Posts filed under “Friday Night Jazz”
Why? Not only is Kind of Blue Davis’ best-selling album, it may very well be the best-selling jazz record of any artist, of all time. Even though it was released almost 50 years ago, it still sells over 5,000 copies per week today. In addition to its commercial success, it has come to be described by many Jazz critics as the greatest jazz album of all time.
Writing in AllMusic, Stephen Thomas Erlewine noted: “Kind of Blue isn’t merely an artistic highlight for Miles Davis, it’s an album that towers above its peers, a record generally considered as the definitive jazz album, a universally acknowledged standard of excellence. Why does Kind of Blue posses such a mystique? Perhaps because this music never flaunts its genius. It lures listeners in with the slow, luxurious bassline and gentle piano chords of “So What.” From that moment on, the record never really changes pace — each tune has a similar relaxed feel, as the music flows easily. Yet Kind of Blue is more than easy listening. It’s the pinnacle of modal jazz — tonality and solos build from the overall key, not chord changes, giving the music a subtly shifting quality.”
The one jazz record to own even if you don’t listen to jazz — the band is extraordinary: John Coltrane, Julian “Cannonball” Adderley on saxophones, Wynton Kelly and Bill Evans on piano, Paul Chambers on bass, and Jimmy Cobb on drums. I recently received a remastered CD of kind the album, thus retiring my scratchy hiss and pop laden vinyl version. (And another intelligent CD pricing: $7.47 at Amazon)
For those of you looking for some , check out NPR: Kind of Blue (54 minutes)
videos after the jump . . .
When it comes to music, I normally try to do the heavy lifting around here — writing about and recommending a new or beloved artist, or discussing whatever it is I happen to be listening to at the moment.
Tonite, something a little different.
I WANT TO HEAR FROM YOU GUYS — What’s new and interesting? What old favorites have been replaying? What are you listening to right now? What concerts are you going to — or hoping to see?
What say ye?
UPDATE: Februrary 22, 2008 9:42am
Wow, thats quite a list!
TBP readers are quite an eclectic bunch;
All of the various FNJ recs readers made can be found here;
Most of the discs mentioned are linked to via Amazon or MySpace or some other site (after the jump):
By now, you should have some feel for my taste in music, and the wide ranging and eclectic flavors that live on my iPod. But unless you are a fool or a wizened old pro, any attempt at doing a Friday Night Jazz on Billie Holiday is likely to fall flat on its face.
Lucky for us, Nat Hentoff — formerly the Music critic of the Village Voice, and now the Jazz columnist of the WSJ is just such an old pro. In this week’s WSJ, he looked at a few new reissues of Lady Day’s music:
"Billie must have come from another world," said Roy
Eldridge, often heard accompanying her on trumpet, "because nobody had
the effect on people she had. I’ve seen her make them cry and make them
happy." Lady Day, as tenor saxophonist Lester Young named Billie
Holiday, still has that effect through the many reissues of her
recordings, including the recently released "Lady Day: The Master Takes
and Singles" of the 1933-44 sessions (Columbia/Legacy, available on
Amazon) that established her in the jazz pantheon.
I grew up listening to those sides, which infectiously
demonstrated — as pianist Bobby Tucker, her longtime pianist, noted –
that "she could swing the hardest in any tempo, even if it was like a
dirge . . . wherever it was, she could float on top of it." But none of
the previous reissues, as imperishable as they are, have as intense a
presence of Lady as in the truly historic new five-disc set "Billie Holiday: Rare Live Recordings, 1934-1959" on Bernard Stollman’s ESP-Disk label.
This is a model for future retrospectives of classic
jazz artists of any era because researcher and compiler Michael
Anderson, in his extensive liner notes, provides a timeline of her jazz
life — describing the circumstances of each performance in the context
of her evolving career. One example: a live radio remote from Harlem’s
Savoy Ballroom in 1937 when the 22-year-old singer "began a special
association with her comrade, ‘The Prez,’ Lester Young" — grooving
with the Count Basie band in "Swing Brother Swing."
As far as albums go, there are lots of choices, but they pretty much come down to a) Boxed Sets; 2) Early work; 3) Later years.
If you want to start with something basic, go for A Musical Romance - agreat duet with Holiday and her long time friend and msucial collaborator, Lester Young. You can also go to the 2 disc All or Nothing at All. The 2 CD Complete Decca Recordings is also quite good.
The set Hentoff refers to above is the 5 disc set Rare Live Recordings, 1934-1959
Students of her latter work will be interested in:
Videos after the jump . . .
On days like this, where the market opens up over 100 and closes down 170, I always get that "Black Friday" feeling — that no one really wants to carry much equity exposure over the weekend.
But its Friday night — Enough market talk! Its time for some jazz to mellow out to.
He may be the single most recorded of all piano players.
Oscar bridged the swing and bop eras, rooting himself in a style that was at the same time stunningly complex yet soulfully elegant.
Nobody used more notes to swing! Oscar is sometimes dismissed because he wasn’t groundbreaking in the way that many of his contemporaries were. But the range of expression he achieved on the piano along with his technical prowess is hardly rivaled in mainstream jazz.
Many consider his solo recordings of the late 60s and early 70s to be his most outstanding work, but do not overlook his trio recordings both with Ray Brown and Ed Thigpen and later with Joe Pass and Niels-Henning Orsted Pederson.
The live album "The Trio" from 1973 (not to be confused with a Verve release of the same title) is a great recording of Oscar with Pass and Pederson and shows Oscar at his most virtuosic. Check out the Brown Thigpen work live here.
compendium of his 1960s work in both trio and solo settings, the
excellent box set "Exclusively for My Friends" will keep you
entertained for years.
I am also partial to A Jazz Portrait of Frank Sinatra.
The 1962 album "Night Train" with Ray Brown and Ed Thigpen is also a favorite. It showcases Oscar at his best on both ballads and uptempo numbers and he really shows his blues chops.
Oscar Peterson will be missed . . .
Oscar Peterson’s ‘Jazz Odyssey’
Hear an extended version of Bob Edwards’ interview with Oscar Peterson.
Oscar Peterson, 82, Jazzâs Piano Virtuoso, Dies
NYT, December 25, 2007
A Jazz ‘Behemoth’ Moves On
WSJ, December 28, 2007
Tributes paid to Oscar Peterson
BBC, Tuesday, 25 December 2007, 08:00 GMT http://news.bbc.co.uk/2/hi/entertainment/7159772.stm>