Tag Archives: Billie Holiday

Melba Liston(4)

June 16.2017

Photo above of Buck Clayton band with Melba Liston by courtesy of UMKC WordPress

Melba Liston had a particularly difficult time when she went on a Southern tour with Billie Holiday.

Southern racism was rife and the crowds were sparse.

After returning her home,she put her trombone down.

She took a desk job at the Los Angeles School Board and won some small movie roles.

She said of this experience:

“I had a long thing with Lana Turner and walked around behind her playing a harp in The Prodigal (1955) and was a member of the palace orchestra in The Ten Commandments. “

In 1956 Melba Liston returned to playing her trombone in Dizzy Gillespie’s orchestra commissioned by the U.S. State Department as a musical ambassador of the U.S. in South America.

She wrote and arranged many of her most memorable tunes during her work with Dizzy’s ambassador orchestra including “Stella By Starlight,” “My Reverie,” and “The Gypsy.”

Photo above of Dizzy in South America: Official U.S. State Department Tour, 1956 by courtesy of AvaxHome

In 1958, Melba Liston recorded her only album as a leader, “Melba Liston and Her ‘Bones” – a true gem in jazz history.

At the end of the 1950s, Liston joined up with Quincy Jones’ big band as it headed over to Europe.

Liston played trombone, soloed, and contributed both charts and original compositions to Jones’ orchestra.

Also she arranged and conducted the bassist Charles Mingus 1962 Town Hall Concert.

Melba Listonが同行したBillie Holidayの南部への興行は困難を極めた。
南部では根強い人種差別主義が蔓延していて観衆の入りも少なかった。
巡業が終わり自宅に帰ったMelbaはトロンボーン演奏を辞めてしまいました。
ロサンゼルス教育委員会での仕事に従事しハリウッド映画の端役にも出演していました。
彼女はこの経験について回想します。

「The Prodigal(1955制作)ではLana Turnerの後ろで歩き廻りながらハープを演奏したり、「十戒」では宮殿でのオーケストラのメンバーの一人として演奏していました。」

1956年、米国務省初の親善大使としてDizzy Gillespieが率いたオーケストラに加入しトロンボーンを演奏しました。
この時「Stella By Starlight」「My Reverie」「The Gypsy」など記憶に残る編曲をDizzy Gillespieオーケストラに提供しました。
1958年、彼女の唯一のリーダーアルバムになった「Melba Liston and Her ‘Bones」をレコーディングしています。
1950年代末、Quincy Jonesバンドに参加しヨーロッパ各地で演奏しました。
もちろんオーケストラ編曲とオリジナル作品も提供していました。
又、彼女の貴重なソロ演奏も映像に残っています。
1962年、Charles Mingus Town Hall Concertでは編曲を提供しオーケストラの指揮者としても参加しています。

Here is Melba Liston and Her Bones play “Zagred This”.
Melba Liston, Frank Rehak(tb),Marty Flax(bs),
Walter Davis Jr(p),Nelson Boyd(b), Charlie Persip(ds)
June 1956

Here is Quincy Jones band with Melba Liston play “My Reverie”.

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Melba Liston(3)

June 15.2017

melba-liston-and-dexter-gordon-joke-around-during-a-dial-records-recording-session-on-june-5th-1947-in-los-angeles-california-c2a9-ray-whitten-copia

Photo above by jazzinphoto-Wordpress.com Melba Liston and Dexter Gordon joke around during a Dial Records recording session on June 5th, 1947 in Los Angeles.

Melba ’s teacher Alma Hightower ran a big band made up of children from the neighbourhood.

Naturally Melba Liston was also participating in the a big band.

Then she decided to become a professional musician and joined the musicians union.

Photo above of the Los Angeles Lincoln Theater

At 16,she became a member of the band of the Los Angeles Lincoln Theater.

Also she began composing and arranging for other acts performing at Lincoln Theater.

By the 1940s Liston was getting some of her earliest chances to prove herself in Los Angeles’ thriving jazz scene.

Photo above of Gerald Wilson by courtesy of Past Daily

In 1943 she joined Gerald Wilson’s progressive big-band.

She recorded one of her her early compositions, “Warm Mood,” with Gerald Wilson’s orchestra.

From L to R, Melba Liston, Charles Fox, Chuck Thompson, Ross Russell and Dexter Gordon

Also she was invited to make a recording with Dexter Gordon who was a former classmate.

She soloed on a tune that Dexter dedicated to her called “Mischievous Lady”.

In 1948 she joined Dizzy Gillespie’s big band.

Photo above of Melba Liston with Dizzy Gillespie’s Big Band by courtesy of The Charlie Menees Collection.

Melba enjoyed working in this exciting band full of talented artists.

Unfortunately Gillespie disbanded the group only a year later.

Then she and her former bandleader Gerald Wilson toured with Billie Holiday in the South in 1950.

Photo above of Billie Holiday by William Gottlieb

Alma Hightower先生は自宅の近くに住む子供たちを集めビッグバンドを運営していました。もちろんMelba Listonもアマチュアバンドに参加しました。
しかし、彼女はプロの音楽家になる事を決心しミュージシャン組合に加入しました。
16歳になった彼女はロサンゼルスにあったリンカーンシアターバンドのメンバーになりました。リンカーンシアターバンドで演奏しながら作曲と編曲を本格的に始めました。
その後、当時ロサンゼルスで盛んになってきたジャズシーンで活躍するチャンスを掴むことになります。
1943年、Gerald Wilsonをリーダーとするビッグバンドに参加しました。
Gerald Wilsonバンドと共に初期の名曲「Warm Mood」を録音しました。
又、同級生であった Dexter GordonによるDialセッションに招かれました。
このレコーデイングでは「Mischievous Lady」と「Lullaby In Rythm」を録音しました。
1948年、Dizzy Gillespie率いるビッグバンドに参加しました。
このバンドでは彼女含め才能あふれるメンバーがエキサイティングな演奏を展開していました。
残念なことにDizzy Gillespieはこのグループを1年で解散しました。
Gillespieバンド解散後、元バンドリーダーであったGerald Wilsonと共にBillie Holidayの南部巡業に同行しました。

Here is All American Girl Band with Melba Liston play “Start Swingin” .(1945).

Here is Dexter Gordon Quintet with Melba Liston play “Mischievous Lady”.
Dexter Gordon Quintet
Melba Liston (tb), Dexter Gordon (ts) ,Charles Fox (p) ,Red Callender (b) ,Chuck Thompson (ds)
Hollywood, CA, June 5, 1947

Joe Temperley(1)

May 10.2017

Photo above of Joe Temperley by NPR

Late last month I posted about bass clarinet players.

I announced to write again about Joe Temperley on next month.

Joe Temperley was a giant of the baritone saxophone and the first Scottish jazz musician to make it on the New York scene.

Photo above of (from left),Quentin Jackson, Harry Carney and Britt Woodman
courtesy by Pinterst

In the 1970s following the death of Harry Carney, his glorious baritone saxophone sound anchored the Duke Ellington Orchestra.

He was born on September 20,1929 in Crowdenbeath, Scotland.

When he was 14 old, he was already playing cornet alongside his elder brother in the Cowdenbeath Brass Band.

Then he began to play alto saxophone.

Photo above of Louis Armstrong and Humphrey Lytteltonby collection National Portrait Gallery, London

After moving to London, he joined Humphrey Lyttelton’s band and switched to the baritone sax.

He later said ;“That was the start of my professional career.The rest was incidental.”

He met many top American musicians ,including Louis Armstrong, Billie Holiday, Thelonious Monk, Cannonball Adderley and Anita O’Day.

So he enjoyed his first taste of New York in August 1959.

Once I posted about Humphrey Lyttelton.Go here

先月末、Bass clarinetプレイヤー列伝として投稿致しました。
その中でJoe Temperleyについて彼の命日である5月に詳しく投稿するとお約束しました。
Joe Temperley は baritone saxophoneの名手であり、スコットランド出身のジャズミュージシャンで後年はニューヨークで活躍しました。Harry Carneyの死後、Duke Ellington Orchestraのサックスの中心でした。
1929年9月20日、スコットランドのCrowdenbeathで生まれ、14歳の時に同地のBandで兄と一緒にコルネットを演奏していました。その後、アルトサックスに楽器を変えました。
ロンドン移住後、Humphrey Lyttelton’s bandに加入しバリトンサックスをメイン楽器としました。
彼は「それは私のプロのキャリアのスタートだった。残りは偶然だった。」と発言している。
彼はLouis Armstrong、Billie Holiday、Thelonious Monk、Cannonball Adderley、Anita O’Dayなどと共演しました。
そして1959年8月にニューヨークに初めて演奏旅行にも行きました。
私はHumphrey Lytteltonについて過去に投稿しています。こちらをクリックして下さい。

Here is Joe Temperley plays “Alabama”.

Here is Joe Temperley plays “SIngle Petal of a Rose”.

The biographies of “Bass clarinet” heroes(2)

April 28.2017

Photo above of (from left),Quentin Jackson, Harry Carney and Britt Woodman
courtesy by Pinterst

Yesterday I posted about Omer Simeon.

Today I would like to introduce Harry Carney.

As another historical side note, Harry Carney also played bass clarinet with Duke Ellington.

Harry Carney was born April 1, 1910 in Boston, Massachusetts.

His virtuosity on the baritone saxophone influenced generations of subsequent players.

He also performed on clarinet and bass clarinet, as well as alto saxophone in the early years of his career.

When he began to play alto saxophone His idle was Johnny Hodges.

Also he was influenced by Buster Bailey and Don Murray and Coleman Hawkins and Adrian Rollini.

Photo above of Don Murray by courtesy of The Pop of Yestercentury

About his idles, I quoted his speaking from HARRY CARNEY’S ADMIRATION SOCIETY

My first influences [on clarinet] were Buster Bailey with Fletcher Henderson, and Don Murray with Jean Goldkette. As a brash kid, I always wanted to play faster than anyone on clarinet, and both Buster and Don Murray were great technicians. Too bad I didn’t stick with them! Perhaps I’d be a clarinetist today. Buster has always sounded to me like a perfect man for the symphony, and on those up-tempo numbers with Fletcher Henderson he always showed what a well-schooled musician he was.

After playing a variety of gigs in New York City at the age of 17, Carney joined Ellington in Boston in 1927.

Harry Carney focused mainly on the baritone saxophone for the remainder of his career, doubling bass clarinet, and less frequently clarinet.

Barney Bigard was the featured clarinetist with Ellington from 1928-1942.

Occasionally he took a solo on clarinet.

Photo courtesy by Visual discography of Billie Holiday

In addition he played clarinet with Teddy Wilson’s Brunswick sessions with Billie Holiday.

So Harry Carney performed a rare bass clarinet solo with Duke Ellington in 1934.

“Saddest Tale” was a rare recording of Duke’s voice, along with Harry’s bass clarinet.

Photo above of Harry Carney

今日はHarry Carneyを紹介したいと思います。Harry CarneyはDuke Ellington楽団でbass clarinetを吹いた録音を残しています。彼のclarinet演奏に影響を与えた先輩については下記に引用します。

「私の最初の影響は、Buster Bailey と Jean Goldkette楽団でのDon Murray でした。私はいつもクラリネットを誰よりも速く吹きたいと思っていました。
Buster Bailey は常に完璧で Fletcher Henderson楽団でのアップテンポ・ナンバーはミュージシャンにはとても参考になる演奏です。」

1928-1942年、Ellington楽団のクラリネット奏者はBarney Bigardでした。
しかし、Harry Carneyも時にはクラリネットソロを演奏していました。
特筆すべき録音としてBillie HolidayとのTeddy WilsonのBrunswickセッションでクラリネットで参加しています。
又、Ellington楽団 で録音された“ Saddest Tale” はDukeの朗読とHarryのbass clarinetが貴重です。
この録音は3枚組セットで聞いていました。この時代の日本のレコード会社は凄い。

the commentary by Stanley Dance,Japanese translation by 野口久光

Here is Duke Ellington with Harry Carney play “Saddest Tale”.

Here is It’s Teddy Wilson with Billie Holiday play “It’s like reaching for the Moon”.(1936)
Jonah jones(tp), Harry Carney(clarinet), Lawrence Lucie(g), John Kirby(b),Cozy Cole (ds)

Jazz Club in Boston(2)

January 31.2017

Photo above of the Hi-Hat Club by BostonDrinks.com

Photo above of the Hi-Hat Club by BostonDrinks.com

On broadcast Sadao Watanabe(渡辺貞夫)  choised two tunes,“Cool Blues and Laura” from “Bird in Boston by Charlie Parker.”

The performances were recorded at the Hi-Hat Club in Boston.

Sadao said that he didn’t know the Hi-Hat Club.

Because it closed in March of 1959 after a fire destroyed the building.

bird-in-boston-live-at-the-hi-hat-1953-1954-2-cd

The Hi-Hat Club had been opened among the jazz clubs of Boston s South End district, at the corner of Columbus and Massachusetts Avenue.

Performers included Sammy Davis Jr, Duke Ellington, BB King, Sonny Stitt, Miles Davis, Billie Holliday, and many others.

It prospered from the mid 1940s until 1959.

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In those days it was the only club featuring a consistent policy of presenting modern jazz.

Between 1953 and 1954 Charlie Parker made several visits to Boston.

He had played often with local musicians at the Hi-Hat.

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Also the Savoy Club located at 410 Massachusetts Avenue.

When Roy Haynes was 15 years old, he started to play at the Savoy.

Because he was born in the Roxbury section of Boston, Massachusetts(March 13, 1925).

I refer to Richard Vacca’s “Troy Street”. Go Here

Here is Charlie Parker’s Radio broadcasts from the Hi Hat Club(1953)
Charlie Parker(as),Herbie Williams(tp),Rollins Griffith(p),Jimmy Woode(b),Marquis Foster(ds)

Here is Sonny Stitt plays “Tri-Horn Blooz” At The Hi-Hat In Boston“(1954)
Sonny Stitt (baritone,tenor,alto saxophones) Dean Earle (p) Bernie Griggs (b) Marquis Foster (ds)

Here is Miles Davis with The Hi-Hat All-Stars play “Hi-Hat Club”(February 1955).
Miles Davis (tp),Jay Migliori (ts),Al Walcott (p [out on -1]),Bob Freeman (p [on -1 only]),Jimmy Woode (b), Jimmy Zitano (ds)

Kyosen Ohashi (大橋巨泉)

Kyosen Ohashi (大橋巨泉) has died. He was 82.

He was one of Japan’s most popular TV personalities from mid-1960s to 1990s.

Also he was famous as a jazz critic.

He entered Waseda University in 1952 to study journalism but quit the university and became a jazz critic.

He had two children, born to his former wife, both of whom are jazz singers.
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There remains a translation of “Strange Fruit” as his achievements.

His fondness for Billie Holiday was exceptional.

I quote his comment from Swing Journal(1960) for her last recordings.

「私はかって一番愛した、この不世出の大歌手の悲しい遺作に点をつけたくない。

ただ黙って、白いクチナシの花を捧げる。」

”I don’t want to grade her sad posthumous work.

I once loved her.

In those days she was incomparable singer.

So I want to dedicate white gardenia flowers in silence.”

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出典 スイングジャーナル 1960年

Here is Billie Holiday – I’ll Never Smile Again

 

 

Billie Holiday’s last presentation [April 26]

April 27.2016

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In 1959 from April 20th to 26th, Billie was her last presentation in the Boston Storyville Club.

Billie Holiday(vo), Mal Waldron (p), Champ Jones (b), Roy Haynes (ds)

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Roy Haynes was in charge of the drum in her last performance.

Today I want to post his comments impressive.

He said:”We were playing there for a week. She was cool. I remember the club was crowded every night. A lot of my friends came in.

My wife was there for the whole weekend. She wanted to tape it, but I said, “No, Billie isn’t going to allow that.” Looking back, Billie probably wouldn’t have been aware of it. All in all, it was a beautiful week.”

The above quoted from JazzWax.[July 07, 2008]

From the next day I want to post a summary of his interview.