Some folks choose their parents well—and if they are products of outstanding parents, the offspring may follow in their footsteps and duplicate their success. A fellow named Edward “Sonny” Stitt was blessed with relatives steeped in music; he followed their lead and became a legendary jazz musician.
If jazz bands were like classic muscle cars measured by power and torque, the high performance Thad Jones / Mel Lewis Orchestra was an inexhaustible engine that roared. February 2016 marked the 50th anniversary of this historic 18-member band and All My Yesterdays (Resonance Records) is the double-disc recording that documents their debut performances in February and March 1966.
Philip Glass’ first music-business teacher was his father, who ran Baltimore’s smartest, sneakiest record store. Ben Glass taught his son that it was perfectly acceptable to break LPs as long as labels paid a dime for each damaged disc, that it was A-OK to buy four copies of a virtually unsellable collection of Schoenberg string quintets as long as they eventually sold. It was a priceless education for a future composer, keyboardist, ensemble leader, music publisher and, yes, record-label owner.
Pianist, composer, producer, and godfather of smooth jazz, Bob James has achieved spectacular success as a solo artist and de facto leader of the supergroup, Fourplay. He’s also an accomplished collaborator—his discography includes many award-winning albums with Earl Klugh, David Sanborn, Kirk Whalum, and Korean guitarist Jack Lee.
Witnessing certain events, and meeting certain people earlier in life, can sometimes become meaningful as time goes by—especially when the witness goes on to become a writer, historian, or otherwise chronicler of life’s personalities and events.
John Pizzarelli is a seasoned guitarist, pop singer, and debonair entertainer whose greatest talent is communicating the jazz idiom to music listeners who otherwise are indifferent to the form. On stage in August at Birdland in New York to celebrate the release of Midnight McCartney, his relentless enthusiasm as a bandleader smoothed the way for a sweetly nostalgic appreciation for lesser-known tunes by Paul McCartney. Along the way, his relaxed stage banter left the audience laughing and feeling great.
Jamison is the debut of a significant talent. Winner of the 2012 Thelonious Monk Jazz Competition, the singularly entertaining Jamison Ross is a drummer of enormous presence and an irrepressible bandleader, judging from his album release show I attended at Dizzy’s Club Coca Cola in June.
Listening to Joanna Pascale sing is like getting a big hug. Her voice is warm, wise and easy to love. The Philly native has put out fine solo albums previously, but nothing like Wildflower, a deeply felt record that freely mixes pop tunes, blues, and outlier standards.
A fast-rising modernist, trumpeter John Raymond assembles a solid team of musicians for his sophomore release Foreign Territory. Anchored by the resolute Billy Hart on the drums, bassist Joe Martin, and the gifted pianist Dan Tepfer, Raymond delivers a masterful set of multi-textured songs; they swing obliquely and pull you in with disarming ease.
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.