月別アーカイブ: 2017年1月

Bobby Hackett(1)

January 23.2017

Photo above of Bobby Hackett

Photo above of Bobby Hackett

Last night I had heard a radio program in Japan.

Someone requested to broadcast “New Orleans” by Bobby Hackett.

I’m fond of Bobby Hackett from long ago.

This week I want to review his brilliant achievement and post his performances.

Bobby Hackett was born January 31, 1915 in Providence, Rhode Island as a family of Irish immigrants.

His father William Hackett was a blacksmith, but Bobby wanted nothing but music for his livelihood.

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Photo by Rhode Island Music Hall of Fame Historical Archive

At the age of four, he played recognizable melodies on the piano.

When he was eight years old he studied violin for about eight months.

Professor Kirwin said “I would not teach Bobby any longer because there was nothing left to teach him!”.

Then he was given instruction on the ukulele, the banjo and the guitar by Mr. Joseph Petteruti.

Photo by Rhode Island Music Hall of Fame Historical Archive

Photo by Rhode Island Music Hall of Fame Historical Archive(Bobby Hackett on guitar and Jackie Gleason on bass)

When he was twelve years old, he bought his first horn at a pawnshop for five dollars.

Mr.Petteruti who was leader of a band called The Hawaiian Islanders allowed him to play the cornet on a gig.

Shortly thereafter, Bobby started performing regularly as a guitarist the Port Arthur Chinese Restaurant while he continued to practice the cornet.

Here is Bobby Hackett and Jack Teagarden play “New Orleans”(1955).

Here is Bobby Hackett plays “Struttin’ With Some Barbecue” live at Newport Jazz (Official).

The Great Compositions by Tadd Dameron(6)

January 21.2017

Photo by William Gottlieb/Library of Congress via Flickr

Photo by William Gottlieb/Library of Congress via Flickr

“Fontainebleau” was ambitious album and his culmination.

It was played by Dorham’s trumpeting, by Sahib Shihab’s alto and Cecil Payne’s baritone saxophone and Shadow Wilson’s drumming, in March 9, 1956.

This piece was relatively formal without improvising.

Then this tune was again recorded by a larger group in 1962 (American Riverside RLP419)

Someone called him the greatest romantic of jazz composition.

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Photo above of Kenny Durham

Since 1953, he developed an addiction to narcotics toward the end of his career.

When Tadd Dameron recorded with Coltrane, he was apparently heavy user of cocaine

After this recordings,he served time (1959–61) in federal prison in Lexington, Kentucky.

Here is Tadd Dameron Octet play “Fontainebleau”.

Here is Tadd Dameron and His Orchestra play “Fontainebleau”

Here is Tadd Dameron Octet play “Delirium”.

Here is Tadd Dameron Octet play “The Scene Is Clean”.

Here is Tadd Dameron Octet play “Flossie Lou”.

Here is Tadd Dameron Octet play “Bula-Beige”.

The Great Compositions by Tadd Dameron(5)

January 20.2017

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Nat Hentoff died on on Jan. 7 at his home in Manhattan. He was 91.Go here

I will post about “Mating Call” from the consideration of Nat Hentoff.

I referred to JazzWax[August 21, 2007].

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Photo above of Nat Hentoff

He wrote a review about “Mating Call” in 1957.

“Why a trumpet wasn’t added remains a mystery”.

Hentoff wished there had been an extra horn on the date, and he mused “a gentler trumpet”.

This recording had been subject to discussion among critics as Ira Gitler points out in the liner notes.

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After the death of Clifford Brown in June 1956, Blue Note label was recording more aggressive sound with joining young superior trumpeters such as Lee Morgan and Donald Byrd.

Also Bob Weinstock produced Miles Davis for a marathon recording session at the end of November 1956.

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Photo of Miles Davis by Esmond Edwards/CTSImages.com

Producer Bob Weinstock had envisioned the date as a quintet session including trumpeter.

However Tadd Dameron had rejected Weinstock’s plan.

I guess Tadd wanted to record without trumpeter.

After all this session was recorded without a trumpet player.

Arranging with one horn alone was marvelous.

Here is Tadd Dameron With John Coltrane play “Mating Call”.

Here is Tadd Dameron With John Coltrane play “Soultrane”.

Here is Tadd Dameron With John Coltrane play “On A Misty Night”.

Here is Tadd Dameron and John Coltrane play “Gnid”.

Here is Tadd Dameron & John Coltrane play ”Super jet”.

Here is Tadd Dameron & John Coltrane play “Romas”.

The Great Compositions by Tadd Dameron(4)

January 19.2017

Photo above of Mary Lou Williams, Tadd Dameron, and Dizzy Gillespie by OKmusic

Photo above of Mary Lou Williams, Tadd Dameron, and Dizzy Gillespie by OKmusic

I would like to introduce his early two works “Good Bait” and “Ladybird”,were composed by Tadd Cameron in 1939.

He also arranged two tunes for the Billy Eckstine Orchestra.

“Good Bait” had originally been written for Count Basie.

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Photo above of Count Basie

Unfortunately his works did not evaluated because his compositions were made for dance band orchestra in those days.

In 1948 Dizzy Gillespie added the setting to his book, playing it frequently.

The Gillespie RCA Victor performance is well-known.

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Then Basie began playing it after Gillespie popularized it.

“Ladybird” is one of those great jam session tunes that can give an intermediate player a very good challenge.

It was covered by Dexter Gordon, The Miles Davis/Tadd Dameron Quintet and others.

Recently I read an interesting article about Dameron’s “Ladybird.”

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Ted Heath commissioned Tadd Dameron to write arrangements for his band.

Please refer to JazzWax. Go here

Here is Tadd Dameron Sextet at Royal Roost play “Good Bait ”.

Here is Dizzy Gillespie and his Orchestra play “Good Bait (1947 RCA Victor)”.

Here is Miles Davis plays “Good Bait”(1949)

Here is Tadd Dameron Sextet with Fats Navarro play “Lady Bird”(1948)

Here is The Jazz Messengers plays “Lady Bird”(1955)

The Great Compositions by Tadd Dameron(3)

January 18.2017

Photo above of Add Cameron from A New Tadd Dameron Biography


Photo above of Add Cameron from A New Tadd Dameron Biography

Not only Tadd Dameron composed “If You Could See Me Now” for Sarah Vaughan, but he also did the orchestral arrangement.

Sarah Vaughan’s 1946 original recording was released through Musicraft Records.

This tune became one of her signature songs.

Photo above of Sarah Vaughan

Photo above of Sarah Vaughan

In 1998 her rendition was inducted into the Grammy Hall of Fame.

Also this tune was embraced by jazz instrumentalists and vocalists alike.

As with most of Dameron’s compositions, it has been recorded by many jazz musician and vocalists.

Photo above of Bill Charlap

Photo above of Bill Charlap

Recently I found an interesting interview with pianist Bill Charlap.

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July 08, 2015(JazzWax)

“Misty is a beautiful song. It’s very much a ballad in the tradition of great jazz
writers like Tadd Dameron. Misty is in some ways a cousin of Dameron’s If You Could See Me Now.”Here is Sarah Vaughan sings “If you could see me now”(May 7, 1946),

Here is Sarah Vaughan sings “If you could see me now”(May 7, 1946),
Sonny Burke & His Orchestra joining trumpeter Freddie Webster.

Here is Tadd Dameron plays “If You Could See Me Now”.

Here is Sonny Stitt with the Quincy Jones band play “If You Could See Me Now(1955)”.

Here is Oliver Nelson and Red Garland play “If You Could See Me Now”
The session would be the only time Nelson and Garland recorded together.

Here is Dianne Reeves Sarah sings “If you could see me now”.

Here is Wes Montgomery & Wynton Kelly Trio play “If You Could See Me Now”.

The Great Compositions by Tadd Dameron(2)

January 17.2017

Photo above of Charlie Rouse and Tadd Dameron and Fats Navarro

Photo above of Charlie Rouse and Tadd Dameron and Fats Navarro

Almost from the start of the bop movement, Dameron’s works had been favored by the new generation of jazz players.

Of course “Our Delight” had also become part of the standard jazz repertoire.

This piece was a moderately fast bebop song.

Tadd Dameron and Fats Navarro recorded “Our Delight” along with Fats Navarro and Ernie Henry , Charlie Rouse , Nelson Boyd and Shadow Wilson in 1947.

Photo above of Tadd Dameron by BerkleeJazz.org

Photo above of Tadd Dameron by BerkleeJazz.org

In the opening of “Our Delight,” he made a distinctive arrangement like an echo of Dameron’s big-band days.

Later years Tommy Flanagan said about Dameron’s work :
”It is very easy to play because the elements of an orchestra are built in.”

Photo Above of Tommy Flanagan

Photo Above of Tommy Flanagan

Here is Tadd Dameron and Fats Navarro Sextet play “Our Delight”.

Here is Roy Haynes, Paul Chambers and Phineas Newborn Jr. trio play “Our Delight”.

Here is Shelly Manne & His Men At The Black Hawk play “Our Delight”.

Here is Tommy Flanagan and Hank Jones play “Our Delight”.

Here is Bill Evans trio play “Our Delight”.

The Great Compositions by Tadd Dameron(1)

January 16.2017

Embed from Getty Images

 

This week I want to post about Tadd Dameron’s compositions.

Today I will post about ”Hot House”.

Many bop charts were built on the foundations of older standards.

It was composed based on chord progression of “What Is This Thing Called Love?” by Cole Porter.

In the early 1940s, Tadd Dameron moved to New York.

He started arranging for Billy Eckstine who led the first bebop orchestra.

Also he embraced the new sound called bebop, with its driving rhythms and difficult harmonies.

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Then he began writing for the new movement’s pioneers, Charlie Parker and Dizzy Gillespie.

Dizzy Gillespie always played ”Hot House” with Charlie Parker.

So ”Hot House” became an anthem of the Be-bop movement.

Thier performance was culminating with a peak in this Town Hall concert on June 22 1945.

Fortunately their previous unreleased recordings were found for the first time in sixty years.

Here is Charlie Parker & Dizzy Gillespie (1945) with Sidney Catlett play “Hot House”.

Here is Charlie Parker & Dizzy Gillespie(1951) play “Hot House”.