I was just poking around in my Mac search mode [spotlight], when I suddenly came across an item labeled ‘Spill Jazz’. It was dated April 2009 and I had no idea that it even existed, it was an extensive series of Spill comments relating to a post concerning Jazz versus ‘Free Jazz’. We never seem to have arguments or dialogues like that any more, it took me half the morning to read ’em all. I guess the reason I saved it was because I was one of the principal participants, the others being Abahachi, Chris, Ejay and Nilpferd, though many others chipped in. As part of my participation I included a playlist of the sort of jazz I enjoy, it still sounds great so as a nod to Albahooky’s ‘Absolute Beginners’ post last week I’ll include here. The cuts are:
1. Ray Charles – Outskirts of Town. 1961. Ray as a jazz musician, The trumpet intro is by Clark Terry with another later by Phillip Guilbeau, Ray at the keyboard and a great orchestral arrangement by Quincy Jones.
2. Duke Ellington – Take the ‘A’ Train. This is a 1951 version from the Ellington Uptown album, three for the price of one: a great Ellington piano solo, a post bebop vocal by Betty Roché and a great tenor solo by Paul Gonsalves, check all the changes here, not to mention the great backing from the band.
3. Ry Cooder as a jazz musicologist – The Dream. He produced an album that investigated the roots of jazz, this cut is listed as ‘a piece of whorehouse music’. It’s approx 1900, before jazz even existed and it’s typical of what might have been played in New Orleans brothels at that period reflecting Spanish, African and Caribbean influences. From Ry’s album ‘Jazz’.
4. Stan Kenton Orch. Intermission Riff. This piece is from about 1947, Kenton had a popular all white band, June Christie was his singer, he loved brass, usually he had 5 trumpets and 5 trombones, three of each was typical. Vido Musso takes the tenor solo. He was based at the Avalon Ballroom in Southern California.
5. Sarah Vaughn. Cherokee. Wonderful alto solo by Cannonball Adderley, it’s from the ‘In the land of Hi-Fi’ album, remember Hi-Fi? I forgot to mention, don’t adjust your sets, many of these cuts are in ‘mono’, produced long before stereo existed.
6. Charlie Parker. Parker’s Mood. This is the original Savoy 1947 version, it includes a false start, Bird begins his second chorus after the John Lewis piano break and he hits a bad note so he deliberately hits another and then whistles a stop, they resume with a perfect take that’s became one of the great Bird solos.
I included the false start just to show how it was done before Pro-Tools.
7. Coleman Hawkins. Body and Soul. From 1939, considered by many to be the greatest tenor solo ever. ‘Bean’ [Coleman] brushes it off as ‘just a routine piece that he made up on the spot.’
8. Duke Ellington. Creole Love Call, 1927. Possibly one of my all-time favorite pieces of music.
What intrigues me is the fact that jazz was less than a decade old and here was Duke doing things like this, triple clarinet leads with the original ‘scat’ vocal, or at least a very creative use of a voice in jazz; it’s Adelaid Hall and Bubber Miley does the trumpet solo.
9. Duke Ellington. Black & Tan Fantasie, 1927. Couldn’t decide which one to use, couldn’t delete either so I include them both. Another great piece by Duke with another trumpet solo by Bubber. Just consider that only a few years earlier jazz was basically confined to N.O. and was a genre that consisted of 5-6 musicians playing totally in unison! And there were no means of communication, no media, no phones etc, apart from very early primitive records there was no way of knowing what others were doing, and yet….
10. Louis Armstrong. West End Blues. 1928. Often quoted as Louis’s greatest ever solo, it’s from his Hot 7. Also his first scat vocal, similar thing to what Duke was doing a couple of thousand miles away, another example of the enormous changes to the music in a very few years.
11. Ben Webster & Coleman Hawkins. Shine on Harvest Moon. 1957. Considered to be the two godfathers of the tenor sax, Hawkins was the originator and the teacher, he was playing in Europe before I was born. Ben has the nicest tone in jazz. Listen carefully and you’ll hear two tenors each with distinctive tones and styles duetting.
12. Johnny Hodges. Warm Valley, 1940 with the Ellington orch. The greatest alto player ever, he joined Duke in the late 20’s and was with him for about 40 years, Duke wrote many pieces just for him, as he did for all the soloists in the band. No one has a tone like Hodges and he does ‘impossible’ things on his horn, like glissandi on an instrument with push buttons!
13. Count Basie Orch. with vocalist Jimmy Rushing. Sent for you yesterday. 1938.
A classic swinging Basie big band blues. Basie on piano with Herschel Evans doing the tenor solo, Sweets Edison on trumpet and JR on the vocal, from the all time classic Basie era. No other band swings like Basie.