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Birdland All Stars in Europe LIVE Miles Davis, Lester Young, Bud Powell, René Urtreger – Nov 7, 1956 Hamburg
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November 7, 1956 Festhalle A, Planten & Blomen, Hamburg, the former West Germany
Miles Davis- trumpet (2, 4) Lester Young- tenor saxophone (3, 4) with the René Urtreger Trio (1, 2, 3, 4): René Urtreger- piano Pierre Michelot- bass Christian Garros- drums and Bud Powell- piano (5)
René Urtreger Trio: El Sino (G. Ammons) -1 0:00 Miles Davis with the René Urtreger Trio: Tune Up (M. Davis) -2 3:20 Miles Davis with the René Urtreger Trio: Four (M. Davis) -2 6:19 Miles Davis with the René Urtreger Trio: Yesterdays (J. Kern-O. Harbach) -2 9:57
Miles Davis with the René Urtreger Trio: Walkin’ (R. Carpenter) -2 13:58 Lester Young with the René Urtreger Trio: Three Little Words (H. Ruby-B. Kalmar) -3 16:49 Miles Davis and Lester Young with the René Urtreger Trio: Lady Be Good (G. Gershwin-I. Gershwin) -4 22:14
Bud Powell: Autumn in New York (V. Duke) -5 28:29 Bud Powell: I Want to Be Happy (V. Youmans-I. Caesar) -5 31:01 Lester Young with the René Urtreger Trio: Jumpin’ with Symphony Sid (L. Young) -3 33:43
Lester Young with the René Urtreger Trio: Polka Dots and Moonbeams (J. Burke-J. Van Heusen) -3 35:48 Lester Young with the René Urtreger Trio: Lester Leaps In [incomplete] (L. Young) -3 39:40
The song was introduced in a Soundie short film. These three-minute features, produced to be shown on a jukebox-type player, illustrated the band miming to a pre-recorded performance. Entitled “Jam Session” the Soundie was filmed late in 1941 along with four other Ellington numbers. Duke introduces various band members, who then solo: Ray Nance (violin), Ben Webster (tenor sax), Rex Stewart (cornet), Joe “Tricky Sam” Nanton (trombone), and Sonny Greer (drums). The complete ensemble carries the tune to its finish with composer Bigard (clarinet) providing some improvised upper register piping.
“C Jam Blues” was formally recorded under that title in January, 1942, for RCA Victor Records. It continued be a staple of the Ellington repertoire, generally featuring a handful of the soloists in the band.
As the title suggests, the piece follows a twelve-bar blues form in the key of C major. The tune is well known for being extremely easy to play, with the entire melody featuring only two notes: G and C.
A performance typically features several improvised solos. The melody likely originated from the clarinetist Barney Bigard in 1941, but its origin is not perfectly clear.
It was also known as “Duke’s Place“, with lyrics added by Bill Katts, Bob Thiele and Ruth Roberts.
Ellington’s black and white film was produced in 1942. The video depicts a jam session where Ellington begins playing with a double bass before gradually being joined by other members of his band, among them drummer Sonny Greer and trumpeter Rex Stewart. The film title is Jam Session.
“Basically a vehicle for jazz instrumentalists to display their improvisational skills, it is one of those pieces that is far more enjoyable for the player than the listener.”
– K. J. McElrath
Oscar Emmanuel Peterson, (August 15, 1925 – December 23, 2007) was a Canadian jazz pianist, virtuoso and composer. He was called the “Maharaja of the keyboard” by Duke Ellington, simply “O.P.” by his friends, and informally in the jazz community as “the King of inside swing”. He released over 200 recordings, won seven Grammy Awards, as well as a lifetime achievement award from the Recording Academy, and received numerous other awards and honors. Oscar Peterson is considered one of history’s great jazz pianists, and played thousands of concerts worldwide in a career lasting more than 60 years.
This video features Nina Simone (vocals, piano) delivering an intense emotional performance at the legendary Ronnie Scott’s in Soho, London on November 17, 1985. Simone is considered to be one of the most diverse singers of the 20th century, recording material in multiple genres including soul, jazz, pop, blues, gospel, and Broadway.
Most often labeled a “soul” singer due to her emotional performing tendencies, Simone is an eclectic musician, who adds a soulful mystique to whatever material she interprets. This brilliant performance at Ronnie Scott’s is testament to this fact.
Ronnie Scott’s opened in 1959 to provide a place where British Jazz musicians could jam. Eventually, American music musicians such as Johnny Griffin, Roland Kirk, Al Cohn, Stan Getz, Sony Stitt, Benny Golson, Donald Byrd, and Ben Webster played at the club making it the legendary Jazz club it is today. Today, the club still books the greatest Jazz acts in the world, but also plays host to such diverse musicians as the talented Nina Simone.
1 God God God
2 Just In Time
3 Let It Be Me
4 The Other Woman
5 I Got Life
6 If You Only Knew
7 Young Gifted And Black
8 Moon Over Alabama / Mississippi Goddam
9 Because / My Father’s Dream
10 Let No One Deceive You
11 American Pie
12 Just To Know That I’m Alive
Eunice Kathleen Waymon (February 21, 1933 – April 21, 2003), known professionally as Nina Simone, was an American singer, songwriter, musician, arranger, and civil rights activist. Her music spanned a broad range of musical styles including classical, jazz, blues, folk, R&B, gospel, and pop.
To make a living, Simone started playing piano at a nightclub in Atlantic City. She changed her name to “Nina Simone” to disguise herself from family members, having chosen to play “the devil’s music” or so-called “cocktail piano”. She was told in the nightclub that she would have to sing to her own accompaniment, which effectively launched her career as a jazz vocalist. She went on to record more than 40 albums between 1958 and 1974, making her debut with Little Girl Blue. She had a hit single in the United States in 1958 with “I Loves You, Porgy“. Her musical style fused gospel and pop with classical music, in particular Johann Sebastian Bach, and accompanied expressive, jazz-like singing in her contralto voice.
Two days before her death, Simone learned she would be awarded an honorary degree by the Curtis Institute of Music, the music school that had refused to admit her as a student at the beginning of her career.
Billie Holiday was one of the most influential jazz singers of all time. She had a thriving career for many years before she lost her battle with addiction.
Who Was Billie Holiday?
Billie Holiday is considered one of the best jazz vocalists of all time, Holiday had a thriving career as a jazz singer for many years before she lost her battle with substance abuse. Also known as Lady Day, her autobiography was made into the 1972 film Lady Sings the Blues. In 2000, Holiday was inducted into the Rock and Roll Hall of Fame.
Holiday was born Eleanora Fagan on April 7, 1915, in Philadelphia, Pennsylvania. (Some sources say her birthplace was Baltimore, Maryland, and her birth certificate reportedly reads “Elinore Harris.”)
Holiday spent much of her childhood in Baltimore, Maryland. Her mother, Sadie, was only a teenager when she had her. Her father is widely believed to be Clarence Holiday, who eventually became a successful jazz musician, playing with the likes of Fletcher Henderson.
Unfortunately for Holiday, her father was an infrequent visitor in her life growing up. Sadie married Philip Gough in 1920 and for a few years, Holiday had a somewhat stable home life. But that marriage ended a few years later, leaving Holiday and Sadie to struggle along on their own again. Sometimes Holiday was left in the care of other people.
Holiday started skipping school, and she and her mother went to court over Holiday’s truancy. She was then sent to the House of Good Shepherd, a facility for troubled African American girls, in January 1925.
Only 9 years old at the time, Holiday was one of the youngest girls there. She was returned to her mother’s care in August of that year. According to Donald Clarke’s biography, Billie Holiday: Wishing on the Moon, she returned there in 1926 after she had been sexually assaulted.
In her difficult early life, Holiday found solace in music, singing along to the records of Bessie Smith and Louis Armstrong. She followed her mother, who had moved to New York City in the late 1920s, and worked in a house of prostitution in Harlem for a time.
Around 1930, Holiday began singing in local clubs and renamed herself “Billie” after the film star Billie Dove.
Billie Holiday Songs
At the age of 18, Holiday was discovered by producer John Hammond while she was performing in a Harlem jazz club. Hammond was instrumental in getting Holiday recording work with an up-and-coming clarinetist and bandleader Benny Goodman.
With Goodman, she sang vocals for several tracks, including her first commercial release “Your Mother’s Son-In-Law” and the 1934 top ten hit “Riffin’ the Scotch.”
Known for her distinctive phrasing and expressive, sometimes melancholy voice, Holiday went on to record with jazz pianist Teddy Wilson and others in 1935.
She made several singles, including “What a Little Moonlight Can Do” and “Miss Brown to You.” That same year, Holiday appeared with Duke Ellington in the film Symphony in Black.
Around this time, Holiday met and befriended saxophonist Lester Young, who was part of Count Basie‘s orchestra on and off for years. He even lived with Holiday and her mother Sadie for a while.
Young gave Holiday the nickname “Lady Day” in 1937—the same year she joined Basie’s band. In return, she called him “Prez,” which was her way of saying that she thought it was the greatest.
Holiday toured with the Count Basie Orchestra in 1937. The following year, she worked with Artie Shaw and his orchestra. Holiday broke new ground with Shaw, becoming one of the first female African American vocalists to work with a white orchestra.
Promoters, however, objected to Holiday—for her race and for her unique vocal style—and she ended up leaving the orchestra out of frustration.
Striking out on her own, Holiday performed at New York’s Café Society. She developed some of her trademark stage persona there—wearing gardenias in her hair and singing with her head tilted back.
During this engagement, Holiday also debuted two of her most famous songs, “God Bless the Child” and “Strange Fruit.” Columbia, her record company at the time, was not interested in “Strange Fruit,” which was a powerful story about the lynching of African Americans in the South.
Holiday recorded the song with the Commodore label instead. “Strange Fruit” is considered to be one of her signature ballads, and the controversy that surrounded it—some radio stations banned the record—helped make it a hit.
Over the years, Holiday sang many songs of stormy relationships, including “T’ain’t Nobody’s Business If I Do” and “My Man.” These songs reflected her personal romances, which were often destructive and abusive.
Strange Fruit Lyrics
Southern trees bear a strange fruit Blood on the leaves and blood at the root Black bodies swingin’ in the Southern breeze Strange fruit hangin’ from the poplar treesPastoral scene of the gallant South The bulgin’ eyes and the twisted mouth Scent of magnolias sweet and fresh Then the sudden smell of burnin’ fleshHere is a fruit for the crows to pluck For the rain to gather For the wind to suck For the sun to rot For the tree to drop Here is a strange and bitter crop
Composer: Lewis Allan
Holiday married James Monroe in 1941. Already known to drink, Holiday picked up her new husband’s habit of smoking opium. The marriage didn’t last—they later divorced—but Holiday’s problems with substance abuse continued.
That same year, Holiday had a hit with “God Bless the Child.” She later signed with Decca Records in 1944 and scored an R&B hit the next year with “Lover Man.”
Her boyfriend at the time was trumpeter Joe Guy, and with him she started using heroin. After the death of her mother in October 1945, Holiday began drinking more heavily and escalated her drug use to ease her grief.
Despite her personal problems, Holiday remained a major star in the jazz world—and even in popular music as well. She appeared with her idol Louis Armstrong in the 1947 film New Orleans, albeit playing the role of a maid.
Unfortunately, Holiday’s drug use caused her a great professional setback that same year. She was arrested and convicted for narcotics possession in 1947. Sentenced to one year and a day of jail time, Holiday went to a federal rehabilitation facility in Alderston, West Virginia.
Released the following year, Holiday faced new challenges. Because of her conviction, she was unable to get the necessary license to play in cabarets and clubs. Holiday, however, could still perform at concert halls and had a sold-out show at the Carnegie Hall not long after her release.
With some help from John Levy, a New York club owner, Holiday was later to get to play in New York’s Club Ebony. Levy became her boyfriend and manager by the end of the 1940s, joining the ranks of the men who took advantage of Holiday.
Also around this time, she was again arrested for narcotics, but she was acquitted of the charges.
While her hard living was taking a toll on her voice, Holiday continued to tour and record in the 1950s. She began recording for Norman Granz, the owner of several small jazz labels, in 1952. Two years later, Holiday had a hugely successful tour of Europe.
Holiday also caught the public’s attention by sharing her life story with the world in 1956. Her autobiography, Lady Sings the Blues (1956), was written in collaboration by William Dufty.
Some of the material in the book, however, must be taken with a grain of salt. Holiday was in rough shape when she worked with Dufty on the project, and she claimed to have never read the book after it was finished.
Around this time, Holiday became involved with Louis McKay. The two were arrested for narcotics in 1956, and they married in Mexico the following year. Like many other men in her life, McKay used Holiday’s name and money to advance himself.
Despite all of the trouble she had been experiencing with her voice, she managed to give an impressive performance on the television broadcast The Sound of Jazz with Ben Webster, Lester Young and Coleman Hawkins.
After years of lackluster recordings and record sales, Holiday recorded Lady in Satin (1958) with the Ray Ellis Orchestra for Columbia. The album’s songs showcased her rougher sounding voice, which still could convey great emotional intensity.
Death and Legacy
Holiday gave her final performance in New York City on May 25, 1959. Not long after this event, Holiday was admitted to the hospital for heart and liver problems.
She was so addicted to heroin that she was even arrested for possession while in the hospital. On July 17, 1959, Holiday died from alcohol- and drug-related complications.
More than 3,000 people turned out to say good-bye to Lady Day at her funeral held in St. Paul the Apostle Roman Catholic Church on July 21, 1959. A who’s who of the jazz world attended the solemn occasion, including Goodman, Gene Krupa, Tony Scott, Buddy Rogers and John Hammond.
Considered one of the best jazz vocalists of all time, Holiday has been an influence on many other performers who have followed in her footsteps.
Her autobiography was made into the 1972 film Lady Sings the Blues with famed singer Diana Ross playing the part of Holiday, which helped renew interest in Holiday’s recordings.
In 2000, Holiday was inducted into the Rock and Roll Hall of Fame with Ross handling the honors.
On March 19, 1965, the Bill Evans Trio stopped by the BBC studios in London to play a pair of sets on Jazz 625, the now-legendary program hosted by the British trumpeter Humphrey Lyttelton. The combo–which featured Evans on piano, Chuck Israels on bass and Larry Bunker on drums–played two sets, including most of the songs from their just-completed album, Trio ’65.
The two 35-minute programs (shown consecutively in the video above) take us back in time to see and hear one of the most brilliant and influential jazz pianists of all time, at work in a tightly integrated trio.
Keith Jarrett Trio concert Live in Japan, July 25, 1993 at Open Theater East (Tokyo) remastered by https://sheetmusiclibrary.website/
JACK DEJOHNETTE LIVE IN JAPAN, 1993
Open Theater East, TOKYO
1 Introduction (Public Domain) 01:57 2 In Your Own Sweet Way (Dave Brubeck) 12:30 3 Butch And Butch (Oliver Nelson) 07:34 4 Basin Street Blues (Spencer Williams) 07:03 5 Solar – Extension (Keith Jarrett, Miles Davis) 26:06 6 If I Were A Bell (Frank Loesser) 14:48 7 I Fall In Love Too Easily (Jule Styne) 10:10 8 Oleo (Sonny Rollins) 08:55 9 Bye Bye Blackbird (Ray Henderson) 09:32 10 The Cure (Keith Jarrett) 07:58 11 I Thought About You (Jimmy Van Heusen)
Keith Jarrett piano Gary Peacock double-bass Jack DeJohnette drums
Recorded live in Tokyo, July 25, 1993 at Open Theater East Director: Kaname Kawachi Recorded by Toshio Yamanaka Produced by Yasuhiko Sato Executive producers: Hisao Ebine and Toshinari Koinuma
It’s one thing to hear, but quite another to see, the Keith Jarrett Trio in action. For those unable to do so in a live setting, this two-DVD release is the next best thing. Like the Standards I/II set that precedes it, this one was recorded in Tokyo, but puts about a decade between those first Japan performances.
A 1993 gig at Open Theater East takes place in the heart of a sweltering summer. The air shines both with the music and with the rain that forces a large and dedicated audience to listen from beneath ponchos, and the musicians to play from beneath a clear canopy. The video quality is much finer this time around, and despite a rocky start born of technical issues and the weather, captures one of the trio’s finest sets available on any medium.
What separates this concert from the others available on DVD is the openness of the band’s aura. Jarrett more than ever plays for his appreciative listeners because he understands the bond into which nature has pushed them. Perhaps it’s no coincidence that Jarrett’s The Köln Concert also famously began in the least ideal of conditions. Clearly, the pressure set him on an unprecedented creative path. And so, even as the trio struggles to feel out the climate in Dave Brubeck’s “In Your Own Sweet Way” (throughout which Jarrett must often wipe down the keyboard with a towel), all while latecomers snake to their seats, we can feel the groove emerging one muscle at a time. After the worldly touches of “Butch And Butch” and “Basin Street Blues,” we know that things have been set right.
Whereas in the previous Japan documents Peacock proved himself the man of the hour (although, to be sure, the breadth of his architectures in “If I Were A Bell” and “I Fall In Love Too Easily” are as masterful as they come), it’s DeJohnette who produces the deepest hues of this rainbow. His sticks make evergreens like Sonny Rollins’s “Oleo” that much greener, and turn a 26-minute rendition of Miles Davis’s “Solar,” combined with Jarrett’s “Extension,” into a downright sacred space.
As with the 1986 concert on Standards I/II, the trio ends on three encores: “Bye Bye Blackbird,” Jarrett’s “The Cure,” and “I Thought About You.” In all of this one can sense a quiet storm of commitment to the music that flows from within. Melodies breathe, reborn, requiring open hearts to know their graces.
Jarrett started his career with Art Blakey, moving on to play with Charles Lloyd and Miles Davis. Since the early 1970s he has enjoyed a great deal of success as a group leader and a solo performer in jazz, jazz fusion, and classical music. His improvisations draw from the traditions of jazz and other genres, especially Western classical music, gospel, blues, and ethnic folk music.
Franz Schubert – Trout Quintet & Variations on Trockne Blumen & Piano Trio. Martin Helmchen, Christian Tetzlaff, Antoine Tamestit, Marie-Elisabeth Hecker, Alois Posch, Aldo Baerten. PENTATONE PTC 5186334 (2009).
1:39 The Night We Called It A Day (Matt Dennis/Tom Adair – 1941) 8:58 I Love You (Cole Porter – 1944) 14:17 Things Ain’t What They Used To Be (Mercer Ellington/Ted Persons – 1942) 23:21 Sound (Keith Jarrett) 31:18 I Loves You, Porgy (George & Ira Gershwin – 1935) 36:54 There Is No Greater Love ( Isham Jones & Marty Symes – 1936) 43:23 Round About Midnight (Thelonious Monk – 1944)
50:38 Solar (Miles Davis – 1946) 58:28 Keith plays with the towel and makes the audience laugh (he’s so cute!!!) 59:13 Then I’ll Be Tired Of You (Arthur Schwartz/Edgar Yipsel “Yip” Harburg – 1934) 1:07:18 Sweet And Lovely” (Harry Tobias/Charles N. Daniels aka Moret or Lemare – 1931) 1:11:50 The Wind (Russell Donald Freeman/JerryGladstone – 1953)
1:21:37 Do Nothing Till You Hear From Me (Duke Ellington/Bob Russell – 1940) 1:30:15 I Got It Bad And That Ain’t Good” (Duke Ellington/Paul Francis Webster -1941) 1:35:16 Summertime (George Gershwin/DuBose Heyward – 1934)
0:00 Galuppi – Sonata No. 5 in C major 4:17 Bach – Toccata in C minor BWV 911 14:20 Chopin – Mazurka in A minor Op. 67 No. 4 16:15 Brahms – Intermezzo in E minor, Op. 119 No. 2 20:04 Chopin – Mazurka in C sharp minor Op. 30 No. 4 23:18 Brahms – Intermezzo in C sharp minor, Op. 117 No. 3 28:36 Chopin – Mazurka in B minor Op. 33 No. 4 32:13 Brahms – Romance in F major Op. 118 No. 5 37:02 Ravel – Une Barque sur L’Ocean from Miroirs 43:48 Scriabin – Piano Sonata No. 4 in F sharp major, Op. 30
Encore : 52:42 Bizet/Horowitz – Variations on a Theme from Carmen
Live on 5 February 2020 Palm Beach, FL Breakers Palm Beach