Friday, December 19, 2014

Books: Pepper Adams (& Gigi Gryce)

Listen to the opening notes of this tune:



That is one of the most widely heard jazz sounds ever, even though many wouldn't know that they're actually listening to Pepper Adams, a giant of the baritone sax who blasts through the whole piece playing that vamp almost constantly. Now we also know how grinding this session was for him, because the musicians in this Mingus band had never played together until that day in the studio, and there was a lot of repetition and many false starts involved in the recording.

That is the kind of detailed, first-hand information you can read on Gary Carner's Pepper Adams' Joy Road - An Annotated Discography (Scarecrow Press, 2012), a true labour of love by the author, who's been justly awarded with the 2013 award to the best jazz discography by the Association of Recorded Sound Collections, ARSC.


Monday, December 15, 2014

Which studio is this?

As part of some research I'm carrying out, I need to identify the studio where these pictures were taken. I'm certain it's in or around New York, and the date is circa 1960. The (jazz) musicians' identities are irrelevant and have been obscured to avoid any copyright problems. Our graphic team has also colored a bass drum blue: it appears on all three images and it can help giving an idea of the dimensions and disposition of the place.

For what it's worth, the recording was not made for any of these labels: Columbia, RCA, Verve, Capitol, Blue Note, Atlantic, Savoy, Prestige, Riverside, Kapp, Decca, Roulette, United Artists, Mercury, ABC-Paramount, Impulse!, Bethlehem... 

Any help will be most welcome and duly acknowledged.

(Click on each image to enlarge)



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Monday, September 29, 2014

Paul Desmond on Ornette...

Paul Desmond (1965)
It wouldn't be easy to find two more opposed alto saxophonists in the history of jazz than Paul Desmond and Ornette Coleman. Besides playing the same instrument and having American passports, the rest couldn't be more different. For fans, it seems that today it is more politically correct saying that we like Ornette better than Desmond, but the fact is that Desmond is probably the more popular of the two. Never mind that, anyway, both deserve your listening time for very different reasons, trust me.

In a quite funny collection of Desmond's aphorisms, or "desmondisms", there's a quote of his talking about Ornette's music. No source is mentioned, and it goes like this:

It's like living in a house where everything's painted red.

Sunday, September 21, 2014

Kenny Wheeler (1930-2014)

Kenny Wheeler
After Kenny Wheeler passed away last Thursday, the outpouring of admiration and pure love for his music and himself as a person has been astonishing. I never met the man, although I saw him a few times playing live — the last one with an all-star cast at the London Jazz Festival 2012, another wonderful show of love, admiration and great music.

Wheeler is one of those characters that just don't fit in your typical jazz history. From the same generation as Clifford Brown, Bill Evans, Phil Woods, Bob Brookmeyer and all those guys, he was a Canadian who emigrated to the UK in 1952 (the beginning of the Gerry Mulligan-Chet Baker quartet, for instance). He was a late bloomer, his career moved back and forth from large ensemble compositions to free improvisation, not something you'd expect from such a retiring, quiet, sweet man, who once explained his method as "what I like doing best is writing sad tunes, and then letting wonderful musicians destroy them".

Saturday, August 23, 2014

Brad Mehldau: the early years

El joven Brad Mehldau por John Abbott

Brad Mehldau is 44 today, which means that it's about twenty years since he first blipped in the radar, possibly, when he first recorded for a major label, Warner, as a sideman of Joshua Redman's, with whom he also toured the world that year.




Joshua Redman - ts, Brad Mehldau - p, Christian McBride - b, Brian Blade - d
San Sebastián (Spain) - July 25th, 1994


Since then, with this Art of the Trio series with Jorge Rossy and Larry Grenadier he made the classic piano trio fashionable and trendy, becoming one of the main young stars of jazz, a coop he has already flown. Even though he maintains his classic piano trio active, he's also involved in other projects that defy categorization. And more power to him for that.

Friday, July 25, 2014

Reg Kehoe, the Marimba Queens... and that bass

Source: ... tapewrekcs ...
Although posterity is, generally, a just filter, it's still a filter. Like the scale of a map reproduces geography, it simplifies and narrows reality. Therefore, whatever reaches us music fans from the past is just a modicum of material with almost undeniable artistic value but subject to legal and corporate considerations: who has the material, and whether they have the rights to publish it. Or the resources. Or the will to do it.

Let this solemn introduction give way to what will be the most absurd video ever in these pages. In 1944 (according to IMDB), percussionist Reg Kehoe and his Marimba Queens, recorded the fourth and last segment of a soundie (the grandfather of video clips) entitled A Study in Brown, directed by Ben K. Blake for the Soundies Distributing Corporation of America. The orchestra was formed by Kehoe, seven percussionist ladies, plus the exuberant double bassist Frank Di Nunzio, Sr. There's not much left to say regarding the music. As for their popularity, they are mentioned in several issues of Billboard, mostly in the 1940s.

Thursday, July 17, 2014

Remembering Johnny Winter

Johnny Winter

"I just hope I’m remembered as a good blues musician."
—Johnny Winter, just a month ago, here.

With his mane of white hair and willowy constitution, Johnny Winter was very easy to spot. He was also one of the true electric guitar heroes. He's passed away while on tour in Zurich, Switzerland, on July 16 according to his representative. He was 70.

Given his longevity and visibility, there'll be obituaries everywhere summarizing his life, his ups and downs, and his music. For many, especially the followers of less amplified musics, he could be loud and strident. His mid-1980s LPs, victims to the mastering practices of the time, are a good instance of that brittle, piercing sound. Still exciting blues and rock'n'roll if you ask me. Like so.