COVID-19 Level 3: Day 11

I do wish Billie would have sung two choruses (or more) a little more often (we do have the alternate takes though). It’s an awfully minor complaint. There are some great bass and drum pairings across the set. Of course there’s the classic combo of Walter Page and Jo Jones, but I’ve also been enjoying John Kirby and Cozy Cole take care of business together. I have to throw some love in the direction of Buck Clayton too. In the history books he’s a little overshadowed by others. But how about that cup mute tone? And his melodic solos and blend with Prez is top notch. While we’re on the subject, Prez plays a little clarinet on Disc 4 (“The Very Thought of You”, “I Got a Date with a Dream”) - always a treat. If you’re after more clarinet from Prez, check out the Kansas City Sessions (with Buck and the Basie rhythm section) recorded about a week apart from this session with Billie in September, 1938.

Although some of these Dizzy discs are revisits, today’s outing was a new one for me. It’s nice hearing Dizzy revisiting pieces from the 40s and setting them next to slightly more contemporary pieces of the time (1963), hence Something Old, Something New. I can’t say I’ve ever been much of a fan of James Moody. He fits in well here, and the flute is a nice touch and today I preferred it over the sax playing, but he just doesn’t do it for me. I think horn blend and intonation was bugging me. It’s not always a factor, but today it was catching a nerve. I just seemed a bit inconsistent. But as a soloist Dizzy was pretty well on form throughout and that’s why these discs are getting a spin (although it’s always nice when someone else catches your ear).

COVID-19 Level 3: Day 10

And I’m onto disc 3. Cloudy, cool day here and the music did pretty well to warm me up. Old favourites a-plenty... “Sun Showers”, “I’ll Get By”, “Mean to Me”, “I’ll Never Be The Same”, “Foolin’ Myself”, “Without Your Love”, “Sailboat In The Moonlight”, “Me, Myself and I”.... studies in feel, balance, weight, colour. I love the mystery.

People always mention the pairing Billie Holiday and Lester Young – and it really is one of my favourites. But I don’t hear as much about the Teddy Wilson and Billie Holiday match up. Teddy’s touch is all over these sides – as a leader and sideman - and the magic would sound a lot different without him.

I’m definitely getting my fill of rhythm guitar with these discs. There’s a lot of Allan Reuss, Dick McDonough has some nice moments, and of course there’s Freddie Green. I’ve never had the chance, but I’d like to work with someone on acoustic archtop some time - I think it would be really interesting in a contemporary setting.

Then it was onto the after Dizzy session with Roy and Diz #2 – a recording I hadn’t heard for probably 15 years, maybe more.. It’s very much in the jam-session mold with the out-and-out pyrotechnics of “Limehouse Blues”, but I prefer when they tone things down a bit on “Sometimes I’m Happy” (with Diz double timing while Roy just chills out) and “Blue Moon” (but once they pulls the mutes out they crank it up again). The ballad medley isn’t something you encounter all too often these days but back then it was pretty common on those Norman Granz dates. He needed to place it after the high wire acts for some release though! The budget reissue is definitely not the highest quality sound-wise (regardless of what the cover says!). Might be the way it was recorded but it’s pretty muddy and the rhythm section is well down in the mix. I'll survive.

COVID-19 Level 3: Day 9

More Billie Holiday on Columbia was on the menu this morning. The box set contains so many songs that you never hear these days and that in itself is refreshing. And of course there are plenty of old favourites - “Pennies from Heaven” and “I Can’t Give You Anything But Love” (also check out Pops’ version from the early 30s too - amazing phrasing). “This Year’s Kisses” was on a disc I had pretty early on as I was getting into jazz. Still a favourite. Irving Fazola’s clarinet tone on the session from September 1936 (“A Fine Romance” etc) popped out at me this morning. What was it with New Orleans and clarinetists? Is it the whole opera and the blues thing? Sidney Bechet, Johnny Dodds, Jimmy Noone, Edmond Hall, Barney Bigard, George Lewis.... not a bad run

Yesterday I mentioned how the Billie Holiday sessions don’t feel like all-star outings. Well a bunch of the Dizzy Gillespie albums I have are along the lines of “Dizzy meets” type albums. And those jam-type sessions can fall into the trap of spectacle rather than music making (like heaps of those videos of all-star jams at festivals during the 70s). Duets is blowin’ session Diz with his rhythm section (Ray and Tommy Bryant and Charlie Persip) along with Sonny Rollins for two blues and two Sonny Stitt for two afro-cuban numbers. I think I would have preferred it the other way around. Or perhaps that’s just me favouring Rollins over Stitt. The upside with Sonny Side Up.... you get to hear both on all the tunes. And I’ll get to that one soon enough.

COVID-19 Level 3: Day 8

It’s funny how a lot my favourite music doesn’t get much room on the blog. Often I just don’t feel the need to write about it... or that I can’t really express what it means to me in a way that does it justice. The Complete Billie Holiday on Columbia 1933-1944 is one of my all-time favourites – a desert island pick for sure.

Some of favourite memories from my lessons with Richard and Connie is working with recordings from this box set. Her unparalleled phrasing and swing - she makes it sound effortless. Some critique her tone and range. But she worked with those supposed limitations and did things that have been seldom matched before or since.

It's not just Billie though, so many greats were assembled for these sessions - Teddy Wilson, Roy Eldridge, Freddie Green, Chu Berry, Jo Jones, Walter Page, Lester Young, John Kirby, Cozy Cole, Buck Clayton, Johnny Hodges, Ben Webster, Benny Goodman and so on! - yet they never fall into the trap of many “all-star” outings. 

The concise nature of the records appeal to me and the endings always put a smile on my face. It’s hard to play favourites, but some standouts include “What A Little Moonlight Can Do”, “Miss Brown to You”. How about that swinging opening ensemble work on “What a Night, What a Moon, What a Boy”? Another that stood out this morning was “No Regrets” - I was digging the ensemble interplay and breaks, including the one for the opening vocal line (I think the lyric hit a personal note with me this time around).

Sometimes there’s no option but to reach for the classics, and that’s how I was feeling this morning.

Then it was onto some post-lunch Dizzy with Dizzy Gillespie at Newport. Keeping things upbeat and high energy, even if the exuberant big band isn’t my favourite setting to listen to people improvise, it’s great listening to Dizzy swinging and the band is on form. The downside to budget reissues is they don’t contain the bonus tracks, but I’ll survive. I’ve got a bunch of 1950s Dizzy to lend an ear to over the coming days.

COVID-19 Level 3: Day 4

I forgot to publish this on Friday so I have combined Day 4 and Day 7 (sometimes the days just blend together) – plus what I was working on today didn't lend itself to listening to music.

When I put Perceptions back on the shelf last night I grabbed The Modern Jazz Society Presents A Concert of Contemporary Music. Like Perceptions, is an album purchased during a somewhat brief look at the third stream offerings of the 1950s and 60s – a curious sidebar in jazz. I’ve never been much of a fan of John Lewis. I’m not sure why, but his music has never really grabbed me and as a result I never really explored what he had to offer. I’m open to recommendations though.

I was feeling the need for something a little more high energy – Dizzy Gillespie & Charlie Parker: Town Hall, NYC June 22 1945 – provided just that. Bird sounds so great on this gig, as does Dizzy, and it sounds like they’re having fun. It’s a great archival find, recorded not long after the Guild sessions. And aside from the opening track, “Bebop” (where they’re sorting out the levels), the sound is really good too. The M.C work of Symphony Sid is pretty corny and cringe worthy but it’s great they left him in as it adds to the vibe of the evening. It’s funny how dated the announcements sound but the music remains vital. If you ever needed an example of a drummer dropping bombs, Max Roach’s bass here is loud and clear. It’s also interesting hearing Max and then having Sid Catlett sit in with the same band. Anyway, this is such a great find and we’re lucky to have it so it got another run on Monday morning too.

COVID-19 Level 3: Day 3

The Loft were streaming live from Cologne this morning. Today’s concert was divided into three short sets. First up was the solo alto saxophone of Leonhard Huhn. I have only heard few things online here and there, and he was part of the alto saxophone ensemble for Hayden Chisholm’s album Auto Poetica. I dig his warm sound and melodic approach, even the multiphonic playing retained some of the melodicism. I like to listen to more for him (add it to the list!)

The second set was Frank Gratkowski solo. It was a contrast to Huhn set. Starting off quite intense and jagged before moving onto very quiet sounds and then onto short blasts and smears (almost like someone had randomly edited someone playing lines on sax). There’s so much presence in his tone – an edge but still full-toned. Listening to Frank I always wonder how he does it - like when he mixed up playing and singing notes will maintaining the integrity of line. Towards the end of the set I thought he was doing his thing and creating an illusion that the sound was cutting out.... and then he spoke... and the mic was cutting out. The fixed the audio and he finished off with another improvisation. It was a nice contrast between the two solo approaches. Introspected then extroverted.

Then Huhn joined Frank for a duo – the first time they have played in a duo setting. I really enjoyed the blend of two altos. Although their sounds are different they came together nicely. And their individual approaches came together nicely when combined. Frank even played a little bit of sopranino too. And I’m certain the finished on Charlie Haden’s “Silence” (I was working so attention was 100% - sorry guys!). Aside from some technical issues towards the end of Frank’s set, as with yesterday the live sound and production was great .... not sure about the blue/neon though.

It was a day of contrasts, as after the headphones came off, Dizzy Gillespie’s Perceptions came on (by the time I set up the computer speakers I won’t be working from home any more!). I picked this up a few years ago when I was checking out some ‘third stream’ recordings. Recorded in 1961, Dizzy is the featured soloist playing six pieces by J.J. Johnson for brass orchestra and rhythm section (21 pieces plus Dizzy). I’ll have to bust out the liner notes to see if it mentions how this session came about as it’s a really interesting recording showcasing a different side of Diz . I’d be curious to read some reviews of the album from back in the day to see what was thought about it at the time. Perceptions could be the ticket if you fancy something a bit different from his ‘usual’ output.

COVID-19 Lockdown: what day is it?

Is it Day 34 of lockdown or day 1 at level 3?..... Either way, much remains the same for me at least. However, there was the sad news over the weekend that Phil Broadhurst lost his battle with cancer. Phil was an integral part of the New Zealand jazz scene as a pianist, composer, educator and broadcaster. Personally, I have limited knowledge of his recorded output (and I think I only heard him live once or twice), so I spent the morning listening to his 2015 recording Panacea. I was feeling a bit jaded this morning, not sure exactly why, but starting off the work day with frustrating errors, doesn’t help the mood. And it didn’t help set the tone to listen to some contemporary jazz, most of which just floated by.... in one ear out the other. I’ll hit it again later once I’ve perked up a bit.

Over the weekend I got a hankering to listen to some Dizzy Gillespie. Who knows why, but here we are. There was a time when I listened to a lot of Diz. It has been a while and most of the Diz I’ve listened to since has been with recordings of Charlie Parker. That’s where I kicked off today... Bird and Diz – not my favourite session of the pairing but somewhere to start nonetheless. It always raises the question... why Buddy Rich and not Max Roach? Anyway, I feel more Diz is on the cards – with and without Bird - and I’m looking forward to it.

More Bedside Listening

John Carter & Bobby Bradford Quartet: Flight for Four (Flying Dutchman) This album has been sitting on my "to listen to" pile and I finally got around to it. Mark Weber put me onto this quartet and I'm glad he did (Mark recently posted on John Carter here).

Sal Mosca: The Talk of the Town - Live at the Bimhaus (Sunnyside) This 2CD set of live solo piano from 1992 released earlier this year is an absolute gem. Wonderfully recorded, the album has a very intimate feel - it's almost as if you are a fly-on-the-wall in Sal's studio. Be on the lookout for more Mosca - I understand a box set is due out towards the end of the year. Hopefully these releases will bring more attention to a very underrated pianist.

Dizzy Gillespie: Perceptions (Verve) Earlier in the year I was checking out recordings associated with the Third Stream and I came across Perceptions. The music was written by J.J Johnson and Gunther Schuller conducts a brass ensemble, harps and rhythm section as they back Gillespie. The suite showcases the lyrical side of Dizzy's playing that many don't associate with him (myself included). I finally found a copy in August (at the Jazz Record Mart) and over the past month it has been getting some airtime.

Sonny Rollins: Rollins Meets Hawk! (RCA) I hadn't listened to this album for years and I have to say I've really enjoyed getting back into it. I first heard this album back in '99 when Norman Meehan played it to our jazz history class, not really for Sonny & Hawk, but for Paul Bley (check out Norm's book with Bley - Time Will Tell). Bley is outstanding and although I know people who don't really dig Rollins' here, I'm enjoying it. A bunch of live Rollins quartet recordings with Don Cherry are now available and I'm looking forward to checking them out (eventually!).

Thelonious Monk: Brillant Corners (Riverside) I have been learning a few of Monk's melodies and this was one of the recordings I listened to while working on "Pannonica." This may well be my favourite Monk album. Another album I hadn't listened to for ages and I had forgotten how much I enjoyed Ernie Henry's contribution on alto.

Bedside Listening

Of late, these albums have been hanging out on the bedside table. Occasionally the full album will be played - usually during the day (as was the case on Saturday when Shots got a couple of spins). For the most part though I listen to a few tracks before going to sleep (sometimes as a morning wake up too). The line up evolves over the course of a couple of weeks.

Herbie Nichols: The Complete Blue Note Recordings (Blue Note)

Charlie Parker & Dizzy Gillespie: Bird and Diz (Verve)

Hayden Chisholm: Breve (Pirouet)

Jay Clayton and Jerry Granelli: Sound Songs (Winter & Winter)

Steve Lacy: Shots (HatOlogy)

Roland Kirk: The Inflated Tear (Atlantic)

Quicksand - Spectral Reflections - Dizzy

Lately, Frank Gratkowski has been on the playlist. I find myself listening to his music in blocks - spend a week or two listening to a few of his albums and then take a break.

First up is his trio disc Quicksand (Miniscus 1999) Gratkowski (as/clr/b.clr) George Graewe (p) Paul Lovens (d/singing saw).
I bought this album late last year and it had been a good four or five months since I had last listened to it.
I am always amazed by the variety of sounds Frank can bring out of his horns, but usually the thing I enjoy most is his line playing - "Green Fuse"  has some nice alto lines with Graewe's piano playing likewise and Loven's drums interjecting and implying various pulses.
The energy is ramped up until the lines lead to breaking point. Things drop down with piano and drums moving into a lengthy duet with clarinet joining them in to round out the piece. The playing and interaction throughout the set is on a high level. For the most part this is fairly high energy free improvisation, but there is enough variety to keep things interesting. The music breathes and is nicely paced. Very nice sounding live recording too.
I find the length of the album refreshing - 44 minutes.

Frank Gratkowski Quartet - Spectral Reflections (Leo 2001)
Gratkowski (as/clr/contrabass clr) Wolter Wierbos (trb) Gerry Hemingway (d) Dieter Manderscheid (b)
The quartet covers a lot of ground over the six tracks - Abstraction ("Blonk"), Swing ("Annaherungem III"), Ballad ("Fenster"), Rhythmic intensity & full throttle blowing ("Loom"), Mysteriousness ("Spectral Reflections"). "Homage" combines many of the above - starting as a haunting ballad with arco bass and angular clarinet, adding vocalized sounds from trombone and minimalist textural playing from drums that gradually become more rhythmic. The trombone and clarinet move into a pointed dialogue with sparse accompaniment that gradually builds into full on swing from the rhythm section while the horns team up and dance on top. They then get a bit a solo space - with some particularly potent clarinet playing - before things drop back down and the piece wraps up with trombone and clarinet. I have heard a fair bit from the individuals in this group but haven't heard much of this quartet - time that changed I say. I would like to hear in concert.
Last December, Leo Records released a new album from the quartet - "La Vent Et La Gorge" I am yet to hear it.

Dizzy Gillespie's early years have had bit of a run over the last few days.
His first solo on record - "King Porter Stomp" from 1937 with the Teddy Hill Orchestra. "Pickin' The Cabbage" from 1940 with Cab Calloway & His Orchestra - was this his first recorded composition?
Coleman Hawkins 1944 recording of Gillespie's "Woody 'n' You" with Dizzy alongside other key players of the new music... Oscar Pettiford (b) and Max Roach (d).
"Blowing The Blues Away" from 1945 as part of Billy Eckstine's Big Band - Dizzy follows some extensive trading between the tenors of Dexter Gordon and Gene Ammons.
Then it was on to some his early work as a leader - sextet sessions from 1945 including "Groovin' High" & "Blue 'n' Boogie" (this was the first Dexter Gordon recording I heard) and the session from a couple of weeks later (this time with Charlie Parker) "Dizzy Atmosphere" & "Groovin' High." 

Town Hall, NYC, June 22 1945 (Uptown 2005)
Charlie Parker (as) Dizzy Gillespie (trpt) Al Haig (p) Curly Russell (b) Max Roach (d) Sid Catlett (d)... sits in on the last couple of tunes (a great contrast between the drum generations) Don Byas (ts)... fills in during the first tune until Bird arrives to much applause from the audience (seems he was gaining a loyal following).
A historically important and great sounding live recording - burning through classic repertoire - "Bebop", "A Night In Tunisia", "Groovin' High", "Salt Peanuts", "Hot House."
Each time I listen to this album I always ask "Why haven't I listened to this more?" If you haven't already, be sure to check it out.

The announcements from Symphony Sid Torin are cringe worthy, though they do fill in a few details and give some context to the time.
Diz and Bird played appeared at the Town Hall the previous month - is there another discovery for fans in the future?

I finished things off with some of classics from Dizzy's Big Band - "Manteca" and George Russell's  "Cubano Be" & "Cubano Bop."