Meet Some of the Swinging Swedes

Total Page:16

File Type:pdf, Size:1020Kb

Meet Some of the Swinging Swedes DO N BI 1 I NEWS-FEATURES Chicago, November 30, 195 Bouquet To Sweden Meet Some Of The Swinging Swedes By LEONARD FEATHER of Prestige records here, sounded New Tork—In a hastily-prepared, schnapps-splattered dis­ exactly like the Shearing quintet. patch from Stockholm which appeared in the Aug. 10 Beat, About 30, he’s from way up in Prestige Buys A this roving reporter promised to acquaint you at a later date, north Sweden, got a good educa­ tion at a school for the blind, both biographically and photographically, with some of the plays organ and good classics. Swedish Sides young Man who make the Swedish ---------- Looks like a young Charles Laugh­ jau picture so astonishingly bright 1 ton and has a similarly caustic New York—Swedish jazz wil to every visiting American. personality. get a big boost in the U.S.-as a On most instruments Sweden of- Was the big hit at the inter­ result of a series of deals recent!' fers a choice of several major tal­ national jazz festival held in Paris completed by Prestige records. ents. but for the present I’d like in 1949. Has blind wife and house­ In addition to the sides cut b to introduce mainly those who were maid, two siirhted children. Under Leonard Feather in Stockholm, re first-place winners in the poll con­ cently issued on a Prestige LP, th pseudonym "Hammond Olsen,” has ii ducted recently by Estrad. for made very successful comic corny same label will soon present which 25 Swedish jazz critics did duets, Twelfth St. Rag and stuff, set of piano solos by 19-year-ol E all the voting. which squarer Swedes lap up. Bengt Hallberg, a session by bari in Bad Influence* Guitar voting was u 10-point tonist Lars Guilin, and many othe d sides, under the comprehensive ti And if it occurs to you that tie between Rolf Rerg and Sten Carlberg. Roth, of course, play tie “New Sounds from Sweden.” ti some of the Swingin’ Swedes might Most of the sides were acquire< rate a place in the Down Beat poll, electric guitar; neither has any­ thing in common with Django from the Swedish Metronome com *1 too, mark me down as a subversive- pany, which plans to record Le< pro-Swede-anti-American influence. Reinhardt. (Sweden has about as much in common with France, mu­ Konitz during his visit there nex Trumpet winner, of course, was week. 29-year-old Rolf Ericson, whose sically, as New York has with Iowa.) Berg, who was on Roy El­ bi own story appears elsewhere in tli this Swedish survey. Rolf took dridge’s Swedish sides, worked at part in the series of sides cut the American Legation in Stock­ Sunday Sessions during my visit, with most of the holm as a guide, is now playing poll-winners, eight of which are with Andrew Burman. Latter is a Start In Brooklyn due out here on a Prestiee LP disc, Swedish drummer who’s also an rs I executive of Metronome records, New York — Jazz fan Johnny and one of which (Swedish Butter- Armstrong has stalled a seriet fivl one of a half-dozen nrogressive- shows him at his verv best in of Sunday jam sessions at tht a tasteful, pretty, muted solo. minded independent labels Gosta Theselius Bedford Rest, Brooklyn. Aake Persson, the trombone win­ Followed Ha»selgard Running from 4 to 8 p.m., ses­ ner, is 19 years old and a bashful Fi Clarinet winner was Putte Wick­ Svensson, has toured successfully sions ->pot Buck Clayton, Bustei countrv boy from south Sweden— man, who followed the late Stan trne Domnrru» in Germany and other countries in Bailey, Ken Kersey, Arthur Her­ gt the only cat on the all-star session Hasselgard in two jobs: replaced the past few months. Sounds like bert, and Cliff Jackson. who couldn’t speak Enerlish. But tenor sax duet with James Moody him with Arthur Osterwald when Buddy DeFranco with a Tristano nt when he blows he sneaks fluent Stan was drafted, and with Simon influence. st American and could be mistaken 'on Two Fathers (Prestige) which Lester Young mistook for an Brehm when Stan took off for On bass, the ace is Simon Tatum To Cafe Society ri for Kai or JJ. Discovered bv bass­ America. Now 26, has his own Brehm, who has often been called ist Simon Brehm, he plaved valve Ammons-Stitt duet. On baritone, New York—The Art Tatum trie the reaction he usually produces band which includes Reinhold the Swedish Chubby Jackson, al­ opened at Cafe Society on Nov. 8, wi trombone in his school band and though Chubby no longer has a has been gigging with Brehm. among। Americans who hear his following Terry Gibbs’ quintet thi records is “Why, he’s better than beard and is no longer fat. Simon, Art will remain for five weeks, he Allo Man (Gerry Mulligan!” who may well be the best-liked guy with Claude Hopkins’ quartet also foi in Sweden both musically and per­ The alto winner. Arne Dom- Worked with Stan on the bill. thi nerus, is a bashful, clean-living sonally, is 29, Stockholm-born, had av Bengt Hallberg, the winning pi­ Erroll Garner and dancer Teddy guv in his early 20s who. though his own vibes-clarinet quintet fea­ Hale come in on Dec. 13. on he’ll inevitably be compared with 'anist, was two months shy of his turing Stan Hasselgard, which also Hi Bird, has a personal style that 19th birthday when he cut the recorded with Tyree Glenn as ow I becomes apparent after awhile. 'Swingin ’ Swedes session, and sev­ guest soloist. Played Switzerland the votes in this department, but Also plays fine clarinet. Some of 1eral months short of that when and Denmark with commercial also got six votes for his tenoi mi his records so impressed a Bird- he did his well-remembered eight bands, but lately has had his own sax work and one for his piano. to land operative that attempts were !sides for Roost with Stan Getz. combo on the road in Sweden. In­ Has been featured on records on wii made to get him over here for a Hails from Gothenburg, studied satiable appetite for everything— both instruments. of date in the club, a venture that 1privately, has broadcast with his solid, liquid, and musical — and, Theselius’ writing has produced do< was promptly quashed bv the 1own bop quintet. Has a better ear like most of his colleagues, speaks some of the finest and most origi­ AFM. than most musicians twice his age. excellent colloquial English. nal jazz group sounds since the The tenor winner. Carl-Henrik JHallberg grabbed 17 votes in the Jack Noren, the victorious drum­ Miles Davis band on Capitol. J Norin, is 29, began playing about ।poll. Gunnar Svensson, who placed mer, is a Swedish-American, born Moreover, the men to whom he lici 10 years ago in Malmo, was a side ’with five, has cut many fine rec­ in Chicago in 1929, whose parents hands his music interpret it with ny, man before entering the army, and ords including some piano duet took him to Sweden in 1946. Went loving care, pay attention to dy­ sea has had his own sextet most of the sides with Reinhold Svensson, who to Englewood High school A very namics and shading, never let a wh time since leaving it: is a good !showed with only two votes. hip cat with an unbeatable beat; record go through with a fluff. his showman and a versatile musician Far from reflecting on the blind now working with the Ericson- These, then, are the men who, he who has graduated from a pseudo- 1pianist ’s talents, this merely re­ Domnerus combo at the National between them, have made more an< Ventura kick into a completely 'jects the embarrassment of riches ballroom in Stockholm. first-class organized small-band sue natural Getz-like sound. on the Swedish jazz scene; all Winner for miscellaneous instru­ jazz lately, in their little country ; Lars Gullin, the baritone win­ three of them are excellent. And ments was Uffe Linde, whom you of fi,000,000 people, than has been vid ner, came closest to a unanimous by the way, Gunnar Svensson is may know from his work on the produced in the whole length and Bei vote—24 of the 25 critics voted related to Reinhold Svensson like Svensson quintet sides; and the breadth of the United States of froi for him. Now 24 vears old, he , Kate Smith is related to Stuff top vocalist was Alice Babs, a good America Many of the sides they’ve hin has been prominent as a pianist, 'Smith. t>op singer with a huge local fol­ cut are due for American release; ma arranger, classical comnoser, has Beet Known owing. others are still available and. it hin plaved concerts around Sweden Reinhold is perhaps the best Finally, and perhaps most re­ is to be hoped, will be grabbed Pe< doing onlv classics; was clarinet- ।known Swede among American col­ markable of all, there is the No. 1 up soon. They should provide am­ tri] lectors, having cut numerous sides arranger, Gosta Theselius, who ple justification for our Bouquet Ve< ist in a militarv band on on island I Bengt Hallberg off the Swedish coast. Plaved a with’ a group that, at the request not only cornered all but two of To Sweden. the Stockholm The s Leonard in the center photo i» tenoriM Carl-Henrik Norin, one of the the evening in a highly appreciative and orderly enjoy- — Beat’ Feather is shown rigl beat of the Swedish modernists, whose work is discussed in photo at the left above with Reinhold Svensson, perhaps ment of the music—while standing up.
Recommended publications
  • JAMU 20160316-1 – DUKE ELLINGTON 2 (Výběr Z Nahrávek)
    JAMU 20160316-1 – DUKE ELLINGTON 2 (výběr z nahrávek) C D 2 – 1 9 4 0 – 1 9 6 9 12. Take the ‘A’ Train (Billy Strayhorn) 2:55 Duke Ellington and his Orchestra: Wallace Jones-tp; Ray Nance-tp, vio; Rex Stewart-co; Joe Nanton, Lawrence Brown-tb; Juan Tizol-vtb; Barney Bigard-cl; Johnny Hodges-cl, ss, as; Otto Hardwick-as, bsx; Harry Carney-cl, as, bs; Ben Webster-ts; Billy Strayhorn-p; Fred Guy-g; Jimmy Blanton-b; Sonny Greer-dr. Hollywood, February 15, 1941. Victor 27380/055283-1. CD Giants of Jazz 53046. 11. Pitter Panther Patter (Duke Ellington) 3:01 Duke Ellington-p; Jimmy Blanton-b. Chicago, October 1, 1940. Victor 27221/053504-2. CD Giants of Jazz 53048. 13. I Got It Bad (And That Ain’t Good) (Duke Ellington-Paul Francis Webster) 3:21 Duke Ellington and his Orchestra (same personnel); Ivie Anderson-voc. Hollywood, June 26, 1941. Victor 17531 /061319-1. CD Giants of Jazz 53046. 14. The Star Spangled Banner (Francis Scott Key) 1:16 15. Black [from Black, Brown and Beige] (Duke Ellington) 3:57 Duke Ellington and his Orchestra: Rex Stewart, Harold Baker, Wallace Jones-tp; Ray Nance-tp, vio; Tricky Sam Nanton, Lawrence Brown-tb; Juan Tizol-vtb; Johnny Hodges, Ben Webster, Harry Carney, Otto Hardwicke, Chauncey Haughton-reeds; Duke Ellington-p; Fred Guy-g; Junior Raglin-b; Sonny Greer-dr. Carnegie Hall, NY, January 23, 1943. LP Prestige P 34004/CD Prestige 2PCD-34004-2. Black, Brown and Beige [four selections] (Duke Ellington) 16. Work Song 4:35 17.
    [Show full text]
  • Neglected Jazz Figures of the 1950S and Early 1960S New World NW 275
    Introspection: Neglected Jazz Figures of the 1950s and early 1960s New World NW 275 In the contemporary world of platinum albums and music stations that have adopted limited programming (such as choosing from the Top Forty), even the most acclaimed jazz geniuses—the Armstrongs, Ellingtons, and Parkers—are neglected in terms of the amount of their music that gets heard. Acknowledgment by critics and historians works against neglect, of course, but is no guarantee that a musician will be heard either, just as a few records issued under someone’s name are not truly synonymous with attention. In this album we are concerned with musicians who have found it difficult—occasionally impossible—to record and publicly perform their own music. These six men, who by no means exhaust the legion of the neglected, are linked by the individuality and high quality of their conceptions, as well as by the tenaciousness of their struggle to maintain those conceptions in a world that at best has remained indifferent. Such perseverance in a hostile environment suggests the familiar melodramatic narrative of the suffering artist, and indeed these men have endured a disproportionate share of misfortunes and horrors. That four of the six are now dead indicates the severity of the struggle; the enduring strength of their music, however, is proof that none of these artists was ultimately defeated. Selecting the fifties and sixties as the focus for our investigation is hardly mandatory, for we might look back to earlier years and consider such players as Joe Smith (1902-1937), the supremely lyrical trumpeter who contributed so much to the music of Bessie Smith and Fletcher Henderson; or Dick Wilson (1911-1941), the promising tenor saxophonist featured with Andy Kirk’s Clouds of Joy; or Frankie Newton (1906-1954), whose unique muted-trumpet sound was overlooked during the swing era and whose leftist politics contributed to further neglect.
    [Show full text]
  • Kenneth Fagerlund
    KENNETH FAGERLUND Kenneths Swing Ensemble: Gösta Törner tp, Folke Johnson tb, Sven Schierwagen ts, Charles Norman p, Sten Carlberg g, John Jändel b, Kenneth Fagerlund dr, Britta Nordström vo. Sep 25, 1944 6604-B IF I HAD YOU (bn) Son 634 Kenneths Ensemble: as before. 6605-A GRAND OPENING (CN/KF) -- Kenneth Fagerlunds orkester: Sture Dahlander tp, Charles Willig vtb, Bertil Lindén cl as, Bengt Hallberg p, Lennart Larsson b, Kenneth Fagerlund dr. July 7, 1950 1866-C STUMBLIN’ Cup 4382 1867-B I SURRENDER, DEAR -- Kenneth Fagerlunds Kvintett: Ingmar Glanzelius as, Gunnar "Hacke" Björksten ts, Bengt Hallberg p arr, Gunnar Johnson b, Kenneth Fagerlund dr. Nov 19, 1951 3619-1A TEAM WORK (IG) HMV X7784 3620-3A ATTRIBUTION (BH) -- , Capr CAP22041 3621-1 THE OLD CLOCK BOOGIE (Å.Fagerlund) HMV X7785 3622-1 NIPPER BOOGIE (BH) -- Capr CAP 22041 as SVENSK JAZZHISTORIA, Vol 6. Kenneth Fagerlunds orkester: Lennart Malmgren tp, John Björling as, Gunnar "Hacke" Björksten, Nisse Hölén ts, Bertil Lindén bars, Bengt Hallberg p arr, Gunnar Johnson b, Kenneth Fagerlund dr. Gothenburg, Aug, 1952 2214-A SCOTTY Pos 2214 2215-A PLEASE Pos 2215 2216-A UNDECIDED Pos 2216 2217-A ACK VÄRMELAND DU SKÖNA Pos 2217 Pos 2214 and 2215 are coupled, as are 2216 and 2217. Gothenburg, Mar 9, 1953 3642-A CAPITOL BOOGIE (BH) Mus A9218, EF9501, Tel UX4538, LGX66051 3643-A WAUXHALL BOOGIE (BH) -- -- -- -- 3645-A FLAMINGO Mus A9221, -- -- -- Lennart Malmgren tp, John Björling as, Bertil Lindén as bars, Gunnar Gunnar "Hacke" Björksten, Nisse Hölén ts, Bengt Hallberg p arr, Gunnar Johnson b, Kenneth Fagerlund dr, Berit Fagerlund, Gunnar Nilson vo.
    [Show full text]
  • Hermann NAEHRING: Wlodzimierz NAHORNY: NAIMA: Mari
    This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ Hermann NAEHRING: "Großstadtkinder" Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; Stefan Dohanetz -d; Henry Osterloh -tymp; recorded 1985 in Berlin 24817 SCHLAGZEILEN 6.37 Amiga 856138 Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; Stefan Dohanetz -d; recorded 1985 in Berlin 24818 SOUJA 7.02 --- Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; Volker Schlott -fl; recorded 1985 in Berlin A) Orangenflip B) Pink-Punk Frosch ist krank C) Crash 24819 GROSSSTADTKINDER ((Orangenflip / Pink-Punk, Frosch ist krank / Crash)) 11.34 --- Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; recorded 1985 in Berlin 24820 PHRYGIA 7.35 --- 24821 RIMBANA 4.05 --- 24822 CLIFFORD 2.53 --- ------------------------------------------ Wlodzimierz NAHORNY: "Heart" Wlodzimierz Nahorny -as,p; Jacek Ostaszewski -b; Sergiusz Perkowski -d; recorded November 1967 in Warsaw 34847 BALLAD OF TWO HEARTS 2.45 Muza XL-0452 34848 A MONTH OF GOODWILL 7.03 --- 34849 MUNIAK'S HEART 5.48 --- 34850 LEAKS 4.30 --- 34851 AT THE CASHIER 4.55 --- 34852 IT DEPENDS FOR WHOM 4.57 --- 34853 A PEDANT'S LETTER 5.00 --- 34854 ON A HIGH PEAK
    [Show full text]
  • Printcatalog Realdeal 3 DO
    DISCAHOLIC auction #3 2021 OLD SCHOOL: NO JOKE! This is the 3rd list of Discaholic Auctions. Free Jazz, improvised music, jazz, experimental music, sound poetry and much more. CREATIVE MUSIC the way we need it. The way we want it! Thank you all for making the previous auctions great! The network of discaholics, collectors and related is getting extended and we are happy about that and hoping for it to be spreading even more. Let´s share, let´s make the connections, let´s collect, let´s trim our (vinyl)gardens! This specific auction is named: OLD SCHOOL: NO JOKE! Rare vinyls and more. Carefully chosen vinyls, put together by Discaholic and Ayler- completist Mats Gustafsson in collaboration with fellow Discaholic and Sun Ra- completist Björn Thorstensson. After over 33 years of trading rare records with each other, we will be offering some of the rarest and most unusual records available. For this auction we have invited electronic and conceptual-music-wizard – and Ornette Coleman-completist – Christof Kurzmann to contribute with some great objects! Our auction-lists are inspired by the great auctioneer and jazz enthusiast Roberto Castelli and his amazing auction catalogues “Jazz and Improvised Music Auction List” from waaaaay back! And most definitely inspired by our discaholic friends Johan at Tiliqua-records and Brad at Vinylvault. The Discaholic network is expanding – outer space is no limit. http://www.tiliqua-records.com/ https://vinylvault.online/ We have also invited some musicians, presenters and collectors to contribute with some records and printed materials. Among others we have Joe Mcphee who has contributed with unique posters and records directly from his archive.
    [Show full text]
  • Gerry Mulligan Discography
    GERRY MULLIGAN DISCOGRAPHY GERRY MULLIGAN RECORDINGS, CONCERTS AND WHEREABOUTS by Gérard Dugelay, France and Kenneth Hallqvist, Sweden January 2011 Gerry Mulligan DISCOGRAPHY - Recordings, Concerts and Whereabouts by Gérard Dugelay & Kenneth Hallqvist - page No. 1 PREFACE BY GERARD DUGELAY I fell in love when I was younger I was a young jazz fan, when I discovered the music of Gerry Mulligan through a birthday gift from my father. This album was “Gerry Mulligan & Astor Piazzolla”. But it was through “Song for Strayhorn” (Carnegie Hall concert CTI album) I fell in love with the music of Gerry Mulligan. My impressions were: “How great this man is to be able to compose so nicely!, to improvise so marvellously! and to give us such feelings!” Step by step my interest for the music increased I bought regularly his albums and I became crazy from the Concert Jazz Band LPs. Then I appreciated the pianoless Quartets with Bob Brookmeyer (The Pleyel Concerts, which are easily available in France) and with Chet Baker. Just married with Danielle, I spent some days of our honey moon at Antwerp (Belgium) and I had the chance to see the Gerry Mulligan Orchestra in concert. After the concert my wife said: “During some songs I had lost you, you were with the music of Gerry Mulligan!!!” During these 30 years of travel in the music of Jeru, I bought many bootleg albums. One was very important, because it gave me a new direction in my passion: the discographical part. This was the album “Gerry Mulligan – Vol. 2, Live in Stockholm, May 1957”.
    [Show full text]
  • Arkivförteckning Rune Gustafssons Arkiv
    Rune Gustafssons arkiv Svenskt visarkiv April 2013 Leif Larsson INLEDNING Rune Gustafsson ( 1933 – 2012 ) hörde sedan början av 1950-talet till en av Sveriges allra främsta jazzmusiker. Han började sin karriär hos trumslagaren Nils-Bertil Dahlander i Göteborg men flyttade några år senare till Stockholm. Under nästan hela fortsatta 1950-talet spelade han där tillsammans med Putte Wickman. Rune träffade 1959 Arne Domnérus som han sedan samarbetade med i många olika sammanhang. Under ett par årtionden var Rune Gustafsson en av våra mest anlitade studiomusiker som genom sin mångsidighet och flexibilitet passade in i de flesta situationer. Rune Gustafsson har bakom sig en rad egna skivor, bl. a. ”Move” som belönades med Orkesterjournalens Gyllene Skiva. Han har även varit involverad i flera andra produktioner som tilldelats denna utmärkelse. Under åren har RG samarbetat med en rad av jazzens internationella storheter, såsom Benny Carter, George Russel, Dizzy Gillespie, Stan Getz och Zoot Sims. Med den sistnämnde gjorde Rune två skivor, den sista ”In A Sentimental Mood” kom att bli Zoot Sims allra sista. Med sin mångsidighet har Rune också varit efterfrågad i många andra musikaliska sammanhang, både i Sverige och stora delar av världen, t.ex. Eng- land, USA, Sydamerika, Ryssland, Japan och Kina. 1997 erhöll Rune det allra första priset ur Albin Hagströms minnesfond i Kungliga musikaliska akademien med motiveringen: ”För en mer än fyrtiofemårig gärning som framstående jazzsolist och mångsidig studio musiker – en beundrad förebild och outtömlig inspirationskälla för generationer svenska elgitarrister. 1998 fick Rune Gustafsson Thore Ehrlings stipendium med motiveringen: ”En av de mångsidigaste musikerna inom svensk populärmusik och vår genom tiderna främste jazzgitarrist”.
    [Show full text]
  • Liebman Expansions
    MAY 2016—ISSUE 169 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM DAVE LIEBMAN EXPANSIONS CHICO NIK HOD LARS FREEMAN BÄRTSCH O’BRIEN GULLIN Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East MAY 2016—ISSUE 169 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 New York@Night 4 Laurence Donohue-Greene: Interview : Chico Freeman 6 by terrell holmes [email protected] Andrey Henkin: [email protected] Artist Feature : Nik Bärtsch 7 by andrey henkin General Inquiries: [email protected] On The Cover : Dave Liebman 8 by ken dryden Advertising: [email protected] Encore : Hod O’Brien by thomas conrad Editorial: 10 [email protected] Calendar: Lest We Forget : Lars Gullin 10 by clifford allen [email protected] VOXNews: LAbel Spotlight : Rudi Records by ken waxman [email protected] 11 Letters to the Editor: [email protected] VOXNEWS 11 by suzanne lorge US Subscription rates: 12 issues, $40 Canada Subscription rates: 12 issues, $45 In Memoriam 12 by andrey henkin International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or money order to the address above CD Reviews or email [email protected] 14 Staff Writers Miscellany David R. Adler, Clifford Allen, 37 Duck Baker, Fred Bouchard, Stuart Broomer, Thomas Conrad, Ken Dryden, Donald Elfman, Event Calendar 38 Philip Freeman, Kurt Gottschalk, Tom Greenland, Anders Griffen, Alex Henderson, Marcia Hillman, Terrell Holmes, Robert Iannapollo, Suzanne Lorge, Marc Medwin, Ken Micallef, Russ Musto, John Pietaro, Joel Roberts, John Sharpe, Elliott Simon, Andrew Vélez, Ken Waxman Tracing the history of jazz is putting pins in a map of the world.
    [Show full text]
  • Fwofeffim I- BUIIETIN NUMMER 1 1996
    ,TheDufteE@ FWofeffiM I- BUIIETIN NUMMER 1 1996 Ordföranden har ordet: Kära Ellingtonvänner! Just som lag skall börja skriva denna artikel nås jag av ett telefonsamtal från Willie Cook som säger att Mercer Ellington har avlidit. Mycket sorgligt, det är bara att be- klaga sorgen inom Ellingtonfamiljen och de av oss som alltid har beundrat det som har skett inom Ellingtonfa- miljen. Nu är det bara Ruth Ellington, syster till Duke, som är kvar av den äldre generationen. Mercer är nu begravd i Köpenhamn där han hade sitt hem och sin danska fru Lena. Vi träffades en gång i Väs- om Ellington för oss men hans besök i Stockholm gäller terås den 3 december 1977 med Mercer och hans orkes- egentligen Charlie Mingus och Berwaldhallen den 28 ter. Vad som nu händer med Duke Ellington Orchestra mars med Radiojazzgruppen. är ovisst eftersom det inte finns någon given ledare för För övrigt såg vi i Solna centrum's bibliotek en foto- orkestern enligt Willie Cook. Senast vi såg och lyssnade utställning kring Duke Ellington av Christer Landegren. till Mercer Ellington och hans orkester var på Skepps- Det var samma utställning som visades i Musikmuseet holmen sommaren 1994. Alexandre Rado kände Mercer 1994. Vi hoppas att f lera bibliotek vill ställa ut. som en vän och hans tecknar för oss sin minnesbild av Vi inom styrelsen hoppas att våra svenska medlem- Mercer. mar finner det OK med vissa artiklar på engelska språ- Under iuni 1996 blir det Toronto som har årets El- ket. Eftersom vi böriar få ett flertal utländska medlem- lingtonkonferens. Vi hoppas att flera av oss kan åka dit mar måste vi ju se till att de får något utbyte av sin med- och vi kommer att presentera närmare detaljer under lemsavgift.
    [Show full text]
  • Trevor Tolley Jazz Recording Collection
    TREVOR TOLLEY JAZZ RECORDING COLLECTION TABLE OF CONTENTS Introduction to collection ii Note on organization of 78rpm records iii Listing of recordings Tolley Collection 10 inch 78 rpm records 1 Tolley Collection 10 inch 33 rpm records 43 Tolley Collection 12 inch 78 rpm records 50 Tolley Collection 12 inch 33rpm LP records 54 Tolley Collection 7 inch 45 and 33rpm records 107 Tolley Collection 16 inch Radio Transcriptions 118 Tolley Collection Jazz CDs 119 Tolley Collection Test Pressings 139 Tolley Collection Non-Jazz LPs 142 TREVOR TOLLEY JAZZ RECORDING COLLECTION Trevor Tolley was a former Carleton professor of English and Dean of the Faculty of Arts from 1969 to 1974. He was also a serious jazz enthusiast and collector. Tolley has graciously bequeathed his entire collection of jazz records to Carleton University for faculty and students to appreciate and enjoy. The recordings represent 75 years of collecting, spanning the earliest jazz recordings to albums released in the 1970s. Born in Birmingham, England in 1927, his love for jazz began at the age of fourteen and from the age of seventeen he was publishing in many leading periodicals on the subject, such as Discography, Pickup, Jazz Monthly, The IAJRC Journal and Canada’s popular jazz magazine Coda. As well as having written various books on British poetry, he has also written two books on jazz: Discographical Essays (2009) and Codas: To a Life with Jazz (2013). Tolley was also president of the Montreal Vintage Music Society which also included Jacques Emond, whose vinyl collection is also housed in the Audio-Visual Resource Centre.
    [Show full text]
  • Richard Twardzik
    1 The PIANO of RICHARD TWARDZIK Solographer: Jan Evensmo Completed: Jan. 4, 2016 2 Born: Danvers, Boston, Ma., April 30, 1931 Died: Paris, France, Oct. 21, 1955 Introduction: Richard “Dick” Twardzik was one of the most exciting pianists in early modern jazz, that is the few years he lived. His music is equally fresh, original, unpredictable and moving today as it was played and recorded, mostly in jams and concerts more than half a century ago. History: Studied classical music before discovering jazz. Began playing in clubs in 1946 and soon became one of the most promising musicians in Boston. Played with Serge Chaloff and Charlie Parker, worked with Charlie Mariano (1951-52) and toured with Lionel Hampton. After recording with Chaloff and as a leader (1954) he joined Chet Baker for a European tour (1955). He was addicted to heroin and died from an overdose in a Paris hotel (ref. New Grove Dictionary of Jazz). 3 RICHARD TWARDZIK SOLOGRAPHY CHARLIE MARIANO Boston, Dec. 1951 Sonny Truitt (tb), Charlie Mariano (as), Jim Clark (ts), Richard Twardzik (p), Jack Lawlor (b), Carl Goodwin (dm). One title (postscript: earlier presented as “Aviary”, although solo notation and comments below are correct for “Mariners”) was recorded for Prestige: 302 Mariners Intro 8 bars. Acc. (as), (tb) and (ts). Solo 32 bars. (FM) From the very first bar in the intro we meet one of the most fascinating pianists in modern jazz development. His musical world is quite different from most of his contemporaries, as evident from the dark hued solo on this “Mariners”. SERGE CHALOFF QUINTET Albany, NY.
    [Show full text]
  • Jazz at the Crossroads)
    MUSIC 127A: 1959 (Jazz at the Crossroads) Professor Anthony Davis Rather than present a chronological account of the development of Jazz, this course will focus on the year 1959 in Jazz, a year of profound change in the music and in our society. In 1959, Jazz is at a crossroads with musicians searching for new directions after the innovations of the late 1940s’ Bebop. Musical figures such as Miles Davis and John Coltrane begin to forge a new direction in music building on their previous success earlier in the fifties. The recording Kind of Blue debuts in 1959 documenting the work of Miles Davis’ legendary sextet with John Coltrane, Cannonball Adderley, Bill Evans, Paul Chambers and Jimmy Cobb and reflects a new direction in the music with the introduction of a modal approach to composition and improvisation. John Coltrane records Giant Steps the culmination of the harmonic intricacies of Bebop and at the same time the beginning of something new. Ornette Coleman arrives in New York and records The Shape of Jazz to Come, an LP that presents a radical departure from the orthodoxies of Be-Bop. Dave Brubeck records Time Out, a record featuring a new approach to rhythmic structure in the music. Charles Mingus records Mingus Ah Um, establishing Mingus as a pre-eminent composer in Jazz. Bill Evans forms his trio with Scott LaFaro and Paul Motian transforming the interaction and function of the rhythm section. The quiet revolution in music reflects a world that is profoundly changed. The movement for Civil Rights has begun. The Birmingham boycott and the Supreme Court decision Brown vs.
    [Show full text]