Who Was Marcel the Furrier?

an incredible band on this one

Last night as I was making dinner I had jazz going, no surprise there. One of my all-time favourite songs came on, "Marcel the Furrier" as performed by Oscar Pettiford.

"Don't you love this song?" I asked my son.

"I don't really like jazz," he said. I still love him, though I hope to one day cure him of this lapse in judgement.

The song was written by Henri Renaud, who I don't know much about. One of the great European jazz players from the 50's. Played a lot with the great Bobby Jaspar. In fact, they recorded a version of this great tune, but it doesn't do it for me like Pettiford's version. George Wallington recorded an odd stilted version with strings that sucks all the toe-tappingness from the song.

Is one of these cats Marcel?

Maybe it's because I know that song so well. I've written about it before and probably will again. I think I could play every note in my mind at any moment. It's one of those perfect recordings.

I wonder, who was he? What did he look like, this Marcel? Did Henri like buying furs from him? For a lover perhaps? One day I'll find an answer and I'll be sure to have you over and tell you all about it.

I wonder what he looks like, this Marcel? Did he smoke Gauloise cigarettes? Probably.

Bag’s Groove is It

Bag’s Groove is It.

And if it’s not it it’s certainly one of them—the great songs in jazz history. Cleaning the kitchen pondering beer. Sour? Probably. I don’t know why I drink them but I do.

Bag’s Groove from the Miles Davis album “Bag’s Groove” (Prestige, 1954)

Jazz in NYC

I am lucky enough to be going to New York City at the end of the month. I know jazz was born in New Orleans, but to me, NYC is the great city of jazz. I will do all I can to take in a show or two and I'll tell you all about it once I get home, and I'll try not to rub it in.

so many great albums recorded here...

Peace is the song of the day.

On the move. Walking south on Rupert to meet Gerald.

Only here to say “Peace” by Steve Turre is the song of the day. Listen and live it brothers and sisters.

yeah, Steve can play the conch. 

A Jazz List from Wynton Marsalis

Some jazz people really hate Wynton Marsalis. I don’t know why. I read an article about a book Marsalis wrote and a blogger wrote that now Marsalis was going to ruin another art form. Wow, lighten up dude. I like that someone is so passionate about jazz, though I’d prefer a more positive take on it.

Regardless about what those negative types might think about the trumpeter, Marsalis knows jazz. It seems he also, like many jazz fans like me, enjoys lists.

It seems that in preparation for an upcoming biopic of jazz pioneer Buddy Bolden, Marsalis made a list of essential jazz recordings. I’ve been listening to his selections for the past few days and I’ve been enjoying it a great deal. I've admitted my knowledge of the early days of jazz is spotty, so this list has been an education.There’s some gems there and I’ll add it below and encourage you to dig into it and learn a thing or two.

I like Wynton Marsalis

Wynton Marsalis Chooses His Top 50 Essential Jazz Recordings

1. First true intellectual of jazz possessing encyclopedic knowledge on and off the bandstand (to his eternal damnation): Jelly Roll Morton's The Complete Library of Congress Recordings

2. Disarmingly honest and soulful melody: Charles Mingus's “Goodbye Pork Pie Hat,” Marcus Roberts's “Spiritual Awakening”

3. Manifestation of genius and an unparalleled set of unique achievements (playing, composing, arranging, mentoring): Mary Lou Williams. As a player: “Night Life”; As a composer/arranger: “Walkin' & Swingin’”; As a mentor: “In the Land of Oo-Bla-Dee” (Dizzy Gillespie's recording); Composing range: “Scorpio”

4. Profound insight into the true meaning and nature of jazz across time, space and cultural misconceptions: Django Reinhardt's “Minor Swing”

5. A boogaloo church shuffle in a funky 7 – damn!: Eddie Harris's “1974 Blues”

6. Super imaginative integration of European, African, American and Hispanic elements: Machito's “Kenya,” Duke Ellington's “Afro-Bossa”

7. Textbook genius Improvisation: Charlie Parker's “Embraceable You,” Thelonious Monk's “Sophisticated Lady,” John Coltrane's “Crescent”

8. Destination: Soul: Oliver Nelson's “Stolen Moments,” Herbie Hancock's “Tell Me a Bedtime Story,” Duke Ellington's “Blues in Orbit,” Ben Webster and "Sweets" Edison's “Better Go”

9. The Sweetest of Sweet / The Hottest of Hot: Paul Whiteman's “Whispering,” Jean Goldkette's “My Pretty Girl”

10. Supreme ambassador through effusive, ebullient, infectious playing: Errol Garner's “Nightconcert”

11. Extremely sophisticated, yet lyrical melody/harmony combination: Wayne Shorter's “Infant Eyes,” Duke Ellington's “Creole Blues,” Billy Strayhorn's “Lush Life,” Thelonious Monk's “Ask Me Now,” Bill Evans's “Very Early,” Horace Silver's “Peace,” Hermeto Pascoal's “Farol que nos guía todo,” Chick Corea's “Humpty Dumpty”

12. Audience clearly enjoying themselves: Cannonball Adderley Quintet's “Mercy, Mercy, Mercy”

13. Textbook study of thematic development in a long-form composition transforming a very basic four note motif into modal jazz, original counterpoint, and a beautiful ballad, while still swinging the whole time: Duke Ellington's “The Tattooed Bride”

14. Otherworldly display of flat-footed improvisational skills: Stan Getz's “I’m Late, I’m Late” from Focus, Louis Armstrong (second cornet) on “King Oliver’s Snake Rag”

15. Deep, deep groove of the Americas: Tito Rodriguez's “Como mi ritmo no hay dos”

16. Sounds of protest and affirmation: Louis Armstrong's “Black and Blue” (1929), Billie Holiday's “Strange Fruit” (1939), Duke Ellington's “Jump for Joy” (1941), Charles Mingus's “Original Faubus Fables” (1959), Max Roach's “Driva Man” (1960), Max Roach's “Triptych: Prayer/Protest/Peace” (1960), Dave Brubeck's “The Real Ambassadors” (1961), John Coltrane's “Alabama” (1963), Nina Simone's “Mississippi Goddam” (1964), Rahsaan Roland Kirk's “Clickety Clack” (1973), Betty Carter's “Bridges" (1992)

17. Making a horn sound exactly like someone singing: "Tricky Sam" Nanton on Duke Ellington’s “Chloe (Song of the Swamp)”

18. Insightful integration of the blues with disparate elements: Dave Brubeck's “Blue Rondo à la Turk”

19. Uncommon psychological complexity while maintaining a lyrical intention: Ornette Coleman's “Peace”

20. Floating over 4/4 swing in a long-meter subdivision of three: Billie Holiday's "Getting Some Fun Out of Life”

21. Trumpets, trumpets, trumpets: Tommy Dorsey's “Well, Git It!"

22. Classic bebop (despite poor recording quality): Charlie Parker's “Ornithology" from One Night in Birdland

23. Harmonically challenging offspring of Thelonious Monk’s “Off Minor”: John Coltrane's “Giant Steps,” Wayne Shorter's “Fee-Fi -Fo-Fum”

24. Commitment to an original and sophisticated conception over time with absolute integrity and seriousness—Steve Coleman from On the Edge of Tomorrow (1986) to Live at the Village Vanguard Vol. 1 & 2 (2018) and any other subsequent volumes that demonstrate the same level of belief

25. All-time Baddest MF: Duke Ellington's “Choo Choo" (1924), “Daybreak Express” (1933), “Happy Go Lucky Local” (1947), “Track 360” (1958), and “Loco Madi" (1972)

26. Stunning and invigorating talent: Cécile McLorin Salvant (her choice of songs, compositions and unrepentant seriousness)

27. Unprecedented improvised development with least amount of thematic material: John Coltrane's “A Love Supreme”

28. Great deal of ambition in a fallow period: Marcus Roberts's “Blues for the New Millennium”

29. Absolute improvement through improvisation of a classic American popular song (that didn’t need to be improved): Louis Armstrong's “Stardust”

30. Profound uncompromisingly spiritual intention: John Coltrane's “Dear Lord”

31. Merlin of the keyboard: Art Tatum's “Tiger Rag,” “Tea for Two,” and “Too Marvelous for Words”

32. Most angelic singing: Doris Day (and Les Brown and His Band of Renown) on “Sentimental Journey”

33. Extremely mature jazz improvisation on an American popular song: Miles Davis's “Stella By Starlight” (from My Funny Valentine)

34. Trombones trombones trombones: Duke Ellington's "Bragging in Brass"

35. Relaxation in the face of chaos: John Coltrane's “Interstellar Space”

36. Clear demonstration of how to sing the blues through a horn in all registers: Sidney Bechet's “Blue Horizon”

37. Great consolidator of past and present with no concern for cliques: Charles Mingus's "Mingus Ah Um"

38. Multifaceted genius of vocalese: Jon Hendricks's “Freddie the Freeloader”

39. Creative use of form: Jelly Roll Morton's “The Pearls,” Thelonious Monk's “Brilliant Corners,” Louis Armstrong & His Hot Fives's “Skid Dat-De-Dat,” Gerry Mulligan's “K-4 Pacific”

40. Saxes saxes saxes: The Thad Jones/Mel Lewis Orchestra's "Tiptoe" from Consummation

41. Solo with an organic integration highlighting the relationship between a modern instrument and its ancient purpose: Louis Armstrong's “Tight Like That”

42. Definitive master of playing the piano with both hands: Fats Waller's “Viper's Drag” and “Handful of Keys”

43. Mind-bogglingly nimble, flexible, intelligent and omnidirectional rhythm section: Herbie Hancock, Ron Carter, and Tony Williams with Miles Davis from E.S.P. to Filles de Kilimanjaro

44. Small ensembles that consolidated while innovating: Modern Jazz Quartet, Bill Evans Trio, Marcus Roberts Trio, Ahmad Jamal Trio, Gerry Mulligan-Chet Baker Quartet

45. Most meaningful concert: Benny Goodman's The Famous 1938 Carnegie Hall Jazz Concert, Jazz at the Philharmonic (various concerts)

46. Most meaningful composition: Duke Ellington's Black, Brown, and Beige”

47. Significant long-form compositions: Woody Herman's “Lady McGowan’s Dream,” Duke Ellington's “A Tone Parallel to Harlem,” Igor Stravinsky's “Ebony Concerto,” Leonard Bernstein's “Prelude, Fugue, and Riffs," Chico O’Farrill's “Afro Cuban Jazz Suite”

48. Great compositional diversity with no sacrifice of quality: Wayne Shorter with Art Blakey's “Lester Left Town” (1960) and “This Is for Albert”(1963), Wayne Shorter with Miles Davis's “Fall” (1967) and “Nefertiti” (1967), Wayne Shorter's “El Gaucho” (1966), Wayne Shorter with Weather Report's “Palladium” (1977), and Wayne Shorter's “Atlantis” (1985)

49. Two people who did a lot of practicing (individually and together): Charlie Parker & Dizzy Gillespie's “Shaw ‘Nuff”

50. Definitive shout chorus: Eddie Durham’s arrangement for Bennie Moten’s Orchestra of “The Blue Room” (1934)

Larry Stops By For Django and a Beer

I love Django electrified

Django’s solo on this song (Peche a la mouche) is otherworldly. Eternal. This was recorded more than 60 years ago and you hear that in the band; a bit stilted and old-fashioned, then in comes Django’s solo that sounds like a time-traveler. Ahead of his time. I’m not sure any guitarist today could top him. As soon as Django went electric in the late '40s, I was in love.

[Didn't you buy that biography about him?]

Yeah, I did, but I haven't read it yet. It’s there on the bottom shelf with Gioia and Giddens. It has a yellow cover just like Vicious Dogs. Have you read my book yet?

[No, but one of these days. Linda read it and said it was great but then again she’s always been in love with you.]

That’s ridiculous.

[Don’t give me that. Usually you think every woman is in love with you and now you act like you don’t recognize how Linda always talks about you like you’re some kind a big deal? I mean it’s not like your book was published by Penguin or something. Like, how many copies did you even sell? A couple hundred? Wow Big time author. Watch out Stephen King!]

There’s no need to be an asshole Larry. I just wanted to play you some Django Reinhardt.

[Don’t get offended. I’m just telling it like it is. And you’re right. Django's out of this world.]

linda likes this photo i took of her

There's a Cop on the Vibes!

The vibes…ringing those bells can drive some people crazy and no matter the player they balk and their eyes glaze over as soon as someone (like me) says “Hey, listen to this vibist.”

I love the vibes and I’ve written about some of the greats. Milt Jackson, Walt Dickerson, Red Norvo (though I wasn’t terribly kind to him in that post) and today I’m going to tell you about another one of my favourites who I hope  you will listen to with an open mind. Isn’t that part of what makes jazz so fantastic? Listening to music that pushes boundaries?

Let’s talk about Lem Winchester.

the cop jazzman

He didn’t record very much, so I understand if you aren’t familiar with him. He was born in Philadelphia and was sort of an accidental jazz musician. He was actually a police officer who played music on the side. This explains his choice of hat on his debut recording “New Faces at Newport” (Metrojazz, 1958), an album her shared with the great Randy Weston.

That album gave him enough exposure that he was able to focus on music fulltime and he recorded some great post-bop albums. He only recorded six albums as a leader and I enjoy them all. I want to give you the best possible introduction to the man’s music, so let’s focus on my favourite: “Another Opus” (New Jazz, 1960).

The band is a good one with a couple of all-stars:

Lem Winchester – vibraphone

Frank Wess – tenor saxophone, flute

Hank Jones – piano

Eddie Jones – bass

Gus Johnson – drums

Okay, I can see you cringing in my mind’s eye. Vibes and flute?? Trust me, Frank Wess is fantastic and can swing. He’s one of the top flautists in jazz and this album will give you an indication as to why. I'll tell you more about him sometime soon.

Hank Jones is certainly a legend and he plays well here, as you’d expect. Eddie Jones and Gus Johnson may not be household names, even in my jazz-centric home, but they sounds great backing up this group.

great band, album and cover

Have a listen to Both Barrels. It shows the band at its toe-tapping best.

Sadly, Lem is yet another on the looooooong list of jazz musicians who died too young. I know we focus on the positive on this site, but the circumstances of Lem’s passing are worth noting.

I’m not sure if his background as a cop meant he was a law-abiding person, but it wasn’t using illicit drugs that got him, unlike so many others. It wasn't even a car accident, which claimed so many others as they criss-crossed America going from gig to gig.

The story goes that we was showing off and doing tricks with his pistol and he accidentally shot himself dead. Pretty ridiculous way to go and it’s a pity he didn’t make it past age 32 or Lem might have risen to the point where he was placed alongside Milt Jackson as one of the greats. Dumb way to die, but he laid down some great jazz in his all-too-short three-year recording career. 

Let's talk about him next time we get together. I'm free tomorrow night after 8 if you are.

I was never a cowhand.

I was thinking about great jazz album covers after seeing the Bobby Timmons post from a few days ago. I'm not one to have covers blown up and hung on a wall like Larry does (your lounge looks great, Larry, this isn't a dis) but if I was, this might be my first choice.

one of the best covers, great music too

I love the cover to Way Out West (Contemporary Records, 1957). As a crime writer I feel like I could write a decent story based on this image alone. The saxophone wasn't around for much of the cowboy era (it was invented in Belgium by Adolphe Sax in 1840) but maybe this character was the first to play it in the Old West. I wonder when that instrument first made it to America?

The album isn't just about the photo, the music is fantastic too, and is another example of a piano-less saxophone trio. 

Sonny Rollins - tenor saxophone

Ray Brown - bass

Shelly Manne - drums

Ray Brown and Shelly Manne are two of the best out there and the three of them make some great music together. I think I'll listen to this one tonight. I can hear Shelly Manne tapping out the opening of "I'm an Old Cowhand" in my head right now.

John Coltrane Gets Hungry

I told you about the silly comic I saw yesterday so I thought I'd post it here for you to see. I don't know who the artist is, but kudos to them. Rare to see a jazz lyric used as a punchline.

You Gotta Love Hank Mobley

I think you made a good point last night, Larry, when you said that if John Coltrane had never existed, Hank Mobley would take his place among the pantheon. No more 'middleweight' champion BS. Yeah, they really called him that while calling Coltrane the heavyweight champion. That must hurt when your nickname digs at you.

Hank Mobley is one of the greats

Yes, I love Hank Mobley too, as anyone who has been following this blog will know. Last night Larry and I were drinking a beer and listening to Another Workout (Blue Note, 1961) that has a stellar band, as all of Mobley's Blue Note albums did.

Hank Mobley - tenor saxophone

Wynton Kelly - piano

Paul Chambers - bass

Philly Joe Jones - drums

You'd be hard pressed to find a better trio to back you up, so no surprise that Mobley shines on this date. We were particularly taken by the ballad "Hello, Young Lovers" which I encourage you to listen to.

Larry also talked about the new Andrew Bird album being out and that he's loving it, but as great as Andrew Bird is, he's not jazz, so we won't discuss him in detail here. Sorry Andrew.

Tanya sounds like Dat Dere

Dexter's a class act

As recent posts will attest, Dexter Gordon has been on my mind lately and I’ve been listening to him a lot. One track in particular caught my ear; it’s one of my favourites. 'Tanya' from the album One Flight Up (Blue Note 1964). It’s another fantastic album with another amazing band.

Dexter Gordon - tenor saxophone

Donald Byrd - trumpet

Kenny Drew - piano

Niels-Henning Orsted Pedersen - bass

Art Taylor – drums

I highly recommend the album and encourage you to listen to it as soon as possible.

This morning as I was grooving to 'Tanya' on my way to work, a strange thing happened. I realized that the catchy chorus sounds almost identical to Bobby Timmons’ song 'Dat Dere'. 'Dat Dere' was initially released on This Here Is Bobby Timmons (Riverside, 1960) has been recorded many times and it’s a great tune. 'Tanya' was written by Donald Byrd.

one of the best jazz album covers

I know that the theme doesn’t make the song and that Tanya is 18+ minutes of goodness, but there are similarities there. Borrowing from songs that came before is a natural part of music, especially jazz, so I don’t begrudge Donald Byrd or Dexter Gordon. Maybe he swiped the tune inadvertently, or maybe he loved 'Dat Dere' and wrote his theme as an homage.

I think you should come over and we can crack a craft beer and listen to the songs back to back. I’d appreciate your opinion. How about 8:30 once the kids go to bed?

In case you want to listen ahead of time and formulate some discussion points, here's Tanya and Dat Dere.

Music to Play While Cooking

Dexter's best?

We were making a lovely dinner Saturday night when you called. We chatted briefly and you noted that there was jazz playing in the background, as there so often is. 

I was feeling upbeat that night so we were listening to one of the great jazz albums “Our Man in Paris” (Blue Note, 1963) by Dexter Gordon. By this point, Gordon was living in Europe and so was the rest of the quartet.

I’m not surprised that so many jazz musicians moved to Europe in the 1950s and 1960s. I remember a story I heard about Duke Ellington. He said that one day he was playing a grand performance for Swedish royalty and given every courtesy imaginable, and then he came back to the USA and couldn’t stay in the same hotel as whites. I’m surprised MORE jazz musicians didn’t move to Europe. They didn't face the same level of discrimination and jazz was seen as the art form that it is.

Here's the band:

Dexter Gordon – tenor saxophone

Bud Powell – piano

Pierre Michelot – bass

Kenny Clarke – drums

Other than Michelot, the rest of the band are Legends. Bud Powell is, along with Thelonious Monk, the best pianist of the bebop era, and he died too young, like so many jazz musicians. Kenny Clarke, known as 'Klook', was one of the best jazz drummers ever and he recorded with just about everyone during his long career. In a nice change, he did not die young and lived until he was 71, which might be below the national average, but is positively ancient compared to other jazz musicians. Pierre Michelot, as the name would suggest, was a French bassist who doesn't have the credentials as his band mates, but he plays very well on this recording.

Dexter in Paris

The album is fantastic, as you’d expect from this line up and I highly recommend it.

Dinner was great that night and maybe the music helped. Have a listen to A Night in Tunisia and you’ll see why this album is considered one of the greats.

I’m sorry I didn’t invite you for dinner but it had been a busy day fixing broken dishwasher and leaky bathtubs and wasn’t up for entertaining. Rain check?

What? I have restraint? Since when?

10 discs of goodness

I was recently in Toronto and of course I squeezed in a bit of time browsing used books and music.

What did I see on the shelf before me but that glorious black box of music: Bird: The Complete Charlie Parker on Verve. I remember this box set from early in my jazz life. I’d borrow it from the local library and listen to it over and over, marveling at Charlie’s skill, and broken-hearted about how young he died. I always wanted to own the set but it tended to be about a $100 used, which was too rich for me back then.

Now I’m supposedly an adult with a good job and am not entirely drowning in debt and there I stood before Bird. There is was, still valued at $100 after all these years. This is some of the best recording he ever made and an important part of jazz history. Surely he’s one of the top two or three sax players of all time and I challenge anyone to argue otherwise.

I wish I had seen him play

The strange thing was that I didn’t buy it. What? I know, I can't believe it either. It’s not like me to show restraint when it comes to books or jazz, but it happened.

The reason? Streaming.

The whole set is available on iTunes and I listen to it all the time. I used to cherish CDs and now…not so much. I know this trend is happening everywhere and is even having an impact on the glorious company Mosaic Records. I have a large stack of their sets but haven’t jumped at one since Mingus’ set: Charles Mingus ‎– The Jazz Workshop Concerts 1964–65.

I suppose the moral of this story is that it’s all about the music, not about how it’s delivered to my ears, brain and heart. Whatever sci-fi technology that comes along to replace streaming, you can rest assured that there will be jazz fans like me listening to fantastic old recordings in new ways.

For now, here's a link to one of Bird's great tunes, Blues For Alice.

Because Sometimes You Need to Strut

love the title track for some serious strutting

Jazz is many things.

It's very diverse, which is why fans like me bristle when someone says they don't like jazz. How can you not like jazz? It's so many things!

I suppose there are those poor people out there who generally don't like music, and they have my deepest sympathy.

Depending on the album you're listening to, jazz can relaxing, energizing, intellectually stimulating, inspiring, fun, beautiful and more.

It can also give you a soundtrack for those days that are going so well that you just need to strut.

Cue "Right On" by Boogaloo Joe Jones. This killer track is from the album Right On Brother (Prestige, 1970). Some of the songs have a bit more organ than I can enjoy, but "Right On" hits that perfect balance.

Life is treating me fine lately, so I think I'll plug in my headphones and strut for 5 mins and 42 seconds while Boogaloo Joe Jones and his band do their thing.

Because it's hard to get enough Jim

more Jim, if you can find it

A few years back someone came across some tapes, I assume they were reel to reel. I'm not sure of the exact story of how these lost recordings came to light, but somehow they were found in  someone's closet or in a box in a garage, or some collector had been hording them and not sharing.

What I know for certain is that word got out that there may be, just may be more of that magic that the Jim Hall Trio recorded in 1975 and was released as Jim Hall Live!

It turns out that other Toronto dates that fantastic trio played in June of 1975 were recorded. Could it be possible that these newfound recordings were as good as Jim Hall Live!?

They were. These new recordings are absolutely fantastic. It's the same trio of Hall, Thompson and Clarke and you'll hear that the band was brilliant night after night. You'll also notice that people in jazz clubs yap on and on. I've noticed that when I'm out at a club. I want to turn to people as they yammer on about their cell phone plan "Don't you hear the magic that's happening on that stage?" 

The albums were released as Jim Hall Live, Volumes 2-4.

Though the albums are pricey and could be hard to find, I wanted to let you know about them and that you should snap them up if you find them somewhere. If they were more readily available, I would have put them all together and said that Jim Hall Live Volumes 1-4 were my 10th, 11th, 12th, and 13th picks for Albums That All Humans Should Own.

Of course, I couldn't resist buying this set, so you can listen tonight when you stop by.