DOCSLIB.ORG

Eddie Bert Jutta Hipp

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Eddie Bert Jutta Hipp It may well be that this diminution Cadena With Milt is the Savoy rhythm of individuality is temporary, and that team—Hank Jones, Wendell Marshall, Jutta may eventually forgt her own and Kenny Clarke—one of the best in­ approach But as of now, while it’s trut tegrated sections in the history of re­ her style has become funkier (Billie’s corded jazz. Present also on all but Bounce is the best example on the LPI. Man is the superb, Hawkin—rich but All Jazz rr«'urd>* arr review«*d by Nai he has also become rather rigid, press­ always individualized tenor of Lucky lb ntoff except thotte initialed by Jack ing nearly every song into the same Thompson, who is so good a jazzman Tracy. Rating: Excellent, 6*66 mold with little care for the individual that he transcends period labels. Lucky Very Good. Good. ♦♦ Fair, ♦ pour. character of each, For example, she is a key example of what these reviews may be Mad About the Boy, but why- try to mean when they say a musician Eddie Bert should she attack him? And there is “flows.” (Listen, for example, to thia II oik with Me; I ardboard Coffee; something depressingly mechanical solo track, What’s New). He swings Falling in Lore til Over 4gain; Lorn, about her hardness-without-exuberanct <le<ply; his ideas build logically into Sarahs and Fnaj; I Hear Music; Moon in Ain’t Misbehavin’ and Jeepers Cm it­ satisfying solos; and he communicates and >and; Nosmo King; Jeromes ers. large warmth. Itlues; III V» Life; Me 'n You On several of her records made Milt continues to be the best vibist Rating: abroad, Jutta had a particularly < ngau- in jazz by virtue of his ideas, time, ing touch with ballads. Much of that functional way of playing, and beat. Modem Mood» enlists Eddie, Jerome uniqueness has also been lost. Stock­ He has a chance to blow more free- Richardson, flute and tenor; altoist holm, while attractive, does not flow swinging, up-tempo choruses here than Vinnie Dean; Hank Jones; Barry Gal­ much, and Things again represents in is usual in the current context of the braith; Oscar Pettiford; Osie Johnson. large part a pyrrhic victory of a search MJQ. Jones, Clarke and Marshall have Thi programming is better than on for style over content. Her accompani­ been often lauded here before, but several other recent Jazztone dates with ment is good but as Leonard Feather again, may I suggest you listen closely Bi rt contributing four attractive lines, pointed ><ut recently, this is not nearly to the major jazz voice that Hank one apiece by Milt Gold and Richard­ as integrated, as tri-partite as a ¿upe Jones now ¡Missesses. Very much i ec­ son, Neal Hefti’s gentle Falling (on rior trio can be. Thigpen is fine. Ind ommended. (Savoy 12” LP MG 12070) which Bert is the only horn), and Alec is rather stolid in solo. Feather intro­ Wilder’s rather tamely played Moon duces the record and there are several and Sand. Jazz \\ est Coast, 1 ol. 2 announcements by Miss Hipp. Good Bag of Blue»; Summertime; Topsy; There are superior solos by Bert, sound and a most attractive cover. Easy Living; Line for Lyons; Song of Jones, Galbraith, and Pettiford. Dean (Blui Note 12 IP 1515) the Islands; I Hear Music; Boja igle» s a fluent mainstream modernist, but of Harlem; Contour; It'» Sand, Man is light in impact. Richardson, consider­ (akin Jackson ably more striking emotionally, is apt Baling: to lie not too individual in conception. Stompin' at the Savoy; Dream; You This is a sampler culled from current Balance is not good, with insufficient •¡nd the Night and the Music; The and soon-to-be-released Pacific Jazz presence for the soloists and a not well Touch of Four Lip»; Mine; Linger LPs. The tracks are by Bud Shank defined rhythm section sound due to Awhile; Get Out of Toun quartet, Chet Baker quartet, Chico microphoning that smothers Galbiaith, Ruting: *’2 Hamilton quintet, Bill Perkins quintet, for one thing, in the drums. Gerry Mulligan quartet, Bill Perkins Rave Notice presents pianist Jackson One of the best tracks is Jerome's octet, Hampton Hawes trio, Russ Free­ in the company of vibist Peter Apple­ man quartet, Jack Sheldon quintet, Cy Blues, with everyone fused funkily, yard, bassist Johnny Elwood, and drum­ and Mr. Pettiford coming on with es­ Touff quintet. The Shank and Hamilton mer Howard Reay. Title alludes to the tracks are already out. The Touff is pecial strength, and a movingly relaxed, lavishly indiscriminate press notice» a muted Bert who sounds in part as not on this recent PJ LP, noi is the previous LP by this unit received. This Mulligan on the Paris Concert set and Frankie Newton might have had he is a strong dissent. Jackson obviously switched to trombone. Hank Jones and the rest at presstime had also not yet has swift and powerful technique, but been issued. Galbraith are also an unhurried gas he uses this technique almost invari­ on the track. Osie is steady in the back­ ably to produce hollow, flashy, su if ace It’s a generally impressive anthology ground and Richardson is warm. This effects, His is a kill-the-audience-with- with such highlights as a 1955 French good-sized easy-feeling blues is almost notes-a n d-more-notes-and-then-cuteness recording of Baker that may indicate by itself reason enough to get the LP. approach to music. He lacks taste, and a growth and deepening of his ability ; an excellent Bill Perkins solo backed One of the major virtues in this set, for this listener, his music communi­ cates the feeling of a press agent giving by John Lewis, Jim Hall, Chico Hamil­ incidentally, is that it gives the excel­ ton, and Percy Heath in Easy Living; lent Galbraith more solo time than any his all for a client so long as the fee is paid. Because of this preoccupation and several stimulating aspects to the previous record 1 can recall (Dig his last five tracks which will be commented unpretentious expert skill in All My with hard-selling, Jackson rarely re­ laxes enough to swing. His rhythm is on in more detail when the respective Life, for example). Recommended in albums are released. spite of the imperfect engineering. usually as brittle as his ideas. Society 12" LP J1223) The last track is characteristic of (Jazzton«* Appleyard, although also guilty of the recently-released Touff LP, favor­ too much gratuitous showboating, is ably reviewed here by Jack Tracy when Jutta Hipp somewhat wanner emotionally and more it was issued. The set is a further of his exuberance seems spontaneous lake Me in I our Arms { Dear Old tribute to the value of Dick Bock’s Stockholm; Billie'» Bounce; i’ll Ke- than does Jackson’s. Pulsation-wise, he activities anil the LP as a whole offers member April; Lady Bird; Mad Ibout is no Milt Jackson, but he can move. a more varied program obviously than Elwood and Reay are competent The the Boy; Ain't Misbehavin'j These Fotd- do most 12" packages. Firstrate engi- arrangements are cocktail jazz I still ish Thing»; Jee pm Creeper»; The Moon nee ring throughout. (Jazz West Coast II as Yellow prefer liquor and jazz straight. Not 12 " LP JWC-501, released by Pacific Bating: *** at all recommended. What is particular­ Jazz) ly depressing is that Jackson gives Jutta Hipp at the Hickory House is brief indications here and there that Thad Jones her first made-in-America LP. With he could play meaningfully if he wanted Blue Room; Tarriff; Little Girl Blue; Doctor Van Gelder in attendance, this to. Why does he waste all that knowl­ Scratch; Zee and a second LP were taped in one edge? (Columbia 12" I J* (L 824) Rating: Kltirlr night at the room with Jutta’s regular assistants, drummer Ed Thigpen and Detroit-New York Junction involves bassist Peter Ind. As of this LP, all Milt Jackson formei Detroiters Jones, tenor Billy of the reservations expressed in a May lover; Can't Help Lovin' That Man; Mitchell, guitarist Kenny Burrell and 2 Caught in the Act of Miss Hipp still The lady 1» a Tramp; Angel Face; pianist Tommy Flanagan with drum­ stand. No longer immediately identifi­ Sometime» I'm Happy; What'» New mer Shadow Wilson and bassist Oscar able by her formei linear, lyrical mu­ Pettiford. Thad, potentially one of the sical personality, Jutta sounds here Rating: most creative modern trumpeters, has like a promising eclectic marked most The Jazz Skyline is another major almost no room to stretch during his by Horace Silver. credit for Savoy’s a&r head, Ozzie nightly work with the Basie band, so July 25, IM 36 23.
Load more

Recommended publications
  • Spilleliste: Åtti Deilige År Med Blue Note Foredrag Oslo Jazz Circle, 14
    Spilleliste: Åtti deilige år med Blue Note Foredrag Oslo Jazz Circle, 14. januar 2020 av Johan Hauknes Preludium BLP 1515/16 Jutta Hipp At The Hickory House /1956 Hickory House, NYC, April 5, 1956 Jutta Hipp, piano / Peter Ind, bass / Ed Thigpen, drums Volume 1: Take Me In Your Arms / Dear Old Stockholm / Billie's Bounce / I'll Remember April / Lady Bird / Mad About The Boy / Ain't Misbehavin' / These Foolish Things / Jeepers Creepers / The Moon Was Yellow Del I Forhistorien Meade Lux Lewis, Albert Ammons & Pete Johnson Jumpin' Blues From Spiritals to Swing, Carnegie Hall, NYC, December 23, 1938 BN 4 Albert Ammons - Chicago In Mind / Meade "Lux" Lewis, Albert Ammons - Two And Fews Albert Ammons Chicago in Mind probably WMGM Radio Station, NYC, January 6, 1939 BN 6 Port of Harlem Seven - Pounding Heart Blues / Sidney Bechet - Summertime 1939 Sidney Bechet, soprano sax; Meade "Lux" Lewis, piano; Teddy Bunn, guitar; Johnny Williams, bass; Sidney Catlett, drums Summertime probably WMGM Radio Station, NYC, June 8, 1939 Del II 1500-serien BLP 1517 Patterns in Jazz /1956 Gil Mellé, baritone sax; Eddie Bert [Edward Bertolatus], trombone; Joe Cinderella, guitar; Oscar Pettiford, bass; Ed Thigpen, drums The Set Break Van Gelder Studio, Hackensack, NJ, April 1, 1956 BLP 1521/22 Art Blakey Quintet: A Night at Birdland Clifford Brown, trumpet; Lou Donaldson, alto sax; Horace Silver, piano; Curly Russell, bass; Art Blakey, drums A Night in Tunisia (Dizzy Gillespie) Birdland, NYC, February 21, 1954 BLP 1523 Introducing Kenny Burrell /1956 Tommy Flanagan,
    [Show full text]
  • Discography Updates (Updated May, 2021)
    Discography Updates (Updated May, 2021) I’ve been amassing corrections and additions since the August, 2012 publication of Pepper Adams’ Joy Road. Its 2013 paperback edition gave me a chance to overhaul the Index. For reasons I explain below, it’s vastly superior to the index in the hardcover version. But those are static changes, fixed in the manuscript. Discographers know that their databases are instantly obsolete upon publication. New commercial recordings continue to get released or reissued. Audience recordings are continually discovered. Errors are unmasked, and missing information slowly but surely gets supplanted by new data. That’s why discographies in book form are now a rarity. With the steady stream of updates that are needed to keep a discography current, the internet is the ideal medium. When Joy Road goes out of print, in fact, my entire book with updates will be posted right here. At that time, many of these changes will be combined with their corresponding entries. Until then, to give you the fullest sense of each session, please consult the original entry as well as information here. Please send any additions, corrections or comments to http://gc-pepperadamsblog.blogspot.com/, despite the content of the current blog post. Addition: OLIVER SHEARER 470900 September 1947, unissued demo recording, United Sound Studios, Detroit: Willie Wells tp; Pepper Adams cl; Tommy Flanagan p; Oliver Shearer vib, voc*; Charles Burrell b; Patt Popp voc.^ a Shearer Madness (Ow!) b Medley: Stairway to the Stars A Hundred Years from Today*^ Correction: 490900A Fall 1949 The recording was made in late 1949 because it was reviewed in the December 17, 1949 issue of Billboard.
    [Show full text]
  • JELLY ROLL MORTON's
    1 The TENORSAX of WARDELL GRAY Solographers: Jan Evensmo & James Accardi Last update: June 8, 2014 2 Born: Oklahoma City, Oklahoma, Feb. 13, 1921 Died: Las Vegas, Nevada, May 25, 1955 Introduction: Wardell Gray was the natural candidate to transfer Lester Young’s tenorsax playing to the bebop era. His elegant artistry lasted only a few years, but he was one of the greatest! History: First musical studies on clarinet in Detroit where he attended Cass Tech. First engagements with Jimmy Raschel and Benny Carew. Joined Earl Hines in 1943 and stayed over two years with the band before settling on the West Coast. Came into prominence through his performances and recordings with the concert promoter Gene Norman and his playing in jam sessions with Dexter Gordon.; his famous recording with Gordon, “The Chase” (1947), resulted from these sessions as did an opportunity to record with Charlie Parker (1947). As a member of Benny Goodman’s small group WG was an important figure in Goodman’s first experiments with bop (1948). He moved to New York with Goodman and in 1948 worked at the Royal Roost, first with Count Basie, then with the resident band led by Tadd Dameron; he made recordings with both leaders. After playing with Goodman’s bigband (1948-49) and recording in Basie’s small group (1950-51), WG returned to freelance work on the West Coast and Las Vegas. He took part in many recorded jam sessions and also recorded with Louie Bellson in 1952-53). The circumstances around his untimely death (1955) is unclear (ref.
    [Show full text]
  • Instead Draws Upon a Much More Generic Sort of Free-Jazz Tenor
    1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. MARIAN McPARTLAND NEA Jazz Master (2000) Interviewee: Marian McPartland (March 20, 1918 – August 20, 2013) Interviewer: James Williams (March 8, 1951- July 20, 2004) Date: January 3–4, 1997, and May 26, 1998 Repository: Archives Center, National Museum of American History Description: Transcript, 178 pp. WILLIAMS: Today is January 3rd, nineteen hundred and ninety-seven, and we’re in the home of Marian McPartland in Port Washington, New York. This is an interview for the Smithsonian Institute Jazz Oral History Program. My name is James Williams, and Matt Watson is our sound engineer. All right, Marian, thank you very much for participating in this project, and for the record . McPARTLAND: Delighted. WILLIAMS: Great. And, for the record, would you please state your given name, date of birth, and your place of birth. McPARTLAND: Oh, God!, you have to have that. That’s terrible. WILLIAMS: [laughs] McPARTLAND: Margaret Marian McPartland. March 20th, 1918. There. Just don’t spread it around. Oh, and place of birth. Slough, Buckinghamshire, England. For additional information contact the Archives Center at 202.633.3270 or [email protected] 2 WILLIAMS: OK, so I’d like to, as we get some of your information for early childhood and family history, I’d like to have for the record as well the name of your parents and siblings and name, the number of siblings for that matter, and your location within the family chronologically. Let’s start with the names of your parents.
    [Show full text]
  • DB Music Shop Must Arrive 2 Months Prior to DB Cover Date
    05 5 $4.99 DownBeat.com 09281 01493 0 MAY 2010MAY U.K. £3.50 001_COVER.qxd 3/16/10 2:08 PM Page 1 DOWNBEAT MIGUEL ZENÓN // RAMSEY LEWIS & KIRK WHALUM // EVAN PARKER // SUMMER FESTIVAL GUIDE MAY 2010 002-025_FRONT.qxd 3/17/10 10:28 AM Page 2 002-025_FRONT.qxd 3/17/10 10:29 AM Page 3 002-025_FRONT.qxd 3/17/10 10:29 AM Page 4 May 2010 VOLUME 77 – NUMBER 5 President Kevin Maher Publisher Frank Alkyer Editor Ed Enright Associate Editor Aaron Cohen Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Kelly Grosser ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Classified Advertising Sales Sue Mahal 630-941-2030 [email protected] OFFICES 102 N. Haven Road Elmhurst, IL 60126–2970 630-941-2030 Fax: 630-941-3210 www.downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, John McDonough, Howard Mandel Austin: Michael Point; Boston: Fred Bouchard, Frank-John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Robert Doerschuk; New Orleans: Erika Goldring, David Kunian; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D.
    [Show full text]
  • Stomp 39 He Joint Was Packed, the Dance Floor Twas Jumping, and the Music Was HOT
    Volume 36 • Issue 4 April 2008 Journal of the New Jersey Jazz Society Dedicated to the performance, promotion and preservation of jazz. Stomp 39 he joint was packed, the dance floor Twas jumping, and the music was HOT. In a nutshell, the NJJS’s annual Pee Wee Russell Memorial Stomp delivered the goods for the 39th straight year. The fun began at noon with a set of modern The musician of the year award jazz classics, smoothly performed by a septet was presented to Eddie Bert. of Jersey college players, and was capped five The octogenarian trom- hours later by some rocking versions of bonist drove down from Swing Era standards by George Gee’s Jump, his home in Jivin’ Wailers Swing Orchestra, who closed Connecticut to pick the show to rousing applause. In between, up his award, but had the clock was turned back to the 1920s and to leave early to get ’30s as vocalist Barbara Rosene and group, back for a gig later in the Jon Erik-Kellso Group and the Smith the day! Street Society Band served up a tasty banquet And John Becker, who had been of vintage Jazz Age music. The Hot Jazz fans unable to attend the NJJS Annual in the audience ate it all up. Meeting in December, was on hand to There were some special guests in attendance receive the 2007 Nick Bishop Award. at the Birchwood Manor in Whippany on The event also featured the presenta- March 2. NJJS President Emeritus, and tion of annual NJJS Pee Wee Russell Stomp founder, Jack Stine, took the stage to scholarship awards to five New present Rutgers University Institute of Jazz Jersey jazz studies college students.
    [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]
  • Dissertation Committee for Michael James Schmidt Certifies That This Is the Approved Version of the Following Dissertation
    Copyright by Michael James Schmidt 2014 The Dissertation Committee for Michael James Schmidt certifies that this is the approved version of the following dissertation: The Multi-Sensory Object: Jazz, the Modern Media, and the History of the Senses in Germany Committee: David F. Crew, Supervisor Judith Coffin Sabine Hake Tracie Matysik Karl H. Miller The Multi-Sensory Object: Jazz, the Modern Media, and the History of the Senses in Germany by Michael James Schmidt, B.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin In Partial Fulfillment Of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin August 2014 To my family: Mom, Dad, Paul, and Lindsey Acknowledgements I would like to thank, above all, my advisor David Crew for his intellectual guidance, his encouragement, and his personal support throughout the long, rewarding process that culminated in this dissertation. It has been an immense privilege to study under David and his thoughtful, open, and rigorous approach has fundamentally shaped the way I think about history. I would also like to Judith Coffin, who has been patiently mentored me since I was a hapless undergraduate. Judy’s ideas and suggestions have constantly opened up new ways of thinking for me and her elegance as a writer will be something to which I will always aspire. I would like to express my appreciation to Karl Hagstrom Miller, who has poignantly altered the way I listen to and encounter music since the first time he shared the recordings of Ellington’s Blanton-Webster band with me when I was 20 years old.
    [Show full text]
  • For Additional Information Contact the Archives Center at 202.633.3270 Or
    Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. HANK JONES NEA Jazz Master (1989) Interviewee: Hank Jones (July 31, 1918 – May 16, 2010) Interviewer: Bill Brower Date: November 26-27, 2004 Repository: Archives Center, National Museum of American History Description: Transcript, pp. 134 Hank Jones: I was over there for about two and a half weeks doing a promotional tour. I had done a couple of CDs; one was with my brother Elvin and Richard Davis, the bass player. They made – – I think they made two releases from that date. And I did another date with Jack DeJohnette and John Patitucci. But, these two albums were the objects of the promotion. I mean, they promote very, very heavily everyday. I must have had 40 interviews and about 30 record signings at the record shops, plus all of the recording. We did seven concerts and people inevitably want the records, CDs of the concert for us to sign. I have a trio over there, with Jimmy Cobb and John Fink. It was called, “The Great Jazz Trio.” It was not my name, but the Japanese have special names for everything, you know? That's only one in a series of tree others which he called the great jazz trio. The first one was Ron Carter, Tony Williams and myself. But, there had been a succession of different changes in personnel. It changed about six times. The current one was Jimmy Cobb and Dave Fink--Oh, the cookies have arrived and not a minute too soon.
    [Show full text]
  • CURRICULUM VITAE of PETER BOUFFARD Home Address 3021
    CURRICULUM VITAE OF PETER BOUFFARD Home Address 3021 Williamsburg Drive Lincoln, NE 68516 402/421-6755 e-mail: [email protected], [email protected] web site: http://www.peterbouffard.com/peter EDUCATION D.M.A. Jazz Studies/Guitar Performance New England Conservatory, Boston, MA May 2004 M.M. in Jazz Education University of Nebraska-Lincoln August 1990 B.M. in Music Education/Classical Guitar University of Maine, Orono, ME December 1987 A.S. in Jazz and Contemporary Music University of Maine at Augusta May 1985 TEACHING Lecturer of Guitar and Jazz Studies (1990 - present) EXPERIENCE University of Nebraska School of Music • Taught applied lessons in jazz and classical guitar • Directed large jazz ensemble • Coordinated and coached small jazz ensembles • Directed guitar ensemble • Taught courses in jazz improvisation • Taught jazz styles and analysis • Composed and arranged music for performing ensembles Director of Jazz Activities (1990 - present) University of Maine Summer Youth Music • Supervised all jazz classes and activities • Taught applied lessons in guitar and electric bass • Directed large and small jazz ensembles • Taught music theory, history, and improvisation • Arranged music for performing ensembles Itinerant Instrumental Music Teacher (1993 - present) Lincoln Public Schools, Lincoln, NE • Taught applied lessons in winds, strings, and percussion • Directed concert band and orchestra grades 4 through 6 • Directed sixth grade jazz ensemble Vitae of P. Bouffard - 2 TEACHING EXPERIENCE (continued) Adjunct Professor of Guitar (2002
    [Show full text]
  • Manuskript HF
    ___________________________________________________________________ SÜDWESTRUNDFUNK Musikstunde aktualisierte Fassung vom: 18.01.2011 Autorin: Julia Neupert Redakteurin: Ulla Zierau In Neuer Vertrautheit Wie Jazz zitiert und zitiert wird Teil 3: Mittwoch Jazzstile Studiobelegung: 14.01.2011, 14.00-22.00 Uhr Sendung am: 19.01.2011 Länge: 54’19 Diese Kopie wird nur zur rein persönlichen Information überlassen. Jede Form der Vervielfältigung oder Verwertung bedarf der Kostenstelle: ausdrücklichen vorherigen Genehmigung des Urhebers. Produktionsnummer: © by the author 2 1 AT Nostalgie, Traditionsbewusstsein, Bequemlichkeit, Respekt, Prahlerei? Warum klingen die so gestrig? Ist die Vergangenheit nicht zu Recht Vergangenheit? Warum sie wieder herbei zitieren? Fragen, die man sich im Jazz stellen lassen muss, wenn man zum Beispiel anfängt, ein halbes Jahrhundert nach Charlie Parker wieder so zu spielen: {00:20} Musik 1 T: Be Bop K: Dizzy Gillespie I: Sebastian Gramss Underkarl CD: Jazzessence Tob 99102, LC 5370 {01:07} 2 AT Es sind wieder „Underkarl“, die diese Stunde eröffnen – mit einem Titel, den sie schlicht „Be Bop“ nennen. Obwohl es wahrscheinlich auch ohne Kennzeichnung gelungen wäre, diese Nummer als stilistisches Zitat zu enttarnen. Das sportliche Tempo, das virtuose Thema, die druckvolle Energie, die Besetzung: alles typische Elemente des Bebop aus den 1940er und 1950er Jahren. Nun war das keine historische Originalaufnahme, sondern ein Zitat. Und „Underkarl“ machen das deutlich, indem sie ihren Bebop zu einem Konzentrat eindampfen, das quasi nur noch aus Klischees besteht. Eher eine musikalische Parodie also und sicher nicht so ernst gemeint wie dieses Stück. Etwa zur selben Zeit entstanden. Es heißt auch „Bebop“: {00:47} 3 Musik 2 T: Bebop K: Wynton Marsalis I: Wynton Marsalis & Ensemble CD: Jump Start / Jazz – Two Ballads Sony BMG 62998, LC 12735 {03:14} 3 AT Zweimal Bebop, zweimal Zitat und doch ein Riesenunterschied: Die eben gehörte Wynton-Marsalis-Version meint es ernst: Ironische Facetten fehlen in seinem Spiel völlig.
    [Show full text]
  • JFSG – Juni 2017
    Band 5, Ausgabe 1 Volume 18 | Juni 2017 Just For Swing Gazette Swing is the Thing! - Mitteilungsblatt aus Leipzig für Freunde swingender Musik in aller Welt Leipzigs Jazzkeller von Detlef A. Ott Die legendäre Jutta Hipp (2) von Siegfried Schmidt-Joos Reinhard Wenskat ein Jazzpionier aus Leipzig von Peter M. Colev Ella Fitzgerald zum 100. Eine Hommage an die „First Lady of Song“ von Scott Yanow 100 Jahre Jazz auf Schallplatte - die ODJB von Freddy Schauwecker und Detlef A. Ott (Un)vergessene Jazzmusiker: Omer Simeon? Nie gehört... von Detlef A. Ott Jazztitel und ihre Bedeutung von Gerhard Klußmeier Big Band Spectacular… und Clare Teal! von Gerhard Klußmeier We called it music Eddie Condon revisited von Gerhard Klußmeier Jazz in der Loge von Klaus Kirst Neuerscheinungen auf dem Label Sonorama und aus dem Niederländischen Jazz Archiv S e i t e 2 Just For Swing Gazette Liebe Jazzfreunde, der Zeit in Vergessenheit geraten sind die Zahl 100 kommt in dieser Ausgabe und denen durch ihren stillen Anteil maß- mehrfach vor. Zum einen halten wir geblich der Erfolg bei der Verbreitung Rückschau auf 100 Jahre Jazz auf des Jazz, einer durch die Verschmelzung Schallplatte. Freddy Schauwecker aus unterschiedlichster kultureller Einflüsse Düsseldorf schreibt über die Original entstandenen Musik, zu verdanken ist. Dixieland Jazz Band und ihre erste Jazz- Aus diesem Grund habe ich auf Anre- platte. Am 25. April wäre die FIRST gung unseres Jazzfreundes Klaus Kirst LADY OF SONG Ella Fitzgerald 100 über den Klarinettisten Omer Simeon re- Jahre alt geworden. Der renommierte cherchiert, um festzustellen, dass er als amerikanische Kritiker Scott Yanow ge- Sideman auf vielen Platten vertreten ist, stattete uns freundlicherweise, seinen aber kaum bekannt war, auch weil von Beitrag, den er für „The Rag“ in England ihm, der sich durch eine unglaubliche Be- geschrieben hatte und der auch in „The scheidenheit auszeichnete, nur sehr weni- Syncopated Times“ in New York er- ge Soloaufnahmen existieren.
    [Show full text]