タグ別アーカイブ: John LaPorta

神戸ジャズ愛好会11月例会『ドラムの名手達』②        

November 22,2018

前回は、兵庫県西宮市・芦屋市・神戸市・西明石市に在住されている4人がご紹介された演奏をご紹介致しました。

今回は、大阪府茨木市並びに大阪市在住の2人が持参した録音をご紹介致します。

・寺本氏(神戸ジャズ愛好会世話人)

Here is Jo Jones Trio play ”Jive At Five”.
Ray Bryant(p) Tom Bryant(b) Jo Jones(ds)
NYC March, 1959

Here is Tommy Flanagan play “Little Rock”.
Tommy Flanagan(p) Wilbur Little(b) Elvin Jones(ds)
Stockholm Sweden August. 15, 1957

Here is Sonny Rollins Quartet play “Strode Rode”.
Sonny Rollins(ts) Tommy Flanagan(p) Doug Watkins(b) Max Roach(ds)
NJ June 22, 1956

上記 “Strode Rode”については『サキソフォン・コロッサスに押された「怒りの刻印」/ソニー・ロリンズ』が参考になります。FB友人寺井珠重さん(Jazz Club OverSeas奥方)の「ジャズクラブの片隅から…」を添付します。▶︎ こちら

 

・平野
ケニー・クラーク(Kenny Clarke)の演奏を4曲ご紹介しました。

(1)スイング時代の花形セッションに参加しています。
Here is Mildred Bailey sings ”Tennessee fish fry”.
Mildred Bailey (vcl),Roy Eldridge (tp) Jimmy Carroll, Robert Burns (cl,as), Irving Horowitz (b-cl) ,Mitch Miller (oboe,eng-hrn), Eddie Powell (fl) ,Teddy Wilson (p), John Collins (g) ,Pete Peterson (b) ,Kenny Clarke (ds) ,Eddie Sauter (arr)
NYC, May 15, 1940

Tennessee fish fry

Photo by Wikipedia

(2)パリでシドニー・べシェと録音しています。
Here is Sidney Bechet Quartet play ”Out of nowhere”.
Sidney Bechet (sop sax) Charlie Lewis (p) Pierre Michelot (b) Kenny Clarke (ds)
Paris, October 20, 1949(オーディオパーク復刻盤シリーズ Sidney Bechet 1944~1950から)

Out Of Nowhere

(3)アニー・ロスの珍しい録音です。(是非お聞き下さい)
Here is Annie Ross sings “I’m Beginning To Think You Care For Me”.
Annie Ross(vo),Milt Jackson(vib),Blossom Dearie(p), Percy Heath(p), Kenny Clarke(ds)
NYC, April 1, 1952

_I_m Beginning To Think You Care For Me_

上記録音当時アニー・ロスはケニー・クラークと同棲中に授かった子供の養育に悩んでいたそうです。詳細については拙ブログをご覧下さい。▶︎ こちら

(4)最後にケニー・クラークのリーダー作(Klook’s Clique)から大好きな曲を
Here is Kenny Clarke Quintet play ”Play, Fiddle, Play”.
Donald Byrd (tp) John LaPorta (as) Ronnie Ball (p) Wendell Marshall (b) Kenny Clarke (ds)
NYC, February 6, 1956

Play, Fiddle, Play

 

John LaPorta(5)

March 24.2017

 

Finally,I will introduce Barry Ulanov’s evaluation about John LaPorta.

I read again ”A History of Jazz in America” by Barry Ulanov.

I guess there is no critic who analyzed John LaPorta in detail as much as Barry Ulanov.

Fortunately Hisamitsu Noguchi(野口久光) translated ”A History of Jazz in America” into Japanese.

I will quote an interesting passage about John LaPorta from ”A History of Jazz in America”.(from page 330 to page 331)

Photo above of Stan Kenton(right) with Barry Ulanov from UNT Digital Library

Barry UlanovによるJohn LaPortaの評価を紹介します。今回、「ジャズの栄光の巨人たち」を久しぶりに読みました。彼ほどJohn LaPortaを詳しく分析した批評家はいないと思います。故野口久光氏が日本語に翻訳されています。(翻訳文は407ページから408ページまでを引用しました。)

He can each almost anything in the clarinet tradition, from counterpoint to atonalist formulations.He’s a far cry from the balling jazzman whose musical happiness lies in his ability to capture tonally last night’s alcoholic and other excesses.

彼はクラリネットに関することなら、彼は対位法から無調形式に至るまで、ほとんどあらゆることを教えることが出来る。前夜の乱行を音としてとらえることを幸福と心得ているようなジャズメンとは、大変な違いである。

To John jazz is an art and a science; it must be studied; it can be significant only if it is the end result f an intensive preparation. That preparation entails hours of work, of unrelenting attention to the interior detail of the creative process, and the very conscious avoidance of the cliches and banalities of most hot Improvisation.

ジョンにとって、ジャズは芸術であり科学なのである。それは研究されなければならない。
それは慎重な準備の最終結果である場合にのみ、意味を持つ。その準備は、創造過程の内部に対する厳しい注意と最もホットなインプロビゼーションの陳腐な常用句の意識的な排除という、長い仕事を課する。

Meeting John LaPorta, one wonders where in his reticent person he holds the brilliant array of new ideas he has displayed in his few gigging appearances, his several broadcasts, and his two record sides with the 1951 Metronome All-Star Band.

ジョン・ラポータに出会った人は、この無口な人間のどこに、たまのワン・ナイターや数回のラジオ放送、1951年のメトロノーム・オールスターズの二面のレコードを飾るあの斬新なアイデアによる豪華な装いが隠されているかといぶかるに違いない。

Photo above of John Laporta

 

His myopic eyes behind heavy glasses, his mousy voice, his retiring disposition seem to betoken a student of one of the dead languages, perhaps, or a librarian in an institution devoted to research on extinct Australian birds.

重いメガネの奥の近視眼や、ネズミのような静かな声や、内気な性格は、滅びた言語の一つを研究する学者、あるいは、絶滅したオーストラリアの鳥類を調べる研究所の図書係よろしくと言った感じである。

But challenge one of his musical ideas, carry the argument beyond words and put a clarinet in his mouth, and watch the mouse become man, an inspired man with a compelling message. If one probes enough, one may also stimulate words, and then the most alert musical mind in
jazz may begin the constructive but relentless analysis of his own music and anybody and everybody else’s.

しかし、彼の音楽的なアイデアの一つに挑んで議論の末、彼にクラリネットを持たせた時、おとなしいネズミが止め難い霊感にふるい立った人間に変ずるのを見たまえ。
さらに探査の手を延ばして、彼から意見を引き出すことが出来れば、この慎重極まりない音楽も、自分や他人の音楽を、建設的であるが容赦することなしに分析して見せるかも知れない。

Here is The Metronome All-Stars(1951) play “Early Spring”.

Here is The Metronome All-Stars 1951 play “Local 802 Blues”.

Here is Kenny Clarke and John LaPorta play “Play, Fiddle, Play”.

John LaPorta(4)

March 23.2017

Photo above of John LaPorta from his Autobiiography

Since early 1960, John LaPorta began to intende himself as jazz educator.

He settled in Boston in 1962, and joined the faculty of Berklee College of Music.

He wrote fifteen books on music education and over two hundred compositions. Go here

In addition he made some Music Minus One records.

I will introduce a wonderful blog to be helpful about Music Minus One records. Go here and here  (こちらをクリック)

Also he actively participated Stan Kenton’s jazz camps as a lecturer of musicians.

In 1985 he returned to the recording studio, and his last album was Life Cycle (1999, Civil Defense label).

Legendary performer and Jazz educator John LaPorta passed away in May of 2004 at the age of 84.

Here is John LaPorta Quartet play “The Most Minor.”

Here is Kenny Clarke Quintet play “I Married An Angel”.
Donald Byrd (tp), John LaPorta (as), Horace Silver (p), Wendell Marshall (b), Kenny Clarke (ds) January 30, 1956

1960年代初頭から、ジャズ教育者としての地位を確立し始めました。
1962年にボストンバークリー音楽院の教授に就任しました。
彼は音楽教育に関するに関する著作と「Music Minus One」のレコードを製作しました。
「Music Minus One」のレコードに関して参考になるブログを紹介します。
又、Stan Kenton主催のJazzcampの講師としても活躍しました。

John LaPorta(3)

March 22.2017

Photo above of John LaPorta(courtesy by Civil Defense Music)

In 1953 John LaPorta joined the Jazz Composers Workshop.

The workshop was formed Teo Macero, Thad Jones, Teddy Charles,Charles Mingus and other forward-looking musicians.

Actually he was the musical director of the group.

Eventually playing with Mingus was a turning point for LaPorta.

LaPorta made his first album as a leader for Mingus’ Debut label in 1954.

He recorded three albums for Fantasy in the mid-50s and led his own group at the 1958 Newport festival.

He said about Mingus;

“The first time I played with him I felt like someone had taken the handcuffs off me.
[…]I never had a problem playing with Mingus; I felt like I was free at last.”In later years, he dedicated ”Remember Mingus” as for respect to Charlie Mingus.”

Here is Jazz Composers Workshop(1954) plays “Eulogy For Rudy Williams”.

Here is Ada Moore sings “You Came A Long Way From St Louis”.
The original album (Jazz Workshop, Vol. 3)
Oscar Pettiford(b),Tal Farlow(g),John La Porta(as),Ada Moore(Vo)
Charles Mingus(arr) NYC, June 27, 1954

Here is John LaPorta plays “Nightly Vigil”.(1956)

Here is Herb Pomeroy Orchestra play “Remember Mingus”.
Composed and arranged by John LaPorta

1953年、John LaPortaはTeo Macero, Thad Jones, Teddy Charles,Charles Mingus とThe Jazz Composers Workshopを結成しました。Mingusと出会ったことがLaPortaとって音楽上の転換点となった。彼はミンガスについて語っています。
「私が初めて彼と演奏した時、誰かが私に手錠を掛けたような感じがしました。
しかし、Mingusと演奏していると何の縛りなく演奏できたようだ。」
その後、彼はミンガスに捧げた曲を作曲しています。

 

John LaPorta(2)

March 21.2017

In 1942 John LaPorta joined Woody Herman’s First Herd and remained for two years.

In those days Woody Herman made a request to Igor Stravinsky “Ebony Concerto”.

Also LaPorta began to interested in modern classical composition.

Then LaPorta moved to New York City in 1946 and was hired by pianist Lennie Tristano who was an incarnation of the cool-jazz movement.

LaPorta said about Tristano;

“When I first met Lennie, he had brought in a piece of music for Woody’s band to play.[…]
‘Who’s the third alto player? I’d like to meet him’-because he knew I was reading his music. ”

“He would tell me so many negative criticisms about my playing that I found it demoralizing.
Warne Marsh left for the same reason. Lennie treated him terribly. It was much like a cult”.

Photo above of Lennie Tristano

So LaPorta decided to leave Lennie in 1948.

Fortunately LaPorta had been participating the historic recording with Lennie.

Barry Ulanov organized several concerts of bop stars for WOR radio in 1947.

LaPorta joined All-Star Modern Jazz Musicians as clarinet player.

Recently Mr. Seya(瀬谷徹氏) introduced a couple of clips on Facebook.

Go here and here  (ここをクリックして下さい)

Here is John LaPorta plays “Concertina for Clarinet”.

Here is Barry Ulanov’s All-Star Modern Jazz Musicians at WOR Studios play “Koko and Hot House”.

1946年にニューヨークに移り、Lennie Tristanoに出会った。
John LaPortaはLennie Tristanoについて「彼は私のプレーに対して厳しい批判をしました。又、Warne Marshに対しても教団での教育のように厳しく指導しました。」
しかし、LaPorta はLennieと歴史的なレコーディングに参加していました。
Barry UlanovはAll-Star Modern Jazz Musiciansのクラリネット・プレイヤーとしてLaPortaを起用しました。
先日、瀬谷徹氏がFacebookにLennie TristanoとJohn LaPorta が共演した貴重なSP音源を紹介されました。

John LaPorta(1)

March 20.2017

Photo above of John LaPorta by offbeatpersistente.blogspot.

Recently one of favorite songs has been uploaded on YouTube.

Kenny Clarke and John LaPorta play “Play, Fiddle, Play”.

This week I would like to post about John LaPorta.

John LaPorta was born 13 April 1920. in Philadelphia.

LaPorta began studying clarinet at the age of nine.

Photo above of The Academy of Music from The Philadelphia Orchestra’s website.

He took lessons from Wilhelm Dietrich who was the first chair with the Philadelphia Orchestra.

Unfortunately he had to stop the lessons when LaPorta’s father suffered an incapacitating stroke.

At the age of 12 he picked up music again seriously.

Eventually he enterd Settlement Music School.

As a teenager, LaPorta decided to take a shot at becoming a full-time professional musician.

He switched to Mastbaum High, which was noted for its music department.

While there he made a valuable friend in clarinetist Buddy DeFranco.

LaPorta became increasingly interested in playing jazz for a living,

In 1942 he had even played in a couple of jam sessions with Dizzy Gillespie in Philadelphia.

最近私のお気に入りの曲がYouTubeにアップされました。
Kenny Clarke and John LaPorta による “Play,Fiddle,Play”.
今週はJohn LaPortaについて投稿します。
John LaPortaは1920年4月13日にフィラデルフィアで生まれました。
LaPortaは9歳でフィラデルフィア管弦楽団のヴィルヘルム・ディートリッヒからレッスンを受けました。その後、フィラデルフィアの音楽専門学校でBuddy DeFrancoと友人になりました。

Here is Kenny Clarke and John LaPorta play “Play,Fiddle,Play”.

Here is John LaPorta Quartet play “I Got It Bad and That ain’t Good”.