タグ別アーカイブ: Ben Webster

大阪ジャズ同好会特集『1940年代のジャズ』(2016年12月例会)

August 06,2018

「1940年代のジャズ」2016年12月例会

解説 野瀬惟清氏

野瀬さん(神戸ジャズ愛好会のベテラン会員)が1940年代の名演を解説された特集(2016年12月例会)をブログに纏めました

尚、当日配付されたレジュメの録音年月日と異なった記載は、ブログ作成者が所有しているレコード並びにディスコグラフィー等に照らし合わせ修正したものです。

 Here is Johnny Hodges & Orchestra play “Squaty Roo”.
Johnny Hodges(as) Ray Nance(tp) Lawrence Brown(tb) Harry Carney(bs) Duke Ellington(p) Jimmy Blanton(b) Sonny Greer(ds)
Hollywood,July 3,1941

Here is Johnny Hodges & His Orchestra play “Day dream”.
Johnny Hodges(as)Cootie Williams (tp) Lawrence Brown (tb) Harry Carney (bar) Duke Ellington (p) Jimmy Blanton (b) Sonny Greer (ds)
Chicago, November 2, 1940
Day dream

Here is Rex Stewart & His Orchestra play “Linger While”.
Rex Stewart(tp) Lawrence Brown(tb) Ben Webster(ts) Harry Carney(bs) Billy Strayhorn(p) Jimmy Blanton(b) Sonny Greer(ds)
Chicago,November 2, 1940
Linger Awhile

Here is Rex Stewart & His Orchestra play “Mobile Bay”.
Rex Stewart(tp) Lawrence Brown(tb) Ben Webster(ts) Harry Carney(bs) Duke Ellington(p)Jimmy Blanton(b) Sonny Greer(ds)
Chicago,November 2, 1940
Mobile Bay

Here is Edmond Hall’s Celeste Quartet play “Jammin’ In Four”.
Edmond Hall(cl) Charlie Christian(g) Meade Lux Lewis(celeste) Israel Crosby(b)
NYC,February.5,1941

Here is Edmond Hall’s Celeste Quartet play “Profoundly Blue”.
Edmond Hall(cl) Charlie Christian(g) Meade Lux Lewis(celeste) Israel Crosby(b)
NYC,February.5,1941

Here is The Capitol Jazzmen play “Clambake in B Flat”.
Billy May(tp) Jack Teagarden(tb) Jimmie Noone(cl) Dave Matthews(ts) Joe Sullivan(p) Dave Barbour(g) Art Shapiro(b) Zutty Singleton(ds)
Los Angeles, November 16, 1943

Here is The Capitol Jazzmen play “Casanovas Lament “.
Jack Teagarden(tb,vo)Billy May(tp) Jimmie Noone(cl) Dave Matthews(ts) Joe Sullivan(p) Dave Barbour(g) Art Shapiro(b) Zutty Singleton(ds)
Los Angeles, November 16, 1943

Here is The Capitol Jazzmen with Peggy Lee play “That Old Feeling”.
Shorty Sherock(tp) Barney Bigard(cl) Les Robinson(as) Eddie Miller(ts) Stan Wrightman(p & celeste) Nappy Lamare(g) Hank Wayland(b) Nick Fatool(ds) Peggy Lee(vo)
LA,January 7, 1944
That Old Feeling

Photo above of Peggy Lee and Capitol Jazzmen by courtesy of UMKC Digital Special Collections

Here is Capitol International Jazzmen play “You Can Depend On Me”. 
Benny Carter(as) Coleman Hawkins(ts) Bill Coleman (2)(tp) Buster Bailey(cl) Nat King Cole(p) Oscar Moore(g) John Kirby(b) Max Roach(ds)
LA, March 30, 1945
You Can Depend On Me

Slim Gaillard and His Baker’s Dozen(1952)

May 6.2018

本日はBen Webster and Ralph Burns Orchestraを聴きながらベン・ウェブスター(Ben Webster)のディスコグラフィー(The Ben Webster solography by Jan Evensmo)を読んでいました。

ディスコグラフィーを読んでいると他の録音も当然気になります。

Ben Websterは上記録音の2年前に面白いセッションに参加しています。

Photo by Youtube

1952年12月にジャイヴ界の大物であるスリム・ゲイラード(Slim Gaillard)と2曲録音しています。

以下「The Ben Webster solography by Jan Evensmo 」から該当部分を転記します。

SLIM GAILLARD AND HIS BAKER’s DOZEN Dec. 1952

Ben Webster (ts), Slim Gaillard (g, vo), possibly Cyril Haynes (p), Ray Brown (b), possibly Milt Jackson (dm).
Two titles were recorded for Mercury:
1126  Gomen Nashai Solo 16 bars. (M)
1127  Potatoe Chips Brief intro. Faint obbligato. Solo 32 bars. Coda 8 bars. (M)

Under such bizarre circumstances, one wonders how it is possible to play at all without bursting into laughter! But BW makes some interesting contributions, not as memorable as ten years before if you remember that incredible Gaillard session, but particularly “… Chips” has some good tenorsax playing.

Tom Lord”The JAZZ Discographyによると「ひょっとしたら」が消えています。

Slim Gaillard
[G139-15]
Ben Webster (ts) Cyril Haynes (p) Slim Gaillard (g,vcl) Ray Brown (b) Milt Jackson (d)
New York, December, 1952
1126-13 Gomen nasai [Forgive me] Clef 89031, MGC138, Verve (F)2304554
1127-3 Potato chips – – – , MGV2013,
Norgran EPN56

Photo by Wikipedia

『Milt Jacksonがドラム ほんまかいな?』

彼の楽歴でドラム奏者として録音が記録されているのはこのレコードだけでしょうか?ディスコグラフィーを確認してもこの録音以外は確認できませんでした。詳しい方の情報をお待ちしています。

最近、FB友大場さんがこの2曲を収録した「スモーガスボード(日本盤)」を「ひとりDiscogs」で紹介されています。

こちらをクリックして下さい。⇨ 「ひとりDiscogs」(4/30)

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キャプションの入力

私も「レコード・コレクターズ1986年1月号」を読み直しました。

「いかに幻の名盤天国ニッポンとはいえ、ゲイラードのヴァーブ盤まで登場するとは思いもよらなかった。
(中略) 廃盤にならぬうちに買っておいて下さい」

「スリム・ゲイラードのLP」土山和敏氏(p24〜32)

又、故中村とうよう氏「スリム・ゲイラードの特異な”芸”」(p18〜23)も興味深かったです。

前回のブログではミルト・ジャクソンの歌唱を紹介しました。今回はドラム演奏を紹介させて頂きました。

Here is Slim Gaillard and His Shintoists play “Gomen Nasai”
Ben Webster (ts) Cyril Haynes (p) Slim Gaillard (g,vcl) Ray Brown (b) Milt Jackson (d)

1126-13 New York, December, 1952

Here is Slim Gaillard and His Baker’s Dozen play “Potato Chips ”.
1127-3
Members of the recording are the same as above.

The early recordings by Dexter Gordon(2)

September 6.2017

Photo by courtesy of Pinterest

Today I carefully listened to his first leader recordings.

I think that his playing style at that time was strongly influenced by Lester Young.

I found an interesting interview about his influence.

I quoted his interview by Down Beat magazine.

“Lester … played very melodic.

Everything he played you could sing.

「…」

That kind of musical philosophy is what I try to do.”

Portrait of Thelonious Monk, Howard McGhee, Roy Eldridge, and Teddy Hill, Minton’s Playhouse, New York, N.Y., ca. Sept. 1947] | Library of Congress

When Dexter Gordon visited to New York City with the Hampton band, he sat in at

Minton’s Playhouse with Ben Webster and Lester Young.

This was to be one of the most important moments in his long musical career.

I listened to his performance ”Sweet Lorraine” again.

I guess that he was pleased to play with Harry Edison and Nat King Cole.

今日、Dexter Gordonの初のリーダー作品(4曲)を丁寧に聴きました。

当時の演奏スタイルは Lester Youngの影響を強く受けていたようです。

Lester Youngについて興味深いインタビュー記事がありました。

以下ダウンビート誌のインタビュー記事を引用しました。

「Lesterの旋律は新鮮でした。歌っているように演奏している。
(中略)
私は何としてもLesterのような演奏をしたかった。」

1943年、 Dexter Gordon がHampton楽団の一員としてニューヨークにきた時、Minton’s PlayhouseでBen Webster and Lester Youngと並んで座り共演しました。

この時の音楽経験は彼の楽歴の中で最重要な出来事でありました。

4曲の内「Sweet Lorraine」をもう一度聞き直しました。

Harry Edison and Nat King Coleと共演できLester Youngになった気分だったでしょう。

Here is Dexter Gordon Quintet plays “I Blowed and Gone”.
Harry Edison (tp),Dexter Gordon (ts),Nat King Cole (p),possibly Red Callender or Johnny Miller (b), Juicy Owens (ds) Los Angeles, CA, late 1943 or circa July, 1944

Here is Dexter Gordon Quintet plays “Rosetta”.
Members of the recording are the same as above.

Here is Dexter Gordon Quintet plays “Sweet Lorraine”.
Members of the recording are the same as above.

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.

coronado

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”.

Benny Golson in Osaka(3)

November 30. 2016

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Photo from Benny Golson’s Official Website

Generally his composing skill has been drawing more attention than his saxophone performance.

However I like his saxophone sound.

Today I will post about his tenor saxophone.

He began to play a piano at age 9 with his mother’s suggestion and had a dream of becoming a concert pianist.

When he was at age 14, he discovered the saxophone and began to blow tenor saxophone since the age of 14.

As a matter of course he heard a famous tenor saxsophone players “Coleman Hawkins and Ben Webster and others.

smithsonian-classic-jazz-don-byas-002

Photo above of Don Byas (photo from Jazz Profiles)

Especially his idol was Don Byas.

They were playing saxophones with a metal circle attaching the bell to the body of the saxophone.

He noticed that they all had Selmer saxophone.

He quickly went to a local music store to try out one of these saxophone.

header_selmer_03

Then he became the player of only Selmer saxophones including his soprano since 1951.

He says about Selmer saxophone: “Selmer makes the best instruments in the world.

I have joyfully and successfully played their saxophones since 1951”.

Here is “Benny Golson Interview on Selmer Saxophones”.

Here is “Benny Golson & the Henri Selmer reeds”

Here is Benny Golson plays “Killer Joe”.

Billy Taylor(3)

taylor-ec78c2d0a4c62d6645c39fbc6732e0cda1aec53b-s900-c85

I quoted precious interview from JazzWax.[April 7〜8, 2009]

By 1943 he arrived in New York.

He went to Minton’s, where was in Harlem on 118th Street.

Ben-Webster

One night he sat around all night, from 9 pm to 2:45 am.

When he got his play on the last set,Ben Webster was standing right in front of him.

Ben was pleased with his piano,and he was told to come to Three Deuces.

After several months he left Ben’ group,and played with violinist and bandleader Eddie South.

In the fall of 1945 he played with legendary drummer Big Sid Catlett.

Redman

In 1946 he joined Don Redman’s band and toured Europe.

This tour was one of the earliest tours after the war.

Don Byas decided to settle permanently in Europe by this tour.

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Returning from Europe in 1947, he became Art Tatum’s protege.

About remembering Art’s personal life,

he said:”Art was an interesting guy.He loved jazz and classical music.

He listened to a lot of different things.

There was aradio program on at 10 in the morning that featured great classical pianists.

I’d bring him home to the hotel in midtown where he stayed after he played all night.

Nightclubs closed at 4 am then. By the time we went somewhere to catch a bite or hit an after hours club, it was 8 am.

I’d bring him up to his room, and he always wanted to listen to this radio program of solo classical pianists like [Vladimir] Horowitz.”