タグ別アーカイブ: Quincy Jones

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”.

The Great Compositions by Tadd Dameron(3)

January 18.2017

Photo above of Add Cameron from A New Tadd Dameron Biography


Photo above of Add Cameron from A New Tadd Dameron Biography

Not only Tadd Dameron composed “If You Could See Me Now” for Sarah Vaughan, but he also did the orchestral arrangement.

Sarah Vaughan’s 1946 original recording was released through Musicraft Records.

This tune became one of her signature songs.

Photo above of Sarah Vaughan

Photo above of Sarah Vaughan

In 1998 her rendition was inducted into the Grammy Hall of Fame.

Also this tune was embraced by jazz instrumentalists and vocalists alike.

As with most of Dameron’s compositions, it has been recorded by many jazz musician and vocalists.

Photo above of Bill Charlap

Photo above of Bill Charlap

Recently I found an interesting interview with pianist Bill Charlap.

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July 08, 2015(JazzWax)

“Misty is a beautiful song. It’s very much a ballad in the tradition of great jazz
writers like Tadd Dameron. Misty is in some ways a cousin of Dameron’s If You Could See Me Now.”Here is Sarah Vaughan sings “If you could see me now”(May 7, 1946),

Here is Sarah Vaughan sings “If you could see me now”(May 7, 1946),
Sonny Burke & His Orchestra joining trumpeter Freddie Webster.

Here is Tadd Dameron plays “If You Could See Me Now”.

Here is Sonny Stitt with the Quincy Jones band play “If You Could See Me Now(1955)”.

Here is Oliver Nelson and Red Garland play “If You Could See Me Now”
The session would be the only time Nelson and Garland recorded together.

Here is Dianne Reeves Sarah sings “If you could see me now”.

Here is Wes Montgomery & Wynton Kelly Trio play “If You Could See Me Now”.

Teddy Reig(2)

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The Roost label was founded in 1949.

From 1950 until 1958 Roost label was run by Jack Hooke and Teddy Reig.

Teddy Reig produced jazz legend’s records such as Bud Powell, Johnny Smith and Stan Getz.

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This record was first released on Teddy Reig’s Royal Roost label as two LPs

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Photo above Haruki Murakami

Japanese novelist Haruki Murakami is a huge Stan Getz fan.

Haruki Murakami said:”The [Jazz] for me, it was Stan Getz.”

Hear is Johnny Smith Quintet – Moonlight in Vermont (1952)

Stan Getz (ts), Johnny Smith (g), Sanford Gold (p), Eddie Safranski (b), Don Lamond (ds)

Here is Bud Powell Trio – I Should Care (1947)

Bud Powell (piano), Curly Russell (bass), Max Roach (drums)

The early Swedish Jazz(3)

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Stan Getz played a folk song in Stockholm in 1951.

This song was named ‘Dear Old Stockholm’ and became modern jazz masterpiece.

Although departing from the main theme I want to mention about his bad habit.

When he visited in Sweden, he received a hero’s welcome.

There was no heroin anywhere for him.

Young Swedish players did not know about the prevalence of narcotics on the American jazz scene.

So he hoped to be clean like them.

I guess he decided to quit a narcotics in Sweden.

I summarized from his biography.Go here

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When Lionel Hampton’s band had toured Europe in 1953,Clifford Brown and Quincy Jones

and other members recorded with Arne Domnerus and Lars Gullin and Bent Hallberg.

Please refer to my previous post.Go here

Here is ’The Sound’ .

Quincy Jones(6)

April 26.2016

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Quincy Jones has left a lot of masterpiece as arranger.

In particular, I will introduce the very popular works in Japan.

He joined Mercury Records and has provided the arrangement in three works in history by female vocal and Clifford Brown.

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Dinah Jams (EmArcy 36000. 1954)

Sarah Vaughan with Clifford Brown (EmArcy 36004. 1955)

Helen Merrill (EmArcy 36006. 1955)

I quoted below interview from JazzWax[February 03, 2009].

Helen Merrill said about him:

“He lived in New York nearby with his former wife. He was an up and coming young man at the time. He didn’t have any money.

He lived in a basement apartment of a brownstone. Everyone loved him. What a wonderful mind he had and has.[…]

Quincy pulled together great songs. He always understood what he was doing.[…]

Quincy had a way of getting just the right people together.[…]

‘You’d Be So Nice to Come Home To’ continues to be a huge hit in Japan.”

Videos

Quincy Jones(5)

April 25.2016

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I am most fond of his “This Is How I Feel About Jazz”.

It was the 1957 debut album by Quincy Jones.

The album was originally produced by Creed Taylor and released on ABC-Paramount.

In addition, this record became first big seller on ABC-Paramount.

Quincy Jones and Creed Tailor were already close friends when Quincy recorded the album.

They were the same age and had the same musical taste.

Also they were a trumpet player and had an unspoken empathetic relationship.

Quincy Jones played as arranger and conductor of three different recording sessions.

He convened superior musicians like Art Farmer, Phil Woods, Lucky Thompson, Hank Jones, Paul Chambers, Milt Jackson.

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Photo of Quincy Jones and producer Creed Taylor

I posted in reference to JazzWax.[Interview:CreedTaylor]

 

 

 

 

Quincy Jones(4)

April 21.2016

12376854_10154045589759631_4729864880112014918_nAfter leaving Hampton’s band, he became a freelance arranger, working with singer Helen Merrill, Ray Charles, Milt Jackson, Clifford Brown, Art Farmer, and Dinah Washington.

Miles Davis assessed Quincy Jones as follows:

“Some of the newspaper delivery, even if he enter into any house of the garden,he is not bitten by dog.
Definitely Quincy is exceptional person.”

Please refer to the following website about his Biography.

http://www.pbs.org/wnet/americanmasters/quincy-jones-career-timeline/637/