タグ別アーカイブ: Leonard Feather

The Young George Shearing(1)

July 06.2018

fullsizeoutput_106f

Today I would like to post about the early George Shearing’s recordings.

George Shearing was hired by Vic Lewis as pianist.

Then Vic Lewis and George Shearing recorded some recordings.

Unfortunately I have never heard of these recordings.

Vic Lewis heavily used George Shearing while changing his group name until April 1939.

Below is Vic’s group names including George Shearing from 1938 to 1939.

A-505124-1412706332-7283.jpeg

Photo above of Vic Lewis by courtesy of Discogs

Tom Lord ”The JAZZ Discography”から録音されたグループ名と録音日時を記載します。

・Vic Lewis And Carlo Krahmer Blue Six(June, 1938)

・Vic Lewis And Carlo Krahmer Blue Seven(June 28, 1938)

・Vic Lewis And Carlo Krahmer Band(June 30, 1938)

・Vic Lewis Jersey Jumpers(September 22, 1938)

・Vic Lewis Chicago Stompers(September 24, 1938)

・Vic Lewis/Carlo Krahmer Band(January 10, 1939)

・Vic Lewis And Carlo Krahmer Stompers(April 3, 1939)

・Vic Lewis And Carlo Krahmer Chicagoans(April 1939)

・Vic Lewis And Carlo Krahmer’s Boys(February 13, 1940)
*Love is just around the cornerを録音するも未発売

About Vic Lewis, please refer to this website。Go here

About Carlo Krahmer, please refer to this website.Go here

ジョージ・シアリング(George Shearing)が渡米前に行った録音(1938~39)について調べました。

上記に録音されたグループ名と録音日時を記載しましたが、ジョージ・シアリングが参加した録音を聞くことが出来ません。

上記Vic Lewis〜Carlo Krahmers楽団でのジョージ・シアリングの演奏を聞いてみたいです。

次回は1941年に参加したHarry Parry and Radio Rhythm Club Sextetについて投稿します。

ヴィック・ルイス(Vic Lewis)については⇨こちら

カーロ・クラーマー(Carlo Krahmer)については⇨こちら

1939年にレナード・フェザー(Leonard Feather)並びにCarlo Krahmerと共演した音源を添付しました。

Here is George Shearing plays “How come you do me like you do ?”.
George Shearing(p), Carlo Krahmer(d) London, March 2, 1939

How come you do me like you do _

Here is George Shearing plays “Stomp in F”.
George Shearing(p), Carlo Krahmer(d) London, March 2, 1939

Stomp in F

最後にジョージ・シアリングがアコーディオンを演奏した珍しい録音をお楽しみ下さい。
Here is George Shearing plays “Squeezin’ the blues”.
George Shearing(accordion),Leonard Feather (p), Carlo Krahmer (d)
London, March 2, 1939

Squeezin’ the blues

Art Tatum was selected “The All American Band” by Esquire Magazine(2)

December 01. 2017

Photo by YouTube

Yesterday I read an interesting article about “The All American Band.”

In 1943 Arnold Gingrich, who was co-founder of Esquire magazine, entrusted witht Robert Goffin to come up with a poll of the greatest jazz musicians in the country.

Robert Goffin was a distinguished Belgian music scholar.

Photo above of Robert Goffin, Benny Carter, Louis Armstrong, and Leonard Feather (L to R) in 1942 by Wikipedia

In those days Robert Goffin and Leonard Feather taught a course on jazz with Goffin at the New School in New York.

Leonard Feather assisted Goffin with the poll.

They selected “three team” as The All American Esquire Jazz Band.

The concert was planned as a benefit for the Navy League, with war bonds sold for seats.

So the audience had to buy a war bond to attend.

The Navy League is a nonprofit civilian, educational and advocacy organization that supports America’s sea services: the Navy, Marine Corps, Coast Guard and US – flag Merchant Marine. Go here

The O.W.I. (Office of War Information) arranged to have the concert recorded.

Esquire Magazine turned the concert into a benefit for the war effort.

I referred to The All-American Esquire Jazz Band(EDITOR’S NOTES) by Alex Belth (SEP 23, 2016)

昨日「The All American Band」に関して興味深い記事を読みました。

1943年、Esquire誌の共同設立者(編集者)であったArnold Gingrichはベルギー人の評論家で有名な作家であったRobert Goffinにジャズミュージシャンの人気投票の実施を依頼しました。

その当時、Robert Goffinと共にニューヨークのNew Schoolでジャズ講座を担当していたLeonard Featherもこの仕事に協力しました。

二人は「The All American Esquire Jazz Band」として 「3組のバンド」を選びました。

又、このコンサートは「Navy League」を援助することを目的として開催され、ホールの座席入場券の売り上げは戦事債券となったそうです。

コンサートを観た一般客は結果的に戦争債券を購入することになったわけです。

「Navy League」とは海軍、海兵隊、沿岸警備隊、米国の旗艦商船などアメリカの海上保安警備をサポートする非営利の民間組織です。こちらをクリックして下さい。

コンサートの模様はO.W.I.(Office of War Information)が録音した全米に放送されています。

上記はThe All-American Esquire Jazz Band(EDITOR’S NOTES) by Alex Belth (SEP 23, 2016)を引用致しました。

Photo by Discogs

Here is Coleman Hawkins with Art Tatum play “My Ideal”.

Here is Art Tatum plays “Tea For Two”.
Bigard→ Eldridge→Tatum→Norvo(vib)

Here is Billie Holiday (with Art Tatum) sings “I’ll Get By”.

Here is Billie Holiday (with Art Tatum) sings “Billie’s Blues”.

Photo above of Billie Holiday and Art Tatum(Metropolitan Opera House. Esquire Jazz Concert. January, 18th 1944) by courtesy Pinterest

Eiji Kitamura(3)

March 08.2017

Photo above of Eiji Kitamura and Woody Herman by 北村英治 Official website(Eiji Kitamura Gallery)

下記は週刊朝日 2016年5月20日号から引用しました。

レナード・フェザーという評論家が、『クラリネットの出ずる国、日本』と書いてくれたんです。『クラリネットの沈滞を救った男』とね。嬉しくて、その記事は宝物のようにしています」

 

In 1991 – 2000,He and Bill Berry jointly planned International Jazz party.

His performance gained a high rating by Leonard Feather.

“The man saved the stagnation of the jazz clarinet.”

Photo above of Leonard Feather

Also Leonard Feather wrote “JAZZ REVIEW” in 1993.

“Kitamura has been hailed as the man who saved Japan from allowing the clarinet to sink into oblivion there. Winner of countless polls on home turf, he has graduated from a Benny Goodman influence to become his country’s counterpart of Buddy De Franco.”

Then the Concord Jazz label signed him up for a few recordings as its first Japanese artist.

Here is The Woody Herman Orchestra With Eiji Kitamura, Cal Tjader and others play “The Woodchopper’s Ball”.

Here is Eiji Kitamura plays “Someday Sweethart”.

Here is Eiji Kitamura plays “Liebesfreud by Fritz Kreisler”.(愛の喜び クライスラー)

Phineas Newborn Jr.(3)

October 20, 2016

c

After he moved to Los Angeles in 1960, he recorded his typical piano trio albums for the Contemporary label.

However, some critics didn’t evaluated his prodigious technique on his recording.

As a specific example,I will quote the past article of Jazz profiles by Steven Cerra.Go here

As the late Jazz writer, Leonard Feather, pointed out in his liner notes to Phineas Newborn, Jr.: A World of Piano [Contemporary LP S-7600; OJCCD 175-2]:

“There has always been a tendency among music experts, and by no means only in jazz, to harbor misgivings about technical perfection. The automatic-reflex reaction is: yes, all the notes are there and all the fingers are flying, but what is he really saying? How about the emotional communication?

2310-736

But Leonard Feather was evaluating the equivalent to Art Tatum and Buddy Defranco about his prodigious technique.

I guess some critics evaluated jazz musician by an emotional expression than a terrific technique.

Here is Phineas Newborn Jr. Trio plays “Domingo”.

The early Swedish Jazz(2)

 

vintage-50-s-swedish-jazz-vol-9-1949-1956-2014

First time Swedish jazz draw public attention abroad was at the jazz festival in Paris in 1949.

Also Miles Davis took part in this event.Go here

Arne Domnérus and Putte Wickman among others made great success in several concerts.

18619254041

s-l225

images

Leonard Feather had radio program in USA in those days.

He introduced Swedish jazz records in his program “Jazz at its best”.

In spring 1950 Down Beat wrote about Arne Domnerus recordingof Body and Soul:

“He has a wonderful pleasant,[…] they can murder most American musicians”.

Also the Metronome jazz magazine had a large and enthusiastic feature on Swedish jazz.

US record companies were interested to issue the new jazz from Sweden.

svenssonPrestige106

Reinhold Svensson’s recordings for Metronome Records was issued first 10 LPs from Prestige.

Furthermore,fine recordings by Lars Gullin, Arne Domnerus and Bengt Hallberg followed.

Next day I will post about American musician concert tour in Sweden.

images

index

gullinPrestige10Small

This is Dexter Gordon/Lars Gullin/Sahib Shihab Live in Copenhagen

Toshiyuki Miyama 〜 Monterey Jazz Festival(1974)

monterey_news

Toshiyuki Miyama and New Herd appeared in 17th Monterey Jazz Festival.

They achieved the overwhelming success.

Their performance had been communicated to US by Leonard Feather.

I will summarize his report below.

’’Friday night Toshiyuki Miyama and New Herd appeared in Monterey.

Foreign big band played a leading role in US major jazz festival.

Until now jazz critics said:”Japanese jazz band imitate real jazz in US”

But they would have comprehended that their recognition was an mistake.

[…]

To final song,they played Pithecanthropus Erectus ,Mingus work arranged by Norio Maeda.

Many audiences were still sitting in a chair as they were almost nailed.

They stood up in unison and then were standing operation.’’

[Leonard Feather:Mon Sept 23, 1974 Los Angels Times]
Dizzy Gillespie with the Cal Tjader Quintet and Toshiyuki Miyama & The New Herd: Manteca