History of Jazz: Cool

تاریخ موسیقی جاز، بخش پنجم

کــول

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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).

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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

Walkin' (Miles Davis, 1954)

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.

Remembering Tubby Hayes

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.

-- Ehsan Khoshbakht

See Also:

• Tubby Hayes pictorial discography
• Notes on my first encounter with Tubby Hayes and Mexican Green

Blues À La Mode (Budd Johnson, 1958)

Budd Johnson

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.

Lester Young Trio (1946)

آلبوم دوشنبه ها: جنگ تازه به پایان رسیده بود که لستر چمدانی خالی و ساکسفون تنور را برداشت و از شرق به غرب رفت. در 1946 به لوس آنجلس رسید و یکی از مهم ترین تریوهای تاریخ جاز را با نت کینگ کول (پیانو) و بادی ریچ (درامز/طبل) تشکیل داد. اگرچه از نظر تکنیکی همه به این موسیقی قسم می دهند اما بگذارید بگویم از نظر احساسی لستر خالص ترین نوازنده ای است که در هر نوع متصوری از موسیقی می توان سراغ گرفت.

کمپانی verve در نسخه تازه ای که از این آلبوم روی CD منتشر کرده (که به نظرم لینک دانلود آلبوم هم به همین نسخه منتهی می شود) کار احمقانه ای کرده و چهار آهنگ به آلبوم اضافه کرده که ربطی به لستر ندارد و ضبط های اولیه دکستر گوردون در 1943 و 1944 با هری سوییت ادیسون و نت کول است که احتمالاً تنها توجیه حضور آنها در این مجموعه این است که بسیار شبیه به لستر و تحت تأثیر او در تنور می مد.

Gerry Mulligan Photos

Later Years

Mulligan's famous pianoless quartet with Chet Baker, Chico Hamilton and Bob Whitlock.

With Judy Holiday

1950s

...right in the eyes.

Mulligan Meets Bird

Here, Gerry Mulligan remembers his first encounter with Charlie Parker and the influence Parker had on Mulligan. I no longer remember the source of the transcription, but a strong guess is Swing to Bop:

"Bird used to invite me to play. Do you know one of the things Bird did to me at the time of that first concert? [A Parker-Gillespie concert in Philadelphia in 1945, also featuring the Elliot Lawrence orchestra.] Well he came over with Diz. They came over to the studio, 'cause Saturday afternoons we did the network show. And of all things, I wasn't playing in the band at that time. But a week before the concert was to take place, I said to the band in rehearsal one day, “Why don't one of you guys do me a favor, break a leg or something so I can play the show instead.” And they all laughed ho-ho-ho, you know, what a kid. It was a kind of semi-political job. There were a lot of cats in the band there that were merely there because it was the best job in town, and they were the best friends of such and such an officer at the union. It's all that kind of cliquish thing, which really was dreadful for the music and made for dreadful personality of the band as a whole. It was just a little peculiar. So I was a kid, and a lot of the guys—they liked me and all, and they liked my music. But they always treated me a little shitty, because Elliot was a friend of mine. Say what is this? Like being a friend of the leader. To them it's like sucking up to the leader. Oh, shit. Elliot and I were close to the same age, and we liked each other. So we hung around together. I said to the guys, “Why doesn't someone break a leg.” So, Saturday morning, the day of the concert, Elliot called me up, frantic. Said, “Gerry, please, bring your tenor with you today. Frank Lewis [one of the tenor players] tripped on his child's roller skate on the stairs and broke his wrist.” Well, I get into the studio with my horn, and the guys are lookin' at me like this.

Bird with strings

We play the afternoon network show, and Diz and Bird came by and visited, and I met Bird then, and we talked, and he said, “After the show bring your tenor over,” to—what was it?—the Downbeat behind the Earle. Said, “Bring your horn back there and play.” Said, “I wouldn't presume to play with you. Don't be ridiculous.” He said, “Just bring your horn.” Ordered me like, being very imperious.

So we played the concert, and after that we went over to the Downbeat, and I went in and put my horn in the cloak room. And Bird played, and Don Byas was there, at the Downbeat. Say, you can imagine I'm going to get my horn out and play on the bandstand with Charlie Parker and Don Byas? Forget it! Plus a couple of pretty good Philadelphia guys, could tear it up pretty well. And I sounded terrific at home in the living room, but this was a little beyond me.

And I listened for a couple of sets, and then I told Bird—because he was in his element, every inch the king and table-hopping, and everybody making a fuss over him—I went over to where he was and said, “Bird, I really enjoyed it and I'm awfully glad to have met you and all this, but I got to go now.” He said, “What? You’re going? Wait a minute.” I said, “No.” He said, “Well, you gotta play!” I said, “Bird, please! Don't put me through that. It would be too embarrassing. Forget it.” He goes over to the cloak room, gets my horn, goes up to the bandstand—all of this very ostentatious. Opens the goddamned thing, gets the horn out, puts it together and says, “Here. Now. O.K. Let's play.”

Bird in New York with Lennie Tristano (leaning on piano)

And he made me play with him. And he was terrific because he gave me the confidence in myself that I lacked. Unfortunately for my confidence up to that point, some of the guys that I knew in Philadelphia, the attitude towards me was, “Well, man, you don't play very well. But, uh, you can write. What do you want to worry about playin'?” They'd like me to come around and listen to them play. But, don't bring my horn. So Bird was really the first one that ever encouraged me to play.

He was always like that. In many ways Bird was much older than I was because the way he had grown up. He grew up around music and around musicians. And also the accomplishment that he had done in music and on his horn. The eight years or so that he was older than I, were a tremendous eight years. Tremendous difference. At that age it is anyway, plus the experience. It was a thing which, especially with Bird coming along, there's some dividing line between something that really is music as an ideal, rather than just ordinary music. And there was something that—it's maybe the hardest thing in the world for me to define, and I guess in a way I try to avoid having to define it—but there are certain people that made music that is on just another level altogether. Now, in this day and age, that's not the most popular concept to have because, what happens to your great concepts of democracy, equality, and all the rest of it. Well, there ain't any in art. What makes one man so much greater than anything around him? And the greatness is contained in some kind of conception that—it's just different. There was a different kind of presence to Bird's music. When Bird played, it achieved some kind of response, and everybody responded to it. So we know there's something special going on, here. Prez had that, too. Specially in the context of the Basic band. It just was another element. It wasn't contained in anybody else's music. You run into that damn seldom in popular music. And yet there are a number of times that I have experienced that but I don't think, ever, as strongly as with Charlie Parker.

There was one week that I worked with Charlie at the Apollo Theatre. I worked it with the group that was based around a string band, with some incredibly stupid string section. I think three violins, a viola, and cello. The very pedestrianness of the arrangements made the absolute perfect foil for Bird. 'Cause later on guys wrote more interesting arrangements, and the things were not nearly as effective. By the very simplicity of the arrangements, it was a better framework to hear Bird do what he could do. He'd play a bloody melody and would elevate it into something that was art. This was the string section plus we had, I think, three brass and three saxophones to play the acts, and Bird asked me to write a couple of charts. I wrote “Rocker” for him. And the theme song that we never did ultimately record. He used to love to do it with the strings. I did a thing called “Roundhouse” that was based on the chords of “Out of Nowhere.” At the end of the first chorus it was in one key, I forget whether it was in E-flat and went to G, or G and went to E-flat. But at the end of the first chorus I'd have a four-bar break and then the key change. So Bird has got the modulation. But he'd come roaring out of that first chorus, roarin', man, and he'd start doing that curlycue thing he would do [scats two chord changes]. O.K., say the band comes in at bar one. Well, he would finish the modulation on the fifth bar. And he would take that goddamned thing, man, it just made my hair stand on end. The number of ways he could use this idea in his head. To get to the fifth bar. “Out of Nowhere”—that's a lovely change. If it's in G, G for two bars, then E-flat 7th for two bars. It's a lovely, lovely thing. But, to hear him do that as a blowing device, and to hear him use it in so many different ways. 'Cause he loved to suspend—a thing like that—to suspend turnarounds and get up over the bar lines. Bird has two really famous ones like that. One is “Night in Tunisia.” But still the most impressive thing, I think, single performance anybody ever did has got to be “Ko Ko.” That last phrase that he played is just incredible. 'Cause that's the curlycue business. It's circular, and it always keeps goin'. He keeps moving it a little later and later, and when it lights, it's always such a pleasant, satisfying surprise.

But anyway, that experience with Bird at the Apollo for a week doing four or five shows a day, and hearing Bird, I learned more about what I wanted from the sound of the saxophone at that point. Because he would be blowing, and you could hear the sound bounce off the back wall of the theater. The sound became a visual experience. You could see that—and big. His sound was perfect that week. Just the tone quality itself, because a lot of times he would not spend any time with reeds and mouthpieces, and borrow horns and all that. And sometimes it just sounded dreadful. And I was not one of these people who said just because it was Bird it sounded good, man. When he sounded awful, he sounded awful. And pick up a horn with a dry reed. You've got to take care of the mechanics of any instrument, including Charlie Parker having to do it. But that week he had it together. The mouthpiece and reed and everything was there. And that experience of hearing a sound produced on an instrument—the big, round quality. To hear him play these same pieces show after show, and play things differently, each one a gem, for an entire week. He just was incredible."

*

Trinke Tinkle, Vol.1: Move [Farsi]

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براي روزهاي از قرار سرد آذري كه پيش رو داريم يك مجموعه موسيقي سرهم كرده ام. از آدم هايي كه مي توانند اين سرما را به آساني با نت هاي درخشانشان به كناري بزنند. در اين مجموعه مي توانيد آرت پپر، جيمي راشينگ، باد پاول، ويك ديكنسون، ساني استيت، جين امونز، ال كان، آرت بليكي، لي مورگان، وين شورتر، زوت سيمز، جيمي راولز، بيلي تيلر، بارني ويلن، كني دورام، دوك جوردن، جو نيومن و فرانك وس را بشنويد. براي دانلود آلبوم به اين جا برويد و براي توضيحات دربارۀ هر قطعه (تاريخ ضبط و نوازندگان و جايي كه ضبط شده كه به اين كار مي گويند ديسكوگرافي استاندارد جاز) اين پست فرنگي را ملاحضه كنيد. مواظب باشيد سرما نخوريد.