Rifftides

Bill Evans had precise intellectual understanding of everything he did in his playing. However, like most superior improvisers, he developed his skill and knowledge to the point where he could set aside concentration on keyboard technique and the elements of musical language in order to achieve an unfettered flow of creativity in the spontaneous act of playing jazz. On occasions when he talked about the nature of improvisation, Evans spoke with exactitude and coherence to match his expressiveness at the piano. The most widely known example of his verbal eloquence is in conversation with his brother Harry, a music educator, in a 1966 television program called The Universal Mind of Bill Evans, which is available on DVD.

Now, three revealing video clips have surfaced. They were taped nearly thirty years ago at a private house concert in Finland. The Evans trio played and he talked with his hosts about his music-making. Asked how far the intellect goes in playing jazz, he replied:

Only as far as being a student. You couldn't manipulate yourself fast enough intellectually, to play. I mean jazz is a certain process that is not an intellectual process. You use your intellect to take apart the materials and learn to understand them and learn to work with them. But, actually, it takes years and years of playing to develop the facility so that you can forget all of that and just relax, and just play.

 At the end of the third sequence, bassist Eddie Gomez and drummer Marty Morrell, also speak. These You Tube clips are apparently from a television program that aired in Helsinki. As far as I've been able to discover, they have never been commercially available. This was about a decade before Evans' death in 1980. Relaxed in comfortable surroundings and congenial company, he even smiles, a rarity in video recordings of Evans. The first clip opens with a home movie scene, moves on to Evans speaking, then goes to the trio performing "Emily."

The two remaining clips have the Evans trio playing "Alfie" and "Nardis." You can view them by clicking here and here. Thanks to Jan Stevens of The Bill Evans Webpages for calling these discoveries to my attention.  

The Rifftides staff is still catching up with recent CDs, some more recent than others.

Sheila Jordan, Winter Sunshine (Justin Time). The first word in the CD's title may refer to Jordan's age, the second to the quality of her singing. She is seventy-nine and sounds thirty. Part of her schtick in this live recording at Montreal's Upstairs club is to tell the audience how tired she is, but she doesn't sound tired. She sounds like a young bebop and ballad singer with sunshine in her voice.  If there must be scatting, let it be the kind of canny scatting Jordan does in "I Remember You" and her montage of "All God's Chillun Got Rhythm" and "Little Willie Leaps." She praises pianist Steve Amirault, bassist Kieran Overs and drummer André White...for good reason. The chatter between songs wears thin after two or three hearings, but it is on separate tracks, and most CD players are programmable.

Mike Longo, Float Like a Butterfly (CAP). I hope that before Oscar Peterson died last December he had a chance to hear Longo's treatment of "Tenderly" in this 2007 CD. Longo emulates the first chorus of the master's famous 1952 recording, then pursues his own muse with forthrightness, imagination and relaxed swing. Peterson would no doubt have been pleased with his prize student on both counts. Longo's longtime confreres Paul West and Jimmy Wormworth are the bassist and drummer. The trio plays a couple of the leader's own tunes and explores several by Monk, Gillespie, Shorter, Hubbard, Raksin, Van Heusen, Schwartz and others. This is an unpretentious and deeply satisfying recording, nowhere more so than in Longo's clever blues "Diminished Returns."

Kenny Garrett, Sketches of MD: Live At The Iridium (Mack Avenue). The alto saxophonist eases off his customary Coltrane modal intensity for a club date incorporating soul, neo-Africanisms and synthesizer funk. The MD of the title refers to Garrett's stint with Miles Davis in the trumpeter's late electronic period. The veteran tenor saxophonist Pharaoh Sanders brings to the proceedings an earthiness that rubs off on Garrett. Or is it vice versa? The rhythm section of bassist Nat Reeves, drummer Jamire Williams and keyboard player Benito Gonzalez provides the hypnotic backgrounds in this album of good-natured party music.

Murray Fromson has issued the first plea I've seen from a heavyweight journalist to president-elect Obama for a rescue of the Voice of America. Rifftides has often written about that broadcast agency's central role in cultural diplomacy during the Cold War, particularly about the vital part Willis Conover played. I have deplored the Bush administration's attempts to dismantle the VOA at a time when the United States needs friends around the world. Here are two excerpts from Fromson's column today on the Huffington Post web site.

Barack Obama has the capacity to overcome the recent image of a global bully by restoring America's reputation as a peace-loving, progressive nation. But he faces far greater priorities during his first weeks and months in office as president than say the future of the Voice of America. An entire generation may well be perplexed by just what the VOA means. But the international buzz caused by President-elect Obama earlier in the month offers him an opportunity to revive what had been a valuable American resource for so many years. In short, the reputation of the Voice needs to be revived and treasured -- not squandered as it has been by the Bush Administration the past eight years.

It was the regularly scheduled broadcasts of Willis Conover, the music maestro who spread the love of American jazz around the world. During the worst of times in the Soviet Union I remember Russian musicians taping Conover's daily programs and then transcribing the music to sheet music for jam sessions of their own. There also were often countless days when Soviet Jews and other political dissidents who had heard VOA programming, would thank me for telling their stories to the outside world in my CBS News radio broadcasts from Moscow that were repeated by the Voice of America.

To read all of Fromson's column, go here. For two of the many previous Rifftides postings about the VOA and Conover, go here, here and here. To be repetitive in an area in which repetition is needed, allow me to suggest that if you're a US citizen, you send to your senators and congressman a letter or message something like this one, which I sent nearly two years ago:

I urge you to fight the Bush administration's budget cuts that would result in the Voice of America stopping or reducing English Language news broadcasts. At a time when the US image around the world is soiled, we need continuation of the objective shortwave news programs whose very existence has informed millions about our nation, not to mention helping them learn English so that they might better understand what The United States of America stands for. This proposed budget cut would effectively disable one of the few official cultural exchange vehicles left to us. Please discuss this with your Senate and House colleagues and do all that you can to preserve the VOA.

The influential Public Diplomacy Council, a coalition of foreign policy specialists including diplomats and academics, has joined the chorus urging the new administration and the Congress to move quickly to resuscitate the VOA. For a report, click here.

Trumpeter and flugelhornist Marvin Stamm just spent a few days at the Brubeck Institute in Stockton, California. While he was there, he worked with jazz musicians visiting the institute from Russia.

 Rifftides reader Paul Conley of radio station KXJZ in Sacramento (pictured) also visited, He aired a story about the encounter on National Public Radio's Morning Edition. To listen to Conley's report, click here.

When Marc Myers at JazzWax.com decides to solve a mystery, he goes into full Sherlock Holmes mode. He has done that in an attempt to track down the complete personnel of the Shorty Rogers combo in the Looney Tunes cartoon Three Little Bops, which ran last week on Rifftides. I agree with critic Larry Kart's conclusion that the baritone saxophonist is Jimmy Giuffre. Follow this link to see the cartoon again and read Kart's message. Giuffre worked often with Rogers in the 1950s, and the baritone in the film has the sound of Giuffre's celebrated spoof R&B hit "Big Girl" with the Lighthouse All-Stars (CD cover pictured). Myers takes an interesting route to reach another conclusion about the baritone player. His detective work produces plausible speculation about the identities of the bassist, drummer and guitarist. See Marc's posting here.

What matters most is that a delightful cartoon period piece is getting renewed attention. Still, if anyone out there in cyberspace has definite information about the makeup of the band, please let us know by way of the comment link below.

David Sherr, OtherWorld Music (Bel Air Jazz). Sherr is a composer and player of reed instruments and flutes. His background includes work with Sonny Criss, the San Francisco Ballet, Nelson Riddle, Lalo Schifrin, Don Ellis, Harry "Sweets" Edison, Frank Zappa, Oliver Nelson, Robert Craft, Ray Charles and Quincy Jones, among several dozen others from assorted fields of music. In this CD, he brings together extensive portions of his music with that of J.S. Bach and Olivier Messiaen.

Sherr enlists members of the Bach Aria Group and superb jazz musicians including drummer Joe La Barbera, pianist Tom Ranier and bassist Harvey Newmark. His unaccompanied clarinet exposition of the third movement of Messiaen's Quartet For The End Of Time is brilliantly executed. He integrates free jazz with elements of Messiaen's formidable quartet and succeeds in making all but the most perceptive and experienced listeners wonder about the line between what is written and what is improvised. In his "...Then Have I The Eagle's Powers, Then Soar I Up From This World," Sherr accomplishes a similar feat with themes from Bach's "Aria" from Cantata 56. In it, voices deliver lines in several languages as if they were instruments in counterpoint, the jazz players free-associate with one another at a high level and a solo violin melds with the entrance to the next piece, Messiaen's flute-piano duet "Le Merle Noir."

This is music full of rich satisfactions, more of which become apparent on successive hearings. If Sherr attracts the attention he should with this unconventional and intriguing project on an obscure label, we will undoutedly be hearing more from him.

In his teenage years during the waning days of the big band era, Sherr went on the road as a saxophone player. His web site contains a long, occasionally disturbing and very funny journal of that experience. Here's a sample.

Ernie Fields And His World Famous Orchestra, that's us. A big hit record, a couple of smaller hits, the Dick Clark Show, the Regal theater, the country's Number One R&B band and bookings in some pretty classy joints, like the one the other night near Dallas. And then again...

Tonight it was Temple, Texas, just south of Waco. (Wyatt has been calling it "Whacko" since this morning.) The sign over the entrance said "Rec Center" but "wreck center" would have been more like it. It had broken windows and chairs, a tiny stage and a piano that may never have been tuned. Roosevelt counted thirteen keys that didn't work. He tried to get around the missing notes and wound up sounding like Thelonious Monk.

Billy's bass drum kept slipping. He took a hammer he kept for such emergencies and drove a couple of nails into the rotting floor of the stage to brace the drum. The guy in charge of the building screamed, "What are you doing to my stage," and ordered him to remove the nails. Bill pointed out that the "damage" was already done, so why not leave them in until we were finished, but the guy said no. So Billy pulled the nails and spent the rest of the night trying to keep from kicking the drum off the stage.

To read all of "On The Road At 18," click here.

TWO CDs BRIEFLY NOTED

Philip Catherine, Bert Joris, Brussels Jazz Orchestra, Meeting Colours (Dreyfus). This has been out since 2005. I loved the album when I first heard it and just rediscovered it in a stack of review copies. Guitarist Catherine and trumpeter Joris, both Belgian, are the principal soloists in this collection of Joris's arrangements of Catherine's compositions (plus Ellington's "In a Sentimental Mood") for the superb Brussels Jazz Orchestra. Joris is one of the finest trumpet soloists in the world. His writing is as good as his playing. Catherine, most widely known for his work with Chet Baker, Tom Harrell and Larry Coryell, solos with his customary imagination, economy and love for Wes Montgomery.

Drori Mondlak, Point In Time (Lilypad). Mondlak's quartet is integrated, balanced and musical, with no show-off features for the drummer leader. Mondlak, saxophonist and flutist Karolina Strassmayer, guitarist Cary DeNigris and bassist Steve LaSpina solo with conviction. Except for Frank Foster's "Simone," the pieces are by members of the quartet. The collection might have benefited from more of the grit of DeNigris's "I've Paid Some Blues" and "No Name Blues" and Mondlak's "The Prance," but if Mondlak's aim was to create an atmosphere of thoughtful relaxation, he succeeded. Mondlak has a witty solo on Strassmayer's "It Once Was a Waltz." LaSpina's fluidity and strength are important to the success of this music. Strassmayer's work shows why she is one of the most interesting alto saxophonists under forty. DeNigris's and Mondlak's like-mindedness contribute to the success of the venture.

In today's Washington Post, Matt Schudel writes about Frank Wess. The 86-year-old tenor saxophonist and flutist is still active and about to play in Washington, D.C., where he spent much of his early career. Schudel quotes pianist Billy Taylor, Wess's contemporary, about the saxophonist's influence on him when they were in high school together.

"He's the reason I don't play the tenor saxophone," Taylor says. "I was going to try to be the new Ben Webster," the tenor saxophonist who worked with another notable Washington jazzman, Duke Ellington.

Then Taylor heard Wess, and he decided to stick with the piano.

"Even in his teens, he was really a remarkable player," he says.

To read all of Schudel's article, click here.

Wess was a principal arranger and soloist in Count Basie's band during the 1950s and early '60s. In this video clip, he solos on his composition "Corner Pocket," following trumpeters Thad Jones and Al Aarons.

The You Tube heading for this video clip of Toots Thielemans at the Montreux Jazz Festival in 1992 says that it has been viewed 40,422 times. Do yourself a favor and make it 40,423. Quincy Jones was the conductor of the WDR Big Band. He was enamored of Toots's musicality, wit and warmth. Who isn't?

Have a good weekend.

And if I have a strong point, it's that I like to believe it's not cheap or schmaltzy sentimentality.

You can be in Tokyo or Alberta at four in the morning in your hotel and you can still practice if you feel like it. A trombone cannot do that at four in the morning.

The Rifftides staff is attempting to keep ahead of the CD tsunami described in this recent post. It's an impossible assignment, but they're a game bunch. Herewith, brief reviews of approximately 0.06% of the accumulated mass of discs.

Sonny Rollins, Road Shows, Vol. 1 (Doxy/Emarcy). In some of these previously unreleased concert performances, the tenor saxophonist reaches peaks of the intensity, drive, inventiveness and whimsy that have kept him inimitable for nearly six decades. His "Tenor Madness" solo from Japan in 2000 is one of Rollins's most compelling recorded blues statements. There's a remarkable "Easy Living" from Poland in 1980. "More Than You Know," recorded in France in 2006, concludes with a ravishing extended cadenza that is a tour through the inner workings of a great melodist's creative process. The most recent track, "Some Enchanted Evening," from Rollins's 2007 Carnegie Hall concert, is curiously tentative despite the presence of bassist Christian McBride and drummer Roy Haynes. The architectonic "Blossoms," from Sweden in 1980, is anything but tentative. Full of risk-taking, it is twelve-and-a-half minutes of Rollins at his most penetrating and complex.

Mike Melvoin and Kim Park, The Art Of Conversation (City Light). Pianist Melvoin and alto saxophonist Park, veterans who deserve wider recognition, shine in this aptly-named duo collaboration. It grew out of Park's sitting in on a Melvoin gig in Kansas City. Park makes engaging personal use of inspiration from his KC predecessor Charlie Parker, notably so in his visceral, blues-inflected soloing on "I Remember You," a tune lastingly linked to Parker. The fleetness and harmonic richness of Melvoin's improvisations are consistent throughout this collection of familiar standard songs. As for justification of that title, he and Park truly listen to and stimulate one another's ideas, as good conversationalists will. This music is available as a download.

Billy Harper, Blueprints Of Jazz, Vol. 2 (Talking House). Harper was one of the most profound of the tenor saxophonists to emerge in the wake of John Coltrane. This CD, full of post-Coltrane muscle and mysticism, recalls the swirl of free jazz in the sixties and seventies, even unto Amiri Baraka reciting his jazz-history-lesson poetry and Harper on one track singing a little like Leon Thomas did on all those Impulse! LPs. Fronting a relentlessly energetic septet of like-minded seekers, Harper solos with his full range of formidable technical mastery and the power and conviction of a gifted preacher. This CD seems to be hard to get. Although it was released in October, Amazon is the only web site I can find that is offering it. Amazon claims to have just one copy--used--at $90.00 U.S. (!) It may be available as an MP3 download.

Jerry Gonzalez y Los Piratos Del Flamenco (Sunnyside). Since he moved to Madrid, the trumpeter, flugelhornist, conguero and co-leader of the Fort Apache Band has gone well beyond taking an interest in Spain's flamenco tradition. He has absorbed its mystique and even begun to have an effect on its evolution. The closely held flamenco community has let him in and Gonzalez has managed to get them to accept the idea of jazz improvisation in the context of contemporary flamenco performance. In a cultural feedback loop, Gonzalez brings jazz sensibilities inspired by Miles Davis and Gil Evans into the milieu of Spanish music that helped to inspire the classic Davis-Evans album Sketches Of Spain. His venture is a work in progress. This CD demonstrates the results so far. "Monk's Dream (Monk's Soniquete)" with Gonzalez overdubbed on multiple horns to the accompaniment of flamenco hand-clapping rhythm is, as they say in Madrid, un viaje.