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Paris is the Place
Saturday December 9th, 2023, 5:00 PM – Three of a Kind. A Paris Special with the compositions April in Paris, Afternoon in Paris and I Love Paris, each in three different versions. The programme opens with April in Paris, performed successively by Sarah Vaughan/Clifford Brown (1954), pianist Bill Evans (solo, in 1963) and a quintet led by trumpeter Thad Jones in 1956. April in Paris April in Paris, chestnuts in blossom Holiday tables under the trees April in Paris, this is a feeling No one can ever reprise Composer Vernon Duke and lyricist Yip Harburg wrote April in Paris for the Broadway revue Walk a Little Faster in 1932. The song was then picked up and recorded by various musicians, including singer Doris Day. Thelonious Monk recorded it several times. The version on the Count Basie orchestra’s album of the same name in 1955 marked the definitive breakthrough. This was not only due to the arrangement by Wild Bill Davis, but also to the Pop Goes The Weasel quote – see below – and to the repetition of the final climax section twice. Sarah Vaughan aka Sassy (photo) A voice range of three octaves, so beautiful in the low register, and an immediately enchanting timbre… In 1954 she stood next to trumpeter Clifford Brown in the studio. Sarah Vaughan with Clifford Brown unfortunately remained their only collaborative product. The album was her own favourite for a long time. The musicians take plenty of time to make a compelling version. After an intro, pianist Jimmy Jones is the only accompanist. The pianist takes over the solo, barely audibly assisted by bass and brushes. Enter tenor Paul Quinichette – with an almost sung solo that flows seamlessly into Brown’s stopped trumpet. Vaughan resumes the opening text with Brown at her side, followed by Herbie Mann’s flute. Bill Evans In January 1963, Riverside Records producer Orrin Keepnews brought pianist Bill Evans into the studio for a solo session. Both Keepnews and Evans were not happy with the result. The recordings were therefore not published and remained on the shelf until 1984. April in Paris does not indeed make a well-thought-out, mature impression. But as a ‘peek into the kitchen’ of the improvising pianist it is perhaps unique. Thad Jones Jones was trumpeter with Count Basie during the 1955 recording of the album April in Paris. He started his solo, immediately after the exposition of the theme, by quoting Pop Goes The Weasel – a well-known English/American traditional: He did ‘something’ with it: the first four bars were a semitone higher. A jazz joke. Apparently that was quite a hit, and we also hear the same quote in the arrangement on his own album The Magnificent Thad Jones from 1956. Jones gives the piece a rather long, drawn-out, static intro. The association with ‘countdown’ is obvious. Tenor Billy Mitchell gets a role in the theme section, but after that it is Jones’s trumpet that fills the improvisational choruses. Pianist Barry Harris provides the subtle harmonic-rhythmic accompaniment. Details of this programme – with music by Benny Golson, Andrew Hill, Roland Kirk, Ella Fitzgerald, Cecil Taylor, Charlie Parker and Lex Baxter – can be found in the Guide. Three of a Kind – Bert Broere
A new Dutch broadcaster for jazz and world music: A World of Jazz
The Concertzender has the ambitious plan to start a new jazz and world music channel called World of Jazz in early 2024. The best jazz and world music will be broadcast here 24 hours a day. This new channel will also support young musicians by broadcasting concert recordings from all over the Netherlands. World of Jazz will work closely with the Dutch jazz and world music sector: musicians, venues, festivals and music conservatories.
United States and Cuba
Saturday November 25th, 2023, 10:00 PM – JazzNotJazz. Today eight pieces with a slightly longer playing time. The double CD “Live In Cuba” provides two. Live in Cuba is a concert recording by the Jazz at Lincoln Center Orchestra in the capital Havana, in 2015. Artistic leader of the big band is trumpeter Wynton Marsalis. The program consisted of a mix of – and cross-pollination between – American jazz and Afro-Cuban music. Sold out halls full of enthusiastic Cubans. Marsalis’ son, Simeon: “The crowd clapped, cried and laughed, clearly recognizing a sound that resonated deeply, although it had not been heard live for decades.” 2/3’s Adventure opens with Afro-Cuban rhythms, accompanying percussion, and then transitions seamlessly into bebop style. Then goes back to…. and so forth. Long solo by bassist Carlos Henriquez, the composer of the piece. The Sanctified Blues-From Congo Square takes us back in time, to the elemental blues and polyphony of New Orleans. With a real finale. Dizzy Gillespie (trumpeter/composer/bandleader) played an important role in introducing Cuban influences into American bebop. His composition “Things to Come” is also part of the Live in Cuba album. The actions of the Americans in Cuba were a direct result of President Obama’s relaxation of bilateral relations between the two countries. The Chicago Tribune wrote that this trip by the jazz orchestra has done more for American-Cuban relations than politics has done in sixty years. The full programme is in the Guide. JazzNotJazz – Jan Pieter Overmars
Strolling with Rollins (2)
Saturday November 18th, 2023, 5:00 PM – House of Hard Bop. This is part 2 of a series of live trio recordings by tenorist Sonny Rollins.*) Today the final set of A Night at the village Vanguard (1957), with bassist Wilbur Ware and drummer Elvin Jones. It is Rollins’ first live recording as a band leader. Critic Scott Yanow included the album in his 17 Essential Hard Bop Recordings, and The Penguin Guide to Jazz writes: “These are recordings which demand a place in any collection.” Rollins announces the first song of the evening, the Cole Porter standard “What Is This Thing Called Love”. That piece was on the set list a year earlier during a studio recording by the Clifford Brown/Sonny Rollins/Max Roach Quintet. It then had an exceptionally long intro of one minute. In that intro, Rollins rehearsed the first two notes of the theme – a descending minor third. Here in the Vanguard, drummer Jones is allowed to join first, taking his time, after which Rollins joins in with the same opening motif. Further on, a four-by-four between sax and drums transitions seamlessly into a four-and-a-half-minute drum solo. With a finishing time of almost fourteen minutes, this is the longest piece of the evening. Bassist Wilbur Ware keeps the listener focused by undisturbedly articulating the chord progression – and thus the form – clearly. The program is a mix of standards and Rollins’ own work. His “Sonnymoon For Two” is a relaxed 12-part blues. The four-part theme is repeated twice, and moves between a high and a low Bb (B flat). Also in the improvisation part the sax seems to be constantly drawn back to that low Bb. This time the bass participates in the four-on-four game. Beautiful work from drummer Elvin Jones! Here we already hear something of his free-flowing style, which he would develop to great heights a few years later in John Coltrane’s quartet. Max Gordon was the owner of jazz club The Village Vanguard. In his memoirs (1980) there is the following passage: “(…) Sonny never hired a musician he didn’t fire at least once, and often right in the middle of a number. He once fired Elvin Jones, probably jazz’s greatest drummer.” 1 What Is This Thing Called Love (Cole Porter) 2 Sonnymoon For Two (Sonny Rollins) 3 I Can’t Get Started (Vernon Duke) 4 I’ll Remember April (Gene De Paul) 5 Get Happy (Harold Arlen) 6 Striver’s Row (Sonny Rollins) 7 All The Things You Are (Jerome Kern) A very good evening! “Sonny Rollins: Rollins in Holland” In May 1967, Rollins made a small tour of the Netherlands, organized by Jaap van de Klomp. He gave concerts in Hilversum, Arnhem and Loosdrecht, assisted by bassist Ruud Jacobs and drummer Han Bennink. Indeed, a strolling occupation. He played standards and his own Sonnymoon For Two. The recordings have been released on a double CD, co-produced by Resonance Records & the Dutch Jazz Archive. The included booklet, about 100 pages, is a treasure trove of very wide-ranging information and photo material. House of Hard Bop – Eric Ineke *) Click for the newsletter for part 1 *) Click for the broadcast of part 1 Photo: Sonny Rollins during the recording of A Night at the Village Vanguard Francis Wolff/Blue Note Records
Imogen Ryall sings Joni Mitchell/Charles Mingus
Saturday Nov 11th, 6:00 PM – Vocal Jazz. No fewer than five female vocalists in this programme. From Brazil, America, Germany and England. We zoom in on the British Imogen Ryall (photo). She recently published her remarkable Imogen Ryall Sings the Charles Mingus – Joni Mitchell Songbook. Its a tribute to Joni Mitchell’s Mingus, from 1979. That album was a key work for Ryall: “A door opener for me.” In 1979, Charles Mingus’ muscular disease ALS was in an advanced stage. He could no longer play. His wife continued to make efforts to pique his interest. She contacted singer-songwriter Joni Mitchell, who was increasingly interested in jazz. This led to a special form of collaboration. Mingus sang melodies into a tape recorder, Sy Johnson provided the chords. Mitchell wrote the lyrics and arranged recording sessions with musicians from Weather Report. Mingus did not live to see the release of the Mingus record. The result achieved cult status, after an initially lukewarm reception from both Mitchell and Mingus fans. Back to Imogen Ryall. The extensive text of Sweet Sucker Dance revolves around the protagonist’s relationship with a loved one. ‘Dance’ is an oft-repeated term. This is just a dance – It’s only a dance. This is reflected musically in sections with an increased tempo, while the basic tempo is slow. The quartet accompaniment remains ‘restrained, with beautiful solo work by saxophonist Julian Nicholas. With The Dry Cleaner Cleaner From Des Moines we wind up in lighter emotions. The story takes place in the gambling palaces of Las Vegas. ‘Luck’ and ‘lucky’ are recurring and repetitive words. A cheerful blues. Listening to and comparing it with Mitchell’s Mingus from 1979 is highly recommended! Her band, with leaders such as Wayne Shorter, Herbie Hancock and Jaco Pastorius, is somewhat more extensive. The group is placed forward in the sound image, while the individual band members also make themselves heard more. There are other differences. In The Dry Cleaner… the finale, and Pastorius’ bass work, deserve a special mention. Click for Mitchells Sweet Sucker Dance and click for her Dry Cleaner. Click for the lyrics of Sweet Sucker Dance and click for the lyrics of Dry Cleaner. Also in this programme Anette von Eichel – Belonging Gabrielle Cavassa – Where are We (by Joshua Redman) Michelle Lordi – Two Moons Luciana Souza – Cometa Details in the Guide Vocal Jazz – Ineke Heijliger Feedback sturen Zijvensters Geschiedenis Opgeslagen Bijdragen