Performed by pianist Keith Jarret (Tokyo 1996)
Composer Joseph Kosma and poet Jacques Prevert created one of the songs for the 1946 film “Les Portes De La Nuit” by setting a Prevert poem to music, “Les Feuilles Mortes.” In 1949 Johnny Mercer wrote English lyrics for the tune changing the original French title (The Dead Leaves) to “Autumn Leaves."
In 1956 Columbia Pictures produced a film titled Autumn Leaves starring Joan Crawford and Cliff Robertson. It is a tale of a spinster marrying a young man who has mental problems as a result of his ex-wife’s (Vera Miles) affair with his father (Lorne Green). Nat King Cole sang his hit version of “Autumn Leaves” during the credits.
Showing posts with label Nat King Cole. Show all posts
Showing posts with label Nat King Cole. Show all posts
Tuesday, November 3, 2009
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.
Wednesday, January 28, 2009
Moonlight in Vermont
Nat King Cole Trio
Early in his career, Nat King Cole formed a ground breaking trio in 1937, playing piano with Oscar Moore on guitar and Wesley Prince on bass (no drums!). Prior to that, Nat was known primarily as a jazz pianist – not a singer. But with the King Cole Trio (as it was known) he played a mixture of novelty songs, jazz and pop tunes, often with unison singing from all three members, as well as his own lead vocals.
When Prince was drafted into the Army, Johnny Miller took over on bass in 1942, but by this time, Nat's singing was more prominent in their performances. The trio kept going until Nat's career really took off as a ballad singer, backed mainly by orchestras. By that point, Nat was not playing much piano, which was a pity, since he was a brilliant and influential jazz pianist.
Early in his career, Nat King Cole formed a ground breaking trio in 1937, playing piano with Oscar Moore on guitar and Wesley Prince on bass (no drums!). Prior to that, Nat was known primarily as a jazz pianist – not a singer. But with the King Cole Trio (as it was known) he played a mixture of novelty songs, jazz and pop tunes, often with unison singing from all three members, as well as his own lead vocals.
When Prince was drafted into the Army, Johnny Miller took over on bass in 1942, but by this time, Nat's singing was more prominent in their performances. The trio kept going until Nat's career really took off as a ballad singer, backed mainly by orchestras. By that point, Nat was not playing much piano, which was a pity, since he was a brilliant and influential jazz pianist.
Tuesday, January 27, 2009
How High the Moon
June Christy (vocals), Nat King Cole (piano), Mel Tormé (drums)
In the 1950s, when this was televised, music alone was able to transcend segregation. Here we have a black man (Cole), a Jew (Tormé – born with the surname Torma) and a white woman (Christy, who was Anita O’Day’s replacement in the Stan Kenton Orchestra) uniting in joyous music making. Many fans of Cole and Tormé in the latter part of their careers are not aware that Cole was a superb pianist, nor that Tormé played drums; they both gave up their respective instruments and later worked exclusively as vocalists.
In the 1950s, when this was televised, music alone was able to transcend segregation. Here we have a black man (Cole), a Jew (Tormé – born with the surname Torma) and a white woman (Christy, who was Anita O’Day’s replacement in the Stan Kenton Orchestra) uniting in joyous music making. Many fans of Cole and Tormé in the latter part of their careers are not aware that Cole was a superb pianist, nor that Tormé played drums; they both gave up their respective instruments and later worked exclusively as vocalists.
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