Full Concert Friday this week, featuring the Tommy Flanagan Trio at the Subway Club in Koln, Germany, in 1992.
Tommy Flanagan - piano, George Mraz - bass, Bobby Durham - drums. Subway Club, Köln (Germany), 1992
Tracklist:
0:00 Introduction
00:54 Raincheck (Billy Strayhorn)
07:01 Glad to be unhappy
12:30 Beyond the Bluebird
17:27 Meanstreets
23:22 Prelude To a Kiss (Duke Ellington)
25:45 Mood indigo
27:45 Chelsea Bridge (Billy Strayhorn)
29:02 Lush Life, verse (Billy Strayhorn)
29:21 Passion Flower (Billy Strayhorn)
33:39 A Biddy Ditty
41:08 Tin Tin Deo
52:27 End credits
The Miles Davis Septet was a groundbreaking ensemble led by the iconic trumpeter and composer Miles Davis. Davis, born on May 26, 1926, was already a jazz legend by the time he formed this septet. Known for his innovative approach to jazz and his ability to consistently reinvent his sound, Davis was at the forefront of every major jazz movement during his illustrious career. The septet's core lineup included some of the most influential jazz musicians of the era:
Miles Davis: The leader and driving force behind the ensemble, Davis was a virtuoso trumpeter and composer. His willingness to experiment with different styles and musical approaches would come to define the group's sound. Wayne Shorter: A brilliant saxophonist and composer, Wayne Shorter brought a unique and adventurous voice to the septet's music. His compositions and improvisational prowess were integral to the group's success.
Herbie Hancock: A prodigious pianist and composer, Hancock's innovative harmonies and keyboard work added depth and complexity to the septet's repertoire.
Ron Carter: An exceptional bassist, Ron Carter's impeccable sense of time and rhythm provided a solid foundation for the group's music.
Tony Williams: A remarkable drummer known for his youthful energy and groundbreaking innovations in jazz drumming, Williams added a dynamic and forward-thinking dimension to the ensemble.
Frank Butler (replaced by George Coleman): Initially, Frank Butler played the drums, but he was later replaced by the talented saxophonist George Coleman, who brought his unique style to the group.
Victor Feldman (replaced by Harold Mabern): Victor Feldman played the piano but was eventually replaced by Harold Mabern, who continued to contribute to the septet's evolving sound.
The Miles Davis Septet was known for its pioneering work in modal jazz, as exemplified by the landmark album "Kind of Blue" released in 1959. This album redefined jazz and became one of the best-selling and most influential jazz recordings of all time. In the 1960s, the septet continued to innovate, incorporating elements of avant-garde jazz and free jazz into their music with albums like "E.S.P." and "Miles Smiles". "Time After Time" was performed at the North Sea Jazz Festival on July 15th, 1984, at the Garden Pavillion.
This number is called "Sugar Hill Slalom". This recording from July 12, 1981, is a very special evening, the sequal of the movie: The Last Of The Blue Devils playing in the PWA zaal NSJF. A very special occasion where superstar soloists came together in one band, to play for the NSJF audience. On trumpet Joe Newman, Harry ‘Sweets’ Edison, Waymon Reed and Snooky Young. On trombone - Benny Powel, Al Grey and John Gordon. On sax Frank Foster, Chris Woods. On tenor sax Buddy Tate. On alto sax Marshall Royal. On piano - Nat Pierce. On bass Eddie Jones. On drums Gus Johnson. And with Clarc Terry. The Count Basie Alumni Big Band, inspired by the enduring legacy of the legendary jazz pianist and bandleader William "Count" Basie, pays homage to the swing era and the iconic Count Basie Orchestra. Although there isn't a single, continuous alumni big band affiliated directly with Count Basie, various ensembles have emerged over the years, featuring former members of Basie's orchestra. Count Basie, a trailblazer in the big band and swing jazz movements, established his initial big band in the late 1930s. Renowned for its tight, rhythmic style and influential soloists, the orchestra saw the passage of numerous talented musicians. These alumni bands function as a living tribute to Count Basie.
This number is called "This is all I ask". This recording from July 12, 1981, is a very special evening, the sequel of the movie: The Last of the Blue Devils playing in the PWA zaal NSJF. A very special occasion where superstar soloists came together in one band, to play for the NSJF audience. On trumpet Joe Newman, Harry ‘Sweets’ Edison, Waymon Reed and Snooky Young. On trombone - Benny Powel, Al Grey and John Gordon. On sax Frank Foster, Chris Woods. On tenor sax Buddy Tate. On alto sax Marshall Royal. On piano - Nat Pierce. On bass Eddie Jones. On drums Gus Johnson. And with Clarc Terry. The
Count Basie Alumni Big Band, inspired by the enduring legacy of the legendary jazz pianist and bandleader William "Count" Basie, pays homage to the swing era and the iconic Count Basie Orchestra. Although there isn't a single, continuous alumni big band affiliated directly with Count Basie, various ensembles have emerged over the years, featuring former members of Basie's orchestra. Count Basie, a trailblazer in the big band and swing jazz movements, established his initial big band in the late 1930s. Renowned for its tight, rhythmic style and influential soloists, the orchestra saw the passage of numerous talented musicians. These alumni bands function as a living tribute to Count Basie.
This recording from July 12, 1981 is a very special evening, the sequal of the movie: The Last Of The blue Devils playing in the PWA zaal NSJF. A very special occasion where superstar soloists came together in one band, to play for the NSJF audience. On trumpet Joe Newman, Harry ‘Sweets’ Edison, Waymon Reed and Snooky Young. On trombone - Benny Powel, Al Grey and John Gordon. On sax Frank Foster, Chris Woods. On tenor sax Buddy Tate. On alto sax Marshall Royal. On piano - Nat Pierce. On bass Eddie Jones. On drums Gus Johnson. And with Clark Terry. This is the intro track.
The Count Basie Alumni Big Band, inspired by the enduring legacy of the legendary jazz pianist and bandleader William "Count" Basie, pays homage to the swing era and the iconic Count Basie Orchestra. Although there isn't a single, continuous alumni big band affiliated directly with Count Basie, various ensembles have emerged over the years, featuring former members of Basie's orchestra. Count Basie, a trailblazer in the big band and swing jazz movements, established his initial big band in the late 1930s. Renowned for its tight, rhythmic style and influential soloists, the orchestra saw the passage of numerous talented musicians. These alumni bands function as a living tribute to Count Basie.
Another Sunday Special feature on the blog this week. From Bret "Jazz Video Guy" Primack.The Miles Davis Group at the Palazzo delio Sport, Torino, Italy: Miles Davis, trumpet; Gary Bartz, alto and soprano sax; Keith Jarrett, keyboards; Michael Henderson, bass; Ndugu, drums; Don Alias, MTume, percussion.
The official studio track, the song, and the music video of the studio recording session, for Warren Haynes' new single "This Life as We Know It" which is featured on his new and soon to be released record "Million Voices Whisper".
Two parts to this Full Concert Friday this week. This is an audio recording of Steps Ahead performing at the Pit Inn in Tokyo, Japan, in 1979 with the band lineup being Michael Brecker on tenor saxophone, Don Grolnick on keyboards, Mike Mainieri on vibraphone, Eddie Gomez on bass, and Steve Gadd on drums.
Part 1
Part 2
Steps - Live at the Pit Inn (December 1979)
Roppongi, Shinjuku, Tokyo, Japan
According to Bill Milkowski’s excellent Michael Brecker biography, the band recorded at The Pit Inn on December 15th and 16th, and select songs from this two day gig resulted in the album “Smoking’ In The Pit” which was released in February 1980. The band recorded a studio album the next day, which resulted in the album “Step By Step,” released in the summer of 1980. I’m not 100% sure, but I believe the tracks in this video are from that same weekend, but are different from the takes used on the released recording. I believe this is accurate because Milkowski’s book mentions the guest appearance by Japanese guitar player Kazumi Watanabe that weekend, and he plays on “Sara’s Touch in this video.
(The band was originally called “Steps” but had to change its name because there was another band that had the name first, so they changed the name to “Steps Ahead.”)
If you are a Brecker fan, do yourself a favor and buy a copy of Bill Milkowski’s biography “Ode to a Tenor Titan: The Life and Times and Music of Michael Brecker.” It is a fantastically detailed accounting of Mike’s life and career, with tons of anecdotes from his peers and bandmates. Totally worth it, and a fantastic gift for any Brecker fan. Link here: https://amzn.to/3iJyCZB
Tracks (different versions appear on “Smoking’ In The Pit”)
1 - Fawlty Tenors
2 - Sara’s Touch
3 - Tee Bag
Mike Mainieri - vibes
Eddie Gomez- bass
Michael Brecker - saxophone
Don Grolnick - piano
Steve Gadd - drums
Kazume Watanabe - guitar (“Sara’s Touch” only)
“Smoking’ In The Pit” (rare, hard to find) - https://amzn.to/3H57bTg
The tracks on this double album are:
Disc 1:
1 - Tee Bag
2 - Lover Man
3 - Fawlty Tenors
4 - Song To Seth
Disc 2:
1 - Young And Fine
2 - Soul Eyes
3 - Not Ethiopia
4 - Sara’s Touch
“Step By Step” is even harder to find. It is not available on Amazon, I purchased a CD version in Japan back in 1989. The tracks on “Step By Step” are:
1 - Uncle Bob
2 - Kyoto
3 - Belle
4 - Bullet Train
5 - Six Persimmons
This number is called "Sugar". This recording from July 12, 1981 is a very special evening, the sequel of the movie: The Last Of The blue Devils playing in the PWA zaal NSJF. A very special occasion where superstar soloists came together in one band, to play for the NSJF audience. On trumpet Joe Newman, Harry ‘Sweets’ Edison, Waymon Reed and Snooky Young. On trombone - Benny Powel, Al Grey and John Gordon. On alto sax Frank Foster, Chris Woods. On tenor sax Buddy Tate. On alto sax Marshall Royal. On piano - Nat Pierce. On bass Eddie Jones. On drums Gus Johnson. And with Clarc Terry. The Count Basie Alumni Big Band, inspired by the enduring legacy of the legendary jazz pianist and bandleader William "Count" Basie, pays homage to the swing era and the iconic Count Basie Orchestra. Although there isn't a single, continuous alumni big band affiliated directly with Count Basie, various ensembles have emerged over the years, featuring former members of Basie's orchestra. Count Basie, a trailblazer in the big band and swing jazz movements, established his initial big band in the late 1930s. Renowned for its tight, rhythmic style and influential soloists, the orchestra saw the passage of numerous talented musicians. These alumni bands function as a living tribute to Count Basie.
Come Sunday (Ellington) Oscar Peterson, Piano; Ben Webster,, Tenor Saxophone; Niels-Henning Ørsted Pedersen, Bass and Tony Inzalaco, Drums. Recorded December 14th 1972 at the 84th NDR Jazzworkshop in Studio II, Hannover, Germany
Sadly, ballads have gone out of style. Maybe because younger musicians just can't play something that slow.
http://syncopatedjustice.com
Brecker Brothers with special guest Dizzy Gillespie
Straphangin"
July 10, 1980
Munich Jazzfest, Germany
Michel Brecker: Tenor Randy Brecker: Trumpet Mark Gray: Keyboards Ritchie Morales: Drums Neil Jason: Bass Barry Finnerty: Guitar Special Guest: Dizzy Gillespie: Trumpet
After bouncing around Philips, Atlantic, and Capitol playing Brazilian jazz or searching for an ideal blend of Brazilian and American pop, Sergio Mendes struck gold on his first try at A&M (then not much more than the home of Herb Alpert & the Tijuana Brass and the Baja Marimba Band). He came up with a marvelously sleek, sexy formula: dual American female voices singing in English and Portuguese over a nifty three-man bossa nova rhythm/vocal section and Mendes' distinctly jazz-oriented piano, performing tight, infectious arrangements of carefully chosen tunes from Brazil, the U.S., and the U.K. The hit was Jorge Ben's "Mas Que Nada," given a catchy, tight bossa nova arrangement with the voice of Lani Hall soaring above the swinging rhythm section. But other tracks leap out as well; the obvious rouser is the Brazilian go-go treatment of the Beatles' "Day Tripper," but the sultry treatment of Henry Mancini's "Slow Hot Wind" and the rapid-fire "Tim Dom Dom" also deserve mention.
Rest In Peace, Sergio Mendes. Had the chance to see Sergio and Brasil 2016, a reimagination of his classic band lineups for Brasil '66 and Brasil '77 and others, in 2016 at The Dakota Jazz Club & Restaurant in Minneapolis, Minnesota. A truly remarkable and memorable concert. Rest In Peace, Sergio Mendes. Your music will live on, forever, in our hearts.
A Sunday Special post this week, in memoriam of jazz guitar legend Russell Malone.
We fondly remember and celebrate the life of the great jazz guitarist, Russell Malone, who passed away on August 23rd, 2024, in Tokyo, Japan.
From Bret "Jazz Video Guy" Primack.
Russell Malone died on Friday, August 23 in Tokyo after a performance at the Blue Note in Tokyo with Ron Carter’s Trio. He was sixty years old.
I first became aware of Russell's guitar playing when he started performing with Jimmy Smith in 1988. I got to know him better during his time with Sonny Rollins in the early 2000s. Russell was an incredibly affable and warm person with a delightful sense of humor. He loved to crack a joke or share a memorable story. As a serious musician, he had an encyclopedic knowledge of the guitar. In a recent audio blindfold test with his close friend Christian McBride, on Sirius XM’s Real Jazz, he instantly identified Charlie Christian, George Benson, Roy Clark, and Jimi Hendrix and shared stories about each.
As a musician, Russell was very versatile, known for his deep understanding of the jazz tradition, including swing, bebop, and blues. However, his playing also incorporated elements of gospel, R&B, and even pop, which made his music accessible to a wide range of audiences.
Russell also was particularly adept at moving between solo guitar performances, small ensembles, and big bands, showcasing his ability to adapt his playing to different musical settings. The Atlanta native worked with musicians of all genres who were passing through, from Benny Goodman to Little Anthony of Little Anthony and the Imperials.
Mr. Malone gained significant recognition as part of Diana Krall's quartet, contributing to her crossover success in the late 1990s and early 2000s. His sensitive and supportive accompaniment on her albums, such as When I Look in Your Eyes and *The Look of Love*, played a key role in their critical and commercial success.
Russell’s technique was characterized by fluidity, precision, and a warm, full tone. His ability to navigate complex chord progressions and deliver intricate solos with ease sets him apart as a master guitarist.
Beyond technical skill, Russell Malone is celebrated for his ability to convey deep emotion through his playing. His performances often had a lyrical quality, where he told a story through his guitar, connecting with listeners on an emotional level. And that’s exactly what he could do in a conversation, as well. He had could establish a very strong emotional contact with a stranger.
Malone has influenced a generation of jazz guitarists who admire his blend of tradition and innovation. He helped to keep the jazz guitar tradition alive while pushing its boundaries, making him a key figure in the instrument's modern development.
For nearly twenty years, Russell Malone served as a faculty member in the William Paterson College Jazz program, where he was renowned for his dedication to teaching and mentoring young musicians. His passion for jazz guitar and his commitment to nurturing new talent have left a lasting impact, further solidifying his legacy.
When someone like Russell Malone leaves us prematurely, we can’t help but ask why. It seems that whether we lead healthy, productive lives or not, the unpredictable hand of fate intervenes, often sooner than we’d wish. In the case of a wonderful man like Russell Malone, we hoped for much later. While our bodies are temporary, our actions and the way we touch the lives of others endure. The outpouring of grief on Facebook following Russell's untimely passing this past weekend was one of the most heartfelt I’ve ever seen. So many people loved Russell Malone, and with good reason.
Sonny Rollins Quintet Live at Jazz Festival Bern, Kursaal, Bern, Switzerland, May 10th, 1985. Recorded and broadcast by German TV network 3sat in Germany, Switzerland and Austria. My One And Only Love (fade-in). Easy.
Sonny Rollins: Tenor Saxophone, Mark Soskin: Electric Piano, Bobby Broom: Guitar, Victor Bailey: Electric Bass and Tommy Campbell: Drums.
I am a huge Jan Hammer fan and I had the pleasure of playing with him here and hanging out at the Hilton bar after hours. A true keyboard master along with my Vital Info with Tom Coster. A classic fusion jam. Enjoy this classic!
From the 1988 Tri-C Jazz Fest, Billy Taylor offers his thoughts for pianists working in different configurations. Video from the compilation Tri-C Jazz Fest Cleveland, 30th Anniversary Collection, Willard Jenkins compilation producer.
From Bret "Jazz Video Guy" Primack. Dr. Billy Taylor is joined by Candido Camero, who first played with Billy in the early '50s at the Hickory House in New York.
Bret "Jazz Video Guy" Primack presents the story of Billy Taylor and Art Tatum. When Billy was a teenage pianist in Washington, D.C. in the 1930s, his piano idol was Art Tatum. Billy moved to NYC in 1943 and his first gig, with Ben Webster, was at club where the other act was Art Tatum. Billy soon became Tatum's protege.
This week's Sunday Special. Bret "Jazz Video Guy" Primack presents Billy Taylor and Buddy Greco playing a standard made famous by Erroll Garner and Johnny Mathis.
