Jimmy Cobb (January 20,1929 – May 24, 2020) drummer on Miles Davis’s ‘Kind of Blue,’ Dies at 91.
New York Time Obituary, March 7, 2020 – McCoy Tyner, Jazz Piano Powerhouse, Is Dead at 81
Jimmy Cobb’s passing was a reminder of the classic Miles Davis album KIND OF BLUE recorded and released in late 1959. This album started jazz musicians down the modal path of musical improvisation and innovation.
Like wise McCoy Tyner’s passing was a reminder of that other jazz modal master piece – John Coltrane’s A LOVE SUPREME. This was a four part jazz suite recorded during December 1964 withJohn Coltrane on Tenor Sax, Elvin Jones on drums, Jimmy Garrison on bass and McCoy Tyner on piano.
As described in wikipedia: A Love Supreme is a suite with four parts: “Acknowledgement” (which includes the oral chant that gives the album its name), “Resolution”, “Pursuance”, and “Psalm”. Coltrane plays tenor saxophone on all parts. One critic has written that the album was intended to represent a struggle for purity, an expression of gratitude, and an acknowledgement that the musician’s talent comes from a higher power. Coltrane’s home Dix Hills, Long Island, may have inspired the album. Another influence may have been Ahmadiyya Islam.
The album begins with the bang of a gong (tam-tam) and cymbal washes. Jimmy Garrison enters on double bass with the four-note motif that lays the foundation of the movement. Coltrane begins a solo. He plays variations on the motif until he repeats the four notes thirty-six times. The motif then becomes the titular vocal chant “A Love Supreme”, sung by Coltrane accompanying himself through overdubs nineteen times. In the fourth and final movement, “Psalm”, Coltrane performs what he calls a “musical narration”. Lewis Porter calls it a “wordless recitation”. The devotional is included in the liner notes. Coltrane “plays” the words of the poem on saxophone but doesn’t speak them. Some scholars have suggested that this performance is an homage to the sermons of African-American preachers. The poem (and, in his own way, Coltrane’s solo) ends with the cry, “Elation. Elegance. Exaltation. All from God. Thank you God. Amen.”
To my knowledge there is no videos available of a complete Coltrane performance but there are fragments of performances scattered across YouTube. In place of that there is the excellent complete performance by the Bradford Marsalis Quartet recorded in Amsterdam in 2003.
Brandon Marsalis – Tenor Saxophone
Joey Calderazzo – Piano
Jeff Tain Watts – Drums
Eric Revis – Doublebass
This performance and the original Coltrane performance is not light weight music. It is a deeply spiritual composition and calling it intense is not and understatement. The music would not be to everyone taste. But having said that for anyone interested in jazz it is a classic recording and should be on every jazz fan’s shelf
For anyone interested in information about the music and the recording I suggest the publication A LOVE SUPREME – The Story of John Coltrane’s Signature Recording by Ashley Kahn published in 2002.
While surfing the web the following item caught my eye….
Jimmy Cobb (January 20,1929 – May 24, 2020) drummer on Miles Davis’s ‘Kind of Blue,’ Dies at 91. He was the last surviving member of that landmark album’s sextet, he was a master of understatement, propelling his band mates with a quiet persistence.
It was this “blast from the past” that prompted me to revisit the album. Most Jazz fans “have the moment” imprinted on their memory of when they first heard KIND OF BLUE. For me it was during a lunch time break in a record store (remember those) in down town Sydney, Australia. In those days there were head phones or listening booths available to check out the latest releases. The radio in those days was awash with top Forty Tunes and Jazz wasn’t all that popular. Apart from late night smooth jazz radio to get one’s jazz fix you had to get it when ever and where ever you could. For me it was those lunch times listening sessions in a record store. The opening track on the album, SO WHAT, became my all time favorite Jazz composition and performance. Here is that opening track from the classic album followed by a live clip from a TV show.
While the tune in both instances is the same a discerning ear can detect distinct differences between the performances. The first clip from the recording is the classic Miles Davis Sextet of Miles Davis (trumpet), John Coltrane (Tenor Sax), Julian Adderley (Alto Sax), Paul Chambers (Bass), Jimmy Cobb (Drums) and Bill Evans (piano). The contours of the solos played by John Coltrane (tenor sax) and Miles Davis (trumpet) in both clips are similar but demonstrate the variety available within jazz performances of the same material.
The album KIND OF BLUE was recorded recorded on March 2 and April 22, 1959, at Columbia’s 30th Street Studio in New York City. It was released on August 17 of that year by Columbia Records and in the past 60 years has never been out of print. It is regarded as the best selling jazz album of all time and because of its unique approach to composition and performance it has been deemed as one of the most influential records of all times. On this album Davis followed up on his modal experimentation on his earlier Milestones album. By basing Kind of Blue entirely on modality he departed even further from his earlier work in the hard bop jazz style.
Why the recording is so important in the Jazz repertoire is that it was a radical departure from the way jazz musicians normally approached performances. Throughout the early history of Jazz up until the 50s and even later, the main stay of the Jazz repertoire was what was called THE GREAT AMERICAN SONG BOOK. It was a standard repertoire filled with the songs of Cole Porter, George Gershwin etc. Generally a performance of these songs included an instrumental statement of the tune, sometimes with variations followed by individual solos by various instrumentalists. The underlying chord structures and melody line were the basis for the improvisations that applied time honored musical devices to shape individual performances. The songs may have had mundane lyrics (moon, June, love, spoon, etc) but the melodies and the harmonic structures were (are) pretty sophisticated. Jazz musicians often ditched the standard melody and made up ones of their own. Sometimes they just used the chord progressions and came up with completely different compositions. KIND OF BLUE changed that. Instead of using chord progressions for the improvisations Miles Davis came up with a Modal approach. It was no longer necessary to play in a specific key, rather the composer could dictate a series of modes to act as basic scales for the improvisation.
“So What is one of the best examples of modal jazz music. Although improvisation takes up the majority of the piece, it does have a compelling riff that sets the piece in motion and sets up the stage harmonically for the improvisations. This riff is notable in that involves the interplay between the upright bass and the rest of the band. The antecedent phrase is played by the bass, which plays an ascending line of notes that begin with a fourth leap starting from the root note. This is followed by the “response” by the piano or rest of the band, which consists two chords that move in parallel motion downwards in answer to the bass. These chords are a whole step apart and are made up of a root, fourth, minor seventh, minor third, and fifth. The second chord-and final statement of the phrase-is an altered minor chord. This establishes the harmonic center of the piece.
Harmonically speaking, this piece is fairly simple. It is centered around the D Dorian mode, and there are no harmonic progressions other than the modulation from D Dorian to Eb Dorian, which occurs throughout the piece. The piece follows a 32 bar AABA structure, both during the melodic line and during the solos. This translates to 16 bars in D Dorian, 8 bars in Eb Dorian, and 8 bars again in D Dorian. The piece begins with a piano and bass opening with a slower tempo than the rest of piece. After this bass and piano alone play the melodic line with the drum as accompaniment. The drums serve to get the atmosphere going with a laid back, ‘cool’ atmosphere. The other instruments join in and after one chorus, each performer takes an extended solo in the following order: trumpet, tenor sax, alto sax, and piano. After the solos, the melody line is played for a chorus. The piece ends with the melody being just played with the bass and piano (with drums for accompaniment) before fading out.
The harmonic simplicity of So What gives the instrumentalists a certain freedom in their improvisations not found in other forms of jazz music. The differing creative approaches are evident in each of the different solos; for example, Miles Davis’ solo can be characterized as very melodic which is mainly focused on thoughtful phrasing whereas Coltrane uses a harder and often scalar approach, playing faster and leaving less space between his phrasings. Despite this, the atmosphere throughout So What remains mostly unchanged thanks to the vamping of the rhythm section and the careful upholding of the structure of the piece. The composition and the performance is a Jazz Masterpiece. Miles Davis was famous for approaching recording sessions with no set agenda. Just a sketch of some scales or chord progressions to be played with very loose instructions to the participants about tempo, structure and what he wanted to achieve. KIND OF BLUE and SO WHAT conform to Miles’ general approach to recording. In his later electronic explorations (BITCHES BREW, etc) he even took it further using the recording studio as a compositional tool. Literally editing, cutting and pasting and shaping the final product (I find it hard to call it a performance) to his compositional needs. Miles never dwelled on his musical past and in later years when asked about the recording he tended to be dismissive of the effort and basically had the attitude “been there done that and I have moved on”.
Modal Jazz, in some ways reaches back to earlier classical and folk music ways of playing music. It did not replace the time honored Great American Song Book, rather it opened the door to different ways of composing, playing and improvisation. FREE JAZZ, a later development in jazz performance , was another way of organizing (some would say disorganizing) the music …. no prepared structure, no set key, rhythm etc. Here in 2020 it has been around for 50 years and while is still has a significant following it remains controversial.
I have this uncalled, and I dare say sometimes unwelcome urge to educate my peer musicians in some of the finest recordings out there. I sent these clips out to friends and one response astounded me. The composition and performance was described as and interesting “song” and it kind of illustrates the difficulties modern audiences have with instrumental music. Calling SO WHAT a song is like calling Beethoven’s A minor STRING QUARTET #15 a song. We are all used to listening to “songs” but most of us have little or no educated experience with listening to instrumental compositions. As a result a large percentage of audiences have no sign posts to help them understand the music. Instrumental music is about the architecture of the piece; the use of melody, harmonic invention, rhythm and variations within all of those elements. Songs, as typified by the normal singer/song writer, and instrumental compositions in the Jazz and Classical traditions operate at two different levels and there is no way to really compare the two. Songs tend to be (not always of course) factual and concrete and generally touches our humanity with portrayals of every day circumstances and emotions. Instrumental music on the other hand tends to be more abstract and puts us in touch with music at a more mystical level.
Each musical style or school has a specific, and often unique, way of composition and performance. For instance, Arab and Middle Eastern music is based on completely different concepts of harmony, melody and rhythmic rules to western music. To understand and appreciate that music requires a re-education in the rules of the game. Similarly, Northern and Southern Indian Classical Indian that, to some extent , came from the Arabs is different again. In fact Northern and Southern Indian traditions are sufficiently different to require another re-think when moving from one tradition to the other.
Closer to home, Celtic Music is based on time honored airs and dance tunes with a large component of modal methods and a different feel to the music. Blue Grass had its origins in Celtic music but the feel is different. To my ears Blue Grass musicians do terrible things to Celtic tunes. At a Celtic music session in Dublin I once asked my daughter in law what she thought of the music. Her response was “it all sounds the same to me”. For most people that is the response to most, if not all, instrumental music …… “It all sounds the same to me”.
But with a little bit of effort it does not all have to “sound the same to me”
Post Script. Over the years there must be thousands and thousands of words examining, defining and analyzing the album KIND OF BLUE. One book of note that I can recommend is KIND OF BLUE – THE MAKING OF THE MILES DAVIS MASTERPIECE, by Ashley Kahn, Da Capo Press Books, 2000.
New York Time Obituary, March 7, 2020 – McCoy Tyner, Jazz Piano Powerhouse, Is Dead at 81
With his rich, percussive playing, he gained notice with John Coltrane’s groundbreaking quartet, then went on to influence virtually every pianist in jazz.
McCoy Tyner, a cornerstone of John Coltrane’s groundbreaking 1960s quartet and one of the most influential pianists in jazz history, died on Friday at his home in northern New Jersey. He was 81. His nephew Colby Tyner confirmed the death. No other details were provided.
Along with Bill Evans, Herbie Hancock, Chick Corea and only a few others, Mr. Tyner was one of the main expressways of modern jazz piano. Nearly every jazz pianist since Mr. Tyner’s years with Coltrane has had to learn his lessons, whether they ultimately discarded them or not. Mr. Tyner’s manner was modest, but his sound was rich, percussive and serious, his lyrical improvisations centered by powerful left-hand chords marking the first beat of the bar and the tonal center of the music.
That sound helped create the atmosphere of Coltrane’s music and, to some extent, all jazz in the 1960s. (When you are thinking of Coltrane’s playing of “My Favourite Things” or “A Love Supreme”, you may be thinking of the sound of Mr. Tyner almost as much as that of Coltrane’s saxophone). To a great extent he was a grounding force for Coltrane. In a 1961 interview, about a year and a half after hiring Mr. Tyner, Coltrane said: “My current pianist, McCoy Tyner, holds down the harmonies, and that allows me to forget them. He’s sort of the one who gives me wings and lets me take off from the ground from time to time.”
Mr. Tyner did not find immediate success after leaving Coltrane in 1965. But within a decade his fame had caught up with his influence, and he remained one of the leading bandleaders in jazz as well as one of the most revered pianists for the rest of his life.
Alfred McCoy Tyner was born in Philadelphia on Dec. 11, 1938, to Jarvis and Beatrice (Stephenson) Tyner, both natives of North Carolina. His father sang in a church quartet and worked for a company that made medicated cream; his mother was a beautician. Mr. Tyner started taking piano lessons at 13, and a year later his mother bought him his first piano, setting it up in her beauty shop
He grew up during a spectacular period for jazz in Philadelphia. Among the local musicians who would go on to national prominence were the organist Jimmy Smith, the trumpeter Lee Morgan and the pianists Red Garland, Kenny Barron, Ray Bryant and Richie Powell who lived in an apartment around the corner from the Tyner family house, and whose brother was the pianist Bud Powell, Mr. Tyner’s idol. (Mr. Tyner recalled that once, as a teenager, while practicing in the beauty shop, he looked out the window and saw Powell listening; he eventually invited the master inside to play.)While still in high school Mr. Tyner began taking music theory lessons at the Granoff School of Music. At 16 he was playing professionally, with a rhythm-and-blues band, at house parties around Philadelphia and Atlantic City. Mr. Tyner was in a band led by the trumpeter Cal Massey in 1957 when he met Coltrane at a Philadelphia club called the Red Rooster. At the time, Coltrane, who gre up in Philadelphia but had left in 1955 to join Miles Davis’s quintet, was back in town, between tenures with the Davis band.The two musicians struck up a friendship. Coltrane was living at his mother’s house, and Mr. Tyner would visit him there to sit on the porch and talk. He would later say that Coltrane was something of an older brother to him. Like Coltrane, Mr. Tyner was a religious seeker: Raised Christian, he became a Muslim at 18. “My faith,” he said to the journalist Nat Hentoff, “teaches peacefulness, love of God and the unity of mankind.” He added, “This message of unity has been the most important thing in my life, and naturally, it’s affected my music.”In 1958, Coltrane recorded one of Mr. Tyner’s compositions, “The Believer”. There was an understanding between them that when Coltrane was ready to lead his own group, he would hire Mr. Tyner as his pianist.
For a while Mr. Tyner worked with the Jazztet, a hard-bop sextet led by the saxophonist Benny Golson and the trumpeter Art Farmer. He made his recording debut with the group on the album “Meet the Jazztet” in 1960. Coltrane did eventually form his own quartet, which opened a long engagement at the Jazz Gallery in Manhattan in May 1960, but with Steve Kuhn as the pianist. A month later, halfway through the engagement, Coltrane made good on his promise, replacing Mr. Kuhn with Mr. Tyner. That October, Mr. Tyner made its first recordings with Coltrane, participating in sessions for Atlantic Records that produced much of the material for the albums “My Favorite Things,” “Coltrane Jazz,” “Coltrane’s Sound” and “Coltrane Plays the Blues.”
Mr. Tyner was 21 when he joined the Coltrane quartet. He would remain — along with the drummer Elvin Jones and, beginning in 1962, the bassist Jimmy Garrison — for the next five years. Through his work with the group, which came to be known as the “classic” Coltrane quartet, he became one of the most widely imitated pianists in jazz. The percussiveness of his playing may have had to do with the fact that Mr. Tyner took conga lessons as a teenager from the percussionist Garvin Masseaux, and learned informally from the Ghanaian visual artist, singer and instrumentalist Saka Acquaye who was studying at the time at the Pennsylvania Academy of Fine Arts. Harmonically, his sound was strongly defined by his use of modes — the old scales that governed a fair amount of the music Mr. Tyner played during his time with Coltrane — and by his chord voicings. He often used intervals of fourths, creating open-sounding chords that created more space for improvisers.“What you don’t play is sometimes as important as what you do play,” he told his fellow pianist Marian McPartland in an NPR interview. “I would leave space, which wouldn’t identify the chord so definitely to the point that it inhibited your other voicings.”
The Coltrane quartet worked constantly through 1965, reaching one high-water mark for jazz after another on albums like “A Love Supreme,” “Crescent,” “Coltrane Live at Birdland,” “Ballads” and “Impressions,” all recorded for the Impulse label. Between tours, Mr. Tyner stayed busy in the recording studios. He made his own records, for Impulse, including the acclaimed “Reaching Fourth.” He also recorded as a sideman, particularly after 1963; among the albums he recorded with other leaders’ bands were minor classics of the era like Joe Henderson’s “Page One,” Wayne Shorter’s “Juju,” Grant Green’s “Matador” and Bobby Hutcherson’s “Stick-Up!,” all for Blue Note. When Coltrane began to expand his musical vision to include extra horns and percussionists, Mr. Tyner quit the group, at the end of 1965, complaining that the music had grown so loud and unwieldy that he could not hear the piano anymore. He was a member of the drummer Art Blakey’s touring band in 1966 and 1967; otherwise he was a freelancer, living with his wife and three children in Queens. Mr. Tyner’s survivors include his wife, Aisha Tyner; his son, Nurudeen, who is known as Deen; his brother, Jarvis; his sister, Gwendolyn-Yvette Tyner; and three grandchildren.
Just before Coltrane’s death in 1967, Mr. Tyner signed to Blue Note. He quickly delivered “The Real McCoy,” one of his strongest albums, which included his compositions “Passion Dance,” “Search for Peace” and “Blues on the Corner,” all of which he later revisited on record and kept in his live repertoire. He stayed with Blue Note for five years, starting with a fairly familiar quartet sound and progressing to larger ensembles, but these were temporary bands assembled for recording sessions, not working groups. It was a lean time for jazz, and for Mr. Tyner. He was not performing much and, he later said, had considered applying for a license to drive a cab.
He moved to the Milestone label in 1972, an association that continued until 1981 and that brought him a higher profile and much more success. In those years he worked steadily with his own band, including at various times the saxophonists Azar Lawrence and Sonny Fortune and the drummers Alphonse Mouzon and Eric Gravatt. His Milestone albums with his working group included “Enlightenment” (1973), recorded at the Montreux Jazz Festival, which introduced one of his signature compositions, the majestic “Walk Spirit, Talk Spirit.” He also recorded for the label with strings, voices, a big band and guest sidemen including the drummers Elvin Jones, Tony Williams and Jack DeJohnette.
Mr. Tyner did not use electric piano or synthesizers, or play with rock and disco backbeats, as many of the best jazz musicians did at the time; owning one of the strongest and most recognizable keyboard sounds in jazz, he was committed to acoustic instrumentation. His experiments outside the piano ran toward the koto, as heard on the 1972 album “Sahara,” and harpsichord and celeste, on “Trident” (1975).
In 1984, he formed two new working bands: a trio, with the bassist Avery Sharpe and the drummer Aaron Scott, and the McCoy Tyner Big band. His recordings with the big band included “The Turning Point” (1991) and “Journey” (1993), which earned him two of his five Grammy Awards. He also toured and made one album with the nine-piece McCoy Tyner Latin All-Stars. He was signed in 1995 to the reactivated Impulse label, and in 1999 to Telarc. From the mid-’90s on he tended to concentrate on small-band and solo recordings.
In 2002, Mr. Tyner was named a National Endowment for the Arts Jazz Master, one of the highest honors for a jazz musician in the United States. He resisted analyzing or theorizing about his own work. He tended to talk more in terms of learning and life experience. “To me,” he told Mr. Hentoff, “living and music are all the same thing. And I keep finding out more about music as I learn more about myself, my environment, about all kinds of different things in life. I play what I live. Therefore, just as I can’t predict what kinds of experiences I’m going to have, I can’t predict the directions in which my music will go. I just want to write and play my instrument as I feel.”
Piano players and, to a lesser extent, guitar players are lucky. Without the need of having any one else in the room they can sit down and play unaccompanied music. Depending on their individual skill level they can do it all. Melody, harmony, rhythm, dynamics and sonic shadings. It’s all there under their finger tips. Horn players, woodwinds, string players, drummers and bass players are not that fortunate and usually have the need for other musicians in the mix to complete the musical picture. At an individual level that is a drawback but it does force those musicians into ensembles that can go beyond the limitations of individual solo performances. One such musical configuration is the jazz combo and lucky for us in Cranbrook-Kimberley area we have been recently blessed with another Jazz group. TAKE 4, featuring Randi Marchi on trumpet, fluegelhorn, valve trombone, guitar and vocals; Jim Cameron on electric bass; Steen Jorgensen on drums and tenor sax and Tim Plait on piano. All of these musicians are locals. Some, Randi Marchi and Tim Plait, have been away to other parts of Canada and the world and have returned to the Kootenays and our little slice of paradise. The group is newly formed and, I believe, this is their second engagement. For well schooled musicians such as these the advantage of playing jazz is that there is a vast standard repertoire of tunes that players can easily access. From simple tunes way up to very technical, and very complex music there is a lot of music out there to explore. Last Thursday night at Soul Foods the group served a varied mixture of tunes that included Beginning to See the Light, Satin Doll (Duke Ellington’s masterpiece), Summertime (from George Gershwin’s Porgy and Bess), Blue Skies, King of the Road ( Roger Miller’s 1964 Hit song), All of Me (written in 1931), Beyond the Sea (Bobby Darin’s 1959 hit) and my all time favorite, A Day in the Life of a Fool, or as I prefer to remember it as, Manha de Carnival (Morning of the Carnival) from the magnificent 1959 Academy Award winning film Black Orpheus. This film introduced western audiences to the wonders of Bossa Nova and the music of Antonio Carlos Jobim and Luis Bonfa.The second set kicked off with The Way You Feel Tonight, Don’t Get Around Much Anymore (it is a 1940 classic by Duke Ellington originally called Never No Lament), and Quando, Quando, Quando ( originally a 1962 Italian Pop song written in the Bossa Nova Style).
Here are some images from the first set:
Towards the end of the evening Take 4 was joined on stage by Randy Tapp on tenor sax and Shindo Murata on valve trombone to play the tunes Flip Flop and Fly, Route 66 and Van Morrison’s Moon Dance. During these performances a young musician from the audience sat in on drums while Steen Jorgensen moved up front to join the horn section on tenor sax. For me the resulting sound brought back memories of the magnificent Gerry Mulligan Concert Band recordings from the 1960s. Bobby Brookmeyer’s valve trombone was part of the signature sound of that band.
Soul Foods seems to have become a hot bed of live music with live performances every Thursday evening 7-9 pm.
The Dirk Quin Quartet is a high energy Jazz/Funk outfit from Philadelphia. Dirk Quin on guitar is the group leader supported by RoryFlynn on electric bass and Cody Munzert on electric piano and synth. The outsider in the group is the lone Canadian Charan Singh (aka Andrew Austin) on drums. Charan currently spends significant time each year in Columbia, South America, soaking up the indigenous rhythms and percussion techniques of that part of the world. The music presented was ablaze with funky leads, rhythms and keyboard explorations. Here are some images from the evening……… in the Green Room ……. Rory Flynn (Bass), Cody Munzert (Keyboards), Charan Singh (drums).
Thanks again to all the sponsors, volunteers and organizing committee for another fine jazz concert series.
The Piano Trio as a genre is a long established tradition in jazz. The first Trio of note was probably The Nat King Cole Trio in the late 1930s through the 1940s. Most audience think of Nat King Cole as the smooth voice, with perfect diction, pop crooner and TV star of the 1950s and 1960s. Most music patrons don’t realize that he was a major jazz pianist way before he became famous as a pop singer. For a time the format of his trio (piano / vocals , bass and guitar) pretty well defined the genre. Over the years many pianists including, Art Tatum and Oscar Peterson, have adopted that format. For whatever reason, the original iconic trio format has morphed into the Piano/Bass/Drums format of the modern era. Most jazz pianists at some time in their career front a standard Jazz Piano Trio. The Christian Mcbride Trio is one of many on the current jazz scene and, as if to break with tradition, the leader of this trio is not a pianist. Christian McBride is a bass player. This is a trio of young, highly trained and very skilled musicians.
Christian McBride (born May 31, 1972) is an American jazz bassist, composer and arranger. He is the “go to” bass player of the past decade and has appeared on more than 300 recordings as a leader and sideman. He is a six-time Grammy award winner. The pianist Christian Sands was born on May 22, 1989 and grew up in New Haven, Connecticut and later moved to nearby Orange. He started playing the piano at a very young age, and took lessons from the age of four; he commented that “I grew up with it in the house, in the classroom and on stage so it has always been a huge part of my life”. The drummer Ulysses Owens Jr. (born December 6, 1982 in Jacksonville, Florida) also is an American multi Grammy Award winner. Owens began playing the drums at the age of 2. He has played many types of music in his younger years, centering on his experience in the church. By the time he was in his early teens, he realized that he would become a jazz musician, and received a full scholarship to study at the Juilliard School. He is active on both the New York and international jazz scene as a sideman and band leader
There are many examples on YouTube of the trio performing in a variety of settings but here are three for your enjoyment.
A Footenote for pianists –
In the early 1990s Mosiac Records produced an 18 CD box set entitled The Complete Capital Recordings of the Nat King Cole Trio (Mosiac 138).
For anyone who may be interested Mosiac has also produced a 5 CD box set of Teddy Wilson Trios entitled The Complete Verve Recordings of the Teddy Wilson Trio (Mosiac MD5 -173). This is a collection of the music from the master of elegance, Teddy Wilson, with some of the finest drummers of the day. If a drummer needs to study how to play with brushes this is the “go to” source.
Another Mosiac set of note is the 9 CD collection The Complete Ahmad Jamal Trio Argo Sessions 1956-1962 (MD9-246).
Gabriel Palatchi Trio at Studio 64 in Kimberley , September 8, 2018, 8pm. This is the first concert of the 2018 Winter Jazz and Blues Concert Series.
Keyboardist Gabriel Palatchi is a citizen of the world. He is an Argentinean with Jewish, Turkish and, given his surname, Italian Roots. He is a ceaseless wanderer touring the world, performing and studying the many musical cultures he encounters along the way. His recent forays into Spain and Morocco included the study of Flamenco piano music.
“Born in Buenos Aires, Argentina in 1982, Gabriel Palatchi started his first piano lessons at the age of 8. He spent his formative years in Buenos Aires studying classical piano, and being mentored by some of the great maestros of blues, tango, jazz and Latin jazz. After graduating in 2007 from Berklee international School, Argentina, he spent several months in Cuba where he studied Latin jazz with the master Chucho Valdez. Gabriel subsequently became a composer when he moved to Tulum, Mexico in 2008, and his life experiences up to that point influenced the composition and production of his first solo album “Diario de Viaje” (Travel Diary) in 2010. The album received critical acclaim from music industry journals, and was chosen as one of the best Latin Jazz albums of the year by JAZZ FM Toronto. He went on to record a further 3 albums that cemented his unique sound, culminating in his 4th and latest album, “Made in Canada” (2017), which also happens to be his first live recording. Gabriel’s songs are a representation of the many cultures which have influenced his music over the years, with a deep core in Latin Jazz.
For the past 8 years Gabriel has been performing at major international music festivals, touring throughout Mexico, Canada and Europe. His music is broadcast across radio stations all over the world from Alaska through to South America, Europe, the Middle East and Australia It has been reviewed and featured in the Rolling Stone Magazine, Latin Jazz Network, Ejazznews, All About Jazz, Jazz Caribe, The Toronto Star, Salsa Son, Timba Columbia, Newstime South Africa and inside World Music, among many others.
“Trivolution” was selected as the Gold Medal Winner in the Composer/Album categories; achieved TOP TEN status in the 2015 “Global Music Awards”, and also featured in the “Emerging Artists” section of the April 30th, 2016 issue of BILLBOARD MAGAZINE.” – This info is from Gabriel’s website.
In the past he has performed in Kimberley. In 2015 his band was included in that year’s Jazz and Blues Concert series ( http://www.rodneywilson.ca/2015/09/13/its-a-long-way-from-buenos-aires-the-gabriel-palatchi-band/ ). I must commend the organizing committee for setting aside their “no repeats rule” to invite Gabriel back to the Studio 64 stage. In that particular performance Gabriel was joined by West Kootenay musicians Doug Stephenson on bass and Tony Ferraro on drums for a collection of some familiar material (Juan Tizol’s Caravan and Ahmad Jamal’s Poinciana) along with his original compositions. This time around the other members of the trio were Cameron Hood from Vancouver on 6 string Tobias electric bass and Luis “El Pana” Tovar on drums. Luis is originally from Venezuela and is now a resident of Calgary. The program for the evening was all original material. As can be imaged, rehearsing such a scattered group of musicians is a challenge. It was done by exchanging mp3’s across continents followed by only three days of rehearsals before the tour. Cameron assures me that the music is fiendishly difficult and for him to nail the exotic piece “in sevens” required many hours of solo practice. Cameron explained that the piece was in 7/8 (perhaps a nod to Gabriel’s Turkish roots) but it was complicated by mirror images of the rhythm. 123 4567 followed by 1234 567 – three and four followed by four and three. On top of that there was all the salsa, Latin and funk overtones. I confess as an Anglo the names of all the Spanish tunes just flew by me. “Oh yeah. There was that thing in sevens. Then there was the Flamenco piano piece and the piece with fragments of Astor Piazolla’s Libertango but as to the names of the tunes they just flew by”. No matter. The music was a tour de force of Latin, Funk and not to be forgotten Nuevo Tango.
In Argentinean Nuevo Tango, drum kits do not figure prominently in traditional performances . Luis “El Pana” Tovar stepped up to the plate magnificently, particularly in the Tango pieces. That style of music is noted, among other things, for its shifting rhythms and structural complexities. It’s enough to make you wonder if a thorough grasp of rhythm requires being born south of the equator. Luis is a noted conga player and percussionist and that may account for some of the musicality in his performance. Or is it perhaps because the guy appears to be almost seven feet tall? Maybe from that height the rhythms of the world are more understandable.
Here are some images from a spectacular night of music.
As with the previous concert in 2015 the music was outstanding. So much so I hope the organizing committee will once again put aside “the no repeats” rule if Gabriel decides to return.
As always, thanks must go to the volunteers, the organizing committee, The Burrito Grill for feeding the musicians and “A B&B at 228” for the musicians lodgings. Oh, by the way, the bassist Cameron Hood would love to come back this way with some of his fellow Vancouver musicians.
On stage, drummers are rarely up front and in your face. Usually they are buried at back, in the middle, or occasionally off to side. The best they can hope for is a raised stage behind the band. They may not always be seen but they usually are heard. Some might say that is not necessarily a good thing. By and large they tend to be loud, abrasive, and dare I say it, not always musical. However, there are exceptions and Tony Ferraro is one of those exceptions. He is the quintessential “man in the middle” with precise deft splashes of technical skill that perfectly fits the musical situations at hand. He is capable of enough powerhouse drive to fuel a big band. He can be as funky as all get out in an organ trio, or softly pulsing in a Jazz or Bossa Nova setting. He is a resident of the West Kootenays and is basically “the go to drummer” in the region. If you want to take a band to the next level then Tony is your man. We have been very fortunate in this area in that we often get to see, hear and experience such a master musician at play. He was recently in the area with Melody Diachun and her jazz group and a short time later with Lester McLean / Michael Occhipinti’s Jazz/Soul/Funk outfit.
Last June the extra fine vocalist Melody Diachun was in the Studio Stage Door in Cranbrook as part of her “Get Back to the Groove Tour”. The initial kick off concert of the tour was at a Jazz Festival in Calgary. Cranbrook was the stop before the Kaslo Jazz Festival and then all points West down to the coast. With the exception of Cranbook the group played to sold out crowds. As usual Melody surrounded herself with a group of first class musicians that included Tony Ferraro on drums, Doug Stephenson on guitar, Mike Spielman on bass, ClintonSwanson on saxes and the Edmontonian Chris Andrew on keyboards. True to her promise of “getting back to the grove” she kicked off the evening with ZZ Top’s Sharp Dressed Man and an her own original Get Back to the Grove. What I like about the Stage Door as a venue is the opportunity to really hear the music. There are no impaired sight lines, no idle chatter or bar room clatter. It’s just about the music, the musicians and the the audience. The little nuances that might be easily passed over in other environs are there to be appreciated. When Melody picked up the shakers and beat out a groove Tony was right there behind her doubling the rhythm on his snare. The resulting pulse was mesmerizing. When Clinton Swanson rolled off the end of a solo guitarist Doug Stephenson was right there to pick it up and extend the melodic line that Clinton was exploring. And so on. The evening just rolled on with magical vocals and sparkling solos. Here are some more images from the evening:
Tucked away in a little strip Mall in the old Big Picture electronics store in Cranbrook is Auntie Barb’s Bakery. It is the brain child of Barb Smythe and Todd DeBoice and it operates as a Bakery and Bistro that also caters to Banquets. The establishment does have another life. At the back of the main room is a professional stage and performing area complete with a black backdrop and professional stage lighting. For musical aficionado Tod DeBoice it is dream come true. He now has an opportunity to hear and support musicians of his choice in an environment that will show case their talents to the best advantage. A couple of bands slipped into town without my knowledge and performed in this new Cranbrook musical venue. However, I stumbled on a poster in the local library advertising the venue. The names on the poster, MichaelOcchipinti,Tony Ferrero and Felix Pastorius immediately caught my eye. Michael is multiple Juno nominee and top of the pile guitarist from Toronto. I have no hesitation in suggesting that Michael is the most “over the top” talented guitarist in Canada. Over the past year or so he has performed several times in the area including a tour with the outstanding Italian vocalist Pilar. Tony Ferraro, as I mentioned above is the “go to drummer” in the Kootenays. Although I didn’t immediately realize it at the time Felix Pastorius is the son of the late great bass player Jaco Pastorius. The leader of the band Lester McLean (vocals, guitar and alto sax) was an unknown to me but given the company he was keeping my expectations were pretty high.
Wednesday, August 22, 2018, 7:30pm – Lester McLean Soul / Funk Band featuring Michael Occhipinti at Auntie Barb’s Bakery.
At the opening of the show Michael Occhipinti warned me that this wasn’t going to be a jazz performance. After it was over I begged to differ. It may have been masquerading as Soul and Funk but it was all jazz to me. Of course there were the Stevie Wonder, James Brown and Arethra Franklin hits and a sprinkling of Classic Rock (Drift Away and Harvest Moon). On a blues shuffle Michael Occhipinti did some romping around with his guitar set to an organ effect that made you look for the keyboard that wasn’t there. Lester played some searing alto sax solos and the giant in the back (Felix) played some blistering solos and backups on his Vinny Fodera six string bass. At one stage he was trading riffs with Michael that were over the top brilliant. This was an outstanding night of music.
New York may have The Blue Note and the Village Vanguard but Cranbrook has Auntie Barb’s Bakery. What more could we want.
Normally, for a number of reasons, I have an a distaste for child performers. At best they are circus performers verging on the freakish. At worst I think they are possibly children who have been deprived of their childhood by driven parents, care takers and teachers. It also pops into my mind; How is it even possible for a youthful performer to be able to develop the strength, stamina, muscle memory and mature musicality and perform at an adult level? Then there is the other question of intimidation. If a child can do it why can’t I? So when I saw a positive review of a recording by the pianist Joey Alexander I was intrigued. At first glance I thought here is another new (adult) pianist on the scene who had escaped my attention. Then in the review I noticed he was only 13 years old. Is that possible? I was intrigued. I decided to check out YouTube for his performances. I was immediately gob smacked astounded and completely blown away. This was not some circus performance. It was the work of a mature musician with a bucket load of technique and musicality. Joey Alexander, is an Indonesian jazz pianist who learned about jazz by listening to classic albums his father gave him. By age six, he had taught himself to play piano using a miniature, electric keyboard his father brought home for him, learning by ear compositions such as Thelonous Monk’s Well You Needn’t and other songs from his father’s jazz collection. Here is his version of Herbie Hancock’s Maiden Voyage and Duke Ellington’s In a Sentimental Mood – both are classics in the Jazz repertoire. Note the length of his fingers.
Of course Chris Potter is no novice. His work here on Soprano Sax and Bass clarinet are just hints of the high standard of his many performances. I get a kick out of Chris’ expressions on In a Sentimental Mood when he steps aside to check out Joey’s playing. Here is Joey with performances of My Favourite Things and John Coltrane’s Giant Steps.
While it is unusual for some one of his age to be able to perform at this level Jazz has always been blessed with a number of young performers, usually in their late teens, who have won international acclaim and gone onto long and fruitful adult careers. Some musicians in that category that come to mind are the vibes player Garry Burton, trumpeter Lee Morgan, guitarist Pat Methney, pianist Oscar Peterson and bassist Christian McBride. I’m sure there are many others. For the final video clip here is Joey at age 7 performing Caravan.
It just isn’t right, fair or even natural but there it is.
At a concert during the the last European tour of the Miles Davis / John Coltrane Quintet in 1960 a lady in one audience stood up during a John Coltrane solo and pleaded “please make him stop”. I am sure that would be the reaction of most audiences to the music of Cecil Taylor. Even in Jazz circles Cecil Percival Taylor (March 25, 1929 – April 5, 2018) is not exactly a household name. He was a classically trained American pianist and poet and is generally acknowledged as one of the pioneers of the Free Jazz movement. His music is characterized by an extremely energetic, physical approach, resulting in complex improvised sounds that frequently involve tone clusters and polyrhythms. His piano technique has been likened to percussion – referring to the number of keys on a standard piano as “eighty eight tuned drums”. He has also been described as like “Art Tatum with contemporary classical leaning”. The Canadian classical pianist Glenn Gould has been reported as saying “Cecil Taylor is the future of piano music”. It is an interesting comment from a musician who is famous for his precise interpretations of the music of Bach. Taylor is from the opposite end of the musical spectrum. Gould’s interpretations are architectual musical masterpieces while Taylor’s musical musings are more like splashes of molten lava.
Taylor is outside the orderly progression of jazz piano styles of the past century. The normal historical flow of American piano music goes back to the almost classical formalism of Louis Moreau Gottschalk, Scott Joplin, Jelly Roll Morton, and then onto the improvisational styles of James P. Johnson, Earl Hines, “Fats” Waller, Teddy Wilson, Art Tatum, Nat ‘King” Cole and then the moderns – Bud Powell, Oscar Peterson, Bill Evans, Herbie Hancock, Keith Jarrett etc. Taylor stands way outside that tradition. The only pianist that might claim some connection is the Thelonious Monk and he is better known and appreciated as a composer. Like Monk Taylor’s public appearances were performances in the true meaning of the word – music, poetry, dance. At the center of his art was the dazzling physicality and the percussiveness of his playing — his deep, serene, Ellingtonian chords and hummingbird attacks above middle C — which held true well into his 80s. Classically trained, he valued European music for what he called its qualities of “construction” — form, timbre, tone color — and incorporated them into his own aesthetic. “I am not afraid of European influences,” he told the critic Nat Hentoff. “The point is to use them, as Ellington did, as part of my life as an American Negro.” In a long assessment of Mr. Taylor’s work — one of the first — from “Four Lives in the Bebop Business,” a collection of essays on jazz musicians published in 1966, the poet and critic A. B. Spellman wrote: “There is only one musician who has, by general agreement even among those who have disliked his music, been able to incorporate all that he wants to take from classical and modern Western composition into his own distinctly individual kind of blues without in the least compromising those blues, and that is Cecil Taylor, a kind of Bartok in reverse.” Because his fully formed work was not folkish or pop-oriented, did not swing consistently (often it did not swing at all) and never entered the consensual jazz repertoire, Mr. Taylor could be understood to occupy an isolated place. Even after he was rewarded and lionized his music has not been easy to quantify. If improvisation means using intuition and risk in the present moment, there have been few musicians who took that challenge more seriously than Mr. Taylor. If one of his phrases seemed of paramount importance, another such phrase generally arrived right behind it. The range of expression in his keyboard touch encompassed caresses, rumbles and crashes. – (excepts from Wikipedia).
Taylor may not have had a big following but he was not without honors during his lifetime. Even after he was rewarded and lionized — he was given a Guggenheim fellowship in 1973, a National Endowment for the Arts Jazz Masters award in 1990, a MacArthur fellowship in 1991 and the Kyoto Prize in 2014 — his music was not easy to quantify nor did it have a great following. There was no academy for what Cecil Taylor did, and partly for that reason he became one himself, teaching for stretches in the 1970s at the University of Wisconsin, Madison, and at Antioch College in Ohio. (He was given an honorary doctorate by the New England Conservatory in 1977.) Not until the mid-1970s, Mr. Lyons told the writer John Litweiler, did TheCecil Taylor Unit have enough work so that member musicians could make a living from it — mostly in Europe. Although classically trained his comment on written music bears repeating – “When you think about musicians who are reading music,” he said in “All the Notes,” a 1993 documentary directed by Chris Felver, “my contention has always been: The energy that you’re using deciphering what the symbol is, is taking away from the maximum creative energy that you might have had if you understood that it’s but a symbol.” (excepts from Wikipedia). I agree with the comment but most of us mere mortals have to start somewhere and once the music is under your belt then perhaps the written symbols should be discarded.
In some ways he reminds me of Frank Zappa. Frank was a “rock” musician who was very distinctly outside the traditions of Rock and Roll. Just try and jam along with a Frank Zappa recording and I think you will get my meaning.