Lovingly known as “BP with the GM” (Bob Perkins with the Good Music), BP brings you that good music just in time for dinner during your work week, and keeps your Sunday brunch swinging. His selections are like a familiar hug from Jazz Land featuring your favorite standards and vocalists such as Sarah, Ella, and Nat, some Big Band legends including the Duke and the Count, and the giants of the instrumentals like Lee Morgan, Hank Crawford, Miles, and Coltrane. Take a listen to "Ol' BP" as he calls himself...you'll be back again and again.
Our Jazz Appreciation Month celebration continues this week as we present our favorite live jazz recordings. Tune in during the week of April 13th at 7 pm, 9:30 pm, 12:30 am and 5:30 am to hear top live jazz picks from Bob Perkins, Jeff Duperon, Zivit, J. Michael Harrison, Bob Craig, and Maureen Malloy.
Listen to our hosts discuss their favorite live recordings below.
1. Zivit - Bill Evans - "My Man's Gone Now" - Sunday at the Village Vanguard
Herman DeJong is an architect who came to Philadelphia from Holland in the mid 1960s. He played the bass and started connecting with local jazz enthusiasts. He wanted to find a place to invite them to jam.
Eventually, in April 1990, the Tuesday night sessions began at the 23rd Street Café, thanks to the owners. Over the years, locals and people from around the country and the world have stopped in.
Jazz Appreciation Month continues on WRTI! During the week of April 6th, 2015, we're sharing our favorite vintage jazz recordings. Tune in to hear top favorites from Bob Perkins, Jeff Duperon, Zivit, J. Michael Harrison, Bob Craig, and Maureen Malloy throughout the week at 7 pm, 9:30 pm, 12:30 am and 5:30 am.
Listen to our hosts discuss their vintage jazz favorites below.
1. Bob Perkins: Modern Jazz Quartet - "Django" - Django
Many talented souls in various walks of life have departed the planet well before their loved ones thought they should have. The abbreviated stays of the gifted makes us ponder what other wonders they might have contributed, had they lived.
Oliver Nelson comes to mind. He was less famous than Clifford Brown or Charlie Parker or John Coltrane, all of whom were innovators and pioneers and who died well before their time. But Nelson was not only a gifted multi-instrumentalist but also a top-flight arranger and composer. He advanced the careers of many performers, and not just those in jazz.
I first heard of Nelson in the early 1960s via his composition “Stolen Moments,” which became a jazz classic. A few years later I broke into radio and began hosting a jazz program. He then became an even more familiar name to me, because I played his music on the air.
Oliver Nelson’s “Stolen Moments” with Nelson on tenor saxophone, Freddie Hubbard on trumpet, et al.:
Oliver Nelson was born into a musical family on June 4, 1932 in St. Louis. He played piano at age six, and several years later, the saxophone. He got his first major job with Louis Jordan while still in his teens, playing alto saxophone and arranging. Military service called, and he joined a band in the Marine Corps. While traveling in Tokyo, he heard the Tokyo Philharmonic Orchestra, which he credited with whetting his appetite to become more advanced as an arranger.
After the military, Nelson studied harmony and theory at Washington and Lincoln Universities and privately. He moved to New York City and made music with Erskine Hawkins, organist Wild Bill Davis and a host of other established musicians. He also landed a job as house arranger for the Apollo Theater.
Prestige Records signed Nelson to a contract, and he recorded six albums for them. He later moved to the Impulse label and recorded The Blues and the Abstract Truth, a landmark LP that included “Stolen Moments.” It’s a work of art. With the likes of pianist Bill Evans, bassist Paul Chambers, drummer Roy Haynes, Eric Dolphy doubling on also sax and flute, Freddie Hubbard on trumpet, and Nelson on tenor sax—how could it not be the monster that it was? It still is.
Doors began to open. Not only was he producing and arranging for Nancy Wilson, James Brown, the Temptations, Diana Ross, organist Jimmy Smith, and other well-known artists, he was also composing for TV shows, including Ironside, Longstreet, and The Six Million Dollar Man (for which he wrote the theme). He also arranged the music for the motion picture Last Tango in Paris.
Those close to him knew he was spreading his gargantuan talents too thin by racing from the East Coast to perform with his jazz group, then to the West Coast for music-arranging jobs. Their concern for his well-being turned out not to be an abstract truth: Nelson suffered a massive heart attack in Los Angeles in 1975, and died at the age of 43. The word was that he had literally worked himself to death. So, Oliver Nelson, like some of his ever-youthful jazz predecessors, left while still having much more to say. But he, like they, kicked up a lot of creative dust prior to departing.
One of his best CDs (besides The Blues and the Abstract Truth) is one he shares with vibraphonist Lem Winchester, Nocturne. Oliver Nelson’s solos on “Azur’te” and “Man with a Horn” please the ear and massage the heart.
Join us on Tuesday, April 7th during jazz hours for our centennial tribute to Billie Holiday, who was born in West Philadelphia, on April 7, 1915, and went on to become a musical and social phenomenon who changed the face of music forever.
As part of Vintage Week on WRTI, we'll present anecdotes about Lady Day and continue to play vintage jazz favorites from our jazz staff in celebration of Jazz Appreciation Month.
Jazz great Billie Holiday, who died at age 44 in 1959, would have turned 100 on April 7, 2015. As WRTI’s Susan Lewis reports, in her short career, this Philadelphia-born singer made a huge impact on jazz and American song.
Vocalist Billie Holiday was born 100 years ago this week. Today, her place in music history is clear.
"I think we witness in Billie Holiday's music the beginning of the jazz vocal age, really," fellow vocalist Cassandra Wilson says. "Her phrasing is very conversational, and it swings — it moves with the musicians. She's very much in charge of her place in the music. She's in control of the story, and in control of her cadence."
In that bygone era when radio was king, the drama known as The Shadow was one of the best. The dulcet voice of the announcer preceded each program with the question, “Who knows what evil lurks in the hearts of men?” He then finished off the quiz with a sardonic laugh, and the clincher, “The Shadow knows.”