Jazz 101: An Opinionated View With Recommended Listening
(Originally the text of a handout given to attendees of a lecture given by the author)
There’s no right or wrong about Jazz. Jazz is what you hear. Just like
food, or wine, or books – Jazz is what you like.
JAZZ IS NEARBY
Leader and trombonist Steve Davis, David Hazeltine, pianist, and Nat
Reeves on bass all reside near or in West
Hartford:
"Darn That Dream" (Eddie DeLange - Jimmy Van Heusen)
Steve Davis, trombone; Steve Nelson, vibes; David Hazeltine, piano; Nat
Reeves, bass; Joe Farnsworth, drums. From Steve Davis: A Portrait In
Sound Stretch Records SCD-9027-2
Jazz can be easy to listen to; with sounds that we find familiar.
“Jumpin’ With Symphony Sid” (Lester Young)
George Shearing, piano; Warren Chiasson, vibraphone; Dick Garcia,
guitar; Wyatt Ruther, bass; Lawrence Marable, drums. Recorded April 28, 1960
in San Francisco. Originally recorded on a Capitol LP, now available on
The Definitive George Shearing Verve 314 589 857-2
DEFINITIONS OF JAZZ
Jazz – an American art form and an international phenomenon.
"Jazz is not the result of choosing a tune, but an ideal that is created
first in the mind, inspired by one’s passion and willed next in playing music."
Jazz music is less than what is transcribed note-by-note onto sheet music or
suggested by sheet music or chord changes. It is in the act of creating the form
itself that we truly find Jazz.
An academic definition of Jazz would be: A genre of American music that
originated in New Orleans ca. 1900, characterized by
strong, prominent meter, improvisation, distinctive tone colors and performance
techniques, and dotted or syncopated rhythmic patterns.
“When The Saints Go Marching In” (Traditional)
Heartbeat Jazz (Scott Black, cornet; Sherman Kahn, clarinet and tenor sax; Al
Brogdon, trombone and tenorhorn; Bill Logozzo, drummer and leader; Bob Price,
banjo; Ed Cercone, piano; Mike Belba, bass) from their album That’s It ToneSoup Productions www.tonesoup.com
Art in general hosts an invitation for the viewer or listener to invest a
personal attentiveness. Unlike other mediums, the nature of music leans
toward the emotional rather than intellectual. It is this personal connection
with music and all art that enables the patron to actually experience what is
being communicated, rather than merely understanding the information. While all
forms of music share this dynamic, Jazz, with its unique characteristic of
collective improvisation, exemplifies it.
Most genres of music involve the listener into the realm of the completed
work as it was scored. Jazz draws the onlooker to a deeper league, that of a
partnership so to speak, of being along when each new phrase is created, when
each inspired motive is often the interactive result of audience involvement.
Jazz music’s dynamic is its “newness” which can be attributed to the defining
component – improvisation.
While Classical music may strive to conform the musical tones to orchestral
sonorities, Jazz music thrives on instrumental diversities; the player’s
individual “sound” becoming the desired proficiency. This is where the passion
is, a kind found nowhere else.
Man, if ya gotta ask, you’ll never know.
— Louis “Satchmo” Armstrong
Like the self-motivating, energetic solos that distinguish the
genre, Jazz continues to evolve and seek new levels of artistic expression. In
slightly over one hundred years, evolution has given birth to approximately two
dozen distinct Jazz styles. Jazz music draws from life experience and human
emotion as the inspiration of the creative force, and through this discourse is
chronicled the story of its people. Jazz musicians and those who follow the
genre closely can indeed be thought of as an artistic community complete with
its leaders, spokesmen, innovators, aficionados, members and fans.
THE MUSICIANS SPEAKING TO ONE ANOTHER
Stan Kenton, in a 1950s radio broadcast said, "Jazz is a distinct music that
depends and thrives on individuality and yet the individual is not oblivious to
others nor is he immune to their feelings. Jazz is free. Through spontaneous
improvisation, a musician expresses his personality consciously and
subconsciously. His music, with its variation of melodic lines and rhythmic
patterns, can establish a changing flow of attitudes just as those revealed by a
facial expression or a gesture even without words."
"A session in jazz," said Kenton, "is comparable to an open forum where theories
and opinions are discussed openly and freely. Without inhibition or the fear of
being reprimanded, a soloist rises and speaks without the aid of notes or
previous preparation. Speeches with words of various inflections and
insinuations are replaced with a flow of melodic, rhythmic music. One soloist
will speak for himself on a chosen topic and then retire to hear the feelings of
another on the same subject. On occasions, they will speak of happy things, then
those of a more serious nature, sometimes somber and even tragic. All phases of
life's emotions are felt and experienced in jazz."
“Somewhere” (Leonard Bernstein/Stephen Sondheim – From the play “West Side
Story”)
Aretha Franklin, lead vocal, piano; Phil Woods, alto sax solo –
Cornell
Dupree, guitar; Ray Brown, bass; Bernard Purdie, drums. The Quincy Jones
Orchestra, conducted by Quincy Jones. Produced by Quincy Jones and Aretha
Franklin. Arranged by Quincy Jones and Luther Henderson. From the album Hey
Now Hey (The Other Side Of The Sky) Atlantic #7265
Quincy Jones has worked with nearly every major jazz and popular artist of note
during his nearly sixty year career. But it was Aretha Franklin’s rendering of
Leonard Bernstein’s “Somewhere,” from West Side Story, that provided what he
describes as one of the most emotionally affecting experiences of his entire
career.
“This is a recording,” he says, “that, when I leave this planet, is what I want
them to play. It’s one of the most moving vocal performances I’ve ever
experienced or witnessed in my life. And Aretha played piano too. God just came
in and took over the whole space; you can really feel it.”
Bernstein had a similar reaction. “When I played it for him,” continues Quincy,
“he just cried like a baby.”
THE GREAT AMERICAN SONGBOOK
The previous two song selections are from popular sources; the first, a
traditional, representing the very roots of jazz in the African-American diaspora. The second, a portion of what is
arguably the finest work of
contemporary Classical American music, with all due respect to Gershwin’s
“Rhapsody In Blue” and the works of Samuel Barber. Much jazz finds its melody in
popular music and what we call “Standards,” songs which have stood the test of
time – and also melodies that are so finely crafted they’re embraced by myriad
artists in myriad styles.
Songs that come to mind include “My Funny Valentine,”
“Mack The Knife,” “Over The Rainbow,” “But Not For Me,” “I Get A Kick Out Of
You,” “Summertime,” and more. Let’s now take a “walk around” composer Harold
Arlen’s “Come Rain or Come Shine,” in all vocal renditions, with fabulous lyrics
by Johnny Mercer:
“Come Rain Or Come Shine” (Harold Arlen – Johnny
Mercer)
…Billie Holiday, vocal; Harry “Sweets” Edison, trumpet; Benny Carter, alto
saxophone; Jimmy Rowles, piano; Barney Kessel, guitar; John simmons, bass; Larry
Bunker, drums. Recorded August 25, 1955 in Los Angeles. From Billie’s Best
Verve CD 314 513 943-2
…Judy Garland, vocal; Orchestra under the direction of Mort Lindsey. Recorded
Live at Carnegie Hall Sunday April 23rd, 1961. Judy Garland Live at
Carnegie Hall Capitol 40th Anniversary Edition
24-Bit Digital Remaster 2-CD Set 72435-27876-2-3
…Frank Sinatra, vocal; Orchestra under the direction of Don Costa. From Reprise
Sinatra and Strings, recorded in Los Angeles, November 21, 1961; Also on
Frank Sinatra: the Reprise Collection Reprise 9 26340-2 (4 CD Set)
From Holiday’s charming, ultra-restrained, innocent-sounding but very hip
rendition of the tune; basically a standard reading with few “bells and
whistles;” simply Ms. Holiday’s fine instrument shining through, we then move
forward just a few years to the early sixties, when jazz was becoming more and
more frenetic (influenced in part by the onslaught of the new “rock ‘n roll”
sensation and the need for popular singers to compete; and not stay separate.
Garland’s entire 1961 tour, culminating in what some find to be cabaret kitsch
but others insist is one of entertainment’s finest hours – her famous arrival at
Carnegie Hall to play to a star-studded audience, who awarded her
standing-ovation after standing-ovation. Now, finally, if you have any doubt
about what “swings” and what doesn’t. Sinatra’s famous Don Costa arrangement of
“Come Rain or Come Shine” swings so hard it’s nearly a caricature of swing –
but not quite. If the strong chords and almost over-the-top counter-melodic
voices were added to any other song, or the arrangement sung by, let’s say, a
female singer, it would sound like a cheap stripper’s song. However, Costa
pulled it off, and Sinatra’s added dose of “cool” turned what could’ve been a
tawdry disaster into a haunting image-setting piece that swings and tantalizes
and is artistic enough to leave an image etched almost visually in one’s mind’s
eye.
“Pennies From Heaven” (Johnnie Burke – Arthur Johnston)
Frank Sinatra, vocals; Count Basie and His Orchestra. Arranged by
Neal Hefti. Frank Sinatra: the Reprise Collection Reprise 9 26340-2 (4 CD Set)
Performed by over seventy-five major stars ranging from pop singers like
Andy
Williams and Peggy Lee to Jazz Masters the likes of Dave Brubeck, the simple
song “Pennies from Heaven” was given new life when handed to brilliant arranger
Neal Hefti for performance by swinger Frank Sinatra and debatably the
“swinginest” big band there ever was, “Count” Basie’s Orchestra.
Ella
Fitzgerald, who, in jazz terms “owned” the song “It Don’t Mean A Thing If It Ain’t Got That Swing,” said on the record many times over the years that nobody
could swing like Basie. We’ll visit more Standards later. First, we’ll
investigate what happens when one jazz master decides to pay tribute to another.
“Captain Bill” (Monty Alexander – Ray Brown – Herb Ellis)
Gene Harris, piano;
Bob Cooper (tenor saxophone solo), Jon Faddis (trumpet solo) and the Gene Harris
All Star Big Band. Original issue: Tribute To Count Basie Concord CCD-4366,
also available on Gene Harris, The Best of The Concord Years (2 CD Set)
CCD2-4930-2.
JAZZ EXPOSED TO A BROADER AUDIENCE: TELEVISION
Without arrangers, the guys who write the music for the orchestra, which is
played note-by-note, behind the “cats” who are improvising, there wouldn’t be
such dramatic, spectacular music as that which you’ve been hearing. Arrangers
don’t just spend their time arranging, they’re out there, typically on the West
Coast, so they compose, too. Here’s a little bagatelle that Neal Hefti, the
arranger of the “Pennies From Heaven” track, and an arranger who worked closely
with Basie for many years, composed for a television program you may or may not
remember.
“Batman Theme” (Neil Hefti)
Nelson Riddle and His Orchestra (Available on Rhino Records'
TV Themes CD - Try to get Hefti's version if you can find Hefti's Batman
album on vinyl.
Now an interesting question, which came first, the chicken or the egg?
Hugo
Montenegro’s “Theme From ‘I Dream Of Jeannie’” has been utilized in commercials,
on “Jeopardy” in questions, in “samples” in Rap songs – but now it’s gone
full-circle and has been used as a counter-melody in a rendition of a cabaret
favorite.
C’Est Si Bon (J. Seelen – A. Hornez – A. Betti)
incorporating "Theme From 'I Dream of Jeannie'" (Hugo Montenegro)
Quinn Lemley, vocals, Bob
McDowell, piano; Jim Donica, bass; Lee Jeffryes, drums; Raphael Reyes,
percussion; Ed Zadd, guitar; Mark McDonald, alto sax; John Isley, tenor sax;
Brad Detrick, trumpet. Arranged and Conducted by Bob McDowell. From
www.quinnlemley.com.
Something as simple as a well-known childrens’ song can provide a melody which
the correct jazz artist manipulates with thrilling results. Famed vocalist and
pianist Shirley Horn aced a tune originally penned by Joe Raposo for the
venerable youngsters’ program “Sesame Street.” (Beside Shirley, Sinatra also did
this tune justice, as well as a few other pop and jazz singers.)
"(Being) Green" (Joe Raposo)
Shirley Horn, solo piano, vocal. Recorded April 30,
May 1-3, 1993 in New York City. Available on Light Out Of Darkness (A Tribute
To Ray Charles) Verve CD 314 519 703-2
HOW DO I LOVE THEE? LET ME COUNT THE WAYS...
Perhaps a million composers have tried to subtly convey one person’s interest in
expressing love (whether emotional or otherwise) to another in a way that stands
out from all the others.
But how few have become classics? Let’s hear what the
master of romantic phrasing has to say about it all, first, using the words and
bossa nova rhythm of the inimitable Brazilian composer Antonio Carlos Jobim,
a master of subtlety, and then something totally different, the
politically-incorrect words of prolific composer Irving Berlin:
There's no use,
For a moonlight glow,
For the peaks where winter snow,
What's the use of the waves as they crash in the cool of the evening,
What is the evening? Without you, it's nothing.
"If You Never Come To Me" (Antonio Carlos Jobim)
Frank Sinatra, vocals; Antonio
Carlos Jobim, guitar. Arranged and Conducted by Claus Ogerman. Studio Orchestra
not credited on re-release: Francis Albert Sinatra & Antonio Carlos Jobim
Reprise CD 9-46948-2.
Why don't you sit this one out and while you're alone,
I'll tell the waiter to tell him he's wanted on the telephone.
You've been locked, in his arms, ever since Heaven knows
when,
Won't you change partners and then, you won't ever have to change partners
again.
"Change Partners" (Irving Berlin)
Frank Sinatra, vocals; Antonio Carlos Jobim,
guitar. Arranged and Conducted by Claus Ogerman. Studio Orchestra not credited
on re-release: “Francis Albert Sinatra & Antonio Carlos Jobim” Reprise CD
9-46948-2.
And years ago (1943 to be exact), Burton Lane and Frank Loesser came up with a song that (Heaven
Forbid!) suggested that a man and a woman were going to have intimate relations
out of wedlock… “I’d be just one of your affairs, but at moments like this, who
cares?” croons our singer, hell-bent on hedonism. As an aside, the album, “The
Art of Excellence,” is one of Bennett’s finest
albums, and certainly one of the most finely engineered of his albums ever. One
rarely finds such a combination of restraint and breezy nonchalance, without
carelessness, in any genre of musical recording.
"Moments Like This" (Burton Lane – Frank Loesser)
Tony Bennett, vocals, Ralph
Sharon, piano; Joe Labarbera, drums; Paul Langosch, bass; The U.K. Orchestra,
Ltd. Arranged and Conducted by Jorge Calandrelli. From the Columbia CD The Art
of Excellence CK 40344 (1986)
JAZZ AND ADDICTION
When the affair finally is over, jazz has a way of conveying a
feeling like no other music genre. Unlike Country & Western, Jazz doesn’t need
words. Unlike Classical, it’s without a smidge of pretense. What you hear is
what you get. Unlike pop, there’s no veneer; perhaps that’s why some people are
actually afraid of jazz. The emotions get too raw sometime.
Occasionally, all of this emotional baggage gets the best of the already very
sensitive souls who play and sing jazz; resulting in problems like drug
addiction and mental illness. Charlie “Bird” Parker was asked
once, why, after earning fame and cutting many successful
recordings, he lived in a humble hotel room on the West Side of Manhattan.
Parker showed the needle tracks on his left arm and told his inquisitor, “this
is my house,” then showing the tracks on his right arm, finished with, “and this
is my Cadillac.”
"The Making of 'End of a Love Affair'"
(out-take) an out-of-it-Billie Holiday (singing without
background and speaking during the taping of “End of a Love Affair”{Edward
Redding}) for the
Columbia Album Lady in Satin with Ray Ellis and his Orchestra and Vocalists
(February, 1958) Columbia digitally re-mastered CD CK 65144
At the end of the day prior to the disaster contained on the
track listed above, which protracted the
recording of this fabulous album (Ms. Holiday’s personal favorite), a sound
engineer found himself extremely thirsty after coiling cables and generally
getting the studio in order. A water pitcher and glass were in Ms. Holiday’s
booth, so rather than leave the studio and perhaps have to take the elevator to
a lobby water fountain, he lifted the pitcher to his mouth and took a large
gulp. To his surprise and disgust, the contents of the pitcher wasn't water; it
was ice and cheap
gin.
The record was completed (in ’58, two separate recording rigs were used,
one a conventional monaural studio with ¼” tape, and the other, equipped with
the brand-new Ampex 1” stereophonic tape recorders). However, not a lot of
dubbing was done, and edits were done with razor blades and tape.
Sound-on-sound, at that time, heavily diminished the quality of the underlying
signal, and would have to be done by recording the orchestra very loudly, then
solos, and finally, the vocalist. Not a lot of room to work with.
Regardless the obstacles all persons involved had to work with (including Ms.
Holiday and her demons, who would only have nineteen months to live following
the recording of this album) the final product was a fine one, and sold well.
"For All We Know" (J.F. Coots – S. Lewis)
Billie Holiday, vocals; The Ray Ellis Orchestra, Ray Ellis,
arranger and conductor. Lady In Satin Columbia digitally
re-mastered CD CK 65144
KEEPERS OF THE TORCH
How could one do a dissertation on jazz without discussing the trend of late for
singers of rock or soul music to attempt to tackle jazz, or at the very least
the Great American Songbook. Linda Ronstadt started this phenomenon in the ‘80s
when she cut three albums of standards arranged and conducted by Nelson Riddle.
The albums were superb. However, a singing dog could accompany a 40-piece
orchestra with Nelson Riddle arrangements and still sound fantastic.
Her latest release,
also featuring standards, accompanied by a combo, is of a different quality altogether, and
has little merit. Nat "King" Cole's daughter Natalie Cole has addressed her
fathers repertoire on her late '90s album Unforgettable, With Love. With regard to “rockin’” Rod Stewart’s three nods to the Great
American Songbook, It's a pity that he couldn't find a better arranger nor a
better vocal director. Otherwise, he might just have something there. What a
shame.
Which brings us to the young lady heretofore named “Queen Latifah.” A long-time
“rapper,” she's lately been showing off her singing (some music lovers dismiss
rap and hip hop music as being nothing more than hoodlums
jumping up and down pounding drums and chanting about committing crimes).
However, recently on a road tour of the Broadway Hit “Chicago” Ms. Latifah (her
given name is Dana Owens) showed her chops. She’s come out with a delightful
album of popular music, both standards and pop, jazzed up and ready to go. The
selection picked here is not only chosen to demonstrate what great young
talent can do with a very, very difficult song (this one’s hands-down among the
top five most difficult to sing in the jazz repertoire) – but this selection
also amazes on another level. Written by Billy Strayhorn, a protégé of Duke
Ellington, the tune has long been known to bring up deep emotions in listeners
and evoke a sense of “sophisticated longing.” When thinking of the composer,
those unfamiliar with Strayhorn imagine a mature man, perhaps a Julliard
graduate, who comes from old money. Nope. Strayhorn was a poor black musician
merely eighteen years of age when he wrote “Lush Life.”
"Lush Life" (Billy Strayhorn)
Queen Latifah, vocals; arranged by Mervyn Warren;
Will Kennedy, drums; Mervyn Warren, piano; Reggie Hamilton, bass; with
orchestra. From The Dana Owens Album A&M CD b0003435-02
SOURCES:
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http://www.sjcav.org/page.asp?n=Eventdetails&i=2131&z=4
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http://www.apassion4jazz.net/jazz.html
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http://www.cleveland.oh.us/wmv_news/jazz9.htm
- The writer's experience with the topic.