Close your eyes…
Jazz Piano – Saturday 24 February 20:00 CET. Etudes of Shapes and Forms is the title of the album. Composer Philipp Rüttgers’ inspiration for this music for his piano trio included Ligeti, Schönberg, Debussy … and Escher. In this programme he provides some explanation. For trumpeter Angelo Verploegen, inspiration came from a completely different source, namely the birth of his grandchild. The third panel of Jazz Piano is for the duo Harmen Fraanje/Arve Henriksen. Henriksen plays the trumpet, but the instrument is barely recognizable in the sounds that he makes. This duo’s CD, Touch of Time, is a product of ECM Records. Meditative music that invites you to close your eyes.
Jay Jay Johnson – Bebop Trombonist (2)
Saturday February 17th, 5:00 PM – House of Hard Bop. J.J. Johnson has been called the Charlie Parker of the trombone. He brought trombone playing to a level that could rival that of bebop brass players who played instruments with vents and valves. The 1950s were extremely productive. His discography would eventually amount to approximately one hundred albums, 42 of which were under his own name. June 6, 1955. In his studio in Hackensack (New Jersey), sound wizard Rudy van Gelder sits at his control table. The programme includes a recording for Blue Note Records, with trombonist J.J. Johnson, tenorist Hank Mobley, pianist Horace Silver, bassist Paul Chambers and drummer Kenny Clarke. Six pieces are released to the world, under the title The Eminent Jay Jay Johnson, volume 2. You’re Mine, You opens the series of four pieces on this album at a slow pace. The trombone in the spotlight – Mobley only appears briefly in the opening and closing. No piano solo. In Daylie Double, an up-tempo Johnson original, almost all of the quintet members solo. Harmoniously it remains close to home, but the four shaped parts of eight sizes each are cleverly strung together. Pianist Horace Silver quotes a theme by Thelonious Monk in the last bars of his solo, which is immediately adopted by Johnson. No lack of variety. In Groovin’ – also by Johnson – the relationships between the two wind players are different. And Horace Silver immediately shows in the third bar that he has opened up the Soul register considerably – something he continues later, in his solo. Portrait of Jennie concludes this block. ————————- The record Dial J.J. 5 (1957) is a product of the Columbia label. In addition to Johnson, the quintet consists of Tommy Flanagan (piano), Wilbur Little (bass), Elvin Jones! (drums), and the Belgian Bobby Jaspar on flute and tenor. Jaspar moved to jazzophile Paris in the early 1950s. There were opportunities there. He played with local musicians, but also with musicians passing through, and Americans who settled for a longer period of time. There he met the vocalist/pianist Blossom Dearie, whom he married. In the mid-1950s he flew across the ocean and in no time played with people like Miles Davis, Toots Thielemans, Bill Evans, and therefore also with Johnson. In this hour you will hear nine of the ten pieces on Dial J.J. 5. Nine pieces, by eight composers: Johnson, Bobby Jaspar, Charlie Parker, Miles Davis, George Gershwin, Bud Powell, Thad Jones and Burton Lane. (A few months after the release of Dial J.J. 5, the exact same line-up performed in the Amsterdam Concertgebouw on August 17, 1957. The recording of that concert was published in 2009 by the Dutch Jazz Archives (NJA), on the CD What’s New – J.J. Johnson. ) House of Hard Bop – Eric Ineke Click for the Newsletter about J.J. Johnson-Bebop Trombonist (1) Click for the Newsletter about J.J. Johnson-Bebop Trombonist (1) (photo: Bobby Jaspar with Blossom Dearie)
World of Jazz starts on 1 April
World of Jazz, our new jazz and world music channel, will start on April 1 this year. Here you will be able to hear jazz and world music in all its diversity, 24 hours a day. The new channel will focus on the latest developments in both genres and also offers a platform for young musicians by broadcasting concert recordings from all over the Netherlands. World of Jazz will also work closely with the Dutch jazz and world music sector: musicians, venues, festivals and conservatories.
The Color Blue
Saturday February 10th, 2024, 6:00 PM – Vocal Jazz. “In the Vocal Jazz of February and March, attention will be paid to blues and bluesy songs, some of which will certainly be by composer Harold Arlen, the bluesy composer of the Great American Songbook.” According to programme maker Ineke Heijliger. Despite these winter months, her richly varied blue bouquets are composed of blooming and never-withering bluesy flowers. Today Sarah Vaughan, Nancy Wilson, and eight other vocalists. Kitty Margolis is a musical all-rounder, and what Mel Tormé (photo) and the Buddy Rich Big Band do… one surprise after another. In 1988 Kitty Margolis is at the Jazz Workshop in San Fancisco. This performance by the 34-year-old singer will be her record debut: Live at the Jazz Workshop. The playlist consists of standards which she has the courage to scat ( verbally improvise ). “I speak two languages: English and scat.” During her unaccompanied use of All Blues – the Miles Davis composition, known from his iconic album Kind of Blue, in that waltz-like rotating 6/8 time – things threaten to go wrong. She starts a semitone too high, but corrects it quickly. It’s no small feat, singing the bass line of that piece. After the intro she continues with the lyrics that Oscar Brown Jr. at All Blues wrote: The sea, the sky, the you and I Sea and sky and you and I, we are all blues, All shades, all hues…yeah, we are all blues. After the theme comes the scat. Excellent accompaniment from a trio from the Bay Area, Margolis’ home base. Yes, the piano could have been better tuned, but oh well… think of it as an ‘atmospheric element’ of a jazz club. ——————————————– Blues in the Night, a song by composer Harold Arlen and writer Johnny Mercer, first appeared in the film Hot Nocturne (1941). It was one of the first popular songs to feature rural African-American dialect – “My mama done told me” – in combination with bluesy melody lines. The song achieved immediate success – within four months no fewer than six versions ended up in the charts. There are now many dozens of versions. Mel Tormé’s version with the Buddy Rich Big Band stands out because of the richly varied arrangement and the long duration of more than eight minutes. Recorded in 1978 on Together Again: For the First Time. A man thinks back to his mother, who warned him early on about bad women. “A woman will sweet talk/And give you the smooth eye/But when the sweet talking’s done…” The orchestral intro lasts one minute, filled with dramatic/cinematic fragments. Behind the first sung lines you hear warning orchestral sounds. After the last sentences of the verse, about the woman Who’ll leave you to sing/The blues in the night, the floor is given to a lonely tuba. Night and loneliness. The following lines of text are accompanied by a lone tuba, in which only the lonesome whistle of a passing train sounds. Then the image tilts; up tempo, strong orchestral sound, culminating in a long drum solo by Buddy Rich. After a few more contrasting blocks, the build-up to a thrilling finale begins. The pitch creeps up by a semitone no less than five times with a new bet. Orchestra and vocalist shout the blues. Wowww…! Details in the Guide. Vocal Jazz – Ineke Heijliger
Discount tickets for a baroque concert in the Concergebouw
On Sunday afternoon, February 11, two beautiful baroque works by Pergolesi and Vivaldi will be performed in the Concertgebouw by countertenor Alexander Chance, soprano Miriam Feuersinger and Il Gardellino. The Concertzender is offering discount tickets!