Showing posts with label Max Roach. Show all posts
Showing posts with label Max Roach. Show all posts

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.

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).



Wednesday, September 18, 2013

Crash Course on Bud Powell


"Bud was totally immersed in music -- his one constant reality. Even when there was no instrument available, he could hear the sounds. Once when a friend visited him in hospital, Bud sketched piano keys on the wall. 'Listen, what do you think of these chords,' he asked while he banged his fingers against the drawing."

This anecdote which is narrated by the deep voice of David W. Niven is the essence of Bud Powell, the subject of this new post. And also this post happens to be the 400th on Take the "A" Train, so in a sense you may call it a celebration too.

The plan is to study Bud Powell though the tapes of archivist David Niven. Please note that a few seconds of silence exists between the end of side A of each tape and the beginning of side B. The side reversal happens automatically for each tape.

I've already posted Bud-related materials here, including a note on a Danish film about the pianist, and a handful of interviews. For completion sake, be aware of the seminal Bud Powell book, Wail: The Life of Bud Powell by Peter Pullman which is described by its author as an "unsentimental biography—not hagiography—of a major jazz artist." Pullman continues: "It’s based as much on an exhaustive look at the public record and press on Powell, as it is on eyewitness accounts of his live performances and on personal opinions of his private life—in addition to subjective assessments of his studio recordings. The book treats all of these accounts as so many pathways to understanding the central paradox of the musically explosive yet emotionally impassive Powell: How could he have played with such rhythmic euphoria (and romantic feeling!) and, yet, seldom if ever have allowed anyone to see the physical and psychic pain that he was often enduring?"

For ordering the paper edition of Bud Powell book, email the author directly at pullman_peter[at]yahoo.com.

This crash course features some 500 minutes of Powell's romantic agony (i.e. music), and as it has been the case with great art, his pain will be your incalculable pleasure.

Sunday, June 21, 2009

We Insist!


پيشنهاد موسيقيايي امروز من شنيدن آلبوم We Insist! Freedom Now Suite مكس روچ است. سوئيت هفت قسمتي كه روچ دربارۀ تاريخ سياهان آمريكا و برده داري ضبط كرده است. اين آلبوم دل هاي رنجيده و روح هاي خسته در جستجوي فرداهايي روشن است. اشعار اين آلبوم توسط اسكار براون جونيور نوشته شده و از آن جا كه براون در شيكاگو و روچ در نيويورك بود بيشتر اين قطعات در مكالمه هاي تلفني آن دو و پشت خط مكتوب شده اند. 
گروهي از غول هاي جاز در اين آلبوم همراه و همكار مكس روچ بوده اند [فهرست كاملشان به لاتين در انتهاي اين يادداشت خواهد آمد]
آلبوم با Driva’ man آغاز مي شود، قطعه اي كه كولمن هاوكينز ما –هاوك - در آن مي نالد و مي گريد و خدا مي داند كه با هر نت او روح از تن شنونده جدا مي شود. ابي لينكلن كه در كافه Black Orchid شيكاگو توسط روچ كشف شد، خواننده آلبوم است. او فرياد مي زند و مناجات مي كند، اما در همه حال صدايش رنجيده و خشمگين است. شاهكار او در اين مجموعه، «مناجات، اعتراض، صلح» قطعه اي 8 دقيقه اي است كه در آن لينكلن فقط با درام مكس روچ همراهي مي شود. او از آرامش روحاني گاسپل «مناجات» به فريادهاي جان خراش «اعتراض» مي رسد. اما صداي او در بخش واپسين، صلح، جايي است ميان فرياد و مناجات.
نت هاي درخشان بوكر ليتل، ترومپتيست بزرگ، ممفيسي يكي پس از ديگري گشايندۀ قطعۀ دوم، «روز آزادي» اند.
سپس به All Africa مي رسيم كه قرار بود آلبوم براي نمايش سير تاريخي برده داري تا جنبش آزادي هاي مدني با آن آغاز شود اما بعد از مدتي تصميم گرفته شد تا شروع كار به غرش كولمن هاوكينز در Driva’ man سپرده شود.
تمام نوازندگان براي آخرين بار در اشك هايي براي ژوهانسبورگ گرد هم مي آيند.
يادداشت پشت جلد نت هنتوف براي آلبوم با نقل قولي از فيليپ راندولف آغاز مي شود:

“A revolution is unfurling—America’s unfinished revolution. It is unfurling in lunch counters, buses, libraries and schools—wherever the dignity and potential of men are denied. Youth and idealism are unfurling. Masses of Negroes are marching onto the stage of history and demanding their freedom now!”
فهرست نوازندگان:
Booker Little: Trumpet
Walter Benton: Tenor Sax
Coleman Hawkins: Tenor Sax
Julian Priester: Trombone
James Schenk: Bass
Max Roach: Drums
Raymond Matillo: Percussion
Michael Olatunji: Percussion, Conga, Drums, Voices
Thomas Duvail: Percussion
Abbey Lincoln: Vocals
Nat Hentoff: Liner Notes