Ira Sullivan Ira Sullivan…Does It All! Muse Records MR-5242
New York City, September 14th, 1981
Line Up:
Ira Sullivan (Flh, Ssax, Asax)/ Red Rodney (Flh, Tp) / Mike Rabinowitz (Bassoon, Tracks: 6-7) / Garry Dial(P, Tracks: 1-2-3-4-6-7) /Jay Anderson(Bass, Tracks: 1-2-4-5-6-7) / Steve Bagby(Drums, Tracks: 1-2-4-5-6-7)
Tracks:
1-Sovereign Court (Lou Berryman) (3:27)
2-The Moore I See You (Mack Gordon-Harry Warren) (3:49)
3-Prelude to A Kiss (Duke Ellington) (4:37)
4-Together (B. G. Desylva-R. Henderson-S.Ballantine-Les Brown) (3:50)
5-Amazing Grace (Traditional) (3:50)
6-Central Park West (John Coltrane) (7:33)
7-Dolphin Dance (Herbie Hancock) (10:48)
صبح یکشنبه هوا سردتر از شنبه بود و زیرپوستم داغی رخوت آوری احساس می کردم که معنایش رفتن به سمت یک سرماخوردگی قریب الوقوع بود. سه شبانه روز تمام با موسیقی سروکله زده بودم و تمام انرژی و هوشیاری ام همراه با نت ها به آسمان رفته و در دود سفید غلیظ برگ سوزان آخر پاییز دره گلستان قاطی و گم شده بود. این داستان ادامه داشت تا دست بر قضا دستم روی آلبوم «در خیابان گرین دلفین» بیل اونز رفت و آن رخوت بیماری را از وجودم بیرون کشید. در حال حاضر نشانی از بیماری نیست چرا که وقتی تریوی بیل اونز با پل چیمبرز و فیلی جو جونز چنین لحظات تغزلی را از بعدظهرهای سرد آخر پاییز با صوت تصویر می کنند، دیگر زمانی برای درد فیزیکی باقی نمی ماند.
آلبوم در اواسط ژانویه 1959 ضبط شد اما به دلایل نامعلومی در قفسه های انباری استودیوی مایلستون خاک خورد تا در دهه 1970 بیل اونز آن را منتشر کرد، آن هم به انگیزه نشان دادن استادی مسلم پل چیمبرز در ساز باس، اندکی بعد از مرگ او.
آلبوم با «تو و شب و موسیقی» آغاز می شود. چه کسی می تواند بگوید که اونز یکی از بزرگ ترین مردان موسیقی در اجرای استانداردها نبوده است؟ چه کسی می تواند لغزیدن خرامانه نت ها، یکی پس از دیگری، را در اجراهای اونز انکار کند. این لحظات استعلایی در «قلبم ایستاد» ادامه پیدا کرده و در قطعه ای که نام آلبوم هم از آن آمده، یعنی «در خیابان گرین دلفین»، به اوج می رسد. آلبوم در روی دوم صفحه (هر روی صفحه 33 دور چیزی حدود 20 دقیقه جا می گیرد) به سمت اجراهایی اونزوار از قطعات بی باپ می رود و با یکی از تصنیفات بیل اونز Loose Bloose به پایان می رسد. دیالوگ های بین بیل (پیانو) و جونز (درامز) در این آلبوم یکی از بی نقص ترین نمونه های گفتگوی بخش ریتم با پیانو در یک تریوست.
اگر در CD این آلبوم تریوی دیگری (با ران کارتر، اسکات لافارو و پل موشن) و ساکسفون زوت سیمز را هم شنیدید، تعجب نکنید. این ها اضافات نسخه تازه آلبوم است که از اجرایی در کافه ویلیج ونگارد (1961) به ته آلبوم اصلی چسبانده شده است و البته این چند قطعه هم کارهایی بی نظیرند و خدا را شکر که آنها هم در این جا حضور دارند.
آلبوم را در این جا بشنوید و چنانچه از شما "رمز عبور" خواست آن را در قسمت "کامنت" همین یادداشت جستجو کنید و مواظب باشید که سرما نخورید چون هوا دارد سرد می شود یا این که حسابی شده است.
Bill Evans
On Green Dolphin Street
Recording Date: Jan 19, 1959
Label: Milestone Records
Time: 41:40
Tracks:
1. You and the Night and the Music
2. My Heart Stood Still
3. On Green Dolphin Street
4. How Am I to Know?
5. Woody 'N You [take 1]
6. Wood 'N You [take 2]
7. Loose Bloose
Line Up:
Bill Evans - piano
Paul Chambers - bass
Philly Joe Jones - drums
&
Ron Carter - bass
Jim Hall - guitar
Zoot Sims - sax
Paul Motian - drums
Scott LaFaro - bass
در امتداد گسترش موسيقي «بی باپ» در دهۀ 1940 كه مركز آن عمدتاً نيويورك بود، «موسيقي ملايم تر و رمانتيك تري در اوایل دهه پنجاه به وسيله موزيسين هاي سفيد پوست جاز كرانه غربي آمريكا بوجود آمد كه به cool jazz شهرت پيدا كرد». جملۀ داخل گيومه كه در بيشتر تاريخ هاي سرسري جاز با آن برخورد مي كنيد داراي دو ايراد اساسي است. اول اين كه اين موسيقي نه فقط توسط سفيدها بلكه از همكاري مشترك موزيسين هاي جاز، سياه يا سفيد، حاصل شد و دوم اين كه پيش از مهاجرت از سراجبار بسياري از پيشگامان اين گونه به كاليفرنيا محل تولد اين موسيقي نيويورك بود.
Art Pepper, You'd be so nice
در آپارتمان گيل اونز، كه تقريباً در آن هميشه به روی موزیسین ها باز بود، مايلز ديويس، جري موليگان، جان لوييس، بيل اونز و ديگران دست به ابداعاتي در موسيقي جاز زدند كه در آن ريتم ها آرام تر و تأكيد روي ملودي بيشتر بود. شيوه هاي نواختن آن ها جايي بين بداهه نوازي پايان ناپذير باپ و ترنم موسيقي سويينگ قرار داشت. مسألۀ تنظيم (ارانژمان) در مكتب «کول» مجدداً اهميت گذشته خود را باز يافت و از ناموزوني و لحن قسمت هاي ضربي كاسته شد. حاصل اين دوران (1949) در آلبومي منتشر شد كه «تولد موسيقي كول» نام داشت. آلبوم زير نام مايلز درآمد و همۀ امتيازها نصيب او شد اما موليگان سال ها بعد ادعا كرد كه بخش مهمي از اين پروژۀ تاريخي، به ابداعات و ايده هاي او بر مي گردد.
با آن كه صفحه «تولد موسيقي كول» در ابتدا از نظر تجاري خيلي موفقيت آميز نبود اما شيوه و لحن سبك و تعزلي مايلز ديويس در نواختن ترومپت، نسلي از نوازندگان مانند شورتي راجرز، جك شلدون و چت بيكر را تحت تأثير قرار داد که پس از عصر سویینگ دوره جدیدی از محبوبیت در نزد عامه را برای موسیقی جاز رقم زد.
كول درست مثل بي باپي است كه بسيار آرام نواخته شود. هر چه باشد تمام آن موزيسين ها از زير دست كساني مانند چارلي پاركر بيرون آمده بودند و او خداي بسیاری از موسيقي دانان زمان خودش بود. در آن حال ( و صادقانه بگوييم در هر حال ديگري) بيرون ماندن از دايرۀ غول آساي نفوذ و تأثير برد درست مثل اين است كه كسي در كرۀ زمين بخواهد خود را از تابش خورشيد پنهان كند. بنابراين برخي مورخان كه كول را طغياني در برابر نخبه گرايي محض بي باپ دانسته اند به اين واقعيت مهم، كه برد در آن زمان بيشتر از هر كسي در سر نوازندگان و آهنگسازاني مانند مايلز ديويس به پرواز در مي آمد، بي اعتنا مانده اند. موزیسین دیگری که در شکل گیری صدای آرام و بی خیال و درونگرای «کول» نقشی انکارناپذیر داشت، لستر یانگ نوازنده ساکسفون تنور ارکسترهای سویینگ بود که از مدتی پیش از آغاز به کار دیویس و دیگران در قالب گروه های کوچک کارهایی ضبط کرده و امان شنوندگان را با صدای سحرانگیزش بریده بود.
با مهاجرت ناموفق مايلز و همزمان مهاجرت موفق آميز جري موليگان به غرب آمريكا، لوس آنجلس با هواي آفتابي و نواي اقيانوس به مركزي مناسب براي صداي آرام و خوش «کول» بدل شد. در همان زمان بود كه اركسترهايي كه از دوره سويينگ باقي مانده بودند مانند اركسترهاي وودي هرمان و استن كنتون عناصري از موسيقي كول را اخذ كرده و صداي اركسترهاي خود را براي شنوندگان تازه تعدیل کردند.
Chet Baker & Paul Desmond, Autumn Leaves
به اين موسيقي از آن جهت كه پيشگامان كليدي آن بيشتر نوازندگان استوديوئي و مركزيتشان در لس آنجلس بود، west coast jazz(جاز كرانه غربي) نيز مي گويند. نام های مهم این موسیقی عبارتند از: چت بیکر (ترومپت)، باب بروکمیر (ترومبون)، مانتی بادویگ (باس)، جون کریستی (آواز)، پل دزموند (ساکسفون آلتو)، مایلز دیویس (ترومپت)، جری مولیگان (ساکسفون باریتون)، تـَل فارلو (گیتار)، راس فریمن (پیانو)، استن گتز (ساکسفون تنور)، جیمی جیوفری (کلارینت و انواع ساکسفون)، جیم هال (گیتار)، چیکو همیلتون (درامز)، همپتون هاوز (پیانو)، پیت جالی (پیانو)، لی کانیتز (ساکسفون آلتو)، استن لیوی (درامز)، لو لیوی (پیانو)، شلی مان (درامز)، آرت پپر (ساکسفون آلتو و تنور)، شورتی راجرز (ترومپت)، هوارد رامسی (باس)، بیل پرکینز (ساکسفون تنور و فلوت)، باد شنک (ساکسفون آلتو و فلوت).
*
آلبوم های مهم کول
Art Pepper Art Pepper Meets the Rhythm Section 1957 Miles Davis Birth of the Cool 1956
Bud Shank Blowin' Country 1959
Howard Rumsey & the Lighthouse All-Star Howard Rumsey's Lighthouse All-Stars 1953
Barney Kessel Music to Listen to Barney Kessel By 1956
June Christy Something Cool 1955
Stan Getz Stan Getz and the Cool Sounds 1957
Victor Feldman Suite Sixteen 1955
Paul Desmond Take Ten 1963
Richie Kamuca Tenors Head on 1956
Shorty Rogers The Swinging Mr. Rogers 1955
Shelly Manne & His Men The West Coast Sound, Vol. 1 1955
Chet Baker Chet Baker & Crew 1956
Conte Candoli Conte Candoli Quartet 1957
Bob Cooper Coop! The Music of Bob Cooper 1958
آلبوم دوشنبه یکی از شاهکارهای مایلز دیویس برای کمپانی "پرستیژ" است که در 1954 ضبط شده؛ جی جی جانسون (ترومبون)، لاکی تامسون (ساکسفون تنور)، هوریس سیلور (پیانو)، پرسی هیث (بیس) و کنی کلارک (درامز) نوازنده های همراه مایلز (ترومپت) در این آلبومند.
Tubby Hayes is the best jazzman I've known from England. His fiery style is a unique combination of John Coltrane (tenor), Yusef Lateef and James Moody (flute), Milt Jackson (vibe) and many other American musicians he always admired. But he is able to mix all these different roots and influences into a one huge sound that carries lot of complex harmonies and distictive melodic approach. Like most of his American idols he had a troubled life, ruined by alchol and drugs. Finally before he reach the fame he really deserves a weak heart stopped him from blowing. Let's go back and see where all these things get started:
Edward Brian "Tubby" Hayes was born in 30 January 1935, St. Pancras, London. His father was a BBC studio violinist who gave his son violin lessons from an early age.
“As a little boy of five or six I can remember wanting to own a saxophone. I tried to talk my father into buying me one, but he told me: ‘You’ll never be able to blow that—it’s much too big for you.’ So I had a few years on violin and piano—which I don’t regret, because it was a good grounding.”
By the age of ten Hayes was playing the piano, and started on the tenor sax at eleven. And that is when "a little boy came up, not much bigger than his tenor sax", as remembered by Ronnie Scott.
After a period spent playing with various semi-professional bands around London, Hayes left school and started playing professionally at the age of fifteen with the bands of Kenny Baker's sextet, Vic Lewis and Jack Parnell. In 1951, when he was sixteen, joined big-band leaders such as Ambrose, Terry Brown, Tito Burns, Roy Fox and Jack Parnell. His first major feature on record is a live concert recording (by label "Hep") made with the Vic Lewis Orchestra in 1954, a day before his nineteenth birthday. The record contains a remarkable six minute quartet performance featuring Tubby throughout.
He formed his own eight piece group (three saxophones, two trumpets and rhythm section) in 1954 and toured with the group 1955 to 1956 and although a musical success it could not pay its way. The band recorded for the independent "Tempo" label during this time reveal a confident lively band playing many jazz themes of the day such as Peace Pipe, Opus De Funk, Jordu, Straight Life, Room 608 and Man Ray.
Jazz Couriers with Ronnie Scott
He toured the UK for eighteen months and took up flute during this time. In I956, on the demise of the eight–piece, Tubby began an association with the Downbeat Big Band, that dynamic 12–strong aggregation, to which many of Britain’s best musicians and writers contributed. He co-led the successful Jazz Couriers with Ronnie Scott from 1957 to 1959.
“I’ve always admired Ronnie’s playing a lot, and Ronnie I like very much as a person. We had a very good time. I did practically all the arrangements for that group. But two tenors is a limited sound.”
In 1957 Tubby had taken up the vibes after Vic Feldman had bequeathed his instrument to him before his return to the United States. Less than six months later Tubby was recording on them and sounding for all the world like Milt Jackson (on Reunion from the Jazz Couriers first LP). Subsequently, Hayes reformed his quartet, and toured Germany with Kurt Edelhagen.
In 1961 he was invited to play at the Half Note Club in New York; a new transatlantic Musicians' Union agreement meant that, in exchange, Zoot Sims played at Ronnie Scott's. While in America, Hayes recorded Tubbs in N.Y. with Clark Terry, Eddie Costa, and Horace Parlan. In 1962 he returned for another visit, this time recording Return Visit with James Moody, Roland Kirk, Walter Bishop Jr, Sam Jones, and Louis Hayes. He played at the Half Note again in 1964, and at the Boston Jazz Workshop the same year, He stood in for Paul Gonsalves in February 1964 (with whom he also recorded twice in 1965 (Just Friends and Change of Setting) when the Ellington orchestra played at the Royal Festival Hall.
playing Vibe
Worked with pianist/Vibraphonist Victor Feldman and his trio (Monty Budwig on bass and Colin Bailey on drums) at the Manne’s Hole (Shelly Manne’s private L. A. jazz club) in 1965.
"While I was there I did a couple of television spots, one of which was George Shearing’s own show. Mel Torme and myself were the two guests on the programme. George has got quite a good quintet these days, with Joe Pass on guitar, and people like that. The other thing I did was an hour–long panel discussion on jazz. Leonard Feather was the chairman, and Don Ellis, the avant–garde trumpet player and composer, and a pianist called Jack Wilson also took part."
Hayes made a trip abroad with Ronnie Scott's big band to play the Musica '68 festival in Majorca (June 22nd-27th 1968). This line-up was another star studded affair with Tubby joining Ronnie, Derek Humble, Roy Willox and Ray Warleigh in the saxes. Jimmy Deuchar, Derek Watkins, Benny Bailey and Kenny Wheeler were the trumpet section. Keith Christie, Ake Persson and Nat Peck comprised the trombone line-up. The “all star” rhythm section was John McLaughlin, Gordon Beck, Lennie Bush and Kenny Clare!
He played with the Kenny Clarke/Francy Boland big band in Venice 1969. Number of excellent albums in the late 60s that starts with Mexican Green and preceded by several other albums all recorded for the Fontana label.
In 1969 he formed a new quartet with guitarist Louis Stewart and drummer Spike Wells. He had a new interest in free jazz and rock music and dabbled with the format working from time to time with Georgie Fame as well as his now settled quartet format including the Mike Pyne and Ron Matthewson rhythm team. An excellent Live 1969 CD, captures one of Tubby's final gigs with this quartet.
But by early 1970 health problems resurfaced when doctors discovered he had a faulty heart valve. He underwent an operation a year later and was out of action for the whole of 1971. When Tubby made his comeback in early 1972, the jazz scene had changed. The avant-garde was on full-force and jazz rock had ravaged the music. Tubby's rejected the changes and his reaction was to go out and do straight-ahead gigs with his reformed quartet, playing much the same repertoire as he had done a decade earlier. He began his comeback with an overseas tour, making a successful trip to Scandinavia in February 1972. This tour is commemorated on the Storyville CD, Quartet in Scandinavia. Although now in poor health he worked on until another collapse before what transpired to be his final public appearance in Brighton in May 1973. Doctors confirmed that the replacement heart valve was failing and that a second operation was necessary. He died from complications undergoing surgery on June 8th, 1973, at the aged just thirty- eight. He was cremated and interred at the Golders Green Crematorium.
Hayes appeared in a number of films, including All Night Long (1961) with Charles Mingus and Dave Brubeck, and (with his quintet) in The Beauty Jungle (1964) and excellent Dr Terror's House of Horrors (1965). He also played at a wide range of jazz festivals, including Reading, Windsor, Antibes, Lugano, Vienna, and Berlin.
Blues À La Mode: Budd Johnson Septet and Quintet Featuring Charlie Shavers
1958
Label: Charley/Affinity Records (Aff 169) [AKA Felsted]
Details and Credits:
Tracks 1-3-5
New York City, February 11th, 1958
Charlie Shavers (tp), Vick Dickenson (tb), Budd Johnson (tsax), Al Sears (barsax), Bert Keyes (p, org), Joe Benjamin (b), Jo Jones (d)
Tracks 2-4-6
New York City, February 14th, 1958
Charlie Shavers (tp), Budd Johnson (tsax), Ray Bryant (p), Joe Benjamin (b), Jo Jones (d)
Side A
1- Foggy Nights (Budd Johnson)
2- Leave Room in Your Heart for Me (Budd Johnson-Dobson)
3- Destination Blues (Budd Johnson)
Side B
4- À La Mode (Budd Johnson)
5- Used Blues (Budd Johnson)
6- Blues by Five (Budd Johnson)
Bud Johnson (born 1910) was one of the best players from the Texas school of tenor sax, though his playing style couldn't be always as aggressive and as staccato-like as other major players from that area. He also was playing soprano and alto saxophone, and one of my greatest experiences with his music goes back to a soprano sax introduction for Summertime in a Jimmy Rushing/Earl Hines album. He started working with bands like Terrence Holder, Jesse Stone, and George E. Lee in Kansas City. Made his recording debut with Louis Armstrong's big band (1932-1933). Worked with the Earl Hines Orchestra as an arranger and tenor player (1932-1942). Recorded with Coleman Hawkins on the first bebop session (1944). Worked with Dizzy Gillespie and Sy Oliver (1947). Here, Budd remembers working in Earl Hines band and arrival of Dizzy:
"We didn't really have the new sound in the Earl Hines band. 'Cause we started to do a little bit of it, after we heard Dizzy. The cats said, "Oh man, that's it," and they wanted to play like that, so we'd write some of the passages and pick up on it. Of course he wasn't doing too much playing that way then. Because, I mean, like you're limited. For instance I was beginning with Sy Oliver—Red Oliver—and Sy likes [sings back beat on two and four]; that's all he likes. And when I get up to play my solo, I can't do a thing. You either wind up honking or . . .imagine when Dizzy was with Cab, it would be very difficult for him to play that progressive music against the background he had because they didn't play that way—they had a very great band, but they didn't play that way. What I'm tryin' to say is it's hard to push one style against another style. A modern cat comes in with just a plain ordinary group, and they play none of the changes that he's playing, and the drummer ain't dropping a whole lot of bombs like he's been used to hearing, and it's gotta mess with him. He can't really play his thing. When we were all with Earl's band, the progressive style of music, 'cause most of the guys of the new music that came in Earl's band were the guys that I brought in the band because they were all buddies, like Dizzy, Bird.
When I did come to New York to settle down in 1942, I joined Dizz, Oscar Pettiford, Max Roach, and all those men at the Onyx Club. We really started to get into it, getting down arrangements, head arrangements, and recordings and all of that. So that's what I did. That's when it started. The Street made everybody aware of this new music. Dizzy was the theoretician to this music to my way of thinking and my knowledge, and he was really. It was lots and lots of fun. But some guys it didn't really influence too much—a lot of guys like Don Byas and Lucky Thompson and all of 'em. They stayed more in the Hawk thing, but they got the swiftness and the changes but they didn't necessarily sound in the exact style."
Johnson led his own groups in the 1950s, in addition to touring with Snub Mosley (1952) and Benny Goodman (1957). Working with big bands of Quincy Jones (1960) and Count Basie (1961-1962) before renewing ties with Earl Hines (1964-65). Touring USSR and South America (1966-69). On tour with Charlie Shavers (1971). He was very active in the 1970s and practically performed in all major American and European jazz festivals. He died in 1984.
