Keith Jarrett Trio
In this sensitive performance by pianist Keith Jarrett, the influence of Bill Evans is obvious.
This song, composed by Oscar Levant in 1934, has a remarkable lyric by Edward Heyman:
If I expected love when first we kissed, blame it on my youth.
If only just for you, I did exist, blame it on my youth.
I believed in everything, like a child of three.
You meant more than anything, all the world to me.
If you were on my mind all night and day, blame it on my youth.
If I forgot to eat, and sleep and pray, blame it on my youth.
If I cried a little bit, when first I learned the truth,
Don't blame it on my heart, blame it on my youth.
UPDATE:
Jazz stylist, composer, singer and acoustic guitarist Kenny Rankin lost his life to lung cancer in Los Angeles on June 7, 2009. He was 69 years old.
In the following audio clip, Kenny Rankin injects the trademarks of his laid-back vocal style: portamento and condensing the timing of a phrase (rushing notes ahead of their rhythmic placement as originally composed). Like a true jazz singer, he abandons the printed melody more often than not, adding his distinctive mark to the entire track.
Monday, June 15, 2009
Saturday, May 30, 2009
Blue Bossa (Dexter Gordon)
Dexter Gordon, tenor saxophone
From Dexter Gordon’s “Biting the Apple” (1976).
Blue Bossa was written by bebop jazz trumpeter, singer and composer Kenny Dorham (1924-1972).
Dexter Gordon (1923-1990) was considered one of the first bebop tenor sax players. A famous photograph by Herman Leonard of Gordon smoking a cigarette during a set at the Royal Roost in New York City in 1948 is one of the most iconic images in the history of jazz (see YouTube performance above). Gordon's height was 6 feet 6 inches (about 198 cm), so he was also known as 'Long Tall Dexter'.
From Dexter Gordon’s “Biting the Apple” (1976).
Blue Bossa was written by bebop jazz trumpeter, singer and composer Kenny Dorham (1924-1972).
Dexter Gordon (1923-1990) was considered one of the first bebop tenor sax players. A famous photograph by Herman Leonard of Gordon smoking a cigarette during a set at the Royal Roost in New York City in 1948 is one of the most iconic images in the history of jazz (see YouTube performance above). Gordon's height was 6 feet 6 inches (about 198 cm), so he was also known as 'Long Tall Dexter'.
Friday, May 8, 2009
Quiet Nights of Quiet Stars (Corcovado)
Bossa Nova jazz standard composed c. 1961 by Antonio Carlos Jobim. The English lyrics were written by Gene Lees. Corcovado is the name of a dramatic mountain that rises above Rio de Janeiro, atop which sits a statue of Christ. "Quiet Nights" is the title of Diana Krall's most recent album of bossa nova songs (2009).
Here performed by the multi-talented Queen Latifah, on her "Trav'lin' Light" CD.
And next the classic 1963 rendition by saxophonist Stan Getz, Tom Jobim, João Gilberto and vocalist Astrud Gilberto. Astrud had never sung professionally before this album, which launched her career. She received the "Latin Jazz USA Award for Lifetime Achievement" in 1992 and was inducted into the "International Latin Music Hall of Fame" in 2002.
Here performed by the multi-talented Queen Latifah, on her "Trav'lin' Light" CD.
And next the classic 1963 rendition by saxophonist Stan Getz, Tom Jobim, João Gilberto and vocalist Astrud Gilberto. Astrud had never sung professionally before this album, which launched her career. She received the "Latin Jazz USA Award for Lifetime Achievement" in 1992 and was inducted into the "International Latin Music Hall of Fame" in 2002.
Tuesday, April 28, 2009
After You're Gone: an Errol Garner tribute
Peter Cincotti – a tribute to stride pianist Erroll Garner
Live performance at New Morning Jazz Club, NYC (2004)
After You’ve Gone (1918)
Words by Henry Creamer, music by Turner Layton
This song was introduced by Al Jolson at the Wintergarden Theater (NYC) in 1918. It was originally conceived as a ballad, but gained popularity as an up-tempo number. Shirley Horn recorded it in 1963 as a slow ballad and made it convincing. Gene Krupa’s 1941 performance has become a jazz classic.
Another rendition by guitarist John Pizzarelli and his trio:
Live performance at New Morning Jazz Club, NYC (2004)
After You’ve Gone (1918)
Words by Henry Creamer, music by Turner Layton
This song was introduced by Al Jolson at the Wintergarden Theater (NYC) in 1918. It was originally conceived as a ballad, but gained popularity as an up-tempo number. Shirley Horn recorded it in 1963 as a slow ballad and made it convincing. Gene Krupa’s 1941 performance has become a jazz classic.
Another rendition by guitarist John Pizzarelli and his trio:
Wednesday, April 15, 2009
Sway - Peter Cincotti
Peter Cincotti (piano & vocals)
Sway is the English version of "¿Quién será?", a 1953 mambo song by Mexican composer and bandleader Pablo Beltrán Ruiz. In 1954 English language lyrics were written by Norman Gimbel and recorded by Dean Martin, whose rendition reached number fifteen on the Billboard magazine best-seller chart.
The English version begins:
"When marimba rhythms start to play, dance with me, make me sway".
The Spanish version begins:
"Quien será el que me quiere a mi? Quien será?, quien será?".
Native New Yorker Peter Cincotti is a 25-year-old singer, songwriter, and jazz pianist (born 1983). In 2002, at nineteen years old, he reached No. 1 on the Billboard Traditional Jazz Charts, the youngest solo artist to do so. Several of his songs have been featured in movies, and he won an award at the 2000 Montreux Jazz Festival for a rendition of Dizzy Gillespie's "A Night in Tunisia."
Sway is the English version of "¿Quién será?", a 1953 mambo song by Mexican composer and bandleader Pablo Beltrán Ruiz. In 1954 English language lyrics were written by Norman Gimbel and recorded by Dean Martin, whose rendition reached number fifteen on the Billboard magazine best-seller chart.
The English version begins:
"When marimba rhythms start to play, dance with me, make me sway".
The Spanish version begins:
"Quien será el que me quiere a mi? Quien será?, quien será?".
Native New Yorker Peter Cincotti is a 25-year-old singer, songwriter, and jazz pianist (born 1983). In 2002, at nineteen years old, he reached No. 1 on the Billboard Traditional Jazz Charts, the youngest solo artist to do so. Several of his songs have been featured in movies, and he won an award at the 2000 Montreux Jazz Festival for a rendition of Dizzy Gillespie's "A Night in Tunisia."
Friday, April 10, 2009
Max Roach
Max Roach, who died in 2007, was one of the most accomplished and influential drummers of the 20th century, a master of poly-rhythms and unpredictable beats. He was the pioneer and grand master of "melodic drumming," teaching the world of jazz that drums could make musical statements, and not just keep time in the background.
He played with jazz legends, notably Charlie Parker and Dizzy Gillespie, and helped father the style of jazz called Bebop. His innovative way of playing defied expectations and elevated the drums from background instrument to lead.
An NPR special about Max Roach, hosted by Nancy Wilson:
www.npr.org/templates/player/mediaPlayer.html?action=1&t=1&islist=false&id=12847242&m=12851569
Caravan, performed by Max Roach and Randy Weston
Thursday, April 9, 2009
But Beautiful -- Charles McPherson, alto sax
The jazz ballad But Beautiful has music by Jimmy Van Heusen, lyrics by Johnny Burke.
Charles McPherson – alto sax
Steve Kuhn – piano
David Williams – bass
Leroy Williams – drums
Charles McPherson was born in Joplin, Missouri, but moved to Detroit at age nine. McPherson started playing jazz professionally at age 19, moving to New York in 1959. He performed with Charles Mingus from 1960 to 1972, collaborating frequently George Coleman (tenor sax).
McPherson was recently featured at Lincoln Center showcasing his original compositions and arrangements with a seven piece ensemble. McPherson has recorded as guest artist with Charlie Mingus, Barry Harris, Art Farmer, Kenny Drew, Toshiko Akiyoshi, the Carnegie Hall Jazz Orchestra, and the Lincoln Center Jazz Orchestra with Wynton Marsalis. Charles was also the featured alto saxophonist in the Clint Eastwood film "Bird," a biography about Charlie Parker.
McPherson remains a strong, viable force on the jazz scene today. He is at the height of his powers. His playing combines passionate feeling with intricate patterns of improvisation. Throughout his four decades of being an integral performer of the music, Charles has not merely remained true to his BOP origins, but has expanded on them.
The distinctive lyrics, with their clever rhymes, come through clearly in this interpretation by Nat King Cole:
Love is funny, or it's sad,
Or it's quiet, or it's mad.
It's a good thing, or it's bad,
But beautiful...
Beautiful to take a chance
And if you fall, you fall,
And I'm thinking,
I wouldn't mind at all.
Love is tearful, or it's gay,
It's a problem, or it's play.
It's a heartache either way,
But beautiful...
And I'm thinking, if you were mine,
I'd never let you go.
And that would be but beautiful,
I know.
Charles McPherson – alto sax
Steve Kuhn – piano
David Williams – bass
Leroy Williams – drums
Charles McPherson was born in Joplin, Missouri, but moved to Detroit at age nine. McPherson started playing jazz professionally at age 19, moving to New York in 1959. He performed with Charles Mingus from 1960 to 1972, collaborating frequently George Coleman (tenor sax).
McPherson was recently featured at Lincoln Center showcasing his original compositions and arrangements with a seven piece ensemble. McPherson has recorded as guest artist with Charlie Mingus, Barry Harris, Art Farmer, Kenny Drew, Toshiko Akiyoshi, the Carnegie Hall Jazz Orchestra, and the Lincoln Center Jazz Orchestra with Wynton Marsalis. Charles was also the featured alto saxophonist in the Clint Eastwood film "Bird," a biography about Charlie Parker.
McPherson remains a strong, viable force on the jazz scene today. He is at the height of his powers. His playing combines passionate feeling with intricate patterns of improvisation. Throughout his four decades of being an integral performer of the music, Charles has not merely remained true to his BOP origins, but has expanded on them.
The distinctive lyrics, with their clever rhymes, come through clearly in this interpretation by Nat King Cole:
Love is funny, or it's sad,
Or it's quiet, or it's mad.
It's a good thing, or it's bad,
But beautiful...
Beautiful to take a chance
And if you fall, you fall,
And I'm thinking,
I wouldn't mind at all.
Love is tearful, or it's gay,
It's a problem, or it's play.
It's a heartache either way,
But beautiful...
And I'm thinking, if you were mine,
I'd never let you go.
And that would be but beautiful,
I know.
Friday, April 3, 2009
Know What I Mean? - Cannonball Adderley
Composed by Bill Evans
www.last.fm/music/Cannonball+Adderley/_/Know+What+I+Mean%3F+%28re-take+7%29?autostart
Bill Evans, Piano
Cannonball Adderley, Alto Sax
Percy Heath, Bass
Conny Kay, Drums
Know What I Mean? was created in 1961 in the recording studio by Evans, at Adderley's special request. Its modal style suggests the days when he and Bill were with Miles Davis (Kind of Blue), and its title derives from a phrase Cannonball was fond of using (!).
www.last.fm/music/Cannonball+Adderley/_/Know+What+I+Mean%3F+%28re-take+7%29?autostart
Bill Evans, Piano
Cannonball Adderley, Alto Sax
Percy Heath, Bass
Conny Kay, Drums
Know What I Mean? was created in 1961 in the recording studio by Evans, at Adderley's special request. Its modal style suggests the days when he and Bill were with Miles Davis (Kind of Blue), and its title derives from a phrase Cannonball was fond of using (!).
Saturday, March 14, 2009
Ev’ry Time We Say Goodbye
Words & music by Cole Porter (1944)
The Seven Lively Arts was a Broadway revue starring Beatrice Lillie that featured songs by Cole Porter, ballet music by Igor Stravinsky, scenery by Salvador Dali, and a pit orchestra conducted by Benny Goodman. The show played at the Zeigfeld Theater, which had a foyer decorated by Dali to illustrate each of the seven lively arts: architecture, painting, sculpture, dance, drama, music and literature.
Ev’ry Time We Say Goodbye, a haunting ballad, is the only song from the overwrought production to survive as a standard, and this composition is often used as an example of words and music in a perfect marriage. It begins with an unusual feature – a single note repeated eight times, and the harmonies that follow are constantly shifting. Most critics maintain that this is among the very finest of Cole Porter’s songs. The words are particularly evocative, expressing the sentiments of lovers parting.
Ev'ry time we say goodbye, I die a little.
Ev'ry time we say goodbye, I wonder why a little.
Why the gods above me, who must be in the know,
Think so little of me, they allow you to go.
When you’re near, there’s such an air of spring about it,
I can hear a lark somewhere begin to sing about it,
There’s no love song finer, but how strange the change from major to minor,
Ev’ry time we say goodbye.
Natalie Cole
The Seven Lively Arts was a Broadway revue starring Beatrice Lillie that featured songs by Cole Porter, ballet music by Igor Stravinsky, scenery by Salvador Dali, and a pit orchestra conducted by Benny Goodman. The show played at the Zeigfeld Theater, which had a foyer decorated by Dali to illustrate each of the seven lively arts: architecture, painting, sculpture, dance, drama, music and literature.
Ev’ry Time We Say Goodbye, a haunting ballad, is the only song from the overwrought production to survive as a standard, and this composition is often used as an example of words and music in a perfect marriage. It begins with an unusual feature – a single note repeated eight times, and the harmonies that follow are constantly shifting. Most critics maintain that this is among the very finest of Cole Porter’s songs. The words are particularly evocative, expressing the sentiments of lovers parting.
Ev'ry time we say goodbye, I die a little.
Ev'ry time we say goodbye, I wonder why a little.
Why the gods above me, who must be in the know,
Think so little of me, they allow you to go.
When you’re near, there’s such an air of spring about it,
I can hear a lark somewhere begin to sing about it,
There’s no love song finer, but how strange the change from major to minor,
Ev’ry time we say goodbye.
Natalie Cole
Monday, March 9, 2009
Satin Doll -- Duke Ellington
Duke Ellington & his orchestra
Ellington on piano, 5 trumpets, 3 trombones, 5 saxophones, drummer and bass.
The tune was a collaboration between Ellington and Billy Strayhorn. A few years later Johnny Mercer penned lyrics (1953) that are clever, hip and infused with slang through and through.
Cigarette holder, which wigs me
Over her shoulder, she digs me.
Out cattin' that satin doll.
Baby, shall we go out skippin?
Careful, amigo, you're flippin',
Speaks Latin, that satin doll.
She's nobody's fool so I'm playing it cool as can be.
I'll give it a whirl but I ain't for no girl catching me,
Switch-a-rooney!
Telephone numbers, well you know,
Doin' my rhumbas with uno
And that'n, my Satin Doll.
Nancy Wilson
Ellington on piano, 5 trumpets, 3 trombones, 5 saxophones, drummer and bass.
The tune was a collaboration between Ellington and Billy Strayhorn. A few years later Johnny Mercer penned lyrics (1953) that are clever, hip and infused with slang through and through.
Cigarette holder, which wigs me
Over her shoulder, she digs me.
Out cattin' that satin doll.
Baby, shall we go out skippin?
Careful, amigo, you're flippin',
Speaks Latin, that satin doll.
She's nobody's fool so I'm playing it cool as can be.
I'll give it a whirl but I ain't for no girl catching me,
Switch-a-rooney!
Telephone numbers, well you know,
Doin' my rhumbas with uno
And that'n, my Satin Doll.
Nancy Wilson
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