants of jazz. I got to do a show and what follows is my comments on the playlist I put together.

Mingus is certainly a volcanic force and in the very upper echelons of jazz composers. I might nose Wayne Shorter ahead of him after the undisputed leaders: Ellington/Strayhorn (b. 1915) and Monk, as he probably gets covered more. But Mingus has Ellingtonian ambition and scope, but also a knack for getting his bands to express both themselves and himself.

The first set opens with his “Duke Ellington’s Song of Love” from the Changes albums from the mid 1970s that opened up this world to me. Mingus was in Ellington’s band briefly and obviously adored him, learning not just from being in band. As I say, he orchestrated even in his small bands and found ways to get quirky players (long time drummer Dannie Richmond, Rashaan Roland Kirk, the beloved Eric Dolphy) to build on his canon and to be written for. But church is a pillar too, hence “Wednesday Night Prayer Meeting” and Ellington’s majestic “Come Sunday.”

Another pillar is Charlie Parker and that is what set 2 is about. The regular host doesn’t quite see the Mingus connection—and that’s perfectly fair. The alternate title of the actual Mingus tune that closes is “If Charlie Parker Were a Gunslinger, There’d Be a Lot of Dead Copycats (except he doesn’t say “copycats”). So I put some of the most prestigious of those acolytes doing Parker associated tunes before the punchline. They are all great players and Bird’s influence is unavoidable and should be celebrated. It is Mingus’s genius that he could evoke and build on him even more creatively than these other worthies.

Arguably, Mingus’s best known tune is “Goodbye Porkpie Hat” for Lester Young. This one too backs into the Mingus angle. There are three historic examples of Prez with his collaborations with Billie Holiday and Count Basie obvious. I read about how Young’s solo on “Sometimes I’m Happy” got incorporated into Stan Getz’s solo and this Gerry Mulligan composition for Birth of the Cool. I don’t quite hear it, but they too more generally celebrated Lester Young in their work.

Set 4 explores how the compositions have been taken up by other players. Again, I sense Shorter’s music gets played more broadly, but these are amazing tunes worth exploring as Joe Lovano does. Pepper Adams, one of those wonderfully quirky players who added much to Mingus’s bands on baritone sax, did a full tribute album with the master’s blessing and collaboration, and, more recently, Kirk Knufke with Jess Stracken did a duo tribute that emphasize the compositions more than the arrangements. The Mingus Organization has a revolving ensemble arrayed in Mingus Dynasty, the Mingus Big Band, and the Mingus Orchestra to keep exploring the repertoire. I chose the Big Band to evoke the Tijuana Moods album which is a idiosyncratic favorite of mine.

A regular feature of the show is Song of the Week, so mine is “All the Things You Are.” I mostly stay true to form with an almost first recording from Woody Herman with Helen Forrest and another vocal version from Frank Sinatra (my sense of singers is weak, but I’m on very safe ground with Sinatra and I know the regular host will approve). Mingus is on the famous Quintet recording and Lee Konitz too worked this song often so why not the version with Gerry Mulligan. But, once again, it leads up to Mingus’s own reimagining of it as “All The Things You Could Be By Now If Sigmund Freud’s Wife Were Your Mother.”

Set 6 is more Ellingtonia with his own version of “Mood Indigo” and his compositionally inventive mash up of the master’s “Main Stem,” Monk’s “Straight No Chaser,” and his own “51st Street Blues.” Dolphy’s Monk tribute is a slight outlier but he’s so connected to Mingus that it works.

Set 7 evokes Mingus’s anger at racial injustice, whether the asshole was a Democratic Governor of Arkansas in the 1950s or the Republican Governor of New York who himself was part of a ruling family in the 1970s. The very recent sprawling version of the Black National Anthem by Isaiah Collier is a proper mix of anger and hope. It deserves a slot on air.

Set 8 starts with “Celia” from the one album that pairs Bill Evans with Mingus before heading into some of the later, ambitious orchestrations. These choices are just the beginning of my exploration of those albums. I know “Adagio Ma Non Troppo” as the amazing spontaneous composition that opens the equally unique Mingus solo piano album. It really is worthy of orchestration.

The regular host has plenty to work with, but there’s a romantic side that goes with all the volatility that I didn’t get to. And the 1964 band is one of the truly great ensembles in the music.

But, here’s what I came up with.

SET 1 (26:50)

Charles Mingus, Changes Two, “Duke Ellington’s Song of Love”

Duke Ellington with Charles Mingus and Max Roach, “Fleurette Africaine

Charles Mingus, Blues and Roots, “Wednesday Night Prayer Meeting”

Eric Dolphy, Musical Prophet, “Come Sunday”

Charles Mingus, Ah Um, “Open Letter to Duke”

SET 2 (30:31)

Jackie McLean, A Long Drink of the Blues, “Embraceable You”

Sonny Stitt, Ornithology, “Scrapple from the Apple”

Phil Woods/Franco D’Andrea, Ornithology, “Just Friends”

Frank Morgan, Frank Morgan, “My Old Flame”

Charles Mingus, Mingus Dynasty, “Gunslinging Bird”

SET 3 (27:44)

Billie Holiday, Lady Day: The Complete Columbia Recordings, “All of Me”

Miles Davis/Stan Getz, Conception, “Prezervation”

Lester Young Quartet, Jazz Masters 30 (Verve), “Sometimes I’m Happy”

Stan Getz, Plays Standards, “Yesterdays”

Miles Davis, Birth of the Cool, “Jeru”

Count Basie with Lester Young, The Essential Count Basie, “Lester Leaps In”

Mingus Big Band, Blues and Politics, “Goodbye Pork Pie Hat”

SET 4 (26:49)

Joe Lovano, Rush Hour, “Peggy’s Blue Skylight”

Pepper Adams, Plays the Compositions of Charlie Mingus, “Haitian Fight Song”

Kirk Knufke with Jess Stacken, Orange Was the Color, “So Long Eric”

Mingus Big Band, Que Viva Mingus, “Los Mariachis”

SET 5 (26:44)—Song of the Week—“All The Things You Are”

Artie Shaw Orchestra with Helen Forrest, The Essential Artie Shaw

The Quintet, Jazz at Massey Hall

Frank Sinatra, Songs by Sinatra

Lee Konitz with the Gerry Mulligan Quartet, Lee Konitz Plays with the Gerry Mulligan Quartet

Charles Mingus, Charles Mingus Presents Charles Mingus, “All The Things You Could Be By Now If Sigmund Freud’s Wife Were Your Mother”

SET 6 (32:59)

Charles Mingus, Mingus Mingus Mingus Mingus Mingus, “Mood Indigo”

Charles Mingus, Mingus, “M.D.M.

Eric Dolphy, Out to Lunch, “Hat and Beard”

SET 7 (27:09)

Charles Mingus, Ah Um, “Fables of Faubus”

Isiah Collier, Lift Every Voice and Sing EP, “Lift Every Voice and Sing”

Charles Mingus, Changes One, “Remember Rockefeller at Attica”

SET 8 (32:38)

Charles Mingus, East Coasting, “Celia”

Charles Mingus, Mingus Moves, “Opus 4”

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

Charles Mingus, His Final Work, “Farewell Farewell”