月別アーカイブ: 2016年12月

The legendary bassist Jimmy Blanton(5)

December 17. 2016

1941年後半、彼は結核と診断され、ロサンゼルスの近くで治療を受けていました。
しかし、1942年7月30日に死亡しました。
もし彼が生きていれば、ビバップ運動の最前線で活躍していたでしょう。

While on tour with the Duke Ellington Orchestra in late 1941, Blanton became seriously ill.

Unfortunately he was diagnosed with tuberculosis.

In 1943 he moved to receive medical treatment Duarte Sanitarium, near Los Angeles.

He had no family there.

Jimmy Blanton passed away in Monrovia, California on July 30, 1942.

If he had not passed away in 1942, most musicians suppose that Blanton would have been at the forefront of the bebop movement.

I found an  invaluable photograph from a collected papers of Journal of Jazz Studies.

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Journal of Jazz Studies (Winter 2014-2015) Of Icons and Iconography: Seeing Jimmie Blanton Matthias Heyman Blanton and Johnny Hodges, (photograph by Otto Hess, original appeared in Metronome, January 1941.Every effort has been made to identify and acknowledge the rightful owner of this photograph).

Here is Duke Ellington and His Famous Orchestra play “Jack The Bear”.

Ray Brown played the duo recordings such as reminiscent of Duke’s work with Jimmy Blanton three decades before.

Here is Duke Ellington and Ray Brown play “TRIBUTE TO JIMMY BLANTON ´72”.

The legendary bassist Jimmy Blanton(4)

December 16. 2016

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Duke EllingtonとJimmy Blantonの歴史的な録音は6曲が残されています。

これら歴史的な録音は「インターネットアーカイブ」聞くことが出来ます。こちらをクリック

又、Spotify(無料配信)でも別テイクを含め聞けます。

Today I want to post about a historical duo recording of Duke Ellington and Jimmy Blanton.

Jimmy Blanton had developed a new bass technique of playing lines that sounded more like a horn.

He played the greatest performance with Duke Ellington at duo recording.

Also he showed his musical identity and superb skill to the full.

They had recorded only six tunes at duo in RCA and Colombia Records.

RCA Victor Records
“Mr.J.B.Blues”,”Body And Soul”,”Pitter Panther Patter”,”Sophisticated Lady”.

CBS Colombia Records
“Plucked Again”,”Blues”.

Recently I found their historical recordings in “Internet Archive”.

Duke Ellington The Jimmy Blanton Era (1939-1941). Go here

In addition Even Japan we can hear their duo recordings in a free Spotify jukebox .(including another takes)

Here is Duke Ellington and Jimmy Blanton play “Mr.J.B.Blues”.

Here is Duke Ellington and Jimmy Blanton play “Pitter Panther Patter”.

Here is Duke Ellington and Jimmy Blanton play “Plucked Again”.

The legendary bassist Jimmy Blanton(3)

December 14. 2016

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Today I want post about his distinguished performance.

Jimmy Blanton (1918-42) was a musical originator of modern jazz bass.

Blanton established the possibilities of using the bass as a melodic instrument.

Until then bass player had primarily engraved accurate rhythm.

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Photo above of Slam Stewart

In swing era Slam Stewart was the first bassist to make the bass a solo vehicle for improvisation.

Jimmy Blanton took the bass to a new level.

He played a horn-like solos in duets with Duke Ellington.

Blanton had developed a new bass technique of playing lines that sounded more like a horn than like a bass.

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I quoted from “The Swing Era by Gunther Schuller” (New York :Oxford. 1989)

“Most importantly, he was the first to develop the lone tone in pizzicato… Blanton maximized the natural resonance of the string by using as much of the fleshy length of the finger as possible—plucking the string with the finger parallel to the string”

When Duke Ellington first heard Blanton’s performance, Ellington was impressed with his advanced techniques.

Consequently an arrangement of Duke Ellington had been changed by his joining.

I think it is a case where an outstanding instrument player has evolved jazz.

ジミー・ブラントンは、モダンベースの開祖です。それまでベースプレイヤーは正確なリズムを刻む事が大切な任務でした。彼はベースをホーンのような楽器に進化させ、ベースソロ演奏を開発しました。
デューク・エリントンが初めてブラントンの演奏を聞いた時、エリントンは彼の先進的なテクニックに感銘を受けました。エリントン楽団は彼の加入によって革新的なアレンジを生み出しました。
傑出した楽器演奏家がジャズを進化させたケースだと思います。
以下、ガンサー・シュラーによる解説を引用します。
“最も重要なのは、彼はピッツァーコートで単独のトーンを開発した最初の人でした。指の太い部分を可能な限り使用することで、ベースの弦を最大限に共鳴させることを可能にしました。”

Here is Duke Ellington and his members play “C Jam Blues”(1942).
Duke Ellington (p),Barney Bigard(cl),Sonny Greer(ds),Ray Nance (violin),’Tricky Sam’ Nanton(Tb),Rex Stewart(tp),Ben Webster(ts),Jimmy Blanton(b)

Here is Jimmy Blanton plays “Sepia Panorama”(his rare bass solo)

Here is Duke Ellington & Jimmy Blanton play “Jive Rhapsody”.

 

The legendary bassist Jimmy Blanton(2)

December 13. 2016

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I will post about on the encounter between Jimmy Blanton and Duke Ellington.

I referred to “The Duke – Where and When”.

Jimmy Blanton was born  October 5, 1918 in Chattanooga, Tennessee.

He originally learned to play the violin, but took up the bass while at Tennessee State University.

In 1939 he was working in Fate Marable’s band in St.Louis.

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Photo above of the Coronado Hotel(by Landmarks Association of St. Louis)

Fortunately he met Duke Ellington at  the session by chance.

Duke Ellington and his members were playing the Coronado Hotel in St.Louis.

He had playing with the band during Club Caprice between October 21 and November 2 in those days.

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St. Louis Coronado Hotel Club Caprice Postcard from amazon.com

Duke Ellington and members bands were playing the Coronado Hotel in St.Louis.

Naturally Duke went back to the hotel to sleep, and all the musicians went to an after-hours session.

After the gig one night, Billy Strayhorn and Ben Webster and other members landed up in a hot spot. They jammed with a young bass player – Jimmy Blanton.

At once they went back and woke up Duke Ellington, and brought him to the session.

Duke decided to hire Jimmy on the spot.

He sent a telegram to his mother, time stamped 11:23 p.m. November 2,telling her he was leaving [St. Louis] next morning to join Duke Ellington’s band.

今日は彼とデュークエリントンとの出会いについて投稿します。

1939年、St.LouisのCoronado Hotelで公演していたDuke Ellingtonと偶然出会うことになった。10月21日から11月2日まで、彼は「クラブカプリス」のバンドで演奏していました。バンドのメンバーは地元のジャズメンが演奏している「クラブカプリス」に行きました。そして、その場で演奏している若いベースプレイヤーにびっくりしました。彼らはすぐにホテルで眠っているDuke Ellingtonを起こし、親分を連れ出しました。Dukeは迷うことなく(ベースが二人になることを承知で)、その場でJimmy Blantonを雇うことを決定しました。

Here is Duke Ellington & His Orchestra with Jimmy Blanton play “In A Mellow Tone”.

The legendary bassist Jimmy Blanton(1)

December 12. 2016

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Photo above of Jimmy Blanton

Yesterday I took part in a regular meeting of  the Osaka jazz-lovers’ club at jazz cafe “DEARLORD”.

Mr.Nose who is an experienced jazz fun explained “Jazz in the 1940s” of this monthly theme.

He introduced my favorite record “Johnny Hodges / Rex Stewart – Things Ain’t What They Used To Be”,RCA Victor Vintage Series “LPV-533.

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He selected four pieces of music from among this record,”Squaty Roo”,”Day Dream”,”Linger Awhile”“Mobile Bay”.

Jimmy Blanton accompanied on all four tunes.

Also I introduced  a legendary recording by Duke Ellington and Jimmy Blanton.

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I selected two pieces of music from among “Transition Years” by CBS SONY,“Blues”,“Plucked Again”.

Jimmy Blanton’s superb performance I’ve heard for a long time.

So this week I want to post his great achievement.

Here is Johnny Hodges plays “Squatty roo”

Here is Johnny Hodges plays “Day dream”.

Here is Rex Stewart plays “Linger Awhile”.

大阪放出駅前にあるジャズ喫茶「DEARLORD」で開催された大阪ジャズ同好会に参加しました。今回の特集テーマは野瀬氏解説による「1940年代のジャズ」でした。野瀬氏が紹介したレコード「Johnny Hodges / Rex Stewart」のベーシストであったジミー・ブラントンは伝説のジャズメンです。今週はジミー・ブラントンの歴史的録音について投稿したいと思います。

The RCA Victor Jazz Workshop(4)

December 08. 2016

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In the early 1950s, Hal Schaefer was working at the 20th Century Fox studio in Hollywood as a musician, musical arranger and vocal coach.

He served as a vocal coach for such stars as Judy Garland, Marilyn Monroe.Jane Russell, Mitzi Gaynor and Susan Hayward,

He was romantically linked to Marilyn Monroe.

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Hal Schaefer and Marilyn Monroe(Photo by The New York Times)

Unfortunately he became embroiled in a Hollywood scandal involving three of the biggest celebrities of the time: Monroe, Joe DiMaggio and Frank Sinatra.

Three months before the Monroe-DiMaggio divorce, in July 1954, Schaefer tried to kill himself.

In 1955, he moved to New York, where he recorded “The RCA Victor Jazz Workshop”.

Hal Schaeferは1950年代初め、ハリウッドの20世紀フォックススタジオでミュージシャン、音楽アレンジャー、ボーカルコーチをしていました。ジュディ・ガーランド、マリリン・モンロー、ジェーン・ラッセル、ミッチ・ゲイナー、スーザン・ヘイワードのボーカルコーチを務めていました。彼はマリリン・モンローの恋人になりました。この結果、モンロー、ジョー・ディマッジョ、フランク・シナトラを含むハリウッドのスキャンダルに巻き込まれました。
1954年、彼は自殺未遂を起こした後、ニューヨークに移りこのレコードを録音しました。

Here is “HAL SCHAEFER IN HOLLYWOOD VIDEO SAMPLER”.

Here is Hal Schaefer band play “Dancing In The Dark”.

Hal McKusick, Sam Marowitz, Phil Woods (as) Hal Schaefer (p) Milt Hinton (b) Osie Johnson (dm)

New York City, November 28, 1955

Here is Hal Schaefer band play “Imagination”.

Here is HAL SCHAEFER OCTET play “A Song for You”.

Billy Byers, Urbie Green, Fred Ohms, Chauncey Welsh (tb) Tom Mitchell (b-tb) Hal Schaefer(p)

Milt Hinton (b) Osie Johnson (dm)      New York City, November 9, 1955

Here is Hal Schaefer band play “This One’s For Jack”.

Here is “The Wrong Door Raid 1954” – Marilyn Monroe,Hal Schaefer,Joe Dimaggio,Frank Sinatra

The RCA Victor Jazz Workshop(3)

December 07. 2016

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Photo above of Hal McKusick(photo from 27East.com)

“The Jazz Workshop (RCA Victor LPM-1366)” について、大阪梅田の兎我野町にあったジャズ喫茶「JOJO」のマスターが連載されているブログの一部を引用します。日本のブログで私が最も参考にしているブログです。

original-jazzville/jojoのブログ Go here

2014年02月11日

A面1曲目”Tommy Hawk” アレンジはジョニー・マンデル。これに先立つ、1954年9月に録音されている、Chet Baker “Sextet” Pasific Jazz で、同じアレンジが使用されていた。
A面3曲目”Blues For Pablo”は、1957年5月のMiles Davis “Miles Ahead” で再演されておりマキュージック盤が前哨戦かの様だ。

Hal McKusick was born in Medford Massachusetts, June 1924.

He became a saxophone player in several big bands in the 1940s and and early 1950s in bands like Boyd Raeburn, Claude Thornhill and Elliot Lawrence.

Also his close colleagues were George Russell, Art Farmer, Bill Evans and Jimmy Guiffre.

In 1955 he formed his own quartet, featuring himself on the alto saxophone, Barry Galbraith on guitar, Milt Hinton on bass and Osie Johnson on drums.

He recorded four albums at his own quartet.

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(1)Hal McKusick Quartet (Bethlehem BCP-16 Feb.17,1955)

(2)In A Twentieth-Century Drawing Room (RCA Victor LPM-1164 Sep.13/14/29, 1955)

(3)The Jazz Workshop (RCA Victor LPM-1366 March 3,April 3/4,Dec.31,1956)

(4)Jazz On The Academy(Coral CRL-57116 Nov. 3, 1956)

These recordings were important because he experimented with a quartet without a piano.

Their sound was like Gerry Mulligan’s pianoless quartet.

In addition he adopted a proficient arrangers like Manny Albam or Al Cohn.

About his achievement I recomend reading JazzWax’s terrific intervew. Go here

Here is Hal McKusick Octet play “Tommyhawk”

Here is Chet Baker Sextet play “Tommyhawk”.

Here is Hal McKusick  plays “Blues for Pablo”.

Here is Miles with Gil Evance play “Blues For Pablo”.

The RCA Victor Jazz Workshop(2)

December 06. 2016

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Photo above of George Russell by news.allaboutjazz.com

I will post about the launch of RCA Jazz Workshop.

I referred to JazzWax [August 02, 2009].Go here

彼を紹介した日本のサイトです。演奏家の視点でジョージ.ラッセルを紹介されていて参考になりました。Go here

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Photo from Hal McKusick Discography at Discogs

George Russell and Hal McKusick played an important role in progressive 1950s jazz.

In 1940s late George Russell provided his arrangements to Dizzy Gillespie’s big band and Buddy DeFranco band.

George Russell also wrote “Ezz-thetic”, which was first recorded by Lee Konitz in 1951.

In 1953 he wrote jazz music theory book” the Lydian Chromatic Concept of Tonal Organization. “

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Russell’s theory has had far reaching effect especially in the realm of modal jazz.

Unfortunately he was not appreciated in those days.

So he earned money by working in a Greenwich Village drugstore in the very early 1950s.

One day he met Hal McKusick at the drugstore.

Then he explained his the Lydian Theory to Hal and Barry Galbraith.

Consequently he told Jack Lewis, who was RCA’s A&R man, about George’s music

After hearing their performance,Jack soon produced The Jazz Workshop for RCA.

Here is George Russell & his Smalltet play “Concerto for Billy the Kid”. (1958)

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Also here’s joining Bill Evans “Concerto for Billy the Kid”.(1958)

The RCA Victor Jazz Workshop(1)

December 05. 2016

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Photo from JazzWax

Yesterday I introduced jazz workshop by Gary Burton.

This week I will post about RCA Jazz Workshop recording series.

This series was most smartest and innovative recordings in the mid-1950s.

Jack Lewis who was RCA’s A&R man in California in the early ‘50s produced seven albums.

Most of the Jazz Workshop albums have been reissued by RCA Spain and are available via Fresh Sounds.

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Photo above of The Miles Davis Nonet in ‘1949’ Photo by “All about Jazz”

I guess this series originated from the “Birth of The Cool” by Miles Davis in the late 1940s.

There were seven Jazz Workshop albums recorded in all:

– Al Cohn (May 1955)
– Manny Albam (December 1955)
– Hal Schaefer (October 1955)
– Billy Byers (December 1955)
– Hal McKusick (March 1956)
– George Russell (March 1956)
– John Carisi (April 1956)

Here is Johnny Carisi’s Jazz Workshop plays “Israel”.

Johnny Carisi (tp), Urbie Green (tb), Ray Beckenstein (cl,as), Eddie Wasserman (ts), Danny Bank (bs), Barry Galbraith (g), Russ Saunders (b), Herb Wasserman (ds)
Recorded:New York City, April 21, 1956

Gary Burton makes a jazz workshop in Tokyo

December 04. 2016

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Photo from All About Jazz

Gary Burton makes a jazz workshop at Kunitachi College of Music,from 16:30 to 18:30 in December .5.

Mr.Ozone, who is a guest professor in Kunitachi College of Music, serve as an interpreter.

A visitor is free charge.

You can admission anyone, however the school officials will be take priority.

ゲイリーバートン ジャズ・ワークショップ
【日時・会場】 平成28年12月5日(月)16:30~18:30 6号館 110スタジオ
【講師】 ゲイリー・バートン
【通訳】 小曽根 真(本学教授)
【料金】 無料
【公開対象】 どなたでも入場可(ただし学内関係者を優先させていただきます)
【主催】 国立音楽大学 ジャズ専修
【お問合せ】 国立音楽大学 教務課 042-535-9510

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In addition their concert will be held in Tokyo next week,December 8.

Please refer to Ozone’s HP.Go here

Here is Gary Burton & Makoto Ozone play “Afro Blue” Live at Montreaux.