Showing posts with label Al Haig. Show all posts
Showing posts with label Al Haig. Show all posts

Friday, March 4, 2016

London Flat, London Sharp: Best of American Jazz Recorded in London

(A detail of ) London Jazz Festival poster, designed by Damien Frost

There are hundreds of live and studio recordings made by visiting or resident American jazz musicians in London. This list, a new installment in the series I started with Paris and jazz, picks those London albums that I've liked most. 

Since 1939, when Fats Waller paid a visit and composed a suite celebrating London's neighborhoods and monuments, most of the jazz greats have appeared in and around the city. The crippling union regulations stopped many musicians from performing in the clubs until the 1960s, and the life expenses and poor weather drove many of them towards the Continent for permanent or semi-permanent stays. Yet, thought the past century, London with its passionate jazz buffs and a good deal of jazz literature remained an unmissable temporary stop for the musicians, as well as musical ideas, travelling from the United States to Europe.

The 15 albums below, obviously emphasising a certain attitude or taste which might not be everybody's, are some personal favourites from the most vital decades of jazz in Britain. Be sure, there are still hundred or more to name. (While picking your favourite albums be aware that there are famous records - Basie in London, for one - which were never recorded in London!)

Here is the list of 15 favourite jazz albums recorded by visiting Americans in London:


details as above

Sunday, November 15, 2015

Best Of American Jazz In Paris (Studio Recordings)

Image courtesy of Vogue Records.

25 Greatest Jazz Records by Americans in Paris


The Infinity of Lists, by Umberto Eco, is among the titles on my to-read list, though even before opening the book, and judging from the cover, I can catch the point and apply it to this list of my favorite studio recording of American jazz musicians in Paris.

The relationship between Paris and musicians has been mostly a love affair, started from the early years of jazz and continued to this day, with the post war years as the peak of interest, visits and involvement in Parisian scene. The curiosity about jazz, similar to that of African artwork revival in the early 20th century Paris, was expanding in various directions in the years between early 1950s and late 1960s. Jazz appeared in or influenced French literature and cinema, while I'm sure, the connection between this American art and France goes beyond these two primary examples.

With a long history of hosting American jazz musicians and giving them the space to play and record, the Paris-recorded albums are too important to remain unlisted. This is one attempt to pay a closer listen to the Parisian jazz records.

These are recordings I have listened to and mostly loved over the years, knowing that there are still hundreds of recordings there, waiting to be rediscovered. Probably you will notice the absence of more contemporary albums on the list, but that can be explained in regard to the current international status of jazz and the blurred concepts of nationality and borders in the 21th century jazz scene. Now, appearing in a Parisian studio or a concert hall is nothing unusual or unique for any internationally recognized artist. But I reckon, back in the 1950s, it must have been a rare experience being present and recording in Paris for someone like Gerald Wiggins. This uniqueness is derived from, among many other things, the status of Afro-Americans in France and the fact that they have been cherished as artists and seen as heroes of the Existentialist and Anti-colonial movements of the post war period. Many of these notions remained a romantic and flawed reading of jazz history, but the recorded documents tell of a joy and sense of exploration which was bestowed to the musicians because of the place of recording.

This list was initiated as a part of my short-lived jazz program, targeted for Iranian listeners, which ran between 2011 and early 2012. The episodes 22 to 24 were titled Jazz In Paris, and during three sessions I played many tracks from the albums I've listed here. They are available here, here and here.

Monday, August 3, 2015

Bud Powell: Two French Interviews


This post presents a transcribed interview (along with the original audio clip) of Bud Powell, conducted in France where he was recuperating from tuberculosis at the Boullemont Sanatorium.

I heard it the first time as the last track from an exceptional CD, Inner Fires, which featured Bud’s trio with Charlie Mingus and Roy Haynes at Club Kavakos, Washington D. C from April 5, 1953.

Interestingly, the album came out as a part Bill Potts collection, a Washingtonian pianist who accompanied Lester Young in his legendary Washington concerts, released in five volumes.

Although Bud Powell was very sick at the time, his comments lend insight into his not so accessible musical universe.


First Interview: January 15, 1963

You may already know that Bud is suffering from tuberculosis and is now recuperating in a sanatorium near Paris. We went to see him there and tried to interview him. I say 'tried' because Bud is extremely weak now, and it was necessary to ask him the same question several times before he was able to respond. It was also technically difficult to conduct this interview, but I think that despite all this we were able to assemble enough good material for you to hear.

Q: Bud, you told me that you’ve written a new tune since your arrival at the hospital. Would you please tell me its name and give me an idea of how it goes?

A: I wrote In the Mood for a Classic. [Bud sings]

Q: Bud, for whom did you compose this piece?

A: I composed it for France in general.

Q: Who are your favorite players?

Friday, August 29, 2014

Charlie Parker at the Royal Roost, 1949


The Royal Roost was a jazz club located at 1580 Broadway in New York City. Opened in the Spring of 1948, it was designed to stage the more experimental jazz trends of the day. Thus, the cream of "experimental jazz musicians" in town became the club regulars, among which Charlie Parker had the most remembered (and recorded) residency throughout 1948 and 1949.

Paul Bacon describes the atmosphere of the club as something of "tremendous vitality and urgency." He portrays one typical night at the Roost as following: 
"The air inside is full of crackling expectancy, chaos... Some few tables in front of the stand are empty, awaiting the important hipster crows - theater, sports, radio people - who will fill those chairs in a late-arriving flurry. Much craning of necks, more greetings. Somebody - Max Roach, in fact - come out, leans over from the bandstand and has an animated conversation with an important-looking bearded man. Looking around, one's first impressions are reinforced; this is the center of the world!"
Many live recordings from the legendary Roost performances have surfaced ever since. This collection, found on the Internet Archive, presents some of them, featuring my favorite Roost line-up of Bird with Al Haig (on piano) and Max Roach (drums).



Thursday, July 31, 2014

Hank Jones on Al Haig

Henry "Hank" Jones (July 31, 1918 – May 16, 2010)


Hank Jones remembers his early Bop influences after leaving the Detroit area. He put a stress on the role of Al Haig in finding his own musical voice which was not a total departure from the Teddy Wilson tradition, but it was more a modern variation of that:

"When I first got to New York, one of the first groups I heard was the Dizzy Gillespie-Charlie Parker group. Al Haig was the pianist at the time: Now I understand that he and Bud Powell alternated with the group, as did Max Roach and Stan Levey on drums. But during the initial period when I first came to New York, Al Haig was the pianist.

Saturday, August 10, 2013

Al Haig, a Pianist of Vigilant Sensitivity

Al Haig

One of my relatives, recently turned 66, whose life is wholly dedicated to jazz (and I'm used to calling him "uncle") asked me for a groundbreaking favor, something that utterly defines his jazz canon: he asked me to reorganize his iPod, delete the unnecessary stuff, so he can only listen to the albums recorded by three musicians and no one else - all pianists. For him, the lucky 3 who have survived the test of time were, respectively, Count Basie, Al Haig and Ahmad Jamal.

While Basie holds a rank only next to God, and Ahmad is enjoying a belated recognition (in spite of being praised by Miles Davis and selling thousands of his Pershing album more than half a century ago), though mostly in Europe, Haig still remains the pianist in the dark, the doomed figure, nevertheless the most lyrical of all.

"In many respects,"Max Harrison declared, "Al Haig was  the most sympathetic pianist to record with Parker." The same writer quotes Stan Getz who calls Haig "the best in the business."

Williams' Jazz Review article (Volume 3, Number 5, June 1960) sheds more light on the career of the obscured giant:

Sunday, January 29, 2012

Radio Hawkins#23: Americans in Paris II

 راديو هاوكينز: جاز براي ايران
اپيزود 23
آمريكايي ها در پاريس
بخش دوم

اين جا بشنويد




فهرست قطعات

All recorded in Paris, France, unless noted.


Sidney Bechet and His Orchestra
On the Sunny Side of the Street
Gérard Bayol (tp), Benny Vasseur (tb), Sidney Bechet (ss), Eddie Bernard (p), Jean-Pierre Sasson (g), Guy De Fatto (b), André Jourdan (dm)
16 May 1949

Oscar Peterson-Stephane Grappelli Quartet
Autumn Leaves
Stephane Grappelli (vln) Oscar Peterson (p) Niels-Henning Orsted Pedersen (b) Kenny Clarke (d)
22 or 23 February 1973

Bud Powell
Idaho
Johnny Griffin (ts), Bud Powell (p)
14 February 1960

Stan Getz Quartet
Manha de Carnaval (Morning of the Carnival)
Stan Getz (ts), Gary Burton (vib), Steve Swallow (b), Roy Haynes (d)
13 November 1966

Marlene Dietrich & Freddy Johnson
Wo Ist der Mann?
Arthur Briggs (t), Peter Duconge (cl), Freddy Johnson (p), Huan Fernandez (b), Billy Taylor (d), Peter Kreuder (arr, ldr), Marlene Dietrich (voc)
8 July 1933

Blossom Dearie
April in Paris
Blossom Dearie (p), Herman Garst (b), Bernard Planchenault (d)
1955

Dizzy Gillespie Quartet And The Double Six Of Paris
Con Alma
Dizzy Gillespie (tp), Bud Powell (p), Pierre Michelot (b), Kenny Clarke (d), Claudine Barge, Jean-Claude Briodin, Christiane Legrand, Eddy Louiss, Mimi Perrin, Robert Smart, Ward Swingle (vo)
8 July 1963

Lucky Thompson
Lucky Strikes
Lucky Thompson (ts), Jean-Pierre Sasson (g), Paul Rovére (b), Gérard 'Dave' Pochonet (d)
27 March 1956

Duke Ellington & His Orchestra
Paris Stairs
Ray Nance, c; Bill Berry, Roy Burrowes, Eddie Mullens, t; Lawrence Brown, Leon Cox, tb; Chuck Connors, btb; Jimmy Hamilton, cl, ts; Johnny Hodges, as; Russell Procope, as, cl; Paul Gonsalves, ts; Harry Carney, bs; Duke Ellington, p; Aaron Bell, b; Sonny Greer, d.
New York City, 29 March 1962

Lester Young
Back Home Again in Idiana
Lester Young (ts), Rene Urtreger (p), Jimmy Gourley (g), Jamil Nasser (b), Kenny Clarke (d)
4 March 1959

Joe Albany
Lush Life
Joe Albany (p, cov)
1977

Louis Armstrong with Sy Oliver Orchestra
La Vie en Rose
Cy Oliver (arr), Louis Armstrong (t, voc), Melvin Solomon (t), Bernie Parivin (t), Paul Webster (t), Morton Bullman (tb), Hymie Schertzer (as), Milt Yaner (as), Art Drelinger (ts), Bill Holcomb (ts), Earl Hines (p), Everett Barksdale (g), George Duvivier (b), Johnny Blowers (d)
New York City, 26 June 1950

Charles Mingus
Sophisticated Lady
Jaki Byard (p), Charles Mingus (b)
18 April 1964

Bill Coleman
Afromotive in Blue
Bill Coleman (tp), Quentin Jackson (tr), Budd Johnson (tsax), Les Spann (g), Patti Bown (p), Buddy Catlett (b), Joe Harris (d)21 or 22 January 1960

Al Haig
Round About Midnight
Al Haig (p), Pierre Michelot (b)
23 September 1977

Wednesday, December 14, 2011

Dizzy Gillespie's Bebop Reunion


Dizzy Gillespie's Bebop Reunion
Chicago, IL @ PBS Soundstage 1976 
Dizzy Gillespie - trumpet
James Moody - sax
Milt Jackson - vibes
Al Haig - piano
Ray Brown - bass
Kenny Clarke - drums

Original broadcast is 58 minute long, with singers Joseph Carroll and Sarah Vaughan.

Sunday, December 11, 2011

Radio Hawkins#17

اپيزود هفدهم؛ راديو هاوكينز: جاز براي ايران
دوك الينگتن به ديدار لويي آرمسترانگ مي رود
و
ال هِيگ، تايني گرايمز، جيمي ريني، جيمي راشينگ، ديو بروبك، جان مك لاكلين، تلانيوس مانك

برنامه را در اين جا بشنويد


فهرست آثار پخش شده در اين برنامه

Duke's Place
I'm Just a Lucky So and So
I'm Beginning to See the Light
Do Nothin' Till You Hear from Me
The Beautiful American
Louis Armstrong & Duke Ellington
Louis Armstrong (trumpet), Trummy Young (trombone), Barney Bigard (clarinet), Duke Ellington (piano), Mart Herbert (bass), Danny Barcelona (drums)
4/61 Album: Louis Armstrong & Duke Ellington - The Great Summit

Don't Blame Me

Al Haig-Jon Eardley Quintet
Jon Eardley (trumpet), Art Themen (tenor sax), Al Haig (piano), Daryl Runswick (bass), Alan Ganley (drums)
16/9/77 Album: Stablemates

Hassan's Dream
Jimmy Raney Trio
Tommy Flanagan (piano), Jimmy Raney (guitar), George Mraz (bass)
30/12/85 Album: Wisteria

Callin' the Blues
Tiny Grimes
J. C. Higginbotham (trombone), Eddie 'Lockjaw" Davis (tenor sax), Ray Bryant (piano), Tiny Grimes (guitar), Wendell Marshall (bass), Osie Johnson (drums)
18/7/58 Album: Callin' the Blues

Bridges of Sigh
Shakti
John McLaughlin (guitar), L. Shankar (violin), Zakir Hussain (tabla), T.H. Vinayakram (ghatam)
7/77 Album: Natural Elements

My Melancholy Baby
Dave Brubeck Quartet & Jimmy Rushing
Paul Desmond (Alto Sax), Dave Brubeck (Piano), Eugene Wright (bass), Joe Morello (drums), Jimmy Rushing (vocal)
29/1/60 Album: Brubeck & Rushing

Boo Boo's Birthday
Thelonious Monk Quartet
Charlie Rouse (tenor sax), Thelonious Monk (piano), Larry Gales (bass), Ben Riley (drums)
14/12/67 Album: Underground

Monday, October 31, 2011

Radio Hawkins#11: Lover Men

 برنامۀ يازدهم راديو هاوكينز: جاز براي ايران
اجراهايي متفاوت از قطعۀ
LOVER MAN
توسط
بلاسِم دي يِري، كانت بيسي، سارا وان، واردل گري، دان باياس، كولمن هاوكينز، ساني راولينز، هري جيمز، ال هِيگ،  جيمي اسميت، جي جي جانسن، جنگو راينهاد، ديزي گيلسپي، ساني استيت

برنامه را اين جا بشنويد


Monday, December 7, 2009

Jam Session at Carnegie Hall 1949




آلبوم دوشنبه این هفته به جای کاری سولو، یک Jam Session تمام عیار است در سالن کارنگی هال نیویورک با حضور غول های بی باپ.

کنسرت با تریوی باد پاول (با مکس روچ به عنوان طبال) آغاز می شود. بعد مایلز دیویس، بنی گرین (ترومبون)، سانی استیت (آلتو) و سرژ چالوف (باریتون) هم برای اجرای سه قطعه دیگر به آنها ملحق می شوند.

برای اجرای بعدی یک گروه تازه روی صحنه می آید که از استن گتز (تنور)، کای ویندینگ (ترومبون)، ال هیگ (پیانو) و تامی پاتر (باس) و روی هینز (طبل) تشکیل شده است.

ترکیب بعدی گروه شش تایی لنی تریستانو – پیانیست سفیدپوست نابینای نیویورکی – با لی کانتیز – آلتویست نامدار – است. و در انتها دایناسورها روی صحنه می آیند: چارلی پارکر و رد رادنی برای اجرای پنج قطعه.

تاریخ این کنسرت روزهای 24 و 25 دسامبر 1949است و می توانید امروز این کنسرت تاریخی را در شصت سالگی اش بشنوید که هنوز تازه است. حال و هوای کریسمسی آن، به اضافۀ روحیۀ جمعی اش هم چیزی است کاملاً مناسب امروز و این روزها.

***

آلبوم را در قسمت الف و ب در این جا بشنوید.

Sunday, November 1, 2009

Invitation (Al Haig, 1974)



آلبوم امروز از پيانيست بزرگ جاز، ال هيگ است. غولي ناشناخته و شاعري با دايره لغاتي پايان ناپذير در پيانوي جاز. در ميان خيل عظيمي از نام هاي بزرگ و كوچك همكاري او با ديزي گيلسپي، چارلي پاركر و چت بيكر مشهورتر از همه است. هيگ به خصوص در سال هاي اول به شدت تحت تأثير باد پاول بود.

اين آلبوم كه «دعوت» نام دارد و ژانويه 1974 در لندن ضبط شده است. كني كلارك (درامز) همراهي كننده هيگ پنجاه ساله در بخش ريتم و گيلبرت روور نوازنده باس اين آلبوم بوده است. قطعات مورد علاقه من Holyland ، Invitation و به خصوص Sambalhasa است. اما انتخاب سه ترك از آلبوم فقط كار يك آدم نادان است. بايد تمام اين آلبوم را مثل جواهري يك پارچه حفظ كرد.

Allmusic (again Mr Scott Yanow!) has presumed Al Haig as one of the “finest” pianists of bebop era. What does this moderate and hypocritical word means? He was fine? Just like that?
Mr. Yanow! Let me remind you that Al Haig was one the most lyrical and the most romantic of all those masters of jazz piano, bebop or after. Musically and intellectually he was fit to any new conceptions in jazz from a cat like Charlie Parker and Stan Getz. Just listen to a record like Invitation, history is all there.

Haig’s problem, and many other giants of that period, was living in the age of sluggish people who are 100 years behind an artist like Haig, the age of hypocrites like those who sell 2-penny stories, made by their sick minds, about a guy like Haig’s being a murderer and rapist.
Yes friends they were giants living in the age of dwarf from all kinds, dwarf critics, dwarf wives and dwarf audiences.



Al Haig Trio
Invitation
Spotlite (E) SPJ 604 CD
Al Haig (p) Gilbert "Bibi" Rovere (b) Kenny Clarke (d)
London, England, January 7, 1974

1. Holyland
2. Invitation
3. Enigma
4. Sawbo City Blues
5. If you could see me now
6. Sambalhasa
7. Daydream
8. Linear Motion