Podcast appearances and mentions of Oscar Pettiford

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STANDAR SEMANAL.-georgia on my mind,.VINILOS MITICOS DEL JAZZ.-927.Thelonious Monk - Brilliant Corners.-JAZZACTUALIDAD.SEDAJAZZ KIDS BAND-RAM SESSIONS Brilliant Corners es un álbum de estudio de 1957 del pianista de jazz estadounidense Thelonious Monk . Fue su tercer álbum para Riverside Records y el primero en el sello que incluía composiciones propias. Brilliant Corners se grabó en tres sesiones, entre octubre y diciembre de 1956, con dos quintetos diferentes. «Ba-lue Bolivar Ba-lues-Are» y «Pannonica», esta última con Monk tocando la celesta , se grabaron el 9 de octubre con los saxofonistas Ernie Henry y Sonny Rollins , el bajista Oscar Pettiford y el baterista Max Roach . La primera composición se tituló como una interpretación fonética de la pronunciación exagerada de Monk de «Blue Bolivar Blues»; esto hacía referencia al Hotel Bolívar de Manhattan, donde residía la heredera y mecenas del jazz Pannonica de Koenigswarter . [ 1 ] El 15 de octubre, Monk intentó grabar la canción principal con la misma banda durante una sesión de cuatro horas. La complejidad de la composición se convirtió en un reto para la banda, que intentó veinticinco tomas, y Henry y Pettiford se enfadaron con Monk. Monk intentó facilitarle la grabación a Henry no tocando durante su solo. [ 1 ] Durante una de las tomas, el productor Orrin Keepnews y otros en la sala de control no pudieron oír la interpretación de Pettiford; revisaron el micrófono de su bajo para ver si estaba roto, pero finalmente se dieron cuenta de que estaba haciendo una pantomima. Como no se completó ninguna toma, Keepnews editó la versión del álbum a partir de varias tomas. "Bemsha Swing" se grabó el 7 de diciembre, con Paul Chambers reemplazando a Pettiford en el bajo y el trompetista Clark Terry reemplazando a Henry; Monk grabó una versión para piano solo de " I Surrender Dear " el mismo día. La canción principal tiene una estructura poco convencional que se aleja tanto de la forma estándar de una canción como de las estructuras del blues. Su forma ternaria emplea una sección A de ocho compases, seguida de una sección B de siete compases y una sección A modificada de siete compases, e incluye un tema de doble compás en cada segundo estribillo y acentos rítmicos complejos . [ "Bemsha Swing" fue la única composición del álbum que Monk había grabado previamente. La Sedajazz Kids Band, cuyos integrantes tienen una media de 14 años, presentan un repertorio de funky blues, latin, flamenco jazz y hard bop, trabajado en la asignatura de combo, bajo la dirección de Fco. Angel Banco Latino. Desde el colectivo Sedajazz estamos muy felices de presentar el nuevo trabajo de la Sedajazz Kids Band titulado Ram Session, un concierto en directo grabado en La Rambleta Valencia el 14 de Julio de 2024. El sonido fue realizado por Jorge Perez y el video por Chechu Berlanga. El repertorio es el resultado de un curso trabajando temas de funky blues, latin, flamenco jazz y hard bop, con composiciones de Don Pullen, Art Pepper, Perico Sambeat, Dirty Dozen, Roy Hargrove, Dizzy Gillespie, y arreglos de Latino Blanco, Toni Belenguer y Perico Sambeat. El grupo está formado por jóvenes estudiantes del Taller Sedajazz en la asignatura de combo, bajo la dirección de Fco. Angel Blanco Latino. Este trabajo está inspirado en la música con la que Latino empezó en el Jazz con Los Urones, grupo liderado por Nacho Ros, un pianista valenciano. En ese grupo estaban también Paquito Vidre a la guitarra, Mari Mar en la voz y Julio Valls al bajo. A veces se unían Perico Sambeat, Eladio Reinon y Ramon Cardo. La edad media de los componentes de la Sedajazz Kids Band es de 14 años, y el resultado es muy satisfactorio. Estamos seguros de que os encantará escucharlos. Este es el segundo trabajo con esta formación después de su disco Rumbo a New Orleans, con el que hicieron numerosas presentaciones con gran éxito. Créditos Ximet Reillo: Saxo Soprano y Alto Luis Coronado: Saxo Alto Hugo Coronado: Trompeta David Bonet: Trombón Azul Prada: Guitarra Pau Montalt: Batería Pau Baena: Piano Fco. Angel Blanco Latino: Bajo eléctrico, Contrabajo, Dirección Grabado en directo el 14 de Julio de 2024 en La Rambleta Valencia Jorge Perez: Sonido, mezcla y mastering Josep Asensio: Asistente de sonido Chechu Berlanga: Video Pedro Gallego: Ayudante de producción Temas 1. Poodie Pie (Don Pullen. Arr. Latino Blanco) 07:16 2. Red car (Art Pepper. Arr. Latino Blanco) 08:24 3. Big Alice (Don Pullen. Arr. Latino Blanco) 08:02 4. Tipping (Horace Silver) 05:06 5. Blue March (Benny Golson. Arr. Latino Blanco) 11:32 buy track 6. Barri de la Coma (Perico Sambeat) 07:15 7. Night in Tunisia (Dizzy Gillespie. Arr. Latino Blanco) 05:18 8. Charlie Dozen (Dirty Dozen. Arr. Toni Belenguer) 10:31 9. The New Boogaloo (Marcus Printup. Arr. Toni Belenguer)) 06:30 10. Mercy Mercy Mercy (Joe Zawinul. Arr. Toni Belenguer) 10:07 11. Mr Clean (Freedie Hubbard) 10:06

Oscar Pettiford levede fra 1923 til 1960 – han blev kun 37 år. Pettiford var cellist, bassist, komponist og orkesterleder. Jazz Grooves-værten, Hans Barfod oplevede Oscar Pettiford ved hans sidste koncert.

Venerable musician who plays a myriad of keyboards and synths talks about his early leanings towards Julius Watkins and Oscar Pettiford, moving to New York playing banjo in Dixieland Bands and finding his groove with the Gil Evans Orchestra. Older brother of Tony.

Parmi ceux qui ont fait entrer le violoncelle dans le jazz, beaucoup sont à l'origine des contrebassistes : on l'a vu avec Oscar Pettiford dans la première émission. Et bien c'est justement Pettiford qui a convaincu Ray Brown, de s'y mettre à son tour et d'autres suivront, comme Sam Jones, Doug Watkins et Ron Carter. Revue à quatre cordes en compagnie de notre expert Vincent Segal. Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

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IKE QUEBEC “QUINTET” – New York, July 18, 1944Blue HarlemIke Quebec (ts) Ram Ramirez (p) Tiny Grimes (g) Milt Hinton (b) J.C. Heard (d) “SWINGTET” – New York, September 25, 1944If I had you, Mads About YouJonah Jones (tp) Tyree Glenn (tb) Ike Quebec (ts) Ram Ramirez (p) Tiny Grimes (g) Oscar Pettiford (b) J.C. Heard (d) JOHN HARDEE “SEXTET” – New York, February 28, 1946Hard tack, If I had you, Mad about youJohn Hardee (ts) Sammy Benskin (p) Tiny Grimes (g) John Simmons (b) Sidney Catlett (d)“SWINGTETT” – New York, May 31, 1946River edge rock,C jam blues, Flying home, Tiny's boogie woogieTrummy Young (tb) John Hardee (ts) Marlowe Morris (p) Tiny Grimes (g) Jimmy Butts (b) Eddie Nicholson (d) EDMOND HALL “CELESTE QUARTET” – New York, February 5, 1941Edmond Hall blues, Celestial expressEdmond Hall (cl) Meade Lux Lewis (celeste) Charlie Christian (g) Israel Crosby (b) “ALL STAR QUINTET” – New York, January 25, 1944Rumpin' in '44, Seein' RedEdmond Hall (cl) Red Norvo (vib) Teddy Wilson (p) Carl Kress (g) Johnny Williams (b) y su Swingtet : Jonah Jones (tp) Tyree Glenn (tb) Continue reading Puro Jazz 15 de octubre, 2024 at PuroJazz.

IKE QUEBEC “QUINTET” – New York, July 18, 1944Blue HarlemIke Quebec (ts) Ram Ramirez (p) Tiny Grimes (g) Milt Hinton (b) J.C. Heard (d) “SWINGTET” – New York, September 25, 1944If I had you, Mads About YouJonah Jones (tp) Tyree Glenn (tb) Ike Quebec (ts) Ram Ramirez (p) Tiny Grimes (g) Oscar Pettiford (b) J.C. Heard (d) JOHN HARDEE “SEXTET” – New York, February 28, 1946Hard tack, If I had you, Mad about youJohn Hardee (ts) Sammy Benskin (p) Tiny Grimes (g) John Simmons (b) Sidney Catlett (d)“SWINGTETT” – New York, May 31, 1946River edge rock,C jam blues, Flying home, Tiny's boogie woogieTrummy Young (tb) John Hardee (ts) Marlowe Morris (p) Tiny Grimes (g) Jimmy Butts (b) Eddie Nicholson (d) EDMOND HALL “CELESTE QUARTET” – New York, February 5, 1941Edmond Hall blues, Celestial expressEdmond Hall (cl) Meade Lux Lewis (celeste) Charlie Christian (g) Israel Crosby (b) “ALL STAR QUINTET” – New York, January 25, 1944Rumpin' in '44, Seein' RedEdmond Hall (cl) Red Norvo (vib) Teddy Wilson (p) Carl Kress (g) Johnny Williams (b) y su Swingtet : Jonah Jones (tp) Tyree Glenn (tb) Continue reading Puro Jazz 15 de octubre, 2024 at PuroJazz.

Three hundred podcasts is the kind of milestone worth of an echo chamber at the very least and a themed episode at the very, er, leaster.  Pat had the bright idea (he thought) of reviewing albums from 1953, 1963. 1973, and 1983.  Mike explained that was in fact a stupid idea and so they might as well make this celebration a two-parter with 301 covering 1993, 2003, 2013, 2023.  The rules were simple - pick an artist we hadn't discussed to death already and accept that while the album might be characteristic of its time it cannot be expected to be the "best" of a given year in any way, shape, or form.  Oscar Pettiford - THE NEW OSCAR PETTIFORD SEXTET;;  Prince Lasha – THE CRY; Flora Purim – BUTTERFLY DREAMS; Microscopic Sextet – TAKE THE Z TRAIN (Koch 1983)

Saxophonist Julian “Cannonball” Adderley (born Sept 15,1928) and his cornetist brother Nat (born Nov 25, 1931) co-led one of the most successful jazz groups of the 1960's-1970's. From the time they arrived on the NYC scene from their native Florida in 1955, and sat in with bassist Oscar Pettiford, they set the town ablaze. Both musicians found work with many of the jazz luminaries of the time, Cannonball famously with Miles Davis' great sextet that included John Coltrane and recorded Kind of Blue, the biggest selling jazz recording of all time, and Nat with trombonist J. J. Johnson and Woody Herman. By 1959 they formed their long-standing quintet and had their first hit with This Here, the first of many successful recordings, many composed by Nat for the quintet. Nat is also one of the few jazz musicians to continue playing the cornet, instead of the brighter/brassier trumpet favored by most players, which helped give the quintet a more intimate warmer sound.

RON BLAKE MISTAKEN IDENTITY New York ?, c. 2023Stablemates (1) Is that so ? (1), No hype blues (1)Ron Blake (ts,bar) Bobby Broom (g) Nat Reeves (b-1) Reuben Rogers (b-2) Kobie Watkins (d) LISA SOKOLOV PRESENCE New York, May 2002 & Tampere, Finland, November 3, 2002Presence, You do something to me, Hard being human, Home on the rangeLisa Sokolov (vcl,keyboards) acc by John Di Martino (p ) Cameron Brown (b) Gerry Hemingway (d) KENNY DORHAM JAZZ CONTRASTS New York, May 21 & 27 (1) 1957Falling in love with love, La rue (1) (sr out) My old flame (1,2)Kenny Dorham (tp) Sonny Rollins (ts-2) Hank Jones (p) Betty Glamann (harp-1) Oscar Pettiford (b) Max Roach (d)New York ?, c. Continue reading Puro Jazz 22 Mayo 2024 at PuroJazz.

RON BLAKE MISTAKEN IDENTITY New York ?, c. 2023Stablemates (1) Is that so ? (1), No hype blues (1)Ron Blake (ts,bar) Bobby Broom (g) Nat Reeves (b-1) Reuben Rogers (b-2) Kobie Watkins (d) LISA SOKOLOV PRESENCE New York, May 2002 & Tampere, Finland, November 3, 2002Presence, You do something to me, Hard being human, Home on the rangeLisa Sokolov (vcl,keyboards) acc by John Di Martino (p ) Cameron Brown (b) Gerry Hemingway (d) KENNY DORHAM JAZZ CONTRASTS New York, May 21 & 27 (1) 1957Falling in love with love, La rue (1) (sr out) My old flame (1,2)Kenny Dorham (tp) Sonny Rollins (ts-2) Hank Jones (p) Betty Glamann (harp-1) Oscar Pettiford (b) Max Roach (d)New York ?, c. Continue reading Puro Jazz 22 Mayo 2024 at PuroJazz.

CHARLES MCPHERSON REVERENCE Smoke Jazz Club, NYC, lanzamiento 26 abril, 2024.Surge, Blues for Lonnie in ThreeCharles McPherson (sa) Terell Stafford (t) Jeb Patton (p) David Wong (b) Billy Drummond (dr) PHINEAS NEWBORN, JR. HERE IS PHINEAS New York, May 3-4, 1956Celia, Newport blues (p solo), Daahoud (1), Afternoon in Paris (1)Phineas Newborn, Jr. (p) Calvin Newborn (g-1) Oscar Pettiford (b) Kenny Clarke (d) GENE AMMONS / SONNY STITT GENE AMMONS BAND New York, March 5, 1950Blues up and down, You can depend on me, New Blues up and down, Bye bye (1)Bill Massey (tp-1) Eph Greenlea (tb-1) Gene Ammons (ts) Sonny Stitt (ts,bar) Duke Jordan (p) Tommy Potter (b) Jo Jones (d) New York, October 28, 1950Stringin' the jug (pt 1)(pt 2), A lover is blue (ss out)Gene Ammons, Sonny Stitt (ts) Junior Mance (p) Eugene Wright (b) Wesley Landers (d) Continue reading Puro Jazz 07 Mayo 2024 at PuroJazz.

CHARLES MCPHERSON REVERENCE Smoke Jazz Club, NYC, lanzamiento 26 abril, 2024.Surge, Blues for Lonnie in ThreeCharles McPherson (sa) Terell Stafford (t) Jeb Patton (p) David Wong (b) Billy Drummond (dr) PHINEAS NEWBORN, JR. HERE IS PHINEAS New York, May 3-4, 1956Celia, Newport blues (p solo), Daahoud (1), Afternoon in Paris (1)Phineas Newborn, Jr. (p) Calvin Newborn (g-1) Oscar Pettiford (b) Kenny Clarke (d) GENE AMMONS / SONNY STITT GENE AMMONS BAND New York, March 5, 1950Blues up and down, You can depend on me, New Blues up and down, Bye bye (1)Bill Massey (tp-1) Eph Greenlea (tb-1) Gene Ammons (ts) Sonny Stitt (ts,bar) Duke Jordan (p) Tommy Potter (b) Jo Jones (d) New York, October 28, 1950Stringin' the jug (pt 1)(pt 2), A lover is blue (ss out)Gene Ammons, Sonny Stitt (ts) Junior Mance (p) Eugene Wright (b) Wesley Landers (d) Continue reading Puro Jazz 07 Mayo 2024 at PuroJazz.

"Sax Trios have long been an engaging and explorative vehicle for bassists. Think the freedom of Wilbur Ware on "A Night at the Village Vanguard", Oscar Pettiford on "Freedom Suite", or Ray Brown on "Way Out West"...yeah, we love Sonny Rollins! In this episode Bob and Reuben share and rap about some of their favorite Sax Trios 'situations'. Larry Grenadier, Henry Grimes, Pablo Menares, Dave Holland, and Kiyoshi Kitagawa are featured in this 1st of a 2-part series." Here's a bonus Spotify Playlist with some of our favorite Sax Trios. Let us know what YOU like!If you like Bass - you're in the right place! Interested in more music and practice advice? Check out Open Studio...where you'll find courses and much more by world-class bassists like Reuben Rogers, Ron Carter, Christian McBride, Bob DeBoo and more. Reach out to the Upright Citizens anytime at uprightcitizenspodcast@gmail.com ★ Support this podcast ★

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CLORA BRYANT GAL WITH A HORN Los Angeles, July, 1957Gypsy in my soul, Sweet Georgia BrownClora Bryant (vcl,tp) acc by Norman Faye (tp) Walter Benton (ts) Roger Fleming (p) Ben Tucker (b) Bruz Freeman (d) TERRY POLLARD TERRY POLLARD Los Angeles, January 10, 1955Fedj (1,2), Autumn serenade (1,2)Don Fagerquist (tp-1) Terry Pollard (p) Howard Roberts (g-2) Herman Wright (b) Frank DeVito (d) DOROTHY DONEGAN AT THE EMBERS New York, March 23, 1957September song, Donegan walkDorothy Donegan (p) Bill Pemberton, Oscar Pettiford (b) Charlie Smith (d HAZEL SCOTT RELAXED PIANO MOODS Hackensack, N.J., January 21, 1955The Jeep is jumpin', Git up from thereHazel Scott (p) Charles Mingus (b) Max Roach (d) MARY OSBORNE A GIRL AND HER GUITAR New York, 1959I'm beginning to see the light, I let a song go out of my heartTommy Flanagan (p) Mary Osborne (g) Danny Barker (rhythm-g) Tommy Potter (b) Jo Jones (d) VALAIDA SNOW VALAIDA SNOW Chicago, IL, 1953I ain't gonna tell it, If you don't mean itValaida Snow (tp,vcl) with unknown acc DOTTIE DODGION NOW'S THE TIME Live “The Monticello”, Rochester, June 30, 1977Now's the time, Straight no chaserVi Redd (as) Marian McPartland (p) Mary Osborne (g) Lynn Milano (b) Dottie Dodgion (d) Continue reading Puro Jazz 05 marzo 2024 at PuroJazz.

CLORA BRYANT GAL WITH A HORN Los Angeles, July, 1957Gypsy in my soul, Sweet Georgia BrownClora Bryant (vcl,tp) acc by Norman Faye (tp) Walter Benton (ts) Roger Fleming (p) Ben Tucker (b) Bruz Freeman (d) TERRY POLLARD TERRY POLLARD Los Angeles, January 10, 1955Fedj (1,2), Autumn serenade (1,2)Don Fagerquist (tp-1) Terry Pollard (p) Howard Roberts (g-2) Herman Wright (b) Frank DeVito (d) DOROTHY DONEGAN AT THE EMBERS New York, March 23, 1957September song, Donegan walkDorothy Donegan (p) Bill Pemberton, Oscar Pettiford (b) Charlie Smith (d HAZEL SCOTT RELAXED PIANO MOODS Hackensack, N.J., January 21, 1955The Jeep is jumpin', Git up from thereHazel Scott (p) Charles Mingus (b) Max Roach (d) MARY OSBORNE A GIRL AND HER GUITAR New York, 1959I'm beginning to see the light, I let a song go out of my heartTommy Flanagan (p) Mary Osborne (g) Danny Barker (rhythm-g) Tommy Potter (b) Jo Jones (d) VALAIDA SNOW VALAIDA SNOW Chicago, IL, 1953I ain't gonna tell it, If you don't mean itValaida Snow (tp,vcl) with unknown acc DOTTIE DODGION NOW'S THE TIME Live “The Monticello”, Rochester, June 30, 1977Now's the time, Straight no chaserVi Redd (as) Marian McPartland (p) Mary Osborne (g) Lynn Milano (b) Dottie Dodgion (d) Continue reading Puro Jazz 05 marzo 2024 at PuroJazz.

BEN ALLISON TELL THE BIRDS I SAID HELLO – THE MUSIC OF HERBIE NICHOLS Maggie's Farm, Pipersville PA, April 8-9, 2023Enrapture, Games and Codes, She Insists, Swan SongTed Nash (st) Steve Cardenas (g) Ben Allison (b JUN IIDA EVERGREEN Los Angeles, CA, November 22 & 23, 2022Gooey butter cake, Akatombo, EvergreenJun Iida (tp,comp) Josh Nelson (p,el-p) Masami Kuroki (g) Jonathan Richards (b) Xavier Lecouturier (d) Aubrey Johnson (vcl) MILT JACKSON PLENTY, PLENTY SOUL New York, January 7, 1957HeartstringsJoe Newman (tp) Jimmy Cleveland (tb) Cannonball Adderley (as) [as Ronnie Peters (as) ] Frank Foster (ts) Sahib Shihab (bar) Milt Jackson (vib) Horace Silver (p) Percy Heath (b) Art Blakey (d) Quincy Jones (arr New York, January 5, 1957Sermonette, Blues at twilightJoe Newman (tp) Lucky Thompson (ts) Milt Jackson (vib) Horace Silver (p) Oscar Pettiford (b) Connie Kay (d) Continue reading Puro Jazz 26 febrero 2024 at PuroJazz.

Musicians who appeared in Art Kane's iconic 1958 photograph, celebrating the golden age of jazz.  Musicians include: Oscar Pettiford, Maxine Sullivan, Jimmy Rushing, Dizzy Gillespie, Thelonius Monk, Sonny Rolling, Count Basie and Lester Young. 

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MUGGSY SPANIER - AND HIS RAGTIMERS  - New York, April 22, 1944 Sweet Lorraine, Lady be good, September in the rain Muggsy Spanier (cnt) Ernie Caceres (bar) Pee Wee Russell (cl) Dick Cary (p) Eddie Condon (g) Sid Weiss (b) Joe Grauso (d) GARLAND WILSON - PIANO SOLO  - New York, May 18, 1931 (Medley :) Dear old southland, Limehouse blues, St. James infirmary (gw vcl) Garland Wilson (p,vcl)  - Paris, c. December 1933 Mood indigo Garland Wilson (p) EARL HINES AND THE DUKE'S MEN: SONNY GREER  - New York, May 16, 1944 Kansas City caboose, Sleepy baboon Rex Stewart (cnt) Lawrence Brown (tb) Jimmy Hamilton (cl,ts) Harry Carney (bar) Marlowe Morris (p) Teddy Walters (g) Oscar Pettiford (b) Sonny Greer (d) Brick Fleagle (arr) EARL HINES  - New York, April 26, 1944 Blues on my weary mind (br vcl), Design for jivin' (1) Ray Nance (tp,vln-1) Johnny Hodges (as) [as J. Harjes (as) on labels] Flip Phillips (ts) Earl Hines (p) Al Casey (g) Oscar Pettiford (b) Sidney Catlett (d) Betty Roche (vcl) CAT ANDERSON  - New York, May 14, 1947 Cat's boogie Cat Anderson, Lee Brown, Don Devilla, Archie Johnson (tp) Joe Stroud (tp,vcl) Joe Britton, Floyd Brady, LeRoy Hardison, George Stevenson (tb) Curby Alexander, Vince Royal (as) John Hartzfield, Vincent McCleary (ts) Howard Austin (bar) Horatio Duran (p) Bob Paige (b) Bobby Donaldson (d) JO JONES SEXTET - VAMP 'TIL READY  - New York, April 19, 1960 Vamp 'till ready, You're getting to be a habit with me(tf,tp & jj only), Should I ? (he,jf out), Thou swell (bg,jf out), Show time Harry "Sweets" Edison (tp) Bennie Green (tb) Jimmy Forrest (ts) Tommy Flanagan (p) Tommy Potter (b) Jo Jones (d)

Earl Hines' very few solo recordings during this period - Blue Note, Victor and Bluebird as well as a trio with Al Casey and Oscar Pettiford and a Keynote session led by Charlie Shavers with Tab Smith. --- Support this podcast: https://podcasters.spotify.com/pod/show/john-clark49/support

The melody had three daddies — in 1944 bandleaders Duke Ellington and Harry James collaborated with alto saxophonist Johnny Hodges to develop the tune — but it was those sassy lyrics that made the song: I never cared much for moonlit skies, I never winked back at fireflies, But now that the stars are in your eyes, I'm Beginning to See the Light!Those words came from the smart pen of the great Don George. In his book, The Poets of Tin Pan Alley, Philip Furia praised George's witty use of a list of “light” images and his ability to deal with a difficult song. “Ellington's tune was particularly hard to set,” Furia noted, “since each A section consists of the same, driving vamp-like phrase repeated three times over before the melody finally changes.” In his way, George heightens this musical insistence, using the same rhyme for the first three lines of each section, then “George ends by rekindling one of the oldest songwriting cliches, mixing his metaphors of light and heat:” But now that your lips are burning mine, I'm beginning to see the light.Beyond the LightWhile Don George surely is best known as one of Ellington's prime lyricists, his career spanned another 40 years following the Duke era and included such pop hits as "The Yellow Rose of Texas” for the iconic Mitch Miller.George also worked on special material for many performers, from Nat King Cole and Patti Page to The Pointer Sisters.His lyrics are a study guide for wordsmiths of all stripes. For instance, in David Jenness' and Don Velsey's discussion of composer Moose Charlap, they note that one of the cleverest apologies ever comes from a 1956 George lyric for a famous Charlap melody: The girl in my arms meant nothing to me, I Was Telling Her About You.On the ChartsBut let's get back to “Beginning to See the Light.” A year after its composition, the song spent several weeks on “Your Hit Parade” and charted three times in 1945, with co-writer Harry James' version leading the pack. Ellington vocalist Joya Sherrill, who was only 17, had just joined the band when they recorded the tune in an arrangement that featured co-author Johnny Hodges on sax and Lawrence Brown on trombone.Jazz instrumentals of song have been recorded by bassist Oscar Pettiford, pianist Art Tatum, drummer Chico Hamilton and vibist Red Norvo. Vocalists Ella Fitzgerald, Peggy Lee and Frank Sinatra all have made memorable renditions.More recently, Ann Hampton Callaway included it in her 1996 tribute to Fitzgerald, guitarist Martin Taylor and the David Grisman Quartet recorded it in 1999, and in 2004 — 60 years after the song's creation — it was revived by the late, great Al Jarreau.Our Take on the TuneOur latest Duke Ellington number, this is a sweet vehicle for sassy solos by everyone in the band. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

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Sonny Rollins, "Freedom Suite", é um dos álbuns de protestos mais icônicos, porém pouco lembrado, já que o protesto sempre esteve mais associado ao canto. Depois desse álbum vieram outros também na linha do free jazz, como alguns trabalhos do Archie Sheep. Sim, "Freedom Suite" é um dos álbuns introdutórios do free jazz, sim senhor. Ainda não completamente free jazz, ainda com muita melodia, uma estrutura no meio, mas uma certa crueza, liberdade, quebras melódicas, a primeira parte compõe todo um “caos”. O protesto do Rollins no caso do disco difere do protesto de Archie ou de outros, pois esses são mais diretos na “mensagem” (não gosto da palavra), no nome das faixas, nas referências, mas Rollins quis ser direto, sim, e ele consegue. O feeling é político, e tão político foi o projeto do álbum que Riverside, quando lançou, mudou o nome para Shadow Waltz, fazendo referência a um dos Standards que o Rollins toca no lado B.Um disco lindo com um trio de sax (Sonny Rollins), bateria (Max Roach) e baixo (Oscar Pettiford). Jazz sem piano, como nos primeiros discos do Ornette Coleman.  Bora lá dar o play?MúsicasKing Oliver's Creole Jazz Band (Canal Street Blues)Original Dixieland Jass Band (Livery Stable Blues)Duke Ellington - CaravanSalt Peanuts Dizzy (Gillespie e Charille Parker)St. Thomas (Sonny Rollins)You Don´t Know What Love Is (Sonny Rollins)The Freedom SuiteSomeday I'll Find YouWill You Still Be MineTill There Was YouRoteiro e apresentação: Pedro SchwarczDireção: Newman CostaEdição: Felipe CaldoRedação: Luiz Fujita e Paulo BorgiaArte: CRIO.LAHSegue a gente lá no insta: @umpaposobresom Produção: Baioque ConteúdoRoteiro e apresentação: Pedro SchwarczDireção: Newman CostaEdição: Felipe CaldoRedação: Luiz Fujita e Paulo BorgiaArte: CRIO.LAH

Tonight's Jazz Feature is a bit of a catch-up as we return to live broadcasting. This Jazz Feature is an extended tribute to Black History Month and part 1 is Sonny Rollins' famous piece "The Freedom Suite" which was recorded in February of 1958 for Riverside Records. Mr. Rollins wrote this suite and performed it here with two pioneers of Modern Jazz, bassist Oscar Pettiford and drummer Max Roach. It is Rollins' statement to the trials and triumphs of African Americans and was a ground breaking recording. It is in 3 movements and spans about 20 minutes of magnificent playing by all, Part 2 of tonight's Jazz Feature is a performance by the John Handy "New" Quintet at New York's Village Gate. Handy is on alto saxophone with Bobby Hutcherson on vibes, Pat Martino on guitar, Albert Stinson on bass and Doug Sides on drums. The piece is dedicated to the great but underrated civil rights advocate, James Meridith who risked his life to integrate the University of Mississippi in Jackson. It is sometimes referred to as "Old Miss". Meridith was successful and today there is a statue at the university in his honor. John Handy wrote and performs his composition dedicated to Meridith called "Tears Of Old Miss" (Anatomy of a Riot). It is a stunning and intese performance depicting the effort it took Meridith to accomplish what he did. Both pieces are a tribute to Black History Month.

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Hawkins at the peak of his ability - his tenor sax is here featured with quartets including Teddy Wilson, Eddie Heywood, Jr., Israel Crosby, Oscar Pettiford, Cozy Cole and Sid Catlett --- Support this podcast: https://anchor.fm/john-clark49/support

On this episode of Encore Houston, Kinder HSPVA graduate Jalen Baker and other young jazz artists perform for the Houston Jazz Collective, presenting some original works and a few classics featuring jazz vibraphone. Music in this episode: SAM RIVERS: Cyclic Episode JALEN BAKER: Healing BAKER: Don't shoot BAKER: Praise BAKER: We Regret to Inform you BAKER: Obey/Disobey OSCAR PETTIFORD: Blues in the Closet DIZZY GILLESPIE: Bebop Jalen Baker, vibraphone Gavin Moolchan, drums Sam Reid, piano Corey Dozier, bass Performance date: 3/21/2021 Originally aired: 10/29/2022 New episodes of Encore Houston air Saturdays at 10 PM, with a repeat broadcast Sundays at 4 PM, all on Houston Public Media Classical.

Bob and Reuben's Oscar Pettiford "Bassist as Leaders" PlaylistInterested in more music advice? Go here to browse our catalog of jazz lessons and courses available for purchase. Want some jazz courses taught by Reuben and Bob? Our Bass Access Pass includes every bass course in one convenient place.Let us know what you think by leaving a ⭐⭐⭐⭐⭐⭐⭐ review, or head over to our YouTube channel.Follow us on Twitter | Instagram ★ Support this podcast ★

If you've ever learned a band instrument, or know someone who has, chances are you've heard the tune "Blues in the Closet" — a signature of the bebop era. What you may not know is that its roots go back to north Minneapolis, where one of its creators grew up. And today — Friday, Sept. 30, 2022 — marks exactly 100 years since that jazz pioneer, Oscar Pettiford, was born. Pettiford music 1 Pettiford got his start on the stages of the Twin Cities, helping create a "Minneapolis sound" long before Prince — a sound that forever changed American music. He played with a who's-who of jazz greats across the U.S. and in Europe, before his untimely death. "He probably doesn't get the right amount of credit that he should," bassist Christian McBride, host of NPR's "Jazz Night in America" and a six-time Grammy winner, said of Pettiford. Courtesy of the Minnesota Historical Society Oscar Pettiford, on bass, played with his brother Ira, a trumpeter, at the University of Minnesota's Coffman Union in Minneapolis in 1941, in this photo from the Minnesota Historical Society collections. "He was probably the most important bass player of that bebop generation in terms of creating new language for the bass, and playing what Dizzy Gillespie and Charlie Parker were playing, on the bass." Pettiford was born in Oklahoma, the son of Native American and Black families. Oscar, his brother Ira, and their large, musical family soon moved to Minnesota. "They were traveling musicians, who traveled with different artists, who picked up different skills, who jumped in different bands," said Jamela Pettiford, a singer from St. Paul who still carries the family name. She also teaches theater at Battle Creek Middle School. Oscar was her grandfather's cousin. "Coming here to Minnesota, looking for a better life, of course hoping for less discrimination — and there was a music scene here. They very much were the Minneapolis sound at the time." It was Oscar who rose above the rest. Bands passing through town heard his sound, forged in the ferment of a musicians' strike in the early 1940s that all but shut down the recording industry and had musicians making a living with relentless performing and creativity. Pettiford music 2 Oscar Pettiford remembered the era with another jazz legend — radio host Leigh Kamman —in the early 1950s, captured in a recorded interview still held by the Leigh Kamman Legacy Project. "I recall one night when you had a big session with Coleman Hawkins," Kamman says in the recording. "Up in Duluth, Minnesota. Before then, it was Cab Calloway and Duke Ellington." "And you wound up with the Duke, didn't you, as a member of his rhythm section?" "Yeah, Duke Ellington, and also Coleman Hawkins." Asked by Kamman to describe his musical talents, Pettiford said: "Well, basically I'm a bass player. For kicks I play cello, for thought I play piano, and for odd moments I beat on the drums.” Courtesy of the Minnesota Historical Society This undated promotional photo of Oscar Pettiford is datelined New York City, where he was a regular in the post-World War II jazz scene, often backing the likes of Miles Davis, Thelonius Monk, Earl Hines and Coleman Hawkins. Pettiford left for New York City in the 1940s and became a regular at the legendary Minton's Playhouse, the Harlem incubator of the sound that succeeded the Big Band swing era. He played with the likes of Dizzy Gillespie and Thelonious Monk. He went on to become a regular with Miles Davis and Milt Jackson. Pettiford's style would come to sound familiar to any modern ear — featuring virtuoso turns of bass in a small group and propelling the rhythm section to the front of the sound. Anthony Cox is a well-known Twin Cities bass player and student of the era. "He had, let's call it that three-dimensional style, that really wasn't examined before," Cox said. "And what I mean by that is that the bass was really starting to outline the harmonies, providing propulsion and time." But Oscar Pettiford never had the legacy of Miles Davis or even bassist Ron Carter. And there are a couple reasons for that. First, Pettiford got sick and died literally at the height of his powers. He was only 37 when, by some accounts, he contracted something like polio and died in 1960. But there's also where he died — in Copenhagen, Denmark. He'd moved to Europe, like many of the jazz greats, in the late 50s — to flee the pernicious racism that even music stars and pioneers couldn't escape. Tim Nelson | MPR News Jamela Pettiford says people still ask her family about her grandfather's cousin, legendary jazz bassist Oscar Pettiford, who moved to Minnesota as a child and became part of a legendary family music ensemble in Minneapolis before moving to New York and helping transform American music after World War II. "You do start to realize when you don't feel welcome in your own home," said Jamela Pettiford. Pictures of the era show traveling musicians sleeping in Ira Pettiford's living room in Minneapolis — likely because area hotels wouldn't give Black people a room. "And it was difficult to perform for audiences where you had to go through the back or you had to sit by the kitchen. And for Blacks, at that time, in Europe, you were welcomed with open arms," Jamela Pettiford said. And that's where Oscar Pettiford is today, buried in a grave in Denmark. There's even a street named after him in Copenhagen. There's no such formal recognition in Minnesota. But his family, and fans of his enduring music, remember him still, today, a century after he was born.

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Mel Powell on Vanguard . .great trio, quartet and quintet sessions from 1954 and 1955 featuring Ruby Braff, Paul Quinichette, Skeeter Best, Bobby Donaldson and Oscar Pettiford with the great Mel Powell on piano --- Support this podcast: https://anchor.fm/john-clark49/support

En esta segunda entrega dedicada al contrabajo nos detenemos en los más grandes bajistas del bop y corrientes que siguen. Oscar Pettiford, Ray Brown, Charlie Mingus, George Duvivier, Percy Heath y Leroy Vinegar. Un deleite.

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  MEL POWELL QUINTET OUT ON A LIMB – New York, October 19, 1955 Liza, Rosetta, Three little words, The best thing for you is me Ruby Braff (tp) Mel Powell (p) Skeeter Best (g) Oscar Pettiford (b) Bobby Donaldson (d)             MOSE ALLISON I DON’T WORRY ABOUT A THING […]

The Oscar Pettiford Orchestra led by the great pioneering bassist and cellist was a short lived big band that existed for several months in 1957. This Jazz feature is our on going tribute to short-lived bands. Pettiford had always dreamed of having a big band and he was able achieve it for a short time with the assistance of player/arrangers like alto saxophonist Gigi Gryce and tenor saxophone great Lucky Thompson. The band had a unique sound with two French horns (Julius Watkins and David Amram) plus a harp (Betty Glamman). Well hear solos by Pettiford on bass and cello plus some fine moments by trumpeters Art Farmer and Ernie Royal and trombonist Jimmy Cleveland plus of course alto saxophonist Gigi Gryce and tenor saxophone master Lucky Thompson and pianist Tommy Flanagan and the French horns. A great bog band with inspired playing throughout. The Oscar Pettiford Orchestra on tap tonight!

Clearwater Jazz Holiday's History of Jazz Outreach Program engages professional musicians to share the story of Jazz through live, interactive musical experiences. By Spring 2020, the Program had reached nearly 30,000 students in approximately 60 Tampa Bay area schools and has evolved to also bring meaningful experiences to schools and organizations serving at risk students, people of all ages with special needs, neurodiversities, and autism, as well as older adults in senior living communities and memory care centers. Frank T. Williams III, a 40-year + educator, band director, clinician, author, adjudicator, and composer, is a long-time CJH education partner, important to the development of many CJH Outreach programs. In 2020, CJH launched its STOP-TIME SERIES with Frank Williams to complement the History of Jazz Outreach Program by creating a comprehensive visual and audio History of Jazz archive delivered in Frank's one-of-a-kind style. WATCH & LISTEN! Visit the CJH website Education & Outreach section to watch all STOP-TIME videos for FREE or enjoy listening here as part of the CJH Young Lions Jazz Master "Virtual" Sessions Podcast. To learn more about the annual CJH festival tradition and year-round Education & Outreach: www.clearwaterjazz.com

"I Takes A Whole Lot Of Human Feeling" Carmen McRae: A Whole Lot Of Human Feeling (Groove Merchant Label, 1973) Carmen McRae, Joe Pass, Dick Shreve, Ray Brown, Larry Bunker, Frank Severino. El tema es obra de Micki Grant. ¿Sabías que? Carmen McRae nació en Harlem el 8 de abril de 1922 según algunas fuentes. En algunos otros sitios el año que se señala es 1920. Sea cual sea el año de nacimiento, sus padres eran inmigrantes jamaicanos. Su verdadero nombre fue Carmen Mercedes McRae. Comenzó a estudiar piano a los ocho años. En su casa escuchó a algunos gigantes del jazz como Louis Armstrong o Duke Ellington. Según algunas fuentes, ganó un concurso en el Apollo Theatre en 1939. Llamó la atención de Teddy Wilson por medio de su esposa Irene. Gracias a esta arreglista y compositora, en 1939 Billie Holiday grabó la composición de Carmen McRae "Dream of Life". McRae consideró durante toda su carrera a Billie Holiday como su influencia principal. En sus inicios como trabajadora fue pianista en el Minton's Playhouse, corista y trabajó como secretaria en una agencia gubernamental en Washington. En esa época conoció a figuras importantes como Dizzy Gillespie, Oscar Pettiford o Kenny Clarke, con quien se casó. En 1944 colabora con las big band de Benny Carter y Count Basie. Anteriormente hizo una audición para Benny Goodman, pero no colaboró con el clarinetista, porque le dijo que volviera cuando tuviera más experiencia. También trabajará como pianista de la Mercer Ellington Band. Será la primera ocasión en la que graba, aunque no con su apellido, sino con el de su marido, por lo que aparece acreditada como Carmen Clarke. En 1948 se traslada a Chicago, acompañando a George Kirby (un comediante), de quien se había enamorado. En la ciudad del viento y una vez finaliza esta relación, trabaja como pianista y cantante en el Archway Lounge. A principios de la década de los 50 regresa a Nueva York. Es en esos momentos cuando consigue un contrato discográfico y lanza definitivamente su carrera. Aunque habían vivido separados, todavía no se había divorciado de Kenny Clarke. Lo hará en 1956. Posteriormente se casará con el contrabajista Ike Isaacs a finales de los años 50. En su carrera musical colaboró con Dave Brubeck, Louis Armstrong, Benny Carter, George Shearing. En su obra discográfica hay homenajes a Billie Holiday (como no podía ser de otro modo), Thelonious Monk, Sarah Vaughan o Nat King Cole. Tuvo a lo largo de su carrera una larga trayectoria como cantante de clubs, a lo largo de más de cinco décadas. En la década de los años 60 su fama era internacional y se convirtió en una de las cantantes de jazz más veneradas en Japón. Actuó en múltiples ocasiones en el Monterey Jazz Festival y en los festivales de mayor renombre. Fue nominada en siete ocasiones a los Premios Grammy, aunque en ninguna de esas ocasiones logró el gramófono dorado. Abandonó su vida pública como cantante en 1991. Finalmente, falleció en 1994. Juan F. Trillo dedicó a la cantante la segunda entrega de su sección Tomajazz Remembers: https://www.tomajazz.com/web/?p=59263 Luis Escalante Ozalla le dedicó sendos programas de La Odisea de la Música Afroamericana: https://www.tomajazz.com/web/?p=50059 / https://www.tomajazz.com/web/?p=50139 © Pachi Tapiz, 2022 En anteriores episodios de JazzX5/HDO/LODLMA/Maltidos Jazztardos/Tomajazz Remembers… https://www.tomajazz.com/web/?p=62511 https://www.tomajazz.com/web/?p=62266 https://www.tomajazz.com/web/?p=62200 https://www.tomajazz.com/web/?p=61576 https://www.tomajazz.com/web/?p=47859 https://www.tomajazz.com/web/?p=59944 https://www.tomajazz.com/web/?p=60399 Más información sobre Carmen McRae https://www.carmenmcrae.com/ https://www.tomajazz.com/web/?s=mcrae&submit=Search Más información sobre JazzX5 JazzX5 es un minipodcast de HDO de la Factoría Tomajazz presentado, editado y producido por Pachi Tapiz. JazzX5 comenzó su andadura el 24 de junio de 2019. Todas las entregas de JazzX5 están disponibles en https://www.tomajazz.com/web/?cat=23120 / https://www.ivoox.com/jazzx5_bk_list_642835_1.html. Las sugerencias, quejas, felicitaciones, opiniones y el contacto en general en jazzx5 @ tomajazz.com También por WhatsApp en el teléfono de contacto. JazzX5 y los podcast de Tomajazz en Telegram En Tomajazz hemos abierto un canal de Telegram para que estés al tanto, al instante, de los nuevos podcast. Puedes suscribirte en https://t.me/TomajazzPodcast. Pachi Tapiz en Tomajazz https://www.tomajazz.com/web/?cat=17847

"I Remember April" Duke Jordan Trio: Two Loves (Steeplechase, 1973) ¿Sabías que? Duke Jordan nació el 1 de abril de 1922 en Brooklyn. Su nombre fue Irving Sidney Jordan. El apodo se debe a su admiración por Duke Ellington. Estudió piano durante su infancia y adolescencia: sus inicios profesionales fueron en 1933. En la década de los años 40 del siglo XX trabajó con Coleman Hawkins, Charlie Parker (entre 1946-1948, a quien acompañó en sus sesiones para el sello Dial), Roy Eldridge y Stan Getz. En la década de los 50 toca junto a Oscar Pettiford, Cecil Payne y Gene Ammons. En 1956 toca en Suecia con Rolf Ericson, en Francia con Kenny Clarke y Kenny Dorham. Compone en parte la música de la banda sonora Les Liasons Dangereuses en ese mismo año. Entre 1952 y 1962 estuvo casado con la cantante Sheila Jordan. Durante unos años abandonó su carrera musical. En los años 70 retomó su labor como pianista y se instala en Copenhague. Allí grabará en la discográfica danesa Steeplechase. Además de un buen puñado de discos, graba la primera referencia de este sello. En esa década graba más de veinte referencias en este sello. El 8 de agosto de 2006 falleció en Copenhague. © Pachi Tapiz, 2022 En anteriores episodios de JazzX5/HDO/LODLMA/Maltidos Jazztardos/Tomajazz Remembers… https://www.tomajazz.com/web/?p=62266 https://www.tomajazz.com/web/?p=62200 https://www.tomajazz.com/web/?p=61576 https://www.tomajazz.com/web/?p=47859 https://www.tomajazz.com/web/?p=59944 https://www.tomajazz.com/web/?p=60399 Más información sobre Duke Jordan https://www.allmusic.com/artist/duke-jordan-mn0000147245/biography Más información sobre JazzX5 JazzX5 es un minipodcast de HDO de la Factoría Tomajazz presentado, editado y producido por Pachi Tapiz. JazzX5 comenzó su andadura el 24 de junio de 2019. Todas las entregas de JazzX5 están disponibles en https://www.tomajazz.com/web/?cat=23120 / https://www.ivoox.com/jazzx5_bk_list_642835_1.html. Las sugerencias, quejas, felicitaciones, opiniones y el contacto en general en jazzx5 @ tomajazz.com También por WhatsApp en el teléfono de contacto. JazzX5 y los podcast de Tomajazz en Telegram En Tomajazz hemos abierto un canal de Telegram para que estés al tanto, al instante, de los nuevos podcast. Puedes suscribirte en https://t.me/TomajazzPodcast. Pachi Tapiz en Tomajazz https://www.tomajazz.com/web/?cat=17847

Portrait of the greatest drummer in Danish music: Jørn Elniff. He made history with Bud Powell, Oscar Pettiford, Eric Dolphy and Brew Moore. We tell the story of some of the legendary appearances by such artists as Earl Hines, Jimmy Smith, Clark Terry and many more. This episode contains explicit language. Support WRTI: https://bit.ly/2yAkaJs See omnystudio.com/listener for privacy information.

This week on the podcast we welcome Mrs. Jennifer Wharton, NYC commercial bass trombonist and bandleader of Bonegasm. Jen has been a prominent name on the Broadway scene for several decades and has strong roots in the classical tradition despite her current jazz-centric endeavors. As an incredibly well-rounded musician and outgoing person, Jen is hard not to love as a person and a player all around. We had a fun time talking with her about her move to New York and her freelancing beginnings, the formation of her group Bonegasm, her experiences playing on Broadway. -- Transition music: Tricotism, Oscar Pettiford, Jennifer Wharton & Bonegasm Intro/Outro music: I Will Go Sailing No More, Randy Newman, Lawson Gardner Instagram: @8thposition @dabaldwin903 @lawson.gardner2

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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

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TEDDY CHARLES – THREE FOR DUKE – New York, May 29, 1957 Main stem, Do nothin’ till you hear from me, Don’t get around much anymore Teddy Charles (vib) Hall Overton (p) Oscar Pettiford (b) EUGENIA CHOE – VERDANT DREAM – New York, October 10, 2017 Ever green, Blue in green, Knock knock Eugenia Choe […]

LUCKY THOMPSON – ACCENT ON TENOR SAX – New York, October, 1954 Tune for Tex, Mr. EZ Jimmy Hamilton (cl) Lucky Thompson (ts) Billy Taylor (p) Sidney Gross (g1) Oscar Pettiford (b) Osie Johnson (d) FRANCISCO MELA – ANCESTROS – New York, September 14, 2017 Black movie, Duende, Ornette, Ancestros Hery Paz (b-cl,saxes,Suono) Kris Davis […]

Never Too Much - Coleman Hawkins Quintet from January to March, 1945. Howard McGhee, Sir Charles Thompson, Oscar Pettiford or Eddie Robinson, Denzil Best with guests Allan Reuss and Vic Dickenson in Swing-to-Bop transition records made for Asch and Capitol --- Support this podcast: https://anchor.fm/john-clark49/support

WETF Show In A Jam - Duke Ellington and his Orchestra recording for Capitol Transcriptions in 1946 and 1947 . . between the end of his recordings for Victor and the beginning of his Musicraft contract with repertoire from both . . featuring Ray Nance, Cat Anderson, Harold "Shorty" Baker, Taft Jordan, Joe Nanton (his final recordings), Lawrence Brown, Jimmy Hamilton, Russell Procope, Johnny Hodges, Al Sears, Harry Carney along with Duke, Oscar Pettiford and Sonny Greer --- Support this podcast: https://anchor.fm/john-clark49/support

On January 28, 2021 we welcomed Alejandro Arenas back to CJH's Young Lions Jazz Master "Virtual" Sessions. To watch this Full Session visit www.clearwaterjazz.com/education and click on THE STUDIO. You can learn more at www.clearwaterjazz.com about CJH events, the annual Clearwater Jazz Holiday music festival tradition and Clearwater Jazz Holiday Foundation's year-round Education & Outreach.

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Born in Philadelphia in 1930 David Amram was raised on a dairy farm in Feasterville, Pennsylvania, where, he says, he loved hearing “the old hog callers, who excelled in this special style of performing art,” he writes. “Whether or not they impressed any hogs, these farmers made me see that you can find music and beauty anywhere if you pay attention. They also made me see that you can transform anything into a form of expression all your own.” In 1951 David Amram started his professional life in music as a French Hornist in the National Symphony Orchestra. After serving in the US Army, he moved to New York City in 1955 and played French horn in the legendary jazz bands of Charles Mingus, Dizzy Gillespie, Lionel Hampton and Oscar Pettiford. David also created and performed in the first ever jazz and poetry readings in New York City with novelist and close friend Jack Kerouac, with whom he collaborated with for over 12 years. David also composed the scores for many films including Pull My Daisy, Splendor In The Grass and The Manchurian Candidate, as well as being appointed by Leonard Bernstein as the first composer in residence for the New York Philharmonic in 1966. Over the decades, Amram has preserved his artistic adventures in three memoirs: Vibrations, Offbeat: Collaborations with Kerouac, and Upbeat: Nine Lives of a Musical Cat. He's currently working on the fourth, to be entitled David Amram: The Next Eighty Years.

  ALBERTO VILAS – NAIALMA – c 2020 Ángel, O Dereito de Ser, Inventário do Inútil, Me diste un Mundo Alberto Vilas, Piano solo OSCAR PETTIFORD – LOST TAPES – Baden-Baden, Germany, June 14, 1959 But not for me (dg,op duet,*)0, Sophisticated lady (dg out,*),...

MILES DAVIS – THE MUSINGS OF MILES – Hackensack, NJ, June 7, 1955 Will you still be mine ?, I didn’t, Green haze Miles Davis (tp) Red Garland (p) Oscar Pettiford (b) Philly Joe Jones (d) TEODROSS AVERY – HARLEM STORIES THE MUSIC OF THELONIOUS...

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STANDARS SEMANAL.-On Green Dolphin Street.-JAZZANIVERSARIO.-Oscar Pettiford-1953 first bass.-JAZZACTUALIDAD.-ELISABET RASPALL-I LOVE JAZZ

I midten af København ligger Jazzhus Montmartre – et ikonisk lille spillested, der siden 1960'erne har huset legender som Dexter Gordon, Ben Webster og Oscar Pettiford på scenen og navne som Stevie Wonder og Roger Moore på tilskuerpladserne. Det har skiftet navn, adresse og ejere et utal af gange, samtidig med at det også har været ramt af lukninger og konkurser. Men i årene, hvor stedet har pulseret, har Montmartre åbnet den danske jazzscene for resten af verden. Det har skabt samarbejder og muligheder på tværs af Atlanten og givet plads til unge talenter. Så da pengekassen hos Jazzhus Montmartre var tom i starten af september, og stedet stod til endnu en gang at lukke, blev der naturligvis reageret på det i jazz-verdenen. En af dem der for til tasterne var 27-årige jazzmusiker Teis Semey. Sammen med Teis, jazztrommeslager Andreas Svendsen og jazzbassisten Felix Moseholm tegner KLUB et portræt af det Jazzhus Montmartre, hvis skæbne endnu ikke er afgjort for at forstå, hvorfor Jazzhus Montmartre er så vigtigt for unge talenter og den danske Jazzscene. Vært: Ida Gaunø

Esta semana hablamos de Oscar Pettiford, no porque me apetezca especialmente sino porque su vida tiene algo que ver con la situación que estamos viviendo actualmente... ahi lo dejo a ver si, por curiosidad al menos, consigo que lo escuches...

In this episode  we'll be hearing bassist Oscar Pettiford, alto sax man Paul Desmond,  another bassist, Paul Chambers.

I have a very, very special guest that I'm so excited to introduce, Angela Levey, who is the wife of the late great jazz drummer, Stan Levey! We talk about how they met, their wonderful marriage, knowing some of the great jazz legends personally, Stan living and playing with Charlie Parker for a long time, Angela chasing Charlie Parker out of a club, being close with Dizzy Gillespie, recording his first record with Art Tatum, being friends with Max Roach, getting into trouble because of Sonny Stitt, Stan's amazing speed and many more amazing stories. ----- 1:43 Talking about Dr. Joseph Curiale 2:16 How did you meet Stan? 5:50 Being hired at Birdland 6:28 Were you there at the very beginning of Birdland? 7:12 On Bud Powell on being a very snappy dresser 7:56 Did you get to talk to Bud Powell much? 9:47 On chasing Charlie Parker out of Birdland 11:23 More on Charlie Parker 12:33 Stan Levey is the only person who owed money to Charlie Parker 14:23 How long did you work at Birdland before the Sonny Stitt incident? 15:48 The Sonny Stitt snitching incident 16:39 Were your parents discouraging you from seeing Stan? 18:39 On going to jail actually helping Stan quit drugs 19:19 Talking about Dizzy Gillespie and how close they were 21:19 Dizzy Gillespie encouraging Stan to go back some money and leave the band 22:03 On the strange Benny Goodman experience 23:06 Stan being a boxer 24:12 Benny Goodman calling Stan again to perform like nothing happened after decades of no contact 25:07 Stan's difficult life but stoic attitude to adversity 27:02 Stan's first recording date being with Art Tatum 27:31 Did Stan recall that date? 29:02 On Stan being the person who's played the most jam sessions with Charlie Parker 30:07 Dizzy giving Stan an endorsement to work for Oscar Pettiford 30:50 Stan's friendship with Max Roach 31:41 How did Stan play so fast? 32:47 Victor Feldman's recording of Bebop with Scott Lafaro and Stan 33:17 Recording “For Musician's only” 34:02 On meeting Sonny Stitt again, post-jail 34:41 Did Stan's clean life influence the musicians around him? 36:20 On Stan's positive attitude towards family 38:31 How does Stan teach himself to learn so many things? 39:32 How long was Stan when he taught himself to sight read? 39:52 Stan reinventing himself as a studio musician in the west coast 40:48 On the amazing trajectory of Stan's career 41:05 Who were Stan's heroes? 42:39 The other side of Stan that was “ADD” 45:18 The redemption story of Stan's life 46:22 Did Stan want his kids to learn music? 47:53 How does it feel to know that thousands of people are so fascinated with that period, that you lived in? 49:05 What albums should people listen to that demonstrate Stan's playing? 50:28 Dizzy Gillespie complimenting Stan's time keeping 50:56 Wrapping Up

1957 Recordings Paul Motian played on in 1957, readings about playing with Oscar Pettiford from Motian's unpublished autobiography Set List: https://jazzcloset.blogspot.com/2019/01/set-list-010719.html photo: Paul Motian in 1958 in NYC ©Paul Motian Archive

The title says it all. It was Monk's first album for Riverside Records. It was done over two nights in July of 1955. Monk's new producer, Orrin Keepnews wanted to move Thelonious into a bigger spotlight and have him record a trio album of more familiar material than his own tunes. Monk was good with the trio idea but lukewarm as to recording an album of Gershwin, Porter or Arlen tunes but Orrin Keepnews persisted and the light bulb went on and Keepnews said "Duke Ellington tunes". Monk smiled and said "yes indeed!". Hence this beautiful date. Monk picked the great Oscar Pettiford on bass and pioneering drummer Kenny Clarke and selected a bunch of great Ellington tunes. The album opened the door for Monk as it sold well and was heard on Jazz radio too. Monk was emerging from marginalized obscurity and into the limelight. This album began a long association with Riverside Records and some of his best work. Tonight "Monk Plays Ellington".

I den2radio’s serie om Jazzens historie er det Stan Getz Christian Braad Thomsen behandler i denne uge - tenorsaxofonisten hvis lyse og gennemsigtige tone og lyriske spil gjorde ham til en af sin tids mest feterede jazzmusikere.  Stan Getz boede og arbejdede 1958-61 i Skandinavien især på Jazzhus Montmartre i København, hvor han sammen med bassisten Oscar Pettiford indvarslede grøden i moderne dansk jazz. 

El intérprete tunecino de oud Anouar Brahem reflexiona sobre su relación con el jazz y la comparte con tres músicos fundamentales: el contrabajista Dave Holland, el baterista Jack DeJohnette y el pianista Django Bates. En esta edición de 'Club de Jazz' del 8 de noviembre de 2017 escuchamos su disco "Blue Maqams" y nos reencontramos con el saxofonista Steve Coleman, que presenta "Morphogenesis" con su proyecto Natal Eclipse. Además, Fernando Ortiz de Urbina nos ofrece en "London Calling" dos grabaciones con presencia del contrabajista Oscar Pettiford. Toda la información y derechos: http://www.elclubdejazz.com

El intérprete tunecino de oud Anouar Brahem reflexiona sobre su relación con el jazz y la comparte con tres músicos fundamentales: el contrabajista Dave Holland, el baterista Jack DeJohnette y el pianista Django Bates. En esta edición de 'Club de Jazz' del 8 de noviembre de 2017 escuchamos su disco "Blue Maqams" y nos reencontramos con el saxofonista Steve Coleman, que presenta "Morphogenesis" con su proyecto Natal Eclipse. Además, Fernando Ortiz de Urbina nos ofrece en "London Calling" dos grabaciones con presencia del contrabajista Oscar Pettiford. Toda la información y derechos: http://www.elclubdejazz.com

In this edition of Liner Notes, Rabbi and jazz historian Neil Blumofe talks about the life and legacy of bassist, cellist, and composer Oscar Pettiford.

In this edition of Liner Notes, Rabbi and jazz historian Neil Blumofe talks about the life and legacy of bassist, cellist, and composer Oscar Pettiford.

In this edition of Liner Notes, Rabbi and jazz historian Neil Blumofe talks about the life and legacy of bassist, cellist, and composer Oscar Pettiford.

Oscalypso, Postcard to Bill Evans y (Dance to) The Early Music son, respectivamente, tres homenajes a músicos tan distintos como Oscar Pettiford (por parte del chelista Erik Friedlander), Bill Evans (por el pianista Bruno Heinen y el guitarrista Kristian Borring), y Wynton Marsalis (por parte del Nate Wooley Quintet). © Pachi Tapiz, 2015 HDO (Hablando de oídas) es un audioblog editado, presentado y producido por Pachi Tapiz. Toda la información disponible en http://www.tomajazz.com/web/

October 8, 2010 The Berklee World Strings is a chamber-sized string orchestra emphasizing improvisation and the rhythmic capabilities of string instruments, playing jazz, bluegrass, contemporary classical, and a range of other styles. On October 14, they present a concert with bassist Ron Carter in tribute to pioneering bebopper Oscar Pettiford. Listen to their arrangement of Eddie Sauter's "Night Rider," recorded at the Kennedy Center for the Performing Arts Millenium Stage, May 12, 2010, as part of the Berklee Conservatory Project.

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."

Thad Jones was better known as a bandleader/composer arranger but he was also a magnificent trumpeter. Thad was from the famous Detroit Jones family that produced older brother Hank, the great pianist and the youngest brother, Elvin, one of the most innovative of Jazz drummers. Thad, born in Pontiac, Michigan on March 28, 1923 was the "middle brother". Thad was 63 when he passed away in his adopted city of Copenhagen on August 21, 1986 at age 63. This album celebrates his birthday and is his first in a series he did for the Blue Note label. It's called "Detroit-New York Junction" and it features Thad with fellow Detroiters, Billy Mitchell (tenor saxophone), Kenny Burrell (guitar), Tommy Flanagan (piano) with New Yorkers, Oscar Pettiford on bass and the great unsung drummer Rossiere "Shadow" Wilson. The 5 tunes include two standards and 3 Jones' originals. The album gives us generous portions of Thad's original and unique trumpet playing. Charles Mingus called Thad "Bartok with valves". Happy Birthday Mr. Jones....I'm sure you are now enjoying the company of your brothers in Jazz Heaven.

This is one of Monk's most important recordings and set the stage for his return to the forefront of Jazz. In the early 50's Monk, although his recordings for Blue Note and Prestige are now classics, was brushed aside by the forces in Jazz and didn't work very much. He was generally dismissed as a mildly interesting eccentric...nothing more. He did, however have a small following among musicians and fans. It wasn't until Orrin Keepnews, one of the owners of Riverside Records, bought out Monk's contract from Prestige and established a trusting relationship with Thelonious. Keepnews recorded two fine trio albums, the first being all Duke Ellington tunes and the second an album of Monk selected standards. They sold reasonably well and people began to take notice of this neglected genius. The third album is tonight's Feature....and it's the 'real deal'. Monk's music played by a band of his favourite players including Sonny Rollins,Max Roach, Oscar Pettiford and the great unheralded alto saxophonist Ernie Henry. One tune features Clark Terry, Monk's good friend and one of his favourite trumpet players. One tune is a piano solo on a standard (I Surrender Dear) done in one take. This album called "Brilliant Corners" brought Monk back from obscurity and was the beginning of his ascent to greatness....his work permit was granted to play in New York clubs and his quartet with John Coltrane was right around the corner.....the rest as they say is history.