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.

Albums That All Humans Should Own #10

Jim and Sonny

I’ve been thinking about Sonny Rollins lately and wanted to put out there again that despite saying I can’t bear to hear “St. Thomas,” I’m a big fan. 

It got me thinking about his music and what album of his I would pick as my all-time favourite. Yes, you know how I like lists and rankings when it comes to jazz.

My first thought was The Bridge (RCA Victor, 1962), which is one of his most famous albums and has all sorts of mythology around it. 

The story goes that Sonny was tired of the music biz and was feeling like his playing wasn’t developing like he wanted it to, so he walked away from recording and performing. 

Instead, he’d take his sax out to the Brooklyn Bridge and play for the pigeons, trash barges and passing cars. After a certain amount of time, Sonny felt ready and he returned to the studio and recorded one of the great jazz albums, The Bridge.

Now as much as I love The Bridge, this isn’t my recommendation of Albums That All Humans Should Own. It might come later, but I’m going a different direction today.

The reason The Bridge came to mind last night as a potential Favourite Sonny Rollins Album is due to Jim Hall’s appearance on that album.

I've written before about how much I love Jim’s playing. He’s one of the top few jazz guitarists of all time. I love his playing on The Bridge. He is unobtrusive and gives Sonny a perfect place to lay down his tenor sound. Jim played with just about everyone during his long career. If some evil genie said that you could only listen to albums that had Jim Hall on them, your jazz collection would still be fantastic.

If I were to list all of the Giants he played with, this post would be far too long, so here's a brief highlight of some of my favourite Jim collaborations: Bob Brookmeyer, Paul Desmond, Art Farmer, Jimmy Giuffre, Chico Hamilton and Hampton Hawes. 

So enough beating around the bush. 

ok, not the greatest cover, but the music is tops

Jim Hall Live! (Horizon, 1975) is my tenth pick of Albums That All Humans Should Own.

It’s a gorgeous record that shows the master at the apex of his powers. Maybe I also like the fact that it was recorded at a Toronto jazz club. By the time I moved to Toronto, the Bourbon Street club was closed, but there were still a few great places open back then.

I’ve said it many times: a trio sinks or swims on the strength of the group. The greatest trios have three players working together, it’s not just the leader’s show. Jim Hall’s trio on this date is fantastic.

Jim Hall-guitar

Don Thompson-bass

Terry Clarke-drums

Don Thompson on bass

It’s no secret I’m a fan of the bass, and even have a couple of them in my basement (or bassment? No, that’s a terrible pun, ignore that). Don Thompson is one of the best, though he won’t make many best-of lists. That’s okay. He doesn’t need a list. He’s got the talent. He sounds great backing Jim, but Don really shines when it’s time for his to take the spotlight. His solos are beautiful and perfectly suited for Jim’s sound. Don has a long list of credits and it’s no surprise that he was a sought after bassist.

He’s Canadian too, which is nice. Canada has a decent number of Jazz Greats, but we’ll save that topic for another time. Perhaps tonight over a stout?

Have a listen to 'Angel Eyes' and see for yourself why I love this album so much.

Sorry Sonny, I Can't Do St. Thomas

Relationships are tough. Even great relationships will have times that are damned difficult. Relationships can do permanent damage. Relationships can even destroy a perfectly fine jazz standard.

That look...You're making me feel guilty.

Okay. It's confession time.

I don't like Sonny Rollins' classic tune "St. Thomas" that was first released on the album Saxophone Colossus (Prestige, 1956).

In fact, I don't like any version of that song.

'Why?' you ask.

I understand your confusion. You know better than anyone how much I like Sonny Rollins. He's one of the greats. Top 5 tenor sax players all time.

But as soon as I hear those first playful notes that should bring to mind Caribbean joy, I cringe.

I went out with someone who loved that song. Oh god how she loved it. She loved it so much that she wanted to make a CD (yes, this story takes place in those archaic days of the compact disc) that contained every version of "St. Thomas" that she could find. Could you image that? 70 minutes of St. Thomas over and over and over and over? There are no shortage of recordings of that track since it has become a jazz standard so she could have done it, but no. No, no, no, no. Not for this guy. Sorry Sonny, but your happy song brings back the blues.

The Saxophone Trio. part one

have bike, will travel

Yesterday we spoke about the trio combination of saxophone, bass and drums. It’s certainly not your most common form of trio, but once you start thinking about it (as I did last night as I sipped a northern IPA) you’ll realize there are no shortage of fantastic examples of the saxophone trio.

I think we should look into this phenomenon over the coming weeks.

There’s a lot to like about a sax trio. Well…if you don’t go for saxophone music in general for some reason, and I know there’s some people so afflicted out there in the world…then move on. You won’t go for a sax trio. For the rest of us, let's break it down.

What I like is that each piece is so integral. This is not a lush quintet with a three piece rhythm section and a couple of horns. No, this is lean. It’s immediate. You need to be one damn fine sax player to make it work and it helps if your two-piece rhythm section is skilled too. You’re going to need everyone at the top of their game to make it work.

Last night’s example was led by Dexter Gordon. I was listening to the album Lullaby for a Monster (SteepleChase, 1981, recorded 1976)

He’s a jazz giant, of course, and there’s a biography of him called The Sophisticated Giant, so I guess he had class as well. Or maybe they’re talking about his playing. Sophisticated could work as an adjective. He was also damned tall, though 6’6” isn’t quite giant. Close enough I guess.

the jazz man and jazz dog

The band on Lullaby for a Monster is:

Dexter Gordon-tenor saxophone

Niels-Henning Orsted Pedersen-bass

Alex Riel-drums

Niels-Henning Orsted Pedersen is arguably the best jazz bassist Europe ever produced. I might have simply said ‘best bassist’ and cut the ‘jazz’ qualifier, but John Entwistle’s ghost might haunt me if I didn’t at least acknowledge that he might also be in the runner for the ‘Best of Europe’ crown. 

you'd be happy in this trio too

Pedersen is a great bass player, let’s leave it at that and not get too far off topic. Listening to him and Alex Riel is a delight. Riel sounds so much like the great Elvin Jones that I had to check the liner notes to see if it was indeed Coltrane’s favourite behind the skins. It wasn’t. Riel can hold his own in this illustrious company.

Have a listen to the title track. Oh yeah. You’ve got to love Pedersen and Riel’s groove as we lead in. Enjoy this one. I’ll listen to this as I drive home today. Tonight I’ll choose something else though. A bit of lovely chill after a long week. Are you still coming by at 8:30?

Jazz Giant Dresses For The Cold

very cool and very warm

This cold weather theme continues.

Even in my cold state, I remembered a great photo of Eric Dolphy and thought "Here's a man who knows how to dress for winter."

A jazz giant, and knows how to rock the knit sweater and hat.

I could talk at length about Dolphy, and I will do so soon. I wrote about his integral role in Oliver Nelson's "Blues and the Abstract Truth", which was one of the albums I discovered and fell in love with very early in my jazz journey. It could also be the best album title of all time.

The guy was a shocking talent. He excelled at the flute, bass clarinet, alto saxophone, soprano clarinet, baritone saxophone and piccolo. I'm sure he could have made great jazz on any woodwind that came his way. He played with most of the giants before setting out on his own, including playing on some of my favourite Mingus recordings including the brilliant but oddly titled  album Mingus Mingus Mingus Mingus Mingus (Impulse! 1963).

I also love his recordings with Chico Hamilton and that California sound is called cool jazz, but maybe it will warm us with thoughts of beaches and margaritas and bright sunshine.

His playing on "Beyond the Blue Horizon" is lovely. 

Music for a Polar Vortex

It’s cold. So damned cold it’s making headlines around the world. It got me thinking about winter-themed jazz and I think I found the album for this Polar Vortex (which sounds like the name of a 1970s jazz combo, maybe one featuring one of the Brecker brothers...).

one of my favourite album covers

Let’s take a look at the Ornette Coleman Trio’s “At the Golden Circle, Stockholm” volumes 1 & 2 (Blue Note, 1965). It was the cover that came to mind.

I’ll say that I know some of you won’t go for this. It might push too many boundaries for you, and that’s okay. No judgement from me. I’m fine to follow Ornette on this musical journey. I’m listening to “Faces and Places” right now. Yeah, this music cooks and will help warm you from the ears on down. Your feet will be tapping and blood will be flowing to your icy appendages.

The trio is unusual in a Sonny Rollins kind of way, Sax, bass, drums. No where to hide here. It takes a tight group to make it work and Ornette and company have what it takes to make this album cook.

The band:

Ornette Coleman-alto saxophone, violin, trumpet

David Izenzon-bass

Charles Moffett-drums

Like any great rhythm section, Izenzon and Moffett are so good that I’ll listen to the two of them on their own, like on the last half of the track “European Echoes.” They might not be known to you, but they are brilliant musicians and free jazz specialists who played with a who's who of that sub-genre. 

Aside from Ornette Coleman, David Izenson also recorded with Jaki Byard, Toshiko Akiyoshi, Steve Kuhn, Paul Motian, Yoko Ono, Archie Shepp and Sonny Rollins.

Charles Moffett recorded with Archie Shepp, Prince Lasha, Ahmed Abdullah and Joe McPhee.

If you really want to push things, you can listen to Ornette screech away at the violin on “Snowflakes and Sunshine.” I’m always up for a bit of adventure, but I admit I didn’t quite follow Ornette on that violinistic journey. He also pulls out the trumpet on that song and fares better.

The album is good, adventurous stuff and worth a listen if you need to expand your mind and concept of what jazz can be.

a trio pushing the limits

A Few Hundred Words About Charlie Rouse

no pressure...but Monk's watching

Yesterday I tossed Charlie Rouse, tenor saxophonist, at you without much preamble or story. I was too damned cold and barely had feeling in my digits to post to the blog. Yes, it was that cold. Still is. 

Charlie Rouse was born in Washington D.C., so he grew up with some snow over the winter, but has that city ever seen -40 degree temperatures? Doubtful. That city is all about the heat. Not some sort of metaphorical heat linked to his status as seat of government, but literal heat with records being broken each summer.

Rouse knew about heat, some of the metaphorical kind, as sax player in Thelonious Monk’s band from 1959-1970. This was not an easy gig. Monk could be a tough boss, as a genius can be I guess, and he expected his players to be able to pick up what he wanted from them quickly and without much direction. He didn't want players to learn from a written score since he felt learning without it helped them understand the music on a deeper level. 

Rouse seemed to fit in with the eccentric player and he played on many Monk albums in the 1960s including the all-time classics “Criss Cross”, and “Monk’s Dream”.

rouse on sax, watkins on french horn

In the 1950s, Rouse made several albums with Julius Watkins, who is, as far as I know, the only French horn player in jazz. Okay, surely there are others out there but I’ve never heard of them. They formed a group called The Jazz Modes and I like some of their recordings, but as soon as vocals kick in on some of the tracks…I’m out. It dates the record. 

You could always find those albums and make a playlist out of the non-vocal tracks if you care to. Have a listen to them on Bohemia.

This band also features the obscure and fabulous Gildo Mahones, who didn’t record nearly enough under his own name.

Years after Monk's band, Rouse played on one of my favourite live albums, and one that I’ve discussed before, “The Seagulls of Kristiansund” (Soul Note, 1987) by the Mal Waldron Quartet. That album also features Woody Shaw and is essential listening.

Charlie Rouse is a fantastic player and I know you like Monk and have listened to him often, so you’re probably familiar with his outstanding talent without realizing it.

I hope this makes up for yesterday's brevity.

YEAH!

Sometimes the title says it all. Yeah! by Charlie Rouse is spinning while I sit in a car in the heart of a deep freeze.

Warm me, Charlie Rouse!

Jazz to Play While Reading

It’s nice to spend a lunch hour in a comfortable chair reading a book. A pleasant break from the work day.

Sure, I can hear you say that I could read in the gym while pumping an elliptical machine, but at least I walked up to the third floor and found a spot near a window where I could warmly look out at the frigid winter chill while I read modern lit.

good and sweaty

I was listening to jazz as I read. Something that wouldn’t distract me too much. I needed to get away from horns and large bands that would pull me from the words. A piano trio was a fine solution. I turned to one of my finest countrymen, Oscar Peterson’s Trio-Live in Chicago.

The trio consists of:

Oscar Peterson – piano

Ray Brown-bass

Ed Thigpen-drums

Brown and Thigpen are seasoned pros and they lay down a crisp and mellow place for Oscar to display his genius. He’s one of the greats of course, though he probably doesn't get the cred he deserves these days. The Trio is definitely worth a listen. It would have been a great show that night in Chicago, 1961.

I can give you a taste for now. How about ‘Sometimes I’m Happy.’ 

Enjoy my friend and let’s talk tonight about that screenplay. A know a guy who suggested he could compose a cello-based score.

Jazz or Food: a young man's dilemma

I loved this place.

I’m loathe to say it for fear of sounding crotchety, but people today have it good, not like when I was younger. Yikes. That’s sounds like an old man talking…but it’s true when it comes to jazz.

I’ve written before about my early days of discovering jazz thanks to my local public library and I continued to make full use of library jazz collections in various cities that I’ve lived. I spent days at the University of Ottawa importing the entire Bill Evans Complete Riverside Recordings. Sure, technically it was copyright infringement, but I didn’t have the cash for expensive sets like that. Not having the money to pay is hardly a justifiable excuse for theft, but let’s table the whole music piracy issue for another day.

The point I’m trying to make is that music was damned expensive, especially in a genre like jazz. When I was a student in Toronto there was still three or four jazz clubs that I frequented, of which only one (The Rex) remains. I favoured vodka on the rocks back then and spent a fair bit of time and money drinking and loving the live music.

I also LOVED the used CD shops where I would routinely drop $40-$50 a month. I couldn’t really afford it, but for jazz I was willing to live on rice pudding and grapefruit.

strange and cool and a bargain

You couldn't find everything used, so I spent hours pouring through the fantastic jazz collection at the now defunct Sam the Record Man on Yonge Street. The jazz section was up on the second floor. It was possible to get deals now and then.

I remember that sweet day I found Carla Bley's two-CD set 'Escalator Over the Hill' for $20. That gold box shone light some holy relic and I listened to that strange, interesting, avante-garde music and thought what an odd and wonderful world we live in that there were people out there in this world making music like this.

Verve put out Verve Jazz Masters recordings that cost less than $10 new and they helped me in my musical education. Blue Note, Verve and others had 4 CD best-of-the-label sets that were less than $30. Other than that, it was $20+ for a CD. They had so many CDs that I wanted and couldn’t afford that going there was a bit torturous.

I wonder how many times I stood there holding Yusef Lateef's Detroit: Latitude 42° 30′ Longitude 83°? I loved the song Russell and Elliot and wanted to hear the rest of the session. It cost $26 for 30 minutes of music. I couldn't justify it. I kept hoping it would turn up at one of the used CD stores I frequented (and I traveled from one end of the GTA to the other in search of Jazz).

too $$$ for me

Now though…sign up for Spotify or Apple Music and suddenly you get the entire store at your finger tips for a few bucks a month. I know I love it and can finally listen to Coltrane’s “Heavyweight Champion” set without dropping $100+ for it. You can listen to Russell and Elliot without having to decide if it was worth going without fruit and vegetables for the month.

There's a downside to this though. Man…I cherished those CDs I could barely afford. I was literally choosing them over complete nutrition so I damned well better enjoy them. Let the jazz drown out the hunger grooooooaaning from my belly.

Do we appreciate things if they come without a bit of struggle? I’m sure any psychiatrists in the room could expound on this theory. I suspect they’d echo that old cliché that nothing worth having comes without a price. Like many jazz musicians, I went hungry for the music.

I hope the new generation of jazz fans (whatever age they might be) will take full advantage of the musical splendor available to them.

I hope Beginning With Mingus offers some advice on where to start or continue your jazz journey. It never ends. I'm still growing and learning more about this greatest form of music. I know this site helped you, Harry, and I appreciated the note and bottle of Scotch saying thanks for the education. Thanks for taking this walk with me.

A Unique Take on Monk by Miles Okazaki

This train is worth a ride

If I were to tell you that a jazz musician has put out an album called “The Complete Compositions of Thelonious Monk for Solo Guitar” would your first thought be, like mine, that that album couldn’t work. I mean, one of the great eccentric pianists, a man who played the keys unlike anyone before or since, can’t be brought to life on six strings can it?

If you’ve got the skill of Miles Okazaki, you can pull it off with style.

Trust me my friend, once you listened to Miles Okazaki’s recordings you’d admit, like I did, that these are damn good versions of classic jazz tunes. I’ve been listening to them a lot. I’ll have them spinning tonight.

They’re perfect to write to, perfect for a cocktail party. I urge you to visit his site  http://www.milesokazaki.com/ and listen for yourself. Spend a bit of money and buy it while you’re there.

Remember that? When we used to buy music? Go retro and show Miles some love.

What Time Is It?

he knows what time it is.

Feeling like I need something to pick me up.

Life can push you down sometimes, this isn't news to anyone, but music is the redeemer. Music can obliterate the worst of what life can dump on you.

Today I need some serious firepower so who better than Joe McPhee? He recorded the fantastic track 'Nation Time' in 1970.

I need to write about him but there's no time today so let's just stick with the music. It simplifies things anyways.

My wife doesn't want to know a thing about her favourite musicians in case they turn out to be assholes and that sours the music. I, for instance, wish I didn't know a thing about Woody Allen the man because it makes it damned hard to enjoy Woody Allen the filmmaker (or Woody Allen the old-time clarinetist). So maybe it's best that I don't know anything about Joe McPhee the man. It would be a shame if he turned out to be an asshole. I know Joe McPhee the saxophone player, and he's tops.

Have a listen, dear friends, to Joe McPhee and band kicking serious ass on Nation Time