The great Ella Fitzgerald was born on April 25th, 1917, and died in 1996. As WRTI’s Susan Lewis reports, "The Queen of Jazz" - also called "The First Lady of Song," left a lasting legacy on American song and jazz.
The Hammond electronic organ was developed with churches in mind, as a lower-cost alternative to pipe organs. But in Philadelphia, a keyboard player named Jimmy Smith was inspired by early jazz experiments on the instrument, and found a devastating way to adapt the new bebop style to the Hammond B-3.
It seeded a new tradition of organ players in Philadelphia — major figures like "Groove" Holmes, Jimmy McGriff, Papa John and Joey DeFrancesco, and Trudy Pitts — and started a new sound in jazz at large.
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.
Is Billie Holiday the ultimate jazz singer? You might think so, listening to this commemorative anthology that draws from Lady Day’s early period. She performs tunes recorded between 1935 and 1945, either fronting pianist Teddy Wilson and His Orchestra or leading her own. These are timeless, defining songs that continue to feed into the myth, magic, and tragedy that is Ms. Holiday.
Billie Holiday singing “Sugar” with Teddy Wilson and His Orchestra, 1939:
Released to celebrate the 100th anniversary of Holiday’s birth (April 7, 1915), these essential tracks showcase the singer at her peak. As a cultural icon, she has no modern-day equivalent (Amy Winehouse deserves her own story).
Hearing Holiday sing these pop tunes, jazz songs, and jukebox tracks on this artfully prepared collection is not only a gift to music fans of all stripes, but a paean to a singer who ultimately transcends genres. (Billie Holiday: The Centennial Collection. Sony Legacy)
The notion that “everything old is new again” blossoms like spring on the charming self-titled debut record by the DUCHESS trio, and it’s altogether refreshing. With a sound inspired by songs sung by the Boswell Sisters and the Andrews Sisters—albeit with classy, updated arrangements—to charts that date back to the 1930s and '40s, Amy Cervini, Hilary Gardner, and Melissa Stylianou are three strong jazz and pop vocalists with their own solid careers. Here, they serve up sophisticated humor (Cy Coleman’s “A Doodlin’ Song”) and café society swing (Peggy Lee’s “Love Being Here With You”) with the cleverest wit.
Up close and personal, I heard them during their March CD release gig at the Jazz Standard in NYC, where the sold-out crowd was seduced by ballads like “Que Sera, Sera” and Johnny Mercer’s “P.S. I Love You.” Their warm, earthy harmonies hit you like Cupid’s arrow. That original blend of sauce and swing deservedly make DUCHESS stand out.
With a fine band in tow anchored by pianist Michael Cabe, bassist Paul Sikvie and ace drummer Matt Wilson, this completely delightful trio hearkens back to the era when performers like Bobby Short sang songs and entertainment was the priority.
Tap dancer Pam Hetherington says tap can be the visual representation of any kind of music. And jazz tap provides the opportunity for the dancer to reflect the emotions and story inspired by a live jazz combo. A choreographer and a teacher, she says she’s obsessed with tap’s percussive possibilities: hard-driving, soft and sweet, and in between.