View allAll Photos Tagged hardbop
SCHACK MATES in La Fontaine, Copenhagen. Line-up: Jesper Loevdal (ts, bs), Marten Lundgren (tp), Karsten Bagge (dr), Martin Schack (org).
Greg Abate at 1000 Trades Birmingham with the Elliott Sansom Trio on November 17th. 2017. Seen here with guest saxophonist Richard Hamer.
"The whole is other than the sum of the parts"
Composition based on excerpts and fragments extracted from a lithography by Raymond Moretti.
Charles Mingus Jr. (April 22, 1922 – January 5, 1979) was an American jazz double bassist, composer and bandleader. His compositions retained the hot and soulful feel of hard bop, drawing heavily from black gospel music and blues, while sometimes containing elements of Third Stream, free jazz, and classical music. He once cited Duke Ellington and church as his main influences.
Mingus espoused collective improvisation, similar to the old New Orleans jazz parades, paying particular attention to how each band member interacted with the group as a whole. In creating his bands, he looked not only at the skills of the available musicians, but also their personalities. Many musicians passed through his bands and later went on to impressive careers. He recruited talented and sometimes little-known artists, whom he utilized to assemble unconventional instrumental configurations. As a performer, Mingus was a pioneer in double bass technique, widely recognized as one of the instrument's most proficient players.
Nearly as well known as his ambitious music was Mingus's often fearsome temperament, which earned him the nickname "The Angry Man of Jazz". His refusal to compromise his musical integrity led to many onstage eruptions, exhortations to musicians, and dismissals. Because of his brilliant writing for midsize ensembles, and his catering to and emphasizing the strengths of the musicians in his groups, Mingus is often considered the heir of Duke Ellington, for whom he expressed great admiration. Indeed, Dizzy Gillespie had once claimed Mingus reminded him "of a young Duke", citing their shared "organizational genius".
Mingus' compositions continue to be played by contemporary musicians ranging from the repertory bands Mingus Big Band, Mingus Dynasty, and Mingus Orchestra, to the high school students who play the charts and compete in the Charles Mingus High School Competition.
Gunther Schuller has suggested that Mingus should be ranked among the most important American composers, jazz or otherwise. In 1988, a grant from the National Endowment for the Arts made possible the cataloging of Mingus compositions, which were then donated to the Music Division of the New York Public Library for public use. In 1993, The Library of Congress acquired Mingus's collected papers—including scores, sound recordings, correspondence and photos—in what they described as "the most important acquisition of a manuscript collection relating to jazz in the Library's history". Source Wikipedia.
Raymond Moretti was born in Nice on July 23th, 1931. His Italian parents were fleeing fascism.
In 1947 he painted "Moses breaking the Tablets of the Law," now at the Museum of the University of Jerusalem.
Spotted by Jean Cocteau, also living in the south of France, they painted together gouaches and one oil on the theme of "The Age of Aquarius." Moretti met and worked with another great artist, Pablo Picasso, who will be present all along his career and in difficult times.
In 1965, Raymond Moretti holds an important exhibition, " World Screaming" in Paris, with twelve oils of 12 m² each, including his version of "Guernica". His career was launched. In 1973, his sculpture "The Monster", so named by Joseph Kessel, is exposed at "La Defense" in Paris. This monumental work occupies an area of 1000 m² on five floors.
In 1977, he committed to publishers Armand and Georges Israel, to defend him on the national and international scene. An alliance that will last over twenty years in which they will create many bibliophile books and more than two hundred exhibitions of the painter in the world. Among the major projects Moretti, a decoration of the Forum des Halles in Paris of a gigantic mural of 200 m² dedicated to the history of humanity, and book illustrations like "De Gaulle" by Malraux, the "Haggadah of the Fifth Cup "(1980)," Massada ","initiatory path" with the great Master Michel de Just (1981), "Man of La Mancha"(1985) and "The poetic works" (1986) by Jacques Brel, or the book "Les Illuminations" of Rimbaud, who will receive the Golden Eagle, the highest award given to an international art book (1982)...
Passionate about music, especially jazz, he devoted part of his works to this art, culminating with the book "Jazz" (1984) with Frank Tenot, Daniel Filipacchi, Michel Legrand, Claude Nougaro. Still very present in the 1990s, we note that decoration of a tower at "La Defense" in Paris which rises to 32 meters adorned with 672 tubes of glass fibers, or 20 years of collaboration with the literary magazine on the occasion of the commemoration of the 300th issue in 1992. Source artsper.com
SCHACK MATES in La Fontaine, Copenhagen. Line-up: Jesper Loevdal (ts, bs), Marten Lundgren (tp), Karsten Bagge (dr), Martin Schack (org).
Damn, damn, damn.
Personally, I was blessed to have heard trumpeter Wallace Roney perform on several occasions in the late 1980s/early 1990s, when I worked at the One Step Down in Washington, D.C. He died on 31 March 2020 of complications from COVID-19, at age 59. This hits me hard.
▶ "Our collective spirits are taking some serious blows these days. Saying goodbye to one my beloved big brothers is especially hard. May the great Wallace Roney RIP."
31 March 2020.
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▶ "Wallace Roney, Jazz Trumpet Virtuoso, Is Dead at 59
Initially dismissed by many as a clone of Miles Davis, Mr. Roney, who has died of coronavirus complications, emerged as a major musician in his own right."
31 March 2020.
*************
▶ "Wallace Roney, a trumpeter and composer who embodied the pugnacious, harmonically restive side of post-bop throughout an illustrious four-decade career, died this morning [31 March 2020] at St. Joseph's University Medical Center in Paterson, New Jersey. He was 59.
The cause was complications from COVID-19, according to his fiancée, Dawn Felice Jones. She said Roney had been admitted to the hospital last Wednesday.
Roney first rose to prominence as a sharp young steward of the modern jazz tradition, winning national awards in his early 20s and joining several high-profile bands. But it was a public benediction by his idol and mentor, Miles Davis [at the 1991 Montreux Jazz Festival], that catapulted him into a rare stratum of jazz celebrity."
— NPR.
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▶ "A forward-thinking, post-bop trumpeter, Wallace Roney first emerged in the late-'80s as a gifted soloist with Art Blakey's Jazz Messengers and Tony Williams. Blessed with a warm, often plaintive tone and lithe improvisational style, Roney is often regarded as the heir to the modal legacy of Miles Davis, though his playing also evinces the influence of trumpeters like Clifford Brown and Woody Shaw. While many of his albums, like 1989's "The Standard Bearer" and 1997's "The Village", display his talent for swinging and harmonically advanced acoustic jazz [I'd call it post-bop], others, like 2000's "No Room for Argument" and 2016's "In an Ambient Way" with the all-star group Powerhouse, reveal his love of genre-bending, electrified funk, and soul."
— AllMusic.
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SCHACK MATES in La Fontaine, Copenhagen. Line-up: Jesper Loevdal (ts, bs), Marten Lundgren (tp), Karsten Bagge (dr), Martin Schack (org).
SCHACK MATES in La Fontaine, Copenhagen. Line-up: Jesper Loevdal (ts, bs), Marten Lundgren (tp), Karsten Bagge (dr), Martin Schack (org).
SCHACK MATES in La Fontaine, Copenhagen. Line-up: Jesper Loevdal (ts, bs), Marten Lundgren (tp), Karsten Bagge (dr), Martin Schack (org).
SCHACK MATES in La Fontaine, Copenhagen. Line-up: Jesper Loevdal (ts, bs), Marten Lundgren (tp), Karsten Bagge (dr), Martin Schack (org).
A lost little Hard Bop gem, recorded in 1980 but released four years later, seems like even the label had forgotten about this session.
1984 U.S. pressing on Muse label.
Jam session hosted by
The John Douglas Quartet,
Friday, August 4-5, 2017
at Bert's Marketplace
Eastern Market
Detroit, Michigan, USA
Click here to View in a Zoomable Window.
Other sets of photos of John Douglas at Bert's are available here, here, here, and here.
Click this link to go to my facebook page:
www.facebook.com/JuanNOnlyPhotography/
What I consider some of my best live music photos can be found here.
[These photos are under a Creative Commons license. If you wish to license them for commercial purposes, want to purchase prints or are interested in commissioning me to take photos, please send me a Flickr mail or visit my website, www.juannonly.com/, for contact information. Thanks.]
SCHACK MATES in La Fontaine, Copenhagen. Line-up: Jesper Loevdal (ts, bs), Marten Lundgren (tp), Karsten Bagge (dr), Martin Schack (org).
... with the Miles Davis Quintet
1. If I Were A Bell
2. You're My Everything
3. I could Write A Book
4. Oleo
5. It could Happen To You
6. Woody'n You
Miles Davis - trumpet
John Coltrane - tenor sax.
Red Garland - piano
Paul Chambers - bass
Philly Joe Jones – drums
And a glass of Pinot Blanc ...
1967 Dutch pressing of Max Roach's "Max" album, on "I love Jazz on Chess" serie. Originally released in 1958 on Argo label.
This edit of a track by "Johnny Hammond Smith' is a natural merger of 60s and early 1970s jazz, with a soul that was getting into a funk on an exploration into ideas of 'groove'.
A 'spot the difference' between French and English Wiki explanations of the word 'Funk' is worthy of an essay in cultural studies and semantics:
"Selon certaines interprétations, le terme funk proviendrait de l'argot anglo-américain funky, qui signifie littéralement « puant », « qui sent la sueur », insulte traditionnellement adressée aux noirs par les WASP et reprise ensuite à leur compte par les artistes noirs tel que Horace Silver dans son morceau Opus de Funk (1953)." Wiki Fr 7.06.20
In contrast with:
"It is originally derived from Latin "fumigare" (which means "to smoke") via Old French "fungiere" and, in this sense, it was first documented in English in 1620. In 1784 "funky" meaning "musty" was first documented, which, in turn, led to a sense of "earthy" that was taken up around 1900 in early jazz slang for something "deeply or strongly felt".[6][7] Ethnomusicologist Portia Maultsby states that the expression "funk" comes from the Central African word "lu-funki" and art historian Robert Farris Thompson says the word comes from the Kikongo term "lu-fuki"; in both proposed origins, the term refers to body odor.[8] Thompson's proposed Kikongo origin word, "lu-fuki" is used by African musicians to praise people "for the integrity of their art" and for having "worked out" to reach their goals.[9] Even though in white culture, the term "funk" can have negative connotations of odor or being in a bad mood ("in a funk"), in African communities, the term "funk", while still linked to body odor, had the positive sense that a musician's hard-working, honest effort led to sweat, and from their "physical exertion" came an "exquisite" and "superlative" performance.
Wiki English. 7.06.20
From the late 60s to the early 70s, musicians from diverse backgrounds were becoming interesting in the word 'groove': both locking down and liberating the bass, rhythm guitar and drum, and ornamenting with 'hooks' rather than complected architectural changes to the armature of melody. 'Groove' was to dance to, and the dance of jazz bop clubs was blending with the dance of late soul music, as musicians such as drummer Bernard Purdie and organist Johnny Hammond took the two rivers to the bridge.
Whilst, with time, early funky 'orchestrations' would flood television, b-movie cinema and even feed into a style of music that would become known as Disco, the authenticity of this window-in-time keeps some of the music well away from watered down transformations, and as an island of creativity that would later be valued by the movement known as 'Acid Jazz'.
Johnny Hammond worked with the avant guard hardbop and soul-jazz 'Kudu records', and did what Jazz had always done - he took standards and reworked them into versions that were his own (here working with an arranger for the strings). The real difference with this moment in time was to start taking 'standards' from freshly written 'modern pop music'. The track 'Rock Steady' had been written and released by Aretha Franklin in 1971, only a year before Johnny Hammond's revision - so sounds were still 'hot', and, in a way, Hammond's team were already investigating ideas of 'remix'. Many decades later, remix artists from Andy Weatheral to Ludovic Navarre would turn an original song onto it's head to the point where the original is barely visible, and to an extent Jazzman Hammond did just that to Franklin's funkest song.
Aretha's live for the single release of 'Rock steady'
1971 live: www.youtube.com/watch?v=J2VDEl18rgQ
Aretha's live of 'Rock steady' by the LP release of 1972 - the track is now much slower and into the groove: www.youtube.com/watch?v=KB5sMYw37gw
For Johnny Hammond's version, the beats were further slowed and everything was redirected to a trajectory from another melodic orbit. In short the song was no longer the same song and the cover version was virtually ... an original: almost certainly too different to provoke an injunction for intellectual property theft. This sort of appropriation and inspiration is normal for Jazz, but in the greater world of 'pop' it might be seen as the unnecessarily giving away of writing credits. Obviously 'Jazz integrity' was mixing with the pop mass market, and at the time everyone must have been happy with the shared publicity: drummer Bernard Purdie had worked on both versions, and they even released this Jazz version in time for Franklin's LP - 'Young gifted and black' in 1972. But still, a song credit of perhaps "Hammond, Purdie, Washington, Gale and Franklin" may not seem out of place to common sense.
One strata of the song's groove is presented by the guitar of Eric Gale (Melvin Sparks's guitar is also credited on the song, but I think the solo is Gales). Eric Gale's can be heard to be forming his style for his "Rock Steady" solo in this earlier Freddie Hubbard track from 1969: "A soul experiment" (from around 3 minutes 14).
www.youtube.com/watch?v=z8MR8B-X0A8&list=OLAK5uy_naNO...
By the time his solo had been recorded for Johnny Hammond, it sounded just like a ... Pink Floyd solo. Simplified - perhaps - but around the same speed and a similar interplay of lead with organ and rhythm guitar as a song with a different title and later release date. If you known Pink Floyd then perhaps have a listen to this Flickr post from around 1 minute 10.
There have always been remarks about similarities between Graham Nash's track "There's only one" and a famous Pink Floyd LP ending, and then there is this from around 3 minutes...
www.flickr.com/photos/ajmitchell-prehistory/49661297158/i...
With each of these mentioned tracks appearing prior to, or aside 'The Wall', 'Dark Side of the Moon' and 'Animals' respectively. Now the similarities are poetic, and the unique contribution of Pink Floyd's Richard Wright to music as a subject is never mentioned enough... but still - a nod of respect and even percentage royalty to poor musicians of rich spirit may make common sense.
At this point the narrative seems finished - loose enough to fit, and open-ended enough to allow for a little tailoring; the only thing is that the subject of musical originality vs musical cover is not quite over as the drummer for both projects was involved in a credit polemic about... The Beatles. 'He was in a funk and was the real drummer for many Beatles songs!' The subject of Bernard Purdie and the Beatles is perfectly covered here:
www.youtube.com/watch?v=hz9EGGiOuso
It is perhaps worth remembering what 'groove' could be like before Bernard Purdi added his shufflin' funk to the kit. Johnny Hammond Smith shares some of his name with a fellow Jazz organist Jimmy Smith. Here is Jimmy Smith's 'Sermon' from 1958 - a twenty minute groove with a short final climax.
www.youtube.com/watch?v=e3X5J_wGHrw
It's a great track, but the drums a not doing much. Now listen again to Purdie on 'Rock Steady' - he has an Afrobeat lightness - almost akin to Alan Wren from recent years. Purdie was important to music and from the above mentioned Youtube documentary, it seems he worked with Atlantic records to open out the drumming for an unofficial remix of a pre 'Love me do' Beatles session with Tony Sheridan. As a man within both versions of 'Rock Steady', Purdie was perfectly placed to put a word in for Gale and co regarding Pink Floyd royalties, and one can question why he directed his energies exaggerating some unofficial and very early Beatles overdubs when he was part of Johnny Hammond's apparently highly "influential" 'Rock Steady' recording?! A rather smug Red Bull fuelled interview seems to have helped Purdie make crass generalised statements about 'Ringo not being the real drummer of The Beatles' - an exaggeration of meaning perhaps a little like the French Wiki for 'Funk' and its inability to appreciate the roots and diversity of earthy smells.
Johnny Hammond Smith was mentioned in another "music through the lens test" as having played with Clement Wells (see below) :
www.youtube.com/watch?v=eAKn1g4kpjU
This "Music: through the lens test' features an edited version of Rock Steady. The full version is here:
www.youtube.com/watch?v=D5X0QI8k1jE
It's a detail, but the engineer for the track was the great Rudy Van Gelder and it was arranged and conducted by the very Bob James.
AJM 09.06.20
Joe Farrell / Canned Funk
Side one:
- "Canned Funk" (Joe Farrell) – 7:20
-"Animal" (Joe Farrell) – 9:55
Side two:
- "Suite Martinique" (Joe Farrell) – 9:03
- "Spoken Silence" (Joe Farrell) – 7:43
Joe Farrell – tenor saxophone, soprano saxophone, baritone saxophone, flute
Herb Bushler – bass
Joe Beck – guitar
Jimmy Madison – drums
Ray Mantilla – conga, percussion
Recorded: November, December 1974 at Van Gelder Studio, Englewood Cliffs, NJ
sleeve design: Cover photography by Pete Turner
Label: CTI Records / 1975
ex Vinyl-Collection MTP
" ... Credo che oggi Bosso alla tromba abbia pochi rivali perfino in America. A volte quando serra gli occhi, gonfia le guance e emette un fiume di note che ti entrano nelle viscere sembra Dizzy Gillespie, mentre nelle "ballad" riesce a essere dolcissimo come Chet Baker. "
2°classificato del del 7° contest NOTES IN BLACK AND WHITE:
This is not Valaida Snow, Billie Holiday or Cloray Bryant, but Lorraine Glover, wife of Hardbop trumpeter Donald Byrd.
More information here;
fakehistoryhunter.wordpress.com/2017/06/23/not-billie-hol...
Eén van de grootste trompettalenten van dit moment, New Yorker Jeremy Pelt, presenteerde zowel op de vrijdag áls de zaterdag van Pure Jazz energieke sets met een interessante mix van hardbop en electronica.
Hard bop saxophonist Sonny Rollins' album, Way Out West (1957). Photo by William Claxton.
The original album cover: m.media-amazon.com/images/I/71u5zNfGDoL._UF1000,1000_QL80...
and the album: www.youtube.com/watch?v=PI7Jsasfp54
My new kit! Photo courtesy of HardBop Drums: purpleheart segment shell bass (18x14), floor (14x14), and mounted tom (12x8).