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“Just Friends” is a popular song that has become a jazz standard. The song was written in 1931 by John Klenner with lyrics by Sam M. Lewis. Although introduced by Red McKenzie and His Orchestra in October 1931, it first became a hit when singer Russ Columbo performed it with Leonard Joy’s Orchestra in 1932. It charted again the same year in a version by Ben Selvin and His Orchestra and has been recorded often since. The sheet music is availabe in our Library.
Lang Lang: “Number One” was a phrase my father—and, for that matter, my mother—repeated time and time again. It was a phrase spoken by my parents’ friends and by their friends’ children. Whenever adults discussed the great Chinese painters and sculptors from the ancient dynasties, there was always a single artist named as Number One. There was the Number One leader of a manufacturing plant, the Number One worker, the Number One scientist, the Number One car mechanic. In the culture of my childhood, being best was everything.
It was the goal that drove us, the motivation that gave life meaning. And if, by chance or fate or the blessings of the generous universe, you were a child in whom talent was evident, Number One became your mantra. It became mine. I never begged my parents to take off the pressure. I accepted it; I even enjoyed it. It was a game, this contest among aspiring pianists, and although I may have been shy, I was bold, even at age five, when faced with a field of rivals.
Born in China to parents whose musical careers were interrupted by the Cultural Revolution, Lang Lang has emerged as one of the greatest pianists of our time. Yet despite his fame, few in the West know of the heart-wrenching journey from his early childhood as a prodigy in an industrial city in northern China to his difficult years in Beijing to his success today.
Journey of a Thousand Miles documents the remarkable, dramatic story of a family who sacrificed almost everything—his parents’ marriage, financial security, Lang Lang’s childhood, and their reputation in China’s insular classical music world—for the belief in a young boy’s talent. And it reveals the devastating and intense relationship between a boy and his father, who was willing to go to any length to make his son a star.
An engaging, informative cultural commentator who bridges East and West, Lang Lang has written more than an autobiography: his book opens a door to China, where Lang Lang is a cultural icon, at a time when the world’s attention will be on Beijing. Written with David Ritz, the coauthor of many bestselling autobiographies, Journey of a Thousand Miles is an inspiring story that will give readers an appreciation for the courage and sacrifice it takes to achieve greatness.
Fans all over the world are in awe of the Chinese pianist Lang Lang’s magnificent talent and won over by his immense charm. The excitement his performances evoke is well documented in the legions of reviews and profiles about him. What is less known, however, is the heart-wrenching story of his journey from a young prodigy in an industrial city in northern China to one of the greatest pianists of our time.
Journey of a Thousand Miles documents the remarkable story of a boy and his father who sacrificed almost everything–family, financial security, Lang Lang’s childhood, and their reputation in China’s insular classical music world–for the belief in a young boy’s talent.
An engaging, informative cultural commentator who bridges east and west, Lang Lang has written more than an autobiography; his story opens a door to Chinese culture at a time when the world’s attention will be on Beijing. Written with David Ritz, the coauthor of many bestselling autobiographies, Journey of a Thousand Miles is an inspiring story that will give readers new insight into China and classical music, and appreciation for the courage and sacrifice it takes to achieve artistic greatness.
The 25-year-old Chinese piano prodigy chronicles his coming of age.
00:00 St. Louis Blues 08:20 Koto Song 14:22 Three To Get Ready 18:39 In Your Own Sweet Way 24:47 Take Five
Jazz Icons: Dave Brubeck boasts two beautifully filmed concerts from one of the most beloved quartets in jazz history.
Captured at the pinnacle of their power and popularity, Paul Desmond (alto sax), Joe Morello (drums), Eugene Wright (bass) and Dave Brubeck (piano) explore the trails they blazed into the realm of odd time signatures and two versions of their groundbreaking hit Take Five, as well as forays into world music with two unique interpretations of Koto Song.
Their intimate onstage chemistry and impeccable musicianship made the DBQ an award-winning jazz supergroup.
The Dave Brubeck Quartet est un quartet de jazz fondé en 1951 par Dave Brubeck, incluant Brubeck au piano et Paul Desmond au saxophone. Il est l’auteur des standards Take Five et Blue Rondo a la Turk.
Tout au long de son existence, la formation connaîtra de nombreux changements de configuration ; parmi les musiciens ayant joué dans le groupe :
Joe Morello et Alan Dawson (batterie),
Eugene Wright (contrebasse),
Gerry Mulligan (saxophone baryton),
Bobby Militello (saxophones alto et ténor, flûte)
Willie Smith (clarinette).
Le quartet contribua à élargir le public du jazz et à lutter pour l’intégration raciale, grâce à la présence du contrebassiste noir Eugene Wright.
Discographie partielle
Jazz at the College of the Pacific (1953) Fantasy Records
Jazz at Oberlin (1953) Fantasy Records
Jazz Goes to College (en) (1954) Columbia Records
Time Out (1959) Columbia Records/Legacy
Time Further Out (1961) Columbia Records/Legacy
Countdown Time in Outer Space (1962) Columbia Records
"Brubeck in Amsterdam" (1962) Columbia Records
Brandenburg Gate: Revisited (1963) Columbia Records
Jazz Impressions of Japan (1964) Columbia Records/Legacy
DBQ In Berlin (1964) Columbia Records
Time changes (1964) Columbia Records
Dave Brubeck's Greatest Hits (1966) Columbia Records/Legacy
Time In (1966) Columbia Records
Jackpot (1966, live in Las Vegas) Columbia Records
Adventures in Time (1968) Columbia Records
DBQ 25th Anniversary Reunion (1976) A&M Records
The Dave Brubeck Quartet at Carnegie Hall (2001) Columbia Records
The Absolutely Essential (2010) Big3 Records - Coffret 3 CD
The Columbia Years (2014) Not Now Music
Time OutTakes (2020) Brubeck Editions
The Dave Brubeck Quartet war ein Jazz-Quartett, das 1951 von Dave Brubeck am Piano zusammen mit Paul Desmond am Saxophon gegründet wurde. Sie spielten lange Zeit im Blackhawk Club in San Francisco und erfuhren eine große Bekanntheit durch Alben wie Jazz at Oberlin, Jazz Goes to College, und Jazz Goes to Junior College.
The Dave Brubeck Quartet fue un cuarteto de jazz, fundado en 1951 por Dave Brubeck e integrado originalmente por Paul Desmond con el saxo y Brubeck al piano.1 Comenzaron con una larga serie de presentaciones en el pub Blackhawk, en San Francisco, y adquirieron notoriedad haciendo giras por campus universitarios y lanzando una serie de álbumes con títulos como Jazz at Oberlin, Jazz Goes to College y Jazz Goes to Junior College.
En 1958, luego de probar algunos contrabajistas y algunos bateristas, quedaría finalmente formado el “Cuarteto Clásico” — llamado así porque mantuvo prácticamente la misma formación hasta su disolución. Sus integrantes eran Brubeck, Desmond, Joe Morello en la batería y Eugene Wright en el bajo.
En 1959, el Dave Brubeck Quartet lanzó Time Out, un álbum que generó entusiasmo en su productora, aunque esta mantuviese reservas respecto a su lanzamiento. El álbum comprendía composiciones originales y casi ninguno de los temas tenía una métrica simple. Con estos ritmos musicales irregulares e inusuales (el disco incluía “Take Five”, “Blue Rondo à la Turk” y “Pick Up Sticks”), alcanzó rápidamente un alto número ventas y la categoría de disco de platino en su país.
El cuarteto dio continuidad a este éxito con un gran número de nuevos discos dentro de la misma línea musical, incluyendo Time Further Out (1961), Countdown: Time in Outer Space, Time Changes y Time In. Estos discos también obtuvieron reconocimimento por adoptar pinturas contemporáneas famosas para su presentación estética de tapa, incluyendo trabajos de Neil Fujita en Time Out, de Joan Miró en Time Further Out, de Franz Kline en Time in Outer Space y de Sam Francis en Time Changes.
En la tapa de otros discos, como Time In, no se usó una obra de arte. Un momento importante en la exitosa carrera del cuarteto fue su disco en vivo de 1963, At Carnegie Hall, descrito por el crítico Richard Palmer como “posiblemente el mejor concierto de Dave Brubeck”.
La formación “clásica” del Dave Brubeck Quartet se desmanteló en 1967, habiéndose reunido nuevamente tan solo para su 25º aniversario en 1976. Brubeck formó un nuevo cuarteto en 1968.
En 2009, el Dave Brubeck Quartet continúa realizando giras internacionales e interpretando éxitos de la época del Cuarteto clásico, como también material nuevo.
Il The Dave Brubeck Quartet è stato un gruppo musicale jazz, fondato dal pianista Dave Brubeck nel 1951.
Ottenne un grosso successo di pubblico con l’album Time Out del 1959 trainato dal brano Take Five.
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The incomparable Joe Pass plays the finest chord melody jazz guitar here before accompanying the equally gifted Ella Fitzgerald at an intimate concert in Hannover, Germany. There’s nothing finer to be found in the world of music. One voice and one guitar tells the whole story of harmonic and melodic truth. Sublime.
Tracks
00:50 Laura 04:25 Wave (Vou te contar) 09:50 My Funny Valentine 14:05 You Stepped Out Of A Dream 18:57 You Turned The Tables On Me 23:33 Darn That Dream 27:19 Ella and Joe 27:33 You Turned The Tables On Me 31:50 Cry Me A River 37:34 Nature Boy 39:48 Nature Boy (2nd) 41:32 You Are The Sunshine Of My Life 47:40 Avalon 51:53 Stormy Weather 57:09 One Note Samba 01:03:20 The One I Love (Belongs To Somebody Else) 01:07:20 How High The Moon
Joe Pass
Joe Pass (born Joseph Anthony Jacobi Passalaqua; January 13, 1929 – May 23, 1994) was an American jazz guitarist. Pass worked often with pianist Oscar Peterson and vocalist Ella Fitzgerald.
Early life
Pass was born in New Brunswick, New Jersey, on January 13, 1929.
Pass found work as a performer as early as age 14. He played with bands led by Tony Pastor and Charlie Barnet, honing his guitar skills while learning the ropes to the music industry. He began traveling with small jazz groups and moved from Pennsylvania to New York City. Within a few years he had developed an addiction to heroin. He moved to New Orleans for a year and played bebop for strippers. Pass revealed to Robert Palmer of Rolling Stone that he had suffered a “nervous breakdown” in New Orleans “because [he] had access to every kind of drug there and was up for days […] [he] would come to New York a lot, then get strung out and leave.”
Pass spent much of the 1950s in and out of prison for drug-related convictions. In the same Rolling Stone interview, Pass said, “staying high was my first priority; playing was second; girls were third. But the first thing really took all my energy.” He recovered after a two-and-a-half-year stay in the Synanon rehabilitation program. Pass largely abandoned music during his prison sentence.
Pass recorded a series of albums during the 1960s for Pacific Jazz Records, including Catch Me,12-String Guitar,For Django, and Simplicity. In 1963, he received Downbeat magazine’s New Star Award.
Pass was diagnosed with liver cancer in 1992. Although he was initially responsive to treatment and continued to play into 1993, his health eventually declined, forcing him to cancel his tour with Pepe Romero, Paco Pena, and Leo Kottke. Pass performed for the final time on May 7, 1994, with Pisano at a nightclub in Los Angeles. Pisano told Guitar Player that after the performance Pass looked at him with a tear in his eye and said “I can’t play anymore,” an exchange which Pisano described as “like a knife in my heart.”
In 1994, Joe Pass died from liver cancer in Los Angeles, California at the age of 65. Prior to his death, he recorded an album of Hank Williams songs with country guitarist Roy Clark.[citation needed]
Speaking about Nuages: Live at Yoshi’s, Volume 2,Jim Ferguson wrote:
The follow up to 1993’s Joe Pass & Co. Live at Yoshi’s, this release was colored by sad circumstances: both bassist Monty Budwig and Pass were stricken with fatal illnesses. Nevertheless, all concerned, including drummer Colin Bailey and second guitarist John Pisano, play up to their usual high levels…Issued posthumously, this material is hardly sub-standard. Bristling with energy throughout, it helps document the final stages in the career of a player who, arguably, was the greatest mainstream guitarist since Wes Montgomery.
Legacy
Joe Pass in concert in 1974 playing his Gibson ES-175 guitar
New York magazine wrote about Pass, “Joe Pass looks like somebody’s uncle and plays guitar like nobody’s business. He’s called ‘the world’s greatest’ and often compared to Paganini for his virtuosity. There is a certain purity to his sound that makes him stand out easily from other first-rate jazz guitarists.”
He weaves his own fast-moving chords and filigree work so nimbly that it is hard to believe fingers can physically shift so quickly. Slight moustached, fairly balding, he frowns over his fretwork like a worried head waiter with more guests than tables but the sound that comes out could only be the confident product of years of devotion to the instrument… But it is when he plays completely solo, which he does for half of each set, that he comes into his own, because without hindrance of the rhythm section he can completely orchestrate each number.
Sometimes it is by contrasting out of tempo sections with fast-moving interludes, sometimes by switching mood from wistful to lightly swinging, sometimes by alternating single-note lines with chords or simultaneous bass line and melody-the possibilities seem endless. Luckily, there is a new L.P. by him which captures all this on vinyl, as someone has had the unusual good sense to record him all alone. It is called Virtuoso and rightly so.— Miles Kington on Pass in an October 1974 article in The Times.
Chicago Symphony Orchestra – Georges Prêtre, conductor
Original LP: RCA LSC-3040 (1968)
CD re-issue: BMG Music (RCA Gold Seal) 9026-61396-2 (1993)
Original liner notes by Alexis Weissenberg:
It was Rachmaninoff’s own recording of the concerto that revealed the work to me for the first time. I remembered this quite suddenly and with extraordinary precision the day, in Chicago, we sat listening, exhausted and happy, Jack Pfeiffer, the RCA technicians, Georges and I, to the final takes of the last recording session.
We had worked hard and well for two long days, and thanks to the orchestra’s constant enthusiasm and cooperation of the highest professional quality the recording had been finished in record time. For each one of us the work was done, another record had been born. But for me, that late afternoon, it was a little more than that; in fact, it was a long-time dream that had suddenly come true.
It is often a pity that, with time, one tends to forget the moment when one first came into contact with a new work. While later performances of that work can have their ups and downs and be more or less exhilarating, nothing is, in a way, more thrilling, more exciting to an interpreter than his first discovery through listening or sight-reading.
Later, of course, when fully assimilated and completely re-created through the compulsive nature of one’s talent, imagination and temperament, the work becomes such a part of oneself, such an unconditional fragment of one’s creative nature, that one tends to feel, logically, that the composition somehow never existed away from one. This, actually, is a conviction that is essential to re-creation.
But that first moment, that spine-thrill of love at first sight, holds infinite magic in it. I must have been 7-8 years old, not more. Already, music was not part of my life, I had become part of its life. Everything connected with musical sound — harmonies, rhythms, melodic lines — had already established itself in me, and around me, as an absolute climate of self-expression and unlimited exploration for the rest of my life.
Recordings by Hoffmann, Horowitz, Rachmaninoff and Backhaus had become vitally important, and the days when after a long and wonderful piano lesson I would go with my teacher Wladigeroff to his brother Luben’s house to listen to them were anticipated with the same tension and excitement as birthdays and Christmas. It was at Luben’s that I first heard the Rachmaninoff Third, recorded by the composer.
Every child who is studying the piano seriously and has at heart the ambition to make it his professional career knows what it is to daydream, or sit awake nights “night-dreaming,” about his first public appearance, in what seems a hundred years from then, at a gigantic plush-gilded concert hall packed with millions of people, looking like a jumbo-size penguin, seated in front of a monstrous jet-black concert grand with the biggest sound ever, surrounded by the largest and greatest (in that order!) orchestra, and with probably God conducting, playing the. . . . .
It had been the Tchaikovsky B-Flat for me too, of course. Until then. And then came the Rachmaninoff Third. I can still see myself, barely sitting on the edge of a chair in Luben’s library, my heart pounding faster and faster, my eyes wide open (my mouth probably too), listening incredulously to what seemed then the discovery of the Concerto of all Concerti, and reliving through the scene described above up to the last thunderous applause that brought an apocalyptic end to an unmeasurable dream! Wladigeroff laughed heartily — “You’ll play it someday.”
That night I didn’t sleep for the very opposite reason. I thought, “I’ll never be able to play it.”
Six years later, in Jerusalem, I saw the piano score in a music store and bought it. Reflexively, the same fantasy switched on automatically, but by then an instinctive teen-age censorship had brutally readjusted certain details regarding qualifications, plush-gildedness, quantities, enormities and the final result.
A first and unhappy attempt at sight-reading a visually frightening score did not help much in altering a pessimistic climate. Instead, I bought the Horowitz-Coates historic recording and listened to it day in, day out. It still remains a favorite, and by a wonderful, sentimental coincidence the first live performance of the concerto I heard was by Horowitz with Reiner and the New York Philharmonic in a memorable concert.
It was only during the winter of 1946, when I commuted between Philadelphia and New York to study with Samaroff at Juilliard, that I first seriously tried my hand at the concerto. I had decided to present the Rachmaninoff Third with the Brahms Second and the Chopin E Minor at both The Philadelphia Orchestra Youth Contest and the Leventritt Award Competition that same year. Madame Samaroff gave me my first opportunity to play the concerto with a second piano two months before the Leventritt Eliminations started, at one of her weekly Leyman Courses at Town Hall.
That was an excellent occasion for me to loosen up the work interpretively and to let it breathe some fresh air after the long weeks of applied hard labor. It was also at that concert that I met William Kapell, who came backstage and soon became a close and invaluable friend. To me, Willie gave one of the finest and most exciting performances of the Rachmaninoff Third I have ever heard, in Boston with Koussevitzky.
The following year, in 1947, as winner of The Philadelphia Orchestra Youth Contest, I had the great privilege of playing the concerto under Eugene Ormandy with The Philadelphia Orchestra. That particular concert also marked the beginning of my career in America — my early career in America, that is.
That same year, just after the Leventritt Award and during my first coast-to-coast tour of the United States, I was called upon as a last-minute substitute for Vladimir Horowitz, suddenly taken ill, in Pittsburgh, in the same concerto. I also made my European debut with the Rachmaninoff Third, in Paris in 1950 with the Orchestre du Conservatoire at the Théâtre des Champs-Élysées. The year after, I had an exciting collaboration in the concerto with Bernstein and the Israel Philharmonic. That same year I made my debuts with it both at La Scala of Milan and at the Colón in Buenos Aires with Celibidache.
Recently, after a self-imposed and necessary sabbatical over a period of ten years for work and meditation and a restrained amount of public appearances, I reopened my career with the New York Philharmonic at Lincoln Center, and chose to make my comeback with the Rachmaninoff Third for reasons more sentimental than superstitious, although the concerto had in the meantime inevitably become a mascot in my life.
By this time I have, of course, long since revised my speculations and considerations as to which is the Concerto of all Concerti, and the two Brahms, the Fourth and Fifth Beethoven, the Mozart K. 271 and K. 491, the Bartók Second and a few others have alternately exchanged or shared the place of preference in my creative enthusiasm and musical needs, but the Rachmaninoff Third has kept, and will keep forever and without the slightest doubt, a place apart in my heart.
I still think it is the most gloriously written concerto for the piano, find it as thrilling and exciting to hear and perform as I did years ago, and I find very appropriate and rewarding this first opportunity I have had not only to give it all due credit for the often decisive part it has played in my artistic life but also to dedicate to it my unlimited and everlasting gratitude.
—Alexis Weissenberg
Paris, June 1968
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was an American jazz clarinetist, saxophonist, and composer. He was one of the first important soloists in jazz, beating trumpeter Louis Armstrong to the recording studio by several months. His erratic temperament hampered his career, and not until the late 1940s did he earn wide acclaim.
Sidney Bechet was the first important jazz soloist on records in history (beating Louis Armstrong by a few months). A brilliant soprano saxophonist and clarinetist with a wide vibrato that listeners either loved or hated, Bechet’s style did not evolve much through the years but he never lost his enthusiasm or creativity. A master at both individual and collective improvisation within the genre of New Orleans jazz, Bechet was such a dominant player that trumpeters found it very difficult to play with him. Bechet wanted to play lead and it was up to the other horns to stay out of his way.
Sidney Bechet studied clarinet in New Orleans with Lorenzo Tio, Big Eye Louis Nelson, and George Baquet and he developed so quickly that as a child he was playing with some of the top bands in the city. He even taught clarinet, and one of his students (Jimmie Noone) was actually two years older than him. In 1917, he traveled to Chicago, and in 1919 he joined Will Marion Cook’s orchestra, touring Europe with Cook and receiving a remarkably perceptive review from Ernst Ansermet.
While overseas he found a soprano sax in a store and from then on it was his main instrument. Back in the U.S., Bechet made his recording debut in 1923 with Clarence Williams and during the next two years he appeared on records backing blues singers, interacting with Louis Armstrong and playing some stunning solos. He was with Duke Ellington’s early orchestra for a period and at one point hired a young Johnny Hodges for his own band. However, from 1925-1929 Bechet was overseas, traveling as far as Russia but getting in trouble (and spending jail time) in France before being deported.
Most of the 1930s were comparatively lean times for Bechet. He worked with Noble Sissle on and off and had a brilliant session with his New Orleans Feetwarmers in 1932 (featuring trumpeter Tommy Ladnier). But he also ran a tailor’s shop which was more notable for its jam sessions than for any money it might make. However, in 1938 he had a hit recording of “Summertime,” Hugues Panassie featured Bechet on some records and soon he was signed to Bluebird where he recorded quite a few classics during the next three years.
Bechet worked regularly in New York, appeared on some of Eddie Condon’s Town Hall concerts, and in 1945 he tried unsuccessfully to have a band with the veteran trumpeter Bunk Johnson (whose constant drinking killed the project). Jobs began to dry up about this time, and Bechet opened up what he hoped would be a music school. He only had one main pupil, but Bob Wilber became his protégé.
Sidney Bechet’s fortunes changed drastically in 1949. He was invited to the Salle Pleyel Jazz Festival in Paris, caused a sensation, and decided to move permanently overseas. Within a couple years he was a major celebrity and a national hero in France, even though the general public in the U.S. never did know who he was. Bechet’s last decade was filled with exciting concerts, many recordings, and infrequent visits back to the U.S. before his death from cancer. His colorful (if sometimes fanciful) memoirs Treat It Gentle and John Chilton’s magnificent Bechet biography The Wizard of Jazz (which traces his life nearly week-by-week) are both highly recommended. Many of Sidney Bechet’s recordings are currently available on CD.
“Petite Fleur” is an instrumental written by Sidney Bechet and recorded by him in January 1952, first with the Sidney Bechet All Stars and later with Claude Luter and his Orchestra.
In 1959, it was an international hit as a clarinet solo by Monty Sunshine with Chris Barber’s Jazz Band.[1] This recording, which was made on October 10, 1956, peaked at No. 5 on the US Hot 100 and No. 4 in the UK charts.Outside UK Chris Barber’s version was extremely big in Sweden topping the Swedish best selling chart for no less than 12 weeks according to the branch paper Show Business. Their version was in A♭ minor, in contrast to Bechet’s, which was in G minor.
There was also another recording by Bob Crosby and the Bobcats. Following the Chris Barber instrumental recording, lyrics were added by Fernand Bonifay and Mario Bua in the same year. A different set of lyrics was written by Paddy Roberts and the song was recorded by Teddy Johnson and Pearl Carr in 1959.
Petula Clark recorded the song in French and it was included in her album Hello Paris (1962).
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Billie Holiday – Fine and Mellow (LIVE in 1957)– The Top 10 pearls in Jazz history
If Ella was the supreme portrayer of lyrics, Billie Holiday was peerless when it came to conveying the emotion in a song. This 1957 TV soundtrack (actually this issue is the dress rehearsal, but the televised version is equally good) puts her in her preferred setting: a jam session with her swing era colleagues. She is both an emotionally charged singer, and an improvising musician, taking her turn amid the finest soloists of the age.
PD: if you watch the video of the TV show, you’ll see it was practically obligatory for this generation of players to wear a hat in the studio.
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