Brian Nation
Feb 28, 2006, 02:04 AM
Gavin Walker's "The Jazz Show" is heard Mondays 9PM to midnight on CITR (http://www.citr.ca/) 101.9 FM and online (http://www.citr.ca/default.asp?id=19&mnu=19). Each show features an entire album at 11PM.
The 11:00PM Jazz Features this month:
March 6:
“Smokin’ at the Half Note” is perhaps guitarist Wes Montgomery’s definitive recorded statement. It was released (with missing track) in celebration of Wes’s eightieth birthday but it sold very well to a new generation of guitarists and aspiring electrists. Wes (John Leslie) Montgomery was born in Indianapolis, Indiana on March 6, 1925 (he would have been 81 today) and died of a heart attack on June 15, 1968 at age 43. Wes was a self-taught musician like his brothers: pianist/vibist Buddy and bassist Monk. Wes never read music and developed a sound and technique all his own using his thumb instead of a pick and perfecting his ability to play octaves. Montgomery like most guitarists was inspired by Charlie Christian but took Christina’s concepts further. Montgomery and to a slightly lesser extent Grant Green defined jazz guitar in the sixties (Jim Hall had come along earlier). Montgomery seemed to burst on the scene from out of nowhere but he had merely played (except for a tour in the late forties with Lionel Hampton’s Big Band) locally away from recording centers. From 1960 to his demise was recorded with strings, big bands, his working trio (with organist Mel Rhyne) and his working quartet to all-star dates. Tonight’s feature puts Chambers on bass and the surviving member, drummer Jimmy Cobb. This rhythm section was formed and worked with Miles Davis for years and backed all kinds of horn players in live performances and record dates. They were the best and Wes responded. We feature only the live performances tonight (the band did some tracks in the studio as well) and indeed the ultimate Wes Montgomery will be heard tonight. Happy Birthday Wes!
March 13:
Alto saxophonist Lee Konitz (born in Chicago on October 13, 1927) is still alive and well as evidenced by his recent performance a few months ago at the Van East. Konitz’ sound has changed over the years but is still unmistakable. Lee Konitz was one of (if not the) first to develop a modern style that was not wholly based on Charlie Parker’s concept. His recorded legacy is long and varied with stints with Miles Davis, Stan Kenton, and his own groups of various sizes. His main influence and some of his most significant recordings were made with pianist/teacher/innovator Lennie Tristano (also from Chicago). Konitz and tenor saxophonist Warne Marsh were Tristano’s most well known disciples. They worked with Tristano off and on and also worked together. Marsh and Konitz came to Vancouver for an impressive date in the mid-seventies as part of Brian Nation’s wonderful and sadly short-lived Vancouver Jazz Society. Konitz also performed at the original Cellar in 1962 with Don Thompson on bass and the great Jimmy “Lovelace on drums and tonight’s feature is Lee Konitz in this context. “Motion” is one of Lee’s most personal statements and was done at one of his many creative peaks. Konitz’ dry sound and long lines are driven along by the strong bass lines of the underrated and forgotten Sonny Dallas and the always adventurous drumming of the great Elvin Jones. This is one of Konitz’ best and purest record dates.
March 20:
As most jazz fans know bassist Oscar Pettiford was after Jimmy Blanton the first modern bassist. Pettiford’s early legacy is well known with Dizzy Gillespie (sadly they had a serious falling out in 1944 and never played together again). Pettiford played with everybody of significance and worked with Duke Ellington and Woody Herman in their big bands. In the fifties Pettiford worked with Monk and Art Blakey and so many others. In the fifties Pettiford and Charles Mingus (they were friends and rivals) were the leaders of innovative bass playing. If one doubts Pettiford’s inventiveness check out Sonny Rollins’ “Freedom Suite” on OJC 067-2. Oscar Pettiford was born on an Indian reservation in Okmulgee, Oklahoma on September 30, 1922 and died of a viral infection in Copenhagen on September 8, 1060 at age 38. Oscar was one of the first bassists to bring his bass technique to the smaller cello and developed an arresting solo concept. During the mid-fifties Oscar led a fine albeit short-lived big band that recorded two excellent LPs. Oscar’s band was innovative in that it employed a couple of french horns. Creative arrangements by altoist Gigi Gryce and tenorists Lucky Thopson and Benny Golson. The band was full of all-star players like trumpeters Art Farmer and Ernie royal, trombonist Jimmy Cleveland, David Amram and Julius Watkins of french horns, Tommy Flanagan on piano and so many more. We’ll hear all of this plus some magnificent solos by one of the premier bassists and cellists in modern jazz “O.P.”.....Oscar Pettiford.
March 27:
Ben Webster on tenor saxophone was one of the great sounds in jazz.....swinging, inventive, powerful with a sound as big as a house. Ben was born Benjamin Francis Webster in Kansas City, Missouri on March 27, 1909 and died an expatriate in Amsterdam on September 20, 1973 at age 64. Ben started on violin and piano and took up the saxophone later. Ben played piano in silent movie houses in Amarillo, Texas when the great Budd Johnson showed Ben how to play the C"” scale on the tenor saxophone and soon he was playing tenor full time. Ben played in the Young family band and Lester (Pres) Young gave him more pointers on the saxophone. Ben played in so many of the famous Black bands (Andy Kirk, Benny Carter, Fletcher Henderson, etc.) but it wasn’t until he joined Duke Ellington’s band in the early forties that sent Ben to jazz stardom.....eg. Ben’s solo on “Cottontail”. Ben was in and out of Duke’s band, freelancing, gigging and in the fifties touring with Norman Granz’ jazz at the Philharmonic (J.A.T.P.) and recording prolifically in many contexts. Ben had many “ups and downs” during his career and was a heavy drinker. He could veer in the course of an evening between being an easy-going amiable man to a terrifyingly unpredictable drunk and it cost him gigs. Webster became discouraged at the lack of opportunities in the U.S. as well as the political situation. He resented being called “out of date” and not “modern’ enough and left for Europe where he was worshipped and respected as a great artist. Tonight’s feature pits Ben and the “father of modern tenor”.....”Long Tall Dexter”.....Dexter Gordon playing together. Webster loved playing along side another horn and although from different eras Dexter and Ben blend beautifully as both men held each other in high esteem. Even though this is Webster close to the end of his life his power and sound is undiminished and he inspires the younger Gordon. the rhythm section cooks as well with expats Kenny Drew on piano and Ed Thigpen on drums along with Danish bass ace Bo Stief. This set was played before a Swiss audience in Baden on November 11, 1972. “Frog” and Dex tear it up!
The 11:00PM Jazz Features this month:
March 6:
“Smokin’ at the Half Note” is perhaps guitarist Wes Montgomery’s definitive recorded statement. It was released (with missing track) in celebration of Wes’s eightieth birthday but it sold very well to a new generation of guitarists and aspiring electrists. Wes (John Leslie) Montgomery was born in Indianapolis, Indiana on March 6, 1925 (he would have been 81 today) and died of a heart attack on June 15, 1968 at age 43. Wes was a self-taught musician like his brothers: pianist/vibist Buddy and bassist Monk. Wes never read music and developed a sound and technique all his own using his thumb instead of a pick and perfecting his ability to play octaves. Montgomery like most guitarists was inspired by Charlie Christian but took Christina’s concepts further. Montgomery and to a slightly lesser extent Grant Green defined jazz guitar in the sixties (Jim Hall had come along earlier). Montgomery seemed to burst on the scene from out of nowhere but he had merely played (except for a tour in the late forties with Lionel Hampton’s Big Band) locally away from recording centers. From 1960 to his demise was recorded with strings, big bands, his working trio (with organist Mel Rhyne) and his working quartet to all-star dates. Tonight’s feature puts Chambers on bass and the surviving member, drummer Jimmy Cobb. This rhythm section was formed and worked with Miles Davis for years and backed all kinds of horn players in live performances and record dates. They were the best and Wes responded. We feature only the live performances tonight (the band did some tracks in the studio as well) and indeed the ultimate Wes Montgomery will be heard tonight. Happy Birthday Wes!
March 13:
Alto saxophonist Lee Konitz (born in Chicago on October 13, 1927) is still alive and well as evidenced by his recent performance a few months ago at the Van East. Konitz’ sound has changed over the years but is still unmistakable. Lee Konitz was one of (if not the) first to develop a modern style that was not wholly based on Charlie Parker’s concept. His recorded legacy is long and varied with stints with Miles Davis, Stan Kenton, and his own groups of various sizes. His main influence and some of his most significant recordings were made with pianist/teacher/innovator Lennie Tristano (also from Chicago). Konitz and tenor saxophonist Warne Marsh were Tristano’s most well known disciples. They worked with Tristano off and on and also worked together. Marsh and Konitz came to Vancouver for an impressive date in the mid-seventies as part of Brian Nation’s wonderful and sadly short-lived Vancouver Jazz Society. Konitz also performed at the original Cellar in 1962 with Don Thompson on bass and the great Jimmy “Lovelace on drums and tonight’s feature is Lee Konitz in this context. “Motion” is one of Lee’s most personal statements and was done at one of his many creative peaks. Konitz’ dry sound and long lines are driven along by the strong bass lines of the underrated and forgotten Sonny Dallas and the always adventurous drumming of the great Elvin Jones. This is one of Konitz’ best and purest record dates.
March 20:
As most jazz fans know bassist Oscar Pettiford was after Jimmy Blanton the first modern bassist. Pettiford’s early legacy is well known with Dizzy Gillespie (sadly they had a serious falling out in 1944 and never played together again). Pettiford played with everybody of significance and worked with Duke Ellington and Woody Herman in their big bands. In the fifties Pettiford worked with Monk and Art Blakey and so many others. In the fifties Pettiford and Charles Mingus (they were friends and rivals) were the leaders of innovative bass playing. If one doubts Pettiford’s inventiveness check out Sonny Rollins’ “Freedom Suite” on OJC 067-2. Oscar Pettiford was born on an Indian reservation in Okmulgee, Oklahoma on September 30, 1922 and died of a viral infection in Copenhagen on September 8, 1060 at age 38. Oscar was one of the first bassists to bring his bass technique to the smaller cello and developed an arresting solo concept. During the mid-fifties Oscar led a fine albeit short-lived big band that recorded two excellent LPs. Oscar’s band was innovative in that it employed a couple of french horns. Creative arrangements by altoist Gigi Gryce and tenorists Lucky Thopson and Benny Golson. The band was full of all-star players like trumpeters Art Farmer and Ernie royal, trombonist Jimmy Cleveland, David Amram and Julius Watkins of french horns, Tommy Flanagan on piano and so many more. We’ll hear all of this plus some magnificent solos by one of the premier bassists and cellists in modern jazz “O.P.”.....Oscar Pettiford.
March 27:
Ben Webster on tenor saxophone was one of the great sounds in jazz.....swinging, inventive, powerful with a sound as big as a house. Ben was born Benjamin Francis Webster in Kansas City, Missouri on March 27, 1909 and died an expatriate in Amsterdam on September 20, 1973 at age 64. Ben started on violin and piano and took up the saxophone later. Ben played piano in silent movie houses in Amarillo, Texas when the great Budd Johnson showed Ben how to play the C"” scale on the tenor saxophone and soon he was playing tenor full time. Ben played in the Young family band and Lester (Pres) Young gave him more pointers on the saxophone. Ben played in so many of the famous Black bands (Andy Kirk, Benny Carter, Fletcher Henderson, etc.) but it wasn’t until he joined Duke Ellington’s band in the early forties that sent Ben to jazz stardom.....eg. Ben’s solo on “Cottontail”. Ben was in and out of Duke’s band, freelancing, gigging and in the fifties touring with Norman Granz’ jazz at the Philharmonic (J.A.T.P.) and recording prolifically in many contexts. Ben had many “ups and downs” during his career and was a heavy drinker. He could veer in the course of an evening between being an easy-going amiable man to a terrifyingly unpredictable drunk and it cost him gigs. Webster became discouraged at the lack of opportunities in the U.S. as well as the political situation. He resented being called “out of date” and not “modern’ enough and left for Europe where he was worshipped and respected as a great artist. Tonight’s feature pits Ben and the “father of modern tenor”.....”Long Tall Dexter”.....Dexter Gordon playing together. Webster loved playing along side another horn and although from different eras Dexter and Ben blend beautifully as both men held each other in high esteem. Even though this is Webster close to the end of his life his power and sound is undiminished and he inspires the younger Gordon. the rhythm section cooks as well with expats Kenny Drew on piano and Ed Thigpen on drums along with Danish bass ace Bo Stief. This set was played before a Swiss audience in Baden on November 11, 1972. “Frog” and Dex tear it up!