タグ別アーカイブ: Gil Evans

アニタ・オデイさんと一緒に「ブラインドフォールドテスト」

May 29,2020

先日、来日時のスポーツ新聞記事をご紹介しました。今回はアニタ・オデイがダウンビート誌の名物コーナー「The Blindfold Test」に登場した時の記事を添付しました。(1957年4月4日号)

今回もレナード・フェザーが出題した12曲について、アニタのコメント(英語)を翻訳ソフト向けに1曲ずつテキストに変換し添付しました。

1. Betty Roche. Something to Live For (Bethlehem).

I don’t know who the girl singer is, but I like the choice of tune. I’ve known about this tune since about 1941-in fact it was about the first tune I ever played on the piano … (hums)… It’s real pretty. I had never heard the verse before, and I did enjoy this girl on the verse. I didn’t care for the interpretation of the tune after she got into the chorus … I don’t care for that type of singing-it’s too choppy.I think it should be more smooth for this type of tune. I’d have lost the entire theme of the song unless I had known the tune, which fortunately I did. The accompaniment didn’t impress me one way or another. How do I rate it? If I hadn’t ever known the tune, I don’t think it would have done anything to me at all, so I’d classify it “z,” whatever that is. Would “z” be no stars? Okay, no stars.

2.Chris Connor. Something to Live For (Atlantic).

That was a nice version. I enjoyed that much better the smoothness of it … Chris’ flowing tones and the interruptions at the end of each word. Of course, it doesn’t come up to her Lush Life. That’s about the smoothest of the slow tunes she’s done. However, I like this. I think I would even buy this-like if we were on a panel”Would you buy this is it a hit or a miss, quote, Peter?” Not that it would be a hit, but I would buy this, I believe. Sort of category “m” … if the other was “z,” this would be “m.” Three stars.

3. Ella Fitzgerald. My Heart Stood Still(Verve).

Well, I guess if you are an Ella Fitzgerald fan, you would like this very much. However, this old versiondream up a story and sell it to Hollywood … Hollywood’ll buy anything. Who dreamed up Ella singing “and then my heart stood still”? It’s ridiculous. Here’s a girl who sings good swing music… She reads very well on this and she’s got the melody down. Dum, bum, bum, two-beat, ya, da da … boy! this is it for melody and everything, but classing Ella in this kind of a tune-I don’t know. All I can say is, sell it to Hollywood-and they did.The arrangement was pleasant, and Ella didn’t sing badly on it. I’m not saying it’s bad or good, but I think it’s kind of silly—the entire tune with Ella. So much talent and how they’ve used it! As far as buying the record-I’m hung again as to how to class this. It wasn’t so bad musically-it’s a nice record, whatever “nice” is.

4. Sarah Vaughan. My Heart Stood Still(Mercury).

Sarah always relaxes me, because when you hear that it’s Sarah, you know you can say to yourself right away like “this record is going to be played from beginning to end and it’s going to be done very well,” so you don’t have to worry too much about it.There are five placements that one can sing from: The upper front of the mouth; uh-uh; the back of the top of the roof of the mouth; the throat, down into the lower part of the … uh-uh. I don’t know the technical names for these … I did, because I studied it a long time ago, but I know there are five places you can sing from, and Sarah sings from all five of them, which makes her like the queen of singers. This is the lady, queen, princess, or whatever you want to say, but she’s a good girl singer, and I’m for girl singers. I would say this would be rated very good.

5. Rita Reyes with the Jazz Messengers.Taking a Chance on Love (Columbia).

I have no idea who the singer is, and I don’t think I really care to find out. I would say it’s a beginner’s style and really no connection to the music. She’s singing the story all right, but where’s the music? … Chopping the phrasing-I didn’t like it at all. The background of the choruses that followed … the music involved-I would say pretty good be-bopping there, if you’re going that way – not too bad at all, but frankly, if the record was given to me, I think I would give it back. I’d rate it “z.”

Rita Reys (vcl) acc by Donald Byrd (tp) Hank Mobley (ts) Horace Silver (p) Doug Watkins (b) Art Blakey (d) New York, May 3, 1956

6. Patti Page w. Pete Rugolo Ork. Taking a Chance on Love (EmArcy).

There’s a line in the song, “and the act of hearts is high.” This gal gets my heart and aces high to boot! That’s the best record I’ve heard in a long time! I couldn’t tell you who’s singing or the background here. I could speculate, but I won’t. I enjoyed it much, much, very good, a-b-c-d-x-y-z, five stars, thank you, Mr. Feather!

7. Jackie Paris. ‘Round Midnight (EmArcy).

My afternoon is complete. This is the lad-Jackie Paris, of course. And if I were a male-ha! ha! singer, that is, I would like to be Jackie Paris, male singer-that’s the lad. He was associated with Jeri Southern for a long time a long time ago, and that was when I first heard him. He was in New York in 1944 or ’45 when I was with Stan Kenton’s band, and that’s when I first heard Jackie. Then right after I left Stan’s band, I did a single at the Holiday inn in Newark, and Jackie Paris was on the bill. So I got to hear him in person.Why nothing’s happening with Jackie I’ll never know. I followed him in Hawaii about four months ago, and the club owners said business was terrible, but in Hawaii everything is terrible, except the sun, of course the musicians and everything else involved it’s pretty bad. What can you say about Jackie except “this is the male singer”-six stars!

Jackie Paris (vcl) acc by Eddie Shu (hca,ts) Dick Hyman (p) John Collins (g) Tommy Potter (b) Roy Haynes (d) New York, November 12, 1949

8. June Christy. ‘Round Midnight (Capitol).

Well, that should be a big recordbeautiful! Chris really sing’s this … that’s a good one for her. I like the tune much-I’m positive it’s Chris. I think both versions are good. I’ll have to give another six stars.

9. Helen Merrill. By Myselt (EmArcy). Gil Evans, arranger; Art Farmer, trumpet.

An enjoyable rendition of By Myself Alone. I presume that’s the title I’ve never heard the tune before. The girl singer-I could say, but I’m afraid to -Helen Merrill? I don’t know I’ve never heard her before. Her voice is smooth, I like it … small, intimate, but good intonation, without a shout, you know.It’s enjoyable. I thought the entire record was very good. I don’t know who arranged it, of course. I liked the trumpet-was that a progressive cat there? Ha! ha! Shall I speculate or not? Dizzy on a cool day? Very good, very good.

Helen Merrill (vcl) acc by Art Farmer, Louis Mucci (tp) Jimmy Cleveland (tb) John LaPorta (cl,as) Hank Jones (p) Barry Galbraith (g) Oscar Pettiford (b) Joe Morello (d) + strings, Gil Evans (arr,cond) New York, July 29, 1956

10. Barbara Carroll. By Myself (Victor). Barbara Carroll, vocal, piano.

That was a smart, snappy version. I like the singer, but don’t know who it was. Sort of a happy, elated interpretation, and I enjoyed it. As far as rating-let’s see-good. How about the piano? What piano? Ha! ha!

11. Peggy Connelly. Travelin’ Light (Bethlehem). Russ Garcia, arranger and conductor.

Well, let’s see — that’s not Paul Whiteman. Ha! ha! His was the first version I heard, of that tune. It’s real nice—the right groove and the right tune. The right answers to that would be right good.

Peggy Connelly (vcl) acc by Pete Candoli, Stu Williamson (tp) Russ Cheever (sop) Charlie Mariano (as) Bill Holman (ts) Jimmy Giuffre (bar) Al Hendrickson (g) Max Bennett (b) Stan Levey (d) Russ Garcia (arr,cond)  Los Angeles, January 16, 17 & 18, 1956

12. Billie Holiday. Travelin’ Light (Clef).

That record reminds me of a perfect example. For instance, I do a recording session and there’s 17 to 24 men, and then a club in the east will hire me and they’ll have a fast trio to accompany me and people will say “Do that tune, How High the Moon or Bootwhip,” or something on which I had 17 men, and with a trio I’m supposed to make it-like-“sound,” and it’s not easy, but Billie does it real well.This is Miss Stylist of the World, and it’s always good. Traveling Light and traveling right with Billie Holiday. The full value of stars.

 

 

神戸ジャズ愛好会7月例会(2019年7月28日)特集「白人ジャズメン・ジャズウィメンの名手は誰?』①

2019年7月29日

神戸ジャズ愛好会7月例会の特集「白人ジャズメン・ジャズウィメンの名手は誰?』

今回は4人のベテラン会員がご紹介された演奏をお楽しみ下さい。尚、僭越ながらブログ作成者が追加した音源もございます。

Y瀬氏(8月度大阪ジャズ同好会で特集「また暴挙ご容赦〜さまざまなSUMMERTINE で60分』を担当されます)

「Gerry Mulligan」

(以下、当日配付されたレジュメのコメントを修正せず転載します)

マリガンにパリが大熱狂
ジャズを手ほどきしてくれた遠縁の従兄に影響され、ブルーベックにはまった私が、初めての冒険で大枚?をはたいたのがジェリー・マリガンのパリ・コンサート盤でLPの両面に各4曲。 三色旗のジャケが粋で、バリトンサックスの音が凄くて、何よりもピアノレスの編曲が素敵でした。そのマリガンとブルーベックが組んだ時代もありさらにCDの時代に入って全18曲収録盤まで現われました。ファン大熱狂の中でのメンバー紹介に続き、最も気に入りの曲と、拡大盤からの1曲を。

Here is Gerry Mulligan Quartet play ”Love me or Leave me”.
Bob Brookmeyer (valve tb), Gerry Mulligan (bs), Red Mitchell (b), Frank Isola (ds)
Paris June ,1,1954

Here is Gerry Mulligan Quartet play ”Bark for Barksdale”.
Members of the recording are the same as above.

下記はGerry Mulliganの公式HPです。(いつも参考にしています)

こちら ▶️

M渡氏(神戸ジャズサロン主宰者)

「 Tal Farlow」

Here is Tal Farlow Quartet play “These Foolish Things”.
Claude Williamson(p) Tal Farlow(g) Red Mitchell(b) Stan Levey(ds)
LA January 17,1955

Here is Tal Farlow Quartet play “I Remember You”.
Members of the recording are the same as above.

Here is Tal Farlow Quartet play ”How Deep Is The Ocean”.
Members of the recording are the same as above.

Here is Tal Farlow Quartet play “Manhattan”.
Members of the recording are the same as above.

当日は上記の他に「Fascinating Rhythm」をご紹介されましたが、この曲に関しては映像を添付します。

Here is Tal Farlow Trio play “Fascinating Rhythm”.
Tommy Flanagan and Red Mitchell

下記写真はブログ作成者が大阪ジャズ同好会でご紹介したTal Farlowに関する名著です。

 

F川氏(大阪ジャズ同好会で新譜紹介をされています)

「Gene Dinovi(ジーン・ディノヴィ)」

当日は「Jordu」他1曲をご紹介されましたが、本ブログでは同じアルバムから 「I concentrate on you」を添付致します。

Here is Gene Dinovi Trio play “I concentrate on you”.
Gene Di Novi (p) Neil Swainson (b) Kazuaki Yokoyama (ds)
Yokohama, November 21, 2006

同じくマシュマロレコード制作でもう1曲添付しました。

Here is Gene DiNovi Trio play “So In Love”.

Gene DiNovi (p)Neil Swainson (b)Terry Clark (ds)
Canada March 2001

マシュマロレコードのHPで詳細をご確認願います。

こちら ▶️ HP右端のARTISTS(一番上)「GENE DINOVI」をクリックして下さい。

ブログ作成者からサイドメンとして参加した録音を1曲追加させて下さい。

Here is Lester Young And His Band play “The Sheik of Araby”.
Lester Young (ts) Gene Di Novi (p) Chuck Wayne (el-g) Curly Russell (b) Tiny Kahn (d)
New York, December 29, 1947

 

Photo by AllMusic

N瀬氏(サックスも吹かれるドクターです)

「Gil Evans」

Here is Miles Davis With Gil Evans Orchestra play “Springville”.
Miles Davis – Flugelhorn
Gil Evans – Arranger, Conductor
Johnny Carisi, Bernie Glow, Taft Jordan, Louis Mucci,Ernie Royal(tp)
Lee Konitz(as)
Joe Bennett, Jimmy Cleveland, Frank Rehak(tb),Tom Mitchell(btb)
Edwin Caine,Sid Cooper,Romeo Penque -(flute, cl),Danny Bank(bcl)
Jim Buffington, Tony Miranda,Willie Ruff(French Horn),Bill Barber(tuba)
Paul Chambers(b),Art Taylor(ds)
NYC May 23,1957

ブログ作成者から1曲追加させて下さい。

上記傑作の4ヶ月後にGil Evansは最初の自己リーダー作を録音しています。

Here is Gil Evans And Ten play ”Remember”.
John Carisi, Jake Koven (tp) Jimmy Cleveland (tb) Bart Varsalona (b-tb) Willie Ruff (fhr) Lee Konitz (as) [as Zeke Tolin (as) ] Steve Lacy (sop) Dave Kurtzer (bassoon) Gil Evans (p,arr,cond) Paul Chambers (b) Jo Jones (d)
Hackensack, N.J., September 6, 1957

 

 

 

大阪ジャズ同好会第30回例会概要(1)

April 9.2018

miles-davis-2_wide-b2ba5a4cdd0039f88f30a83a579e47dc9874b5bd-s900-c85

Photo by NPR

(1)特集『60年代のマイルスミュージックを掘る』  ナビゲーター 矢木明氏

1960年代のマイルスは実に多くのミュージシャンと共演しながらジャズシーンを作り上げていきました。モード・ジャズからエレクトリック・ジャズへと変遷する60年代の多種多彩な音源をご紹介されました。

配付されたレジュメを添付しました。⇨こちらをクリックしてPDFをご覧下さい。矢木氏配布資料

会場ではCDでのご紹介でしたので、本ブログではYouTubeでのライブ映像も添付しました。

Photo by courtesy of kind-of-blue

 

Here is Bob Dorough with Miles Davis Sextet play “Blue Xmas” .
Bob Dorough (voc, p), Miles Davis (tp), Frank Rehak (tb), Wayne Shorter (ts), Paul Chambers (b), Jimmy Cobb (ds), Willie Bobo (bongos), Gil Evans (arrange)

 

 

 

Here is Miles Davis Quintet play “All Blues”.
Miles Davis(tp), Wayne Shorter(ts),Herbie Hancock(p),Ron Carter(b),Tony Williams(ds)
1964 Milan, Italy October 11 1964

 

Here is Miles Davis Quintet play “Gingerbread Boy”.
Miles Davis(tp), Wayne Shorter(ts),Herbie Hancock(p),Ron Carter(b),Tony Williams(ds)
Live in Karlsruhe, November .8.1967

 

Here is Miles Davis Quintet play “Directions” at live in Rome(1969)
Miles Davis (tp), Wayne Shorter(ts), Dave Holland(b),Chic Corea(el-Piano) ,Jack De Johnette(ds)

 

Here is Miles Davis and his Orchestra plays “Corcovado” from Miles Davis’ 1963 album “Quiet Nights”.
Miles Davis (trumpet)
Gil Evans (arranger, conductor)

(2)新譜紹介     解説 古川 正孝氏

1.Here is Mayte Alguacil sings “What a Little Moonlight Can Do” from “Trav’lin Light”.

Mayte Alguacil(vo),Jaume Llombart(g),Pedro Campos(b),Enrique Oliver(sax),Felix Rossy(tp)
詳細はMayte AlguacilのHPをご覧下さい。

又、CDショップのアルバム紹介も併せてご覧下さい。

 

2.Roger Kellaway Trio

「New Jazz Standards, Vol. 3」から「Hurry Up & Wait」を選曲されました。
詳細はCDショップのアルバム紹介をご覧下さい。

又、JazzWaxとのインタービューを添付しました。2017年3月(英語表記です)

こちらをクリックしてご覧下さい。

 

3.Mike Dease

「Reaching Out」から「Blachfoot」を選曲されました。

Here is Mike Dease plays “Speak Low”(Trombone Solo) from Reaching Out

詳細はMike Dease のHPをご覧下さい。

又、CDショップのアルバム紹介ご覧下さい。