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14 episodes with Don Byas
3 episodes with Don Byas
2 episodes with Don Byas
2 episodes with Don Byas
2 episodes with Don Byas
2 episodes with Don Byas
Vu sur Poussières d'étoiles (jazz) : vendredi 02 mai 2025 L'émission de Jean Neveu, le Jazz comme il l'aime et comme il nous le fait aimer : des pionniers aux créateurs actuels. Une émission accessible à tous, sans exclusive. Claude Bolling Let's swing 1973 “Rolling with Bolling” Frémeaux & Ass. Claude Bolling Duke in my mind 1973 “Rolling with Bolling” Frémeaux & Ass. Don Byas […] Cet article provient de Radio AlterNantes FM
Con Chapman is a Boston-area writer, author of Rabbit's Blues: The Life and Music of Johnny Hodges. This book was awarded 2019 Book of the Year award of the Hot Club de France. Con is debuting Sax Expat: Don Byas. Don was an American jazz musician who became a celebrity overseas- in Paris and Netherlands- influencing great jazz artists and playing a pivotal role in the transitional period between swing and bebob. Until this book, Don Byas has been largely overlooked. Discover the inside story on Don Byas and his "exotic" sounds. Become a supporter of this podcast: https://www.spreaker.com/podcast/success-made-to-last-legends--4302039/support.
Survey of the mid to late 1940's recordings of trumpeter Buck Clayton - his own Big Four and Big Eight recording for HRS along with sideman appearances with Benny Carter, Ike Quebec, Charlie Ventura, Teddy Wilson, Don Byas, Coleman Hawkins, J.C. Heard, Sir Charles Thompson and Earl Hines --- Support this podcast: https://podcasters.spotify.com/pod/show/john-clark49/support
durée : 01:00:03 - Don Byas - par : Alex Dutilh - Le nouveau coffret de 10 CD, époustouflant, complet et volumineux : « Classic Don Byas Sessions 1944-1946 » est un hommage attendu depuis longtemps à un homme dont l'œuvre figure parmi les celles des géants du ténor. Parution chez Mosaic.
durée : 01:00:03 - Don Byas - par : Alex Dutilh - Le nouveau coffret de 10 CD, époustouflant, complet et volumineux : « Classic Don Byas Sessions 1944-1946 » est un hommage attendu depuis longtemps à un homme dont l'œuvre figure parmi les celles des géants du ténor. Parution chez Mosaic.
Four sessions featuring different singers with first class jazz accompanists doing a blues repertoire. Albinia Jones (with Dizzy Gillespie, Don Byas, Gene Sedric, Leonard Ware and Sammy Price), Helen Humes (with Herbie Fields, Bobby Stark, Prince Robinson and Leonard Feather), Pleasant Joseph (aka Cousin Joe, with Pete Brown, Leonard Hawkins, Ray Abrams) and Joe Turner (with Pete Johnson, Don Byas, Frankie Newton and Leonard Ware). --- Support this podcast: https://podcasters.spotify.com/pod/show/john-clark49/support
Garner was known primarily as a solo pianist or by working in a trio, but early in his career he played as a sideman with several groups (strange, given that he didn't read music). Here we hear him small groups led by Wardell Gray, Don Byas, Charlie Parker and Lucky Thompson (also with Stuff Smith) and a big band led by Georgie Auld (with Dizzy Gillespie, Trummy Young, Al Cohn and Al Killian). --- Support this podcast: https://podcasters.spotify.com/pod/show/john-clark49/support
Benny Carter led a big band from 1932 until 1947, but none was better than the 1945-46 edition, which split time between New York and Los Angeles. Featured in his regular band are Bumps Myers, Idrees Sulieman, Max Roach, Al Grey, Sonny White and of course Carter himself on alto, trumpet and clarinet, with most of the arrangements being his. The two sessions with his all-star band have some of those musicians plus Trummy Young, Dickie Wells, Emmett Berry, Joe Newman, Don Byas, Flip Phillips and others. --- Support this podcast: https://podcasters.spotify.com/pod/show/john-clark49/support
MARY LOU WILLIAMS – FEAT. DON BYAS Paris, France, December 2, 1953O.W., Mary's waltz, Just you, just me (db out)Don Byas (ts) Mary Lou Williams (p) Buddy Banks (b) Gerard “Dave” Pochonet (d) MICK GOODRIC – IN PAS(S)ING Oslo, Norway, November, 1978Feebles, fables and ferns, Summer band camp, In passingJohn Surman (sop,bar,b-cl) Mick Goodrick (g) Eddie Gomez (b) Jack DeJohnette (d) ART DAVIS QUARTET – LIFE New York, October 5, 1985Life, Duo (jh,im out), Blues from concertpiece for bassPharoah Sanders (ts) John Hicks (p) Art Davis (b) Idris Muhammad (d) Continue reading Puro Jazz 29 diciembre 2023 at PuroJazz.
Welcome to the Digging Deeper Jazz Podcast. This podcast was originally released on September 18th, 2020, on the Jeff Antoniuk - Educator YouTube channel. Please subscribe to the YouTube channel and feel free to enjoy the video version as well.FOR ALL INSTRUMENTS!In episode #171, Jeff gives you the secret behind the rhythm changes playing of Sonny Stitt, JJ Johnson, Monk, Dexter Gordon, Art Tatum, Don Byas and more. You've never been hipper than you'll be after watching this video! Send Jeff some flowers or something. Mentioned in this podcast:• www.JazzWire.net - Since we announced JazzWire back in 2017, it has become an incredible Community of hundreds of adult musicians from over 25 different countries around the world. If you are looking for a plan for your practice, regular insights and wisdom on playing jazz, and a huge COMMUNITY of jazz players from around the world, this is the place for you! • Digging Deeper Jazz - All of the DDJ episodes include a pdf. Just write us at diggingdeeperjazz@gmail.com, and we'll offer you the pdfs in bundles of 50, or all 200 for a discount! We will also put you on the list to receive each new pdf, weekly. Amazing practice ideas, every week, for free. What's not to love!?
On tonight's show: Teddy Wilson, Artie Shaw and His Orchestra, Eddie "Lockjaw" Davis, Helen Humes, Harry Carney with Paul Gonsalves and Harold Ashby & The Duke's Men, Coleman Hawkins, Ella Fitzgerald, Nancy Wilson & The Great Jazz Trio, Stéphane Grappelli & McCoy Tyner, Boots Randolph, Danny Grissett, Don Byas, and Ahmad Jamal.
Le prime registrazioni che documentano il bebop - il nuovo, audace linguaggio che irrompe sulla scena del jazz negli anni quaranta - sono effettuate dal vivo fra il '41 e il '43 nei locali di New York in cui i giovani boppers si ritrovano e maturano la fisionomia della loro nuova musica. Le prime registrazioni formali, di studio, di questa tendenza sono invece effettuate nel '44, e - per una serie di motivi - non sono realizzate dalle case discografiche più grandi, ma da etichette più piccole, agili e coraggiose. Diverse delle primissime registrazioni di studio ascrivibili al bebop effettuate nel '44 sono realizzate da un'etichetta nata nel '42, la Savoy, che poi nel corso degli anni quaranta continua a condurre importanti registrazioni di musicisti di ambito bebop. Nei primi anni cinquanta la Savoy pubblica una scelta delle registrazioni bebop effettuate negli anni quaranta in cinque album 10 pollici, con l'intestazione The birth of bop. Adesso la Craft Recordings (Universal) ha ripubblicato la serie dei cinque volumi di The birth of bop della Savoy in altrettanti 10 pollici che riprendono la grafica originaria e mantengono l'identica successione dei brani degli album degli anni cinquanta. The birth of bop, disponibile anche come doppio cd, è una miniera di brani meravigliosi, che ci comunicano l'ebbrezza di una musica straordinariamente innovativa colta nel momento del suo farsi: tra i musicisti che compaiono Charlie Parker, Tiny Grimes, Budd Johnson, un ventiduenne Dexter Gordon, un diciannovenne Stan Getz (sia Gordon che Getz alla loro prima seduta di incisione a proprio nome), Don Byas, Kai Winding, J.J. Johnson, Bud Powell, Max Roach, Fats Navarro, Al Haig, Eddie Lockjaw Davis, Leo Parker, Serge Chaloff, Allen Eager...
Two Cozy Cole sessions (with Coleman Hawkins, Budd Johnson, Eddie Barefield, Johnny Guarnieri), one Walter Thomas (Ben Webster, Budd Johnson, Clyde Hart) and under his own name (Don Byas, Dave Rivera, Milt Hinton, JC Heard) all feature the matchless trumpet of Emmett Berry in 1944 and 1945. --- Support this podcast: https://podcasters.spotify.com/pod/show/john-clark49/support
The great trumpeter and blues singer's records for Commodore - with Chu Berry's Jazz Ensemble in 1941 (Chu Berry, Clyde Hart, Al Lucas, Jack Parker), Albert Ammons' Rhythm Kings in 1944 with Vic Dickenson, Don Byas, Ammons, Israel Crosby and Sid Catlett) and his own bands in 1944 (Earl Bostic, Byas, Lucky Thompson, Lem Johnson, Hart, Ace Harris, Catlett, John Simmons and others) --- Support this podcast: https://podcasters.spotify.com/pod/show/john-clark49/support
Tres músicos y dos cantantes que están en la historia de la música popular seencargarán de llenar el programa con calidad y variedad. Los músicos son el acordeonistaRICHARD GFALLIANO, el violonchelista YO YO MA y el saxofonista DON BYAS. Las doscantantes nos dijeron adiós hace ya bastantes años, EVA CASSIDY y NINA SIMONE, pero nosdejaron excelentes versiones de canciones de John Lennon y Bob Dylan.
Basie small groups - for Columbia in 1942 with Buck Clayton and Don Byas and Victor in 1947 with Emmett Berry, George Matthews, C.Q. Price, Paul Gonsalves, Jack Washington and all with the classic Basie, Freddy Green, Walter Page and Jo Jones . . . --- Support this podcast: https://anchor.fm/john-clark49/support
Rudy Williams was a journeyman sax player who stylistically crossed between swing and bebop. The son of legendary/notorious bandleader Fess Williams and the cousin of Charles Mingus, Williams is here heard on alto sax with a pickup group put together by Baron Timme Rosenkrantz in 1939 (with Don Byas, Tyree Glenn, Rex Stewart, Russell Procope, Billy Kyle, Walter Page and Jo Jones), the Savoy Sultans (his regular band from 1937-1941 or so), a Don Byas group (with Charlie Shavers and Clyde Hart), Tadd Dameron's Sextet (with Fats Navarro, Allan Eager, Kenny Clarke and Curly Russell), Bennie Green's Sextet (on baritone, with Teddy Brannon and Lockjaw Davis) and the Howard McGhee Korean All-Stars (on tenor, with J.J. Johnson and Skeeter Best). --- Support this podcast: https://anchor.fm/john-clark49/support
Great meetings of like instruments - Trombone Choir with Benny Morton, Bill Harris, Vic Dickenson and Claude Jones; Trumpet Ensemble with Roy Eldridge, Joe Thomas and Emmett Berry; Sax Ensemble with Coleman Hawkins, Don Byas, Tab Smith and Harry Carney . . great rhythm sections all featuring Johnny Guarnieri! --- Support this podcast: https://anchor.fm/john-clark49/support
Shellac Stack No. 289 wanders away with Fred Waring's Pennsylvanians then walks back with Doc Evans' Band. Along the way, we hear from Earl Hines, Marion Harris, Cy Walter, Isham Jones, Johnny Hamp, Don Byas, Benny Goodman, and more. Thank you for supporting the “Shellac Stack” on Patreon: patreon.com/shellacstack
Bob Mover is a virtuosic saxophonist who performed with Chet Baker, Charles Mingus, Lee Konitz and countless others over a long career. Visit https://www.bobmoverjazz.com/ to sign up for Bob Mover's weekly online masterclass sessions every Saturday. List of names mentioned: Charlie Parker, Roland Kirk, Bill Evans, Roy Eldridge, Richie Kamuca, Ira Sullivan, Walter Piston, Gerry Mulligan, Chet Baker, Stan Getz, Zoot Sims, Wynton Kelly, Kenny Dorham, Sonny Rollins, Lee Konitz, Jaki Byard, Al Cohn, Phil Woods, Bud Powell, Thelonius Monk, Jimmy Lyons, Cecil Taylor, Saul Frompkin, Don Byas, Coleman Hawkins, Art Tatum, Bud Powell, Hank Jones, Al Haig, Dodo Marmarosa, Joe Albany, Albert Dailey, Kenny Barron, Warne Marsh, Lennie Tristano, Lester Young, Count Basie, Jerry Coker, Allen Rock, Duffy Jackson, Bill Pierce, Mark Colby, Melton Mustafa, Ramblerny Music camp, Roger Rosenberg, Mike Brecker, Randy Brecker, Eddie Cleanhead Vinson, Shelly Manne, Brooks Kerr, Tony Castellano, Mulgrew Miller, Walter Davis Junior, John Bennett, Bernie Senensky, Cory Weeds, Sam Noto, Isaac Raz, Antoine Drye, Steve Kenyon, Emily Mover, Danny Kaye
Recordings from the mid to late 1940's led by clarinet players exploring the new Bebop sounds - Hank D'Amico (with Frankie Newton and Don Byas), Tony Scott (with Dizzy Gillespie, Trummy Young and Ben Webster), Aaron Sachs (with Gene DiNovi, Tiny Kahn, Clyde Lombardi and Terry Gibbs) and Buddy DeFranco (with Teddy Charles and Harvey Leonard) --- Support this podcast: https://anchor.fm/john-clark49/support
El primer episodio dedicado al saxo tenor, instrumento que para muchos simboliza el jazz. Desde Coleman Hawkins y Lester Young y sus principales seguidores respectivos, en este episodio nos empapamos de los más característicos: Chu Berry, Herschell Evans, Ben Webster, Don Byas, Lucky Thompson, Frank Wess, Buddy Tate y otros.
1 - There Ain't No Sweet Man That's Worth the Salt of My Tears - Bing Crosby with Paul Whiteman and his Orchestra – 19282 - Salt Pork, West Virginia - Louis Jordan and his Tympany Five - 19453 - Salt Lake City Bounce - Tiny Bradshaw and his Orchestra – 19444 - Salty Dog - Charlie Jackson with Freddie Keppard's Jazz Cardinals – 19265 - Salt Peanuts - Dizzy Gillespie - 19456 - Salt Water Blues - Bessie Smith - 19247 - Salt Water Cowboy - Dude Martin and his Round-Up Gang – 19498 - Salt Your Pillow Down - Jimmy Johnson with Jack Rhodes Ramblers – 19509 - Salt Your Sugar - Joe Raymond and his Orchestra - 192310 - Salt Your Sugar - The Jazz-O-Harmonists – 192311 - Sugar Rose - Fats Waller - 193612 - Sugar - Benny Goodman Quartet – 193813 - Sweeter Than Sugar - The Mills Brothers - 193414 - Sugar Foot Stomp - King Oliver and his Savannah Syncopators – 192715 - Sugar Plum - Teddy Wilson and his Orchestra - 193516 - Black Pepper - Eddie Davis and his Orchestra – 194917 - Murder, My Sweet - Lux Radio Theater – 1945 (Radio Drama)18 – Salty Papa Blues – Albinia Jones with Don Byas's Swing Seven - 1945
Achterklap Live Oudejaarsspecial met Hans Dulfer Varekamp & van Lier ontvangen deze keer het geweten van de Nederlandse Jazz live in de Roode Bioscoop in Amsterdam; Hans Dulfer komt en gaat op zijn praatstoel zitten. Stoer, to the point en hilarisch. Wat deed Don Byas in Amsterdam? En hoe rolde je Ben Webster in een taxi. Uiteraard hingen we aan zijn lippen!
Battle of the Saxes - Harry Carney with groups not led by Duke Ellington in the 1940's - Coleman Hawkins All-Star Sax Ensemble (with Don Byas, Tab Smith and Johnny Guarnieri), Johnny Bothwell (with Ray Nance), Esquire All Stars (with Coleman Hawkins and Charlie Shavers), Edmond Hall (with Benny Morton and Don Frye) and others --- Support this podcast: https://anchor.fm/john-clark49/support
I remember Clifford (me acuerdo de Clifford) es una maravillosa pieza del saxofonista Benny Golson (de fama con Art Blakey y sus Jazz Messengers), dedicada a Clifford Brown, el gran trompetista que murió tempranamente (1956, a los 25 años) en un accidente. Una de las baladas más hermosas de todo el jazz. Escuchemos al autor, Lee Morgan, Dizzy, Don Byas, Getz, el MJQ, Keith Jarrett, Elia Bastida y Sandoval entre otros.
Pete's Housewarming Blues . . the great boogie woogie pianist Pete Johnson recording for Savoy in 1944 and Decca in 1939 . . featuring Hot Lips Page, J.C. Higginbotham, Clyde Bernhardt, Albert Nicholas, Eddie Barefield, Don Stovall, Don Byas, Ben Webster, Budd Johnson, J.C. Heard, Jimmy Shirley, Al Hall, Abe Bolar, A.G. Godley and others --- Support this podcast: https://anchor.fm/john-clark49/support
Discópolis se convierte hoy en Discópolis jazz para ver cómo influyó el blues en el jazz moderno. Rescatamos un vinilo del sello Atlantic de 1961, que ha recibido numerosas reediciones. Se publicó en mono, se reconvirtió al estéreo seis años después, nos llegó a España en 1967, pasó sin pena ni gloria, pero en 1969 se relanzó en Europa y aquí volvimos a editarlo manteniendo el anterior número del Depósito Legal (M.5334-1967). El disco es más que sobresaliente, por eso lo pongo. En todas las ediciones se mantuvieron las notas de carpeta escritas por Gunther Schuller y la portada de Picasso. Sin embargo, los créditos detallados nunca se dieron a conocer en España. Aquí los tenéis en inglés. V.A. – The Blues in Modern Jazz: El Blues en el Jazz Moderno. Atlantic – HAT 421-03, Hispavox. España 1967. Portada de Pablo Picasso. Lista de Títulos: A1 Dizzy Gillespie– Just Blues Bass – Joe Benjamin Drums – Bill Clark Piano – Art Simmons Tenor Saxophone – Don Byas Written-By, Trumpet – Dizzy Gillespie Bass – Joe Benjamin Drums – Bill Clark Piano – Art Simmons Tenor Saxophone – Don Byas Written-By, Trumpet – Dizzy Gillespie 2:56 A2 Art Blakey's Jazz Messengers With Thelonious Monk– Blue Monk Bass – Spanky DeBrest Drums – Art Blakey Tenor Saxophone – Johnny Griffin Trumpet – Bill Hardman Written-By, Piano – Thelonious Monk Bass – Spanky DeBrest Drums – Art Blakey Tenor Saxophone – Johnny Griffin Trumpet – Bill Hardman Written-By, Piano – Thelonious Monk 7:49 A3 Lennie Tristano– Requiem Written-By, Piano – Lennie Tristano Written-By, Piano – Lennie Tristano 4:51 A4 Charles Mingus– Haitian Fight Song Alto Saxophone, Tenor Saxophone – Curtis Porter Drums – Dannie Richmond Piano – Wade Legge Trombone – Jimmy Knepper Written-By, Bass – Charles Mingus Alto Saxophone, Tenor Saxophone – Curtis Porter Drums – Dannie Richmond Piano – Wade Legge Trombone – Jimmy Knepper Written-By, Bass – Charles Mingus 7:09 B1 Milt Jackson– Blues At Twilight Bass – Oscar Pettiford Drums – Connie Kay Piano – Horace Silver Tenor Saxophone – Lucky Thompson Trumpet – Joe Newman Vibraphone [Vibraharp] – Milt Jackson Written-By – Quincy Jones Bass – Oscar Pettiford Drums – Connie Kay Piano – Horace Silver Tenor Saxophone – Lucky Thompson Trumpet – Joe Newman Vibraphone [Vibraharp] – Milt Jackson Written-By – Quincy Jones 6:46 B2 Ray Charles– Sweet Sixteen Bars Bass – Roosevelt Sheffield Drums – William Peeples Written-By, Piano – Ray Charles Bass – Roosevelt Sheffield Drums – William Peeples Written-By, Piano – Ray Charles 4:04 B3 Jimmy Giuffre– Two Kinds Of Blues Bass – Ralph Pena Guitar – Jim Hall Written-By, Clarinet – Jimmy Giuffre Bass – Ralph Pena Guitar – Jim Hall Written-By, Clarinet – Jimmy Giuffre 5:10 B4 The Modern Jazz Quartet– Bluesology Bass – Percy Heath Drums – Connie Kay Piano – John Lewis Written-By, Vibraphone [Vibraharp] – Milt Jackson. 5:04 Bonus, no incluidos en aquel elepé: Mongo Santamaria: Watermelon Man Miguel Rios: Blues de la soledad. Escuchar audio
Discópolis se convierte hoy en Discópolis jazz para ver cómo influyó el blues en el jazz moderno. Rescatamos un vinilo del sello Atlantic de 1961, que ha recibido numerosas reediciones. Se publicó en mono, se reconvirtió al estéreo seis años después, nos llegó a España en 1967, pasó sin pena ni gloria, pero en 1969 se relanzó en Europa y aquí volvimos a editarlo manteniendo el anterior número del Depósito Legal (M.5334-1967). El disco es más que sobresaliente, por eso lo pongo. En todas las ediciones se mantuvieron las notas de carpeta escritas por Gunther Schuller y la portada de Picasso. Sin embargo, los créditos detallados nunca se dieron a conocer en España. Aquí los tenéis en inglés. V.A. – The Blues in Modern Jazz: El Blues en el Jazz Moderno. Atlantic – HAT 421-03, Hispavox. España 1967. Portada de Pablo Picasso. Lista de Títulos: A1 Dizzy Gillespie– Just Blues Bass – Joe Benjamin Drums – Bill Clark Piano – Art Simmons Tenor Saxophone – Don Byas Written-By, Trumpet – Dizzy Gillespie Bass – Joe Benjamin Drums – Bill Clark Piano – Art Simmons Tenor Saxophone – Don Byas Written-By, Trumpet – Dizzy Gillespie 2:56 A2 Art Blakey's Jazz Messengers With Thelonious Monk– Blue Monk Bass – Spanky DeBrest Drums – Art Blakey Tenor Saxophone – Johnny Griffin Trumpet – Bill Hardman Written-By, Piano – Thelonious Monk Bass – Spanky DeBrest Drums – Art Blakey Tenor Saxophone – Johnny Griffin Trumpet – Bill Hardman Written-By, Piano – Thelonious Monk 7:49 A3 Lennie Tristano– Requiem Written-By, Piano – Lennie Tristano Written-By, Piano – Lennie Tristano 4:51 A4 Charles Mingus– Haitian Fight Song Alto Saxophone, Tenor Saxophone – Curtis Porter Drums – Dannie Richmond Piano – Wade Legge Trombone – Jimmy Knepper Written-By, Bass – Charles Mingus Alto Saxophone, Tenor Saxophone – Curtis Porter Drums – Dannie Richmond Piano – Wade Legge Trombone – Jimmy Knepper Written-By, Bass – Charles Mingus 7:09 B1 Milt Jackson– Blues At Twilight Bass – Oscar Pettiford Drums – Connie Kay Piano – Horace Silver Tenor Saxophone – Lucky Thompson Trumpet – Joe Newman Vibraphone [Vibraharp] – Milt Jackson Written-By – Quincy Jones Bass – Oscar Pettiford Drums – Connie Kay Piano – Horace Silver Tenor Saxophone – Lucky Thompson Trumpet – Joe Newman Vibraphone [Vibraharp] – Milt Jackson Written-By – Quincy Jones 6:46 B2 Ray Charles– Sweet Sixteen Bars Bass – Roosevelt Sheffield Drums – William Peeples Written-By, Piano – Ray Charles Bass – Roosevelt Sheffield Drums – William Peeples Written-By, Piano – Ray Charles 4:04 B3 Jimmy Giuffre– Two Kinds Of Blues Bass – Ralph Pena Guitar – Jim Hall Written-By, Clarinet – Jimmy Giuffre Bass – Ralph Pena Guitar – Jim Hall Written-By, Clarinet – Jimmy Giuffre 5:10 B4 The Modern Jazz Quartet– Bluesology Bass – Percy Heath Drums – Connie Kay Piano – John Lewis Written-By, Vibraphone [Vibraharp] – Milt Jackson. 5:04 Bonus, no incluidos en aquel elepé: Mongo Santamaria: Watermelon Man Miguel Rios: Blues de la soledad. Escuchar audio
#09 Pra não afundar de vez, boia é melhor que prancha. No novo Boia Podcast, Júlio Adler e seu comparsa do outro lado do Atlântico, João Valente, falam do estrago que provoca um tubarão enrolado na rede social, de jornalistas australianos sem fôlego, de livros que ainda não leram, filmes que ainda não viram e campeonatos que ainda não aconteceram. E, por incrível que pareça, fazem sentido disso tudo. Trilha - Solidão pela Amália Rodrigues e Don Byas pra começar e Sebika do Anouar Brahem e Jan Garbarek para terminar. --- Send in a voice message: https://anchor.fm/boia/message
Clyde Hart . . unheralded pianist who recorded with everyone from Red Allen and Eddie Condon to Charlie Parker and Dizzy Gillespie. A transitional figure from swing to bop, Hart died of TB at the very moment he was being embraced by the modernists. This is a selection of recordings made during 1944 and 45 (he died in March, 1945) featuring Hart with Eddie Condon, Dizzy Gillespie, Tiny Grimes, Trummy Young, Charlie Parker, Don Byas, Hot Lips Page, Ben Webster, Lester Young and Charlie Shavers --- Support this podcast: https://anchor.fm/john-clark49/support
In this episode, we feature songs that contain the word “moon” in the title. From Benny Goodman to Don Byas, there is something to please everybody here.
Bean y Prez. El " Poroto" y el "Presidente". Coleman Hawkins y Lester Young paralelismos y diferencias. Los dos grandes del saxo tenor. Coleman Hawkins, el primero en darle su lugar al instrumento en el jazz. Extrovertido, rapsódico, voluptuoso, exuberante, vital: un Rubens del jazz. Lester Young, introvertido, lírico, rico en matices: un Cézanne del jazz, que prefigura toda una corriente de jazz moderno. Coleman Hawkins llega a NY en los 20 a la orquesta de Fletcher Henderson, triunfa y se va a Europa donde es mejor tratado, se queda varios años. Vuelve en 1939 a marcar el terreno con un Body and Soul donde apenas esboza la melodía y son tres minutos de improvisación, una premiere en el jazz. Lester llega a la orquesta de Count Basie y contrasta con Herschel Evans. Atormentado y de lenguaje sui generis, la palabra “cool” con el sentido de “en onda” fue creada por él. Gran acompañante de Billie Holiday. Su estilo deriva de los saxos de Chicago, Trumbauer y Freeman y a su vez influencia el encare de Charlie Parker. De la escuela de Hawkins nacen innumerables músicos: Ben Webster, I. Jacket, Don Byas, Eddie Lockshaw Davis, Flip Philips y tantos otros… Además, Hawkins toca con los boppers y los estimula. Young influencia a saxofonistas como J. Giuffre, Stan Getz, Al Cohn y muchos otros. Y por el encare a músicos de otros instrumentos.
Welcome To The Jazz-Club : Lester Young - "All Of Me" Don Byas & Ben Webster - "Perdido" Dexter Gordon - "The Shadow Of Your Smile" Gene Ammons & Sonny Stitt - "Autumn Leaves" Johnny Griffin & Eddie "Lockjaw" Davis - "Again N' Again" Sonny Rollins - "What's My Name" Al Cohn & Zoot Sims - "You'd Be So Nice To Come Home To" Hank Mobley - "Sugar Hips" Wayne Shorter - "A Night In Tunesia" John Coltrane - "You're A Weaver Of Dreams" Coleman Hawkins - "Picasso" Escuchar audio
This is a look at the sessions Dizzy Gillespie led in 1945 -46 without Charlie Parker. The Diz and Bird sides have received a lot of attention, but the recording dates that Parker wasn't hired (or just didn't show up) for are fascinating as well. Gillespie leads and is heavily featured on tunes with Don Byas, Lucky Thompson, Dexter Gordon, Trummy Young, Clyde Hart, Al Haig and someone who may or may not be Thelonious Monk. --- Support this podcast: https://anchor.fm/john-clark49/support
Jazz Live Galore med Radio Jazz studievært Ole Matthiessen præsenterer sjældne live optagelser fra den københavnske jazzscene med George Benson, Thelonious Monk Tentet, Coleman Hawkins, Riel-Mikkelborg kvintetten, Don Byas, Tete Montoliu, Erroll Garner, Karin Krog, Frank Jensen, Michael von Biel, Per Aage Brandt Trio, Finn von Eyben Workshop, Roswell Rudd, Bech-Kroner Kvartetten, Contemporary Jazz Quintet, Tania Maria, Dizzy Gillespie United Nations Orchestra, Gary Burton Group og Sivuca. Sendt i Radio Jazz i 2017 Der er mere jazz på www.radiojazz.dk
Support Burning Ambulance on Patreon Get the Burning Ambulance email newsletter It's true: After a three-month hiatus, the Burning Ambulance podcast is back, with an interview with legendary saxophonist Peter Brötzmann! Brötzmann first emerged onto the global scene in the late '60s — he released his first album, For Adolphe Sax, named for the inventor of the saxophone, in 1967. A year later, he made Machine Gun, which is a landmark record not just in free jazz but in jazz history, period. A lot of critics have said that the music on Machine Gun was more extreme than anything that had come before, mostly because Brötzmann and the other two saxophonists, Willem Breuker and Evan Parker, seemed to be going even farther on their horns than John Coltrane or Pharoah Sanders or Albert Ayler had gone, but when you pay close attention to it you’ll hear that there are actually riffs — really big, honking, fist-pumping riffs, especially at the end. And Brötzmann has said many times that the music was inspired by Lionel Hampton’s big band, which had four saxophonists up front blowing in unison. I’ve been a fan of Brötzmann’s for a long time, and I’ve seen him live twice. The first time was in January 1997, at the Cooler in the Meatpacking District in Manhattan, with Thomas Borgman on saxophone, William Parker on bass, and Rashid Bakr on drums, a show that was released on CD under the name The Cooler Suite. The other time was at Tonic, with a version of his quartet Die Like A Dog. On record, that band usually featured Toshinori Kondo on trumpet, William Parker on bass, and Hamid Drake on drums, but at this gig Kondo wasn’t there for whatever reason, and Roy Campbell subbed in. I was also a big fan of Last Exit, a group formed by Bill Laswell that included Brötzmann, Sonny Sharrock on guitar, and Ronald Shannon Jackson on drums. Their music was a combination of free jazz, metal, and funk, totally improvised in the moment, and some of it is amazing. It used to be hard to find their CDs, but now you can get almost all of their albums on Laswell’s Bandcamp page. This interview was recorded back in early October, and a lot of it’s about his new solo album I Surrender Dear, and about his connections to jazz history. He really loves old school players like Don Byas and Coleman Hawkins, and he absolutely loves the blues, so we talk a lot about that. I think you’ll really get a sense of him as a music fan — he talks about all the bands he saw growing up in Germany in the '50s and '60s. We talk about what he looks for in collaborations, and how he chooses projects, too, 'cause he gets more invitations than he accepts. We also talk about his visual art, which is just as important as the music — he had originally planned to be a visual artist, with music as a side thing, but it didn’t work out that way. Still, he’s designed almost all of his own album covers for the last 50 years, and he’s got an instantly recognizable visual style, very blocky and heavy like a printmaker. It’s a perfect complement to his sound on the horn. And at the very end of our conversation, I ask him about Ginger Baker, who had died just a few days before we spoke. The two of them played together for three gigs in 1987 in a band that included Sonny Sharrock and Nicky Skopelitis on guitars, and Jan Kazda on bass, under the name No Material. So that’s where this conversation ends. I hope you enjoy the interview, and thanks for listening. If you do enjoy this podcast, please consider visiting patreon.com/burningambulance and becoming a subscriber. For just $5 a month, you can help keep this show and Burning Ambulance as a whole active and thriving. Thanks! Music heard in this episode: Peter Brötzmann, "I Surrender Dear" (I Surrender Dear)
Este episodio incluye: dos álbumes clásicos, por un lado Kenny Dorham y por el otro Don Wilkerson, el disco recomendado de Hannibal, y relacionamos a tres músicos de distintas épocas: James Carter, Don Byas y Art Tatum. Dale play!
Este episodio incluye: dos álbumes clásicos, por un lado Kenny Dorham y por el otro Don Wilkerson, el disco recomendado de Hannibal, y relacionamos a tres músicos de distintas épocas: James Carter, Don Byas y Art Tatum. Dale play!
Frank Jochemsen wilde als klein jongetje al niets liever dan radio maken. Jarenlang was hij actief bij de VPRO en Radio 6 en daarnaast is hij jazzjournalist, -kenner en natuurlijk groot liefhebber. Hij produceerde platen van o.a. Thelonious Monk, Hank Mobley, Ben Webster, Don Byas, Dexter Gordon en Bill Evans en brengt tegenwoordig ook bijzondere muziek uit op zijn eigen platenlabels. Een ding is zeker, dit wordt een muzikaal hoogtepunt in Co Live! Playlist: Rita Hovink - I Feel the Earth Move Rita Hovink - Love Me or Leave Me Rita Hovink - The Fool on the Hill Orkest Ruud Bos - Harry's Price Orkest Ruud Bos ft. Misha Mengelberg - Monk's Dream (Felix Meritis 1966) Bill Evans - Five (The Hilversum Concert) The Rob Franken Electrification - The Pleasant Pheasant The Rob Franken Electrification - Hemlock The Rob Franken Electrification - Sister Sanctified Eddie Henderson - The Kumquat Kids The Rob Franken Electrification - The Kumquat Kids Brad Mehldau & Mark Guiliana - Just Call Me Nige George Duke - Old Slippers The Rob Franken Electrification Trio - 6, 7, 8 Kijk voor meer informatie op https://www.nporadio2.nl/soulenjazz/.
Frank Jochemsen wilde als klein jongetje al niets liever dan radio maken. Jarenlang was hij actief bij de VPRO en Radio 6 en daarnaast is hij jazzjournalist, -kenner en natuurlijk groot liefhebber. Hij produceerde platen van o.a. Thelonious Monk, Hank Mobley, Ben Webster, Don Byas, Dexter Gordon en Bill Evans en brengt tegenwoordig ook bijzondere muziek uit op zijn eigen platenlabels. Een ding is zeker, dit wordt een muzikaal hoogtepunt in Co Live! Playlist: Rita Hovink - I Feel the Earth Move Rita Hovink - Love Me or Leave Me Rita Hovink - The Fool on the Hill Orkest Ruud Bos - Harry’s Price Orkest Ruud Bos ft. Misha Mengelberg - Monk’s Dream (Felix Meritis 1966) Bill Evans - Five (The Hilversum Concert) The Rob Franken Electrification - The Pleasant Pheasant The Rob Franken Electrification - Hemlock The Rob Franken Electrification - Sister Sanctified Eddie Henderson - The Kumquat Kids The Rob Franken Electrification - The Kumquat Kids Brad Mehldau & Mark Guiliana - Just Call Me Nige George Duke - Old Slippers The Rob Franken Electrification Trio - 6, 7, 8 Kijk voor meer informatie op https://www.nporadio2.nl/soulenjazz/.
Enregistré en 1939, "Body And Soul", le chef-d'oeuvre de Coleman Hawkins. Il y a cinquante ans, le 19 mai 1969 à New York, Coleman Hawkins rendait son dernier souffle… Celui qu'on surnommait Bean ou Hawk laissait derrière lui une incroyable carrière. De ses premiers pas au sein de l'orchestre de Fletcher Henderson où il tire le saxophone du rang des simples pupitres au début des années 20, jusqu'à l'émouvante passation de pouvoir avec le colosse Sonny Rollins au milieu des années 60, en passant par le sublime chorus de « Body and Soul » qui renouvelle de fond en comble l'art de la balade en 1939, Coleman Hawkins a écrit quelques-unes des plus grandes pages de l'histoire du jazz… Histoire au sein de laquelle il est souvent célébré comme « l'inventeur du saxophone ténor ». Ben Webster, Chu Berry, Herschel Evans, Don Byas, John Coltrane, Archie Shepp et bien sûr Sonny Rollins lui doivent tous quelque chose… Et dans cette odyssée musicale, l'enregistrement du standard « Body and Soul » le 11 octobre 1939 à New York marque un point de bascule évident. Il y aura un avant et un après les quelques mesures de ce solo historique. Tour de force mémorable dont nous vous livrons l'autopsie dans notre enquête du jour !Étagère 5… Boite n°12… Dossier CH1969… Coleman Hawkins, le saxophone corps et âme, épisode 1.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.
Radio Jazz studievært Ole Matthiessen præsenterer sin »Jazz Live Galore« #4 . Musik fra fortrinsvis københavnske scener med Jimmy Witherspoon, Don Byas, Ben Webster, Brew Moore, Pony Poindexter, Ray Nance, Carmell Jones, Oliver Nelson, Dakota Staton, Lee Konitz & Bill Evans, Roy Eldrigde & Earl Hines, Paul Bley Trio, Yusef Lateef, Don Cherry Quintet, Thelonious Monk, Charles Lloyd, Bill Barron, Rex Stewart, Sleepy John Estes, Sippie Wallace, Junior Wells og Finn von Eyben. Sendt i Radio Jazz i 2019 Der er mere jazz på www.radiojazz.dk
In this episode, we feature tenor saxophonist Don Byas playing a series of standards interspersed with vocal versions of the same songs.
Another set of visitors to the Ellington universe - Django Reinhardt, Don Byas, Rosemary Clooney and more! Continue reading →
Shellac Stack No. 114 savors every minute of the hour. We waste no time, getting down to business with superb records by the High Steppers, Harry Reser, Don Byas, Ruby Newman's Orchestra, Raie Da Costa, Mary Jane Walsh, and many more.
Frank Albo is a Canadian architectural historian and writer. He is the academic inspiration behind The Hermetic Code (2007) and the author of Astana: Architecture, Myth, and Destiny (2017). Albo is currently an Adjunct Professor of History at the University of Winnipeg where he specializes in architecture, Freemasonry, and the Western esoteric tradition. Topics Discussed: Expo 2017, Great Exhibition of 1851, Myth Making, Invented Tradition, Freemasonic Symbolism, The American Monomyth Book by Robert Jewett, The Hero of a Thousand Faces, Architectural Vocabulary, Secrets In Plain Sight, Carl Jung, Minoru Yamasaki, Sumerian Mythology and Civilizational Rule, Greek Tragedies, The Rosicrucians, The Inklings, Owen Barfield, Frank Lloyd Wright,Frank Gehry, J. R. R. Tolkien,C. S. Lewis, Rudolf Steiner, Planet X, Niburu , Ancient Aliens, The Astana Circus, The Kazakhstan Pentagram. Commute Music: Myth by Don Byas hoaxbusterscall.com
En kreatör som titulerar sig skådespelare, låtskrivare, programledare, reklammakare, bildkonstnär och krukmakare men under detta samtal fokuserar vi på Jannes liv som musiker vilket innefattar samarbeten med Jimmi Hendrix, Hanson & Carlsson, Pugh, Dexter Gordon, Johnny Griffin, Thelonious Monk, Don Byas, Walter Nicks, CharlesMingus, Don Ellis, Graham Tainton för att nämna några legender. Det man främst slås av är Jannes inställning till att lyssna på vad universum säger och att han har haft otroligt kul, varit öppen, provat nya saker och det vill ”Loffe” fortsätta med, han spelar för livet. Länk till programmet: Länk till musiken som nämns i programmet. https://open.spotify.com/user/martin_frontman/playlist/2ykELo5ByoF69CcEnF7xO7 Producent: Martin Frontman Andersson Signaturmelodi: The Ballroom Band - For the taste of her lips Övrig musik: Jimi Hendrix with Hansson & Karlsson - Jam XII at Klubb Filips 1967 Pugh - Små lätta moln Thelonious Monk - Monks dream 5 Foto: Hasse Lindén Tack till: Janne, Pelle Andersson, Kaj Podgorski & Afshin Tahmoury facebook.com/jagspelarforlivet Intsagram.com/jagspelarforlivet #Jagspelarförlivet #JagSpelarForLivet
This is a Birthday celebration to one of our great living Jazz Masters. Today (January 25) marks the 87th Birthday of tenor saxophonist/composer/arranger and Jazz Master Benny Golson. Golson has been a part of Jazz history since breaking into the bands of Tadd Dameron, Dizzy Gillespie and Art Blakey's Jazz Messengers and then forming his own groups along with his important band The Jazztet with trumpeter Art Farmer. Tonight's Jazz Feature is an album that features his mellifluous tenor saxophone playing unfettered by complex arrangements hence the album's title..."Free". Golson is heard here with the "poet of the piano", Tommy Flanagan, bassist Ron Carter and the ubiquitous Arthur Taylor on drums. Two Golson originals are on this set and an intriguing original by obscure pianist Will Davis called "Sock Cha". The rest of the six tunes are made up of good quality standards. "Free" is a testament to the wonderful playing of Benny Golson who somehow combines the sound of his early mentors, Don Byas and Lucky Thompson with his very modern concept. No one sounds like Benny and a very HAPPY BIRTHDAY Mr. Golson!
Tercera entrega dedicada a Albert Mangelsdorff en MPS. En el programa suenan las grabaciones "Eternal Rhythm" de Don Cherry; Zurich International Festival All-Stars (con músicos como Dexter Gordon, Don Byas, Art Farmer o Slide Hampton) realizando una versión de "Lonely Woman" (arreglada por George Gruntz) que aparecía en la grabación "From Europe With Jazz"; el tercer disco es "Open Space" de The Down Beat Poll Winners In Europe en el que participaban, además de Mangelsdorff, Daniel Humair, John Surman, Francy Boland, Niels Henning Oersted-Pedersen, y la vocalista Karin Krog. HDO es un audioblog editado, producido y presentado por Pachi Tapiz. Toda la información en http://www.tomajazz.com/web/?cat=13298
QUIET AUTHORITYBest known as a contributing member of the bebop jazz movement and a member of the Oscar Peterson Trio, jazz bassist Ray Brown performed with jazz giants from Dizzy Gillespie and Charlie Parker to his wife Ella Fitzgerald. Despite Fitzgerald’s short-lived marriage to Brown (1947-1953), she remained a lifelong friend and musical associate. A disciple of the 1940s Oscar Pettiford school of jazz bass, Brown developed an individual style renown for its tastefully executed rhythmic lines within the context of ensemble accompaniment. His talent reflects such breadth and diversity that he was the most cited musician in the first edition of the Penguin Guide to Recorded Jazz (1992). Unlike many of the founders of bebop bass, Brown still performed and earned a successful living as a studio musician, record producer, and nightclub owner. Raymond Matthews Brown was born in Pittsburgh, Pennsylvania, on October 13, 1926. He took piano lessons at age eight and gained knowledge of the keyboard through memorizing the recordings of Fats Waller. A member of the high school orchestra, he soon found himself overwhelmed by the number of pianists among his classmates. "There must have been 14 piano players in it. And 12 of them were chicks who could read anything on sight," explained Brown in Jazz Masters of the Forties. In the book Oscar Peterson: The Will to Swing, Brown revealed the main reason for ending his study of piano: "I just couldn’t find my way on it. It just didn’t give me what I wanted." Soon afterward, Brown, unable to afford a trombone, switched to bass, an instrument provided by the school’s music department.Brown’s new musical role model emerged in Duke Ellington’s innovative bassist, Jimmy Blanton. As he told Jack Tracey in Down Beat, "I just began digging into Blanton because I saw he had it covered—there was nobody else. There he was, right in the middle of all those fabulous records the Ellington band was making at the time, and I didn’t see any need to listen to anybody else." As a teenager Brown played local engagements. Despite offers by bandleaders, he followed his mother’s advice and finished high school before performing on the road with regional territory bands. After graduating in 1944, he performed an eight-month stint in Jimmy Hinsley’s band. Around this time, Brown fell under the influence of bassists Leroy "Slam" Stewart and Oscar Pettiford, a prime mover of a modern jazz bass approach. He next joined the territory band of Snookum Russell. Eight months later, while on the road with Russell, Brown followed the suggestion of fellow band members and moved to New York City.In 1945 Brown arrived in New York City, and during his first night visited Fifty-Second Street—"Swing Street," a mob-controlled thoroughfare lined with various jazz clubs. That evening he encountered pianist Hank Jones, a musical associate, who introduced him to Dizzy Gillespie. That same evening, Gillespie, prompted by Jones’ recommendation, hired Brown without an audition. Attending the band’s rehearsal the next day, Brown—a 19-year-old musician still largely unfamiliar with many of bebop’s innovators—discovered that his fellow band members were Charlie Parker, Bud Powell, and Max Roach. "If I had known those guys any better I would have probably never gone to the rehearsal," admitted Brown in Jazz Journal International. "The only guy I knew something about was Dizzy because some of his records had filtered down through the south where I’d been playing with a territory band." The group’s leader, however, immediately recognized the talent of his young bassist. As Gillespie commented, in his memoir To Be or Not to Bop, "Ray Brown, on bass, played the strongest, most fluid and imaginative bass lines in modern jazz at the time, with the exception of Oscar Pettiford." Shortly afterward, Gillespie added Detroit-born vibraphonist Milt Jackson. In Jazz Masters of the Forties, Brown recounted his early years with Jackson: "We were inseparable. They called us twins."In 1945 Brown appeared with Gillepsie at Billy Berg’s night club in Hollywood, California, an engagement which, with the exception of a small coterie of bebop followers, failed to generate a favorable response from west coast listeners. In Gillespie’s memoir To Be or Not to Bop, Brown summarized the band’s Hollywood stint: "The music wasn’t received well at all. They didn’t know what we were playing; they didn’t understand it." During the winter of 1946, Gillespie returned to New York and opened at Clark Monroe’s Spotlite on 52nd Street with a band consisting of Brown, Milt Jackson, Stan Levey, Al Haig, and alto saxophonist Sonny Stitt. In To Be or Not to Bop, Brown modestly described his role in the sextet, "I was the least competent guy in the group. And they made something out of me." In May of 1946, the sextet recorded for the Musicraft label, cutting the sides such as "One Bass Hit"—featuring Brown’s bass talents—and "Oop Bop Sh’ Bam,’ and "That’s Earl Brother." On Feb 5, 1946, Brown took part in one of Charlie Parker’s sessions for the Dial label, recording such numbers as "Diggin’ Diz."In 1946 Gillespie formed his second big band, using the same six-member line-up. On February 22, 1946, Brown appeared with Gillespie’s big band for a RCA/Victor session organized by pianist and jazz critic Leonard Feather. As Feather wrote in his work Inside Jazz, "Victor wanted an all-star group featuring some of the Esquire winners, so we used J.C. Heard on drums and Don Byas on tenor, along with Dizzy’s own men—Milt Jackson, Ray Brown, and Al Haig—and the new guitarist from Cleveland, Bill de Arango." The date produced the numbers "52nd Street Theme," "Night in Tunisia," "OI’Man Rebop," and "Anthropology." Between May and July of 1946, Brown appeared on such Gillespie recordings as "Our Delight," "Things to Come," and "Rays Idea" (co-written with Gil Fuller). In November of the same year, he cut the classic Gillespie side "Emanon."In 1947 Gillespie assembled a smaller group inside his big band which included Brown, Milt Jackson, pianist John Lewis and drummer Kenny Clarke. As Jackson told Whitney Baillett, in American Musicians II, "We’d play and let the band have a rest. I guess it was Dizzy’s idea." Attending an August 1947 Gillespie big band session Brown’s bass is heard on such numbers as "Ow!," "Oop-Pop-A-Da," and John Lewis’ "Two Bass Hit" which Brown’s bass is heard driving the band and, at the composition’s close, soloing with force and a controlled sense of melody. On December 10, 1947, Brown married vocalist Ella Fitzgerald in Ohio and moved into a residence on Ditmars Boulevard in the East Elmhurst section of Queens, New York. Soon afterward, the couple adopted a son, Ray Jr.After leaving Gillespie’s band in 1947, Brown and performed with Fitzgerald on Norman Granz’s Jazz at the Philharmonic tours and various record dates. "When I left Dizzy," commented Brown in Ella Fitzgerald, "the band was getting ready to go to Europe, and I couldn’t. I’d just gotten married to Ella Fitzgerald. At that time I was in a bit of a curl between her and wanting to be with her as well. She wanted me to travel with her trio; she had Hank Jones playing piano. So I finally decided I was going to stay in New York." During a concert series in September 1949, Brown performed when Canadian-born pianist Oscar Peterson made his debut with the tour (according to Brown, he had already performed with Peterson at informal Canadian jam sessions). In 1950 Brown and Peterson performed as a duo, and for the next several years, were also billed on various tours.In 1950 Brown recorded with Charlie Parker and, between 1950 and 1952, appeared with the Milt Jackson Quartet. The quartet’s pianist John Lewis recounted in The Great Jazz Pianists, "We were all friends and would play together when Dizzy’s band wasn’t working." At another Parker session in August 1951, Brown found himself in the company of such sidemen as trumpeter Red Rodney, John Lewis, and drummer Kenny Clarke. Together they backed Parker on sides which included "Swedish Schnapps," "Si Si," "Back Home Blues," and "Lover Man." A few months later, Brown appeared with the Milt Jackson Quartet, and on March 25, 1952 Brown attended a Charlie Parker big band recording session in Hollywood, California.In 1952 Brown and guitarist Irving Ashby became the founding members of the Oscar Peterson Trio. Ashby’s replacement, Barney Kessel, performed with the trio a year before Peterson recruited guitarist Herb Ellis who, along with Brown on bass, formed one of the most famed jazz trios of the 1950s. "Herb and I rehearsed all the time," stated Brown in Oscar Peterson: The Will to Swing. "For a trio that didn’t have any drums, we had it all. Herb and I roomed together and we played everyday. Not just the gig. We played golf in the morning and guitar and bass in the afternoon, and then we would shower, take a nap, go to dinner, and go to the gig. We had it all." Under Peterson’s leadership, Brown and Ellis underwent a challenging musical regimen. In Jazz Journal International, Brown revealed his admiration for Peterson’s reputation as a difficult task master: "If you are not intimidated by absolute professionalism, then you have no problem. Sure he’ll throw you a curve from time to time by calling unscheduled numbers or unexpectedly doubling the tempos, but if you’re not good enough to handle that, you shouldn’t be with Oscar anyway."By 1953 Brown and Fitzgerald ended their marriage. As Stuart Nicholson noted his book Ella Fitzgerald, "Ray remained adamant that he would pursue his career with Oscar Peterson, and the couple had begun to see less and less of each other. Finally, they decided to bring their marriage to and end and filed for a ‘quickie’ divorce." The divorce was finalized on August 28, 1953 in Juarez, Mexico. Fitzgerald maintained custody of Ray Jr., yet she and Brown remained friends. In November 1953 they, along with Oscar Peterson, appeared at a concert in Japan.In 1958 Peterson replaced Ellis with drummer Gene Gammage, who stayed with the trio a few months until Peterson recruited drummer Edmund Thigpen. Fortunately, Brown was able to stay with the trio and earn a comfortable living. However, by the early 1960s, the group also proved demanding in its performance schedule. As Brown explained in Jazz Journal International, "Some of the tours were really punishing—we’d come to Europe and do 62 one-nighters in 65 days." After his 15-year membership in the Oscar Peterson Trio, Brown left the group in 1965, and settled in Hollywood, where he worked in the areas of publishing, management, and record production. In 1974 he co-founded the L.A. Four with saxophonist Bud Shank, Brazilian guitarist Luarindo Almeida, and drummer Shelly Manne (later replaced by Jeff Hamilton). One of Brown’s exemplary studio dates emerged in the 1974 album Dizzy Gillespie Big 4.By 1976 Brown appeared four days a week on the Merv Griffin Show. A year later, after two decades of appearing as a sideman on the Contemporary label, Brown recorded the solo effort Something for Lester, placing him in the company of pianist Cedar Walton and drummer Elvin Jones. In Down Beat Zan Stewart gave the album the magazine’s highest rating (five stars), and commented, "Walton and Jones are apropos partnersin sound for the superlative bassist… Ray’s imparts the line to ‘Georgia’—what glorious tone he possesses! It continually overwhelms the listener, as does his superb intonation, for Brown is always at the center of each note."In a 1980 Jazz Journal International interview, Brown told Mike Hennessey, "I’m very fortunate. I’m still able to travel and play various countries and still be liked by the public. I’m able to play what I like to play and as long as people want to listen, that’s fine with me." During the 1980s, Brown recorded solo albums for the Concord label as well as releases by the L.A. Four, and numerous guest sessions with pianist Gene Harris. Since his first appearance on Telarc Records in 1989, his albums for the company include the 1994 trio LP (with pianist Benny Green and drummer Jeff Hamilton) Bass Face, Live at Kuumbwa, the 1995 work Seven Steps to Heaven (with Green and drummer Greg Hutchinson), and the 1997 release Super Bass. Brown still performs both as a leader and accompanist at festivals and concert dates. "During the past decades Brown’s sound and skill have remained undimmed, "wrote Thomas Owens, in his 1995 book Bebop: The Music and Its Players. "He is an agile, inventive, and often humorous soloist. His arco [bow] technique is excellent, though he seldom reveals it. But he shines most brilliantly as an accompanist. Examples of his beautiful lines are legion." Interviewed in The Guitar Player Book, Herb Ellis also lauded the talents of his former music partner: "[Ray Brown] is in a class all by himself. There is no other bassist in the world for me, and a lot of players feel the same way. On most instruments, when you get to the top echelon it breaks down to personal taste, but I tell you, there are a lot of guys on his tail, but Ray has it all locked up."
Hoy escuchamos dos canciones distintas con el mismo título: 'How little we know' (Qué poco sabemos). Una es un gran número de swing que Frank Sinatra grabó en 1956. La otra la había estrenado doce años antes Lauren Bacall en la película 'Tener y no tener'. Nosotros oímos una versión grabada por Anita Boyer en 1945. Otras dos canciones con idéntico título: 'Some like it hot' (A algunos les gusta caliente) las interpretan la orquesta de Charlie Barnet, con la cantante Judy Ellington, y Marilyn Monroe, en una escena de su película 'Con faldas y a lo loco' que fue cortada antes del estreno. El título original de esa película es también 'Some like it hot', que es como se tituló originalmente la película de 1939 donde Bob Hope y Shirley Ross estrenaron el dúo 'The lady's in love with you' (La señora está enamorada de ti). También en este programa, el tango 'At the Balalaika', grabado en 1937 por la orquesta de Victor Sylvester; 'Ritmo en el club', por el clarinetista Adolfo Ventas, con el conjunto de Ramón Vives, en un disco de 1945; dos canciones grabadas ese mismo año por Rafael Medina con el acordeonista Serramont: 'Al son de la marimba' y 'Yo sé por qué'; la 'Canción de Septiembre' (September song), por el saxofonista Don Byas, grabada en 1944; y otros tres discos españoles: 'Boquita de rosa', grabado en 1959 por Ramón Calduch; 'En la cruz de tu mano' (Dans le creux de ta main), por Robert Jeantal, versión en español de la canción que ganó el tercer Festival de la Canción Mediterránea, tal día como hoy del año 1961; y el segundo premio, 'Presentimiento', por José Guardiola. Escuchar audio
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