ال كان با زوت سيمز
Friday, December 25, 2009
ال كان با زوت سيمز
Wednesday, December 23, 2009
Monday, December 21, 2009
Sunday, December 13, 2009
In September 1943 Dizzy Gillespie left Earl Hines. Oscar Pettiford, who had been with Charlie Barnet from January, left that band in May. Gillespie played with Coleman Hawkins; and, for three weeks in October, with Duke Ellington at the Capitol theater on Broadway. Pettiford worked with Thelonious Monk at Minton's for four months before moving down to 52nd street's Onyx Club with Roy Eldridge. Then Gillespie and Pettiford got together as co-leaders of what is generally acknowledged to be the first group to formally present bebop to the general public. Shortly after the debut of the Gillespie-Pettiford unit, a recording was put together on February 16, 1944, that was the first formal statement of the new music on record. The leader and featured soloist of the date was Coleman Hawkins. Budd Johnson and Clyde Hart co-authored "Bu-Dee-Daht," the piece that later made Daniel Bloom rave to us in front of Columbia Grammar School, and "Disorder at the Border"; and Dizzy contributed a milestone with his composition "Woody'n You" (hee named it for Woody Herman because Herman had liked and encouraged his writing. Herman never recorded it. ) That was the begging of a new era.
"When I did come to New York to settle down in 1942, I joined Diz, 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.
Monday, December 7, 2009
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.
Friday, December 4, 2009
"I am going to sing for you, a little off key perhaps, but I will sing. To sing you must first open your mouth. You must have a pair of lungs, and a little knowledge of music. It is not necessary to have an accordion, or a guitar. The essential thing is to want to sing. This then is a song. I am singing.
It is the twenty-somethingth of October. I no longer keep track of the date. Would you say – my dream of the 14th November last? There are intervals, but they are between dreams, and there is no consciousness of them left. The world around me is dissolving, leaving here and there spots of time. The world is a cancer eating itself away… I am thinking that when the great silence descends upon all and everywhere music will at last triumph." Henry Miller, Tropic of Cancer
Thursday, December 3, 2009
Tuesday, December 1, 2009
Listen to the Ahmad Jamal Quintet
Release Date: Apr 1961
Recording Date: Aug 15, 1960-Aug 16, 1960
Label: Argo (673)
Ahmad Jamal (Piano)/Ray Crawford (Guitar)/Israel Crosby (Bass)/Vernell Fournier (Drums)/
Joe Kennedy (Violin, Arranger)
Listen to "The Ahmad Jamal Quintet"
Good Morning Blues will be my early morning notepad. It is the result of the time I spend in a bus to get to my office. This time is long enough for listening to usually a jazz record (to be exact from 6:25 AM to 7:10 AM) and shape my thoughts about the tunes and artists while I'm looking at the window and dig the first efforts of people for getting out of beds and being back on the streets.
This morning iPod was playing "New jazz conceptions", Bill Evans's first record under his own name. A collection of songs for trio and occasionally solo instrumentation.
In the bus, when the day hasn’t arrived completely and darkness is fading from east section of town, and spent colors of autumn mixed with hazy colors of early morning winters, listening to Bill's first record is exactly like observing a morning rises from darkness and thick mist of a long cold night.
He was in the same age as I, when he went to Riverside studios to cut 11 songs for his new conceptions. Yet the music isn't mature enough, but the spirit is complete. Even one can hear Waltz for Debby in the album but without that spontaneous swing of his latter ground-breaking performance.
I'm in the hardest days of my life, but I think I can go on with Bill in the mornings and Hawk at nights.