Jazz

(Splash Point)This polished tribute marks the 25th anniversary of Chet Baker's death. Like Dorian Gray in reverse, the angel-faced Chet aged hideously while his music remained pristine until the end. Sue Richardson's trumpet playing catches his combination of delicacy and strength, and her singing has something of his candid simplicity. She even writes the kind of tunes that he might have invented. Also included are some pieces he wrote while serving time in jail. Outstanding in the excellent small band is Karen Sharp, whose baritone saxophone recalls Chet's classic partnership with Gerry Mulligan.Rating: 4/5JazzDave Gellyguardian.co.uk © 2013 Guardian News and Media Limited or its affiliated companies. All rights reserved. | Use of this content is subject to our Terms & Conditions | More Feeds

Also had a busy side career as big band player and session man

Given the instant availability of musical performances that were once only to be imagined, one could excuse jazz collectors for becoming a bit jaded.  With the beautiful “complete” issues from Mosaic and Jazz Oracle, for instance, one could purchase ALL of the Louis Armstrong Deccas, the Count Basie Columbias of the 1936-40 period, the Ellington small and big bands of the Thirties . . . the Red Nichols Brunswicks.  As well, one can purchase collections of music that once were only listings of rarities in a discography: three discs of Jack Purvis’ recordings. On smaller but equally diligent labels, such as Anthony Barnett’s AB Fable, one can hear Ray Nance, Ben Webster, Jimmie Blanton, Fred Guy, and Sonny Greer jamming in a hotel room in 1941.  If that were not enough, imagine Ben playing clarinet.  CDs on Jazzology and Delmark collecting the solo and band recordings of Frank Melrose.  Beautiful hot rarities on the FROG label.  The Masters of Jazz series — now sadly defunct — which gave us young Dexter Gordon jamming with Bill Harris and Jimmy Rowles, Lester Young on the radio in 1940-2.  (I could go back in my memory to write a long encomium about the various Jerry Valburn issues of the middle Seventies — on his collection of labels.  ”It swings!”  But that is for another post. I know that my scant listing of marvels isn’t sufficient, but I trust readers can and will supply their own recollections of collectors’ dreams gratified.) Still, as one’s collection grows, the possibility of becoming jaded — what more is there to possess? — is ever stronger.  Occasionally, I have caught myself, to my amusement, feeling like a sated Roman emperor for whom the ordinary marvels — centaurs, gryphons, gladiators, nubile virgins — are not enough. Until today, with the announcement of a two-CD set on the Dutch Doctor Jazz label (thanks to Loren Schoenberg spreading the word on Facebook) that would keep even a drowsy jazz Emperor wide-awake. Loren nudged us all by suggesting a most marvelous explosion of possibility — 1939 live recordings, not previously known, by Louis and Sid Catlett, and others by Count Basie and Lester Young.  That would be enough for me.  But there’s more! Don Redman and Cab Calloway soundtracks from Max Fleischer cartoons; Lionel Hampton on the air; Jimmie Lunceford transcriptions; unissued alternate takes featuring Frank Newton, Bobby Hackett, Adrian Rollini, “The Three Spades,” Spike Hughes with Jimmy Dorsey / Muggsy Spanier; Charlie Barnet; Earl Hines; Mildred Bailey with the Dorsey Brothers; Frank Trumbauer; Joe Venuti; Bing Crosby, Ella Fitzgerald; Paul Whiteman; Jack Teagarden; Bob Crosby featuring Jess Stacy; Billie Holiday; Raymond Scott Quintette; Benny Carter and Coleman Hawkins in Europe. Details for Disc 1 here and Disc 2 here.  And a wonderfully detailed review by Max Easterman in VJM can be found here.  Although I now buy CDs more slowly — guided by the occasional feeling of satiety, with visits from Prudence and her sister Financial Wisdom (we call her “Finnie” for short), I ordered this set yesterday.  I couldn’t resist. May your happiness increase! Filed under: "Thanks A Million", Generosities, Hotter Than That, Irreplaceable, Jazz Titans, Jazz Worth Reading, Mmmmmmmmmmmmm!, Pay Attention!, Swing You Cats!, The Heroes Among Us, The Real Thing, The Things We Love, Wow!

Some of the most rewarding in a series of oral history interviews I did on Brooklyn’s rich jazz history, specifically concerning the historic Bedford-Stuyvesant neighborhoods, were with the good folks associated with the legendary East, a peerless Afrocentric venue of the 1970s. The man who largely curated the East’s exceptional schedule of weekend performances, as well as the music component of Brooklyn’s equally legendary (and still operating) International African Arts Festival, was Mensah Wali, someone I met through our mutual friend NEA Jazz Master Randy Weston. Several years ago Mensah relocated to Pittsburgh to work with Gail Austin in developing arts programs in that home to so many of jazz music’s master contributors. Together Mensah and Gail run the lively presenting organization known as Kente Arts. Last summer, while in Pittsburgh for a lovely weekend commemoration and reunion of Pittsburgh’s historic black musicians’ union (detailed in the Independent Ear archives), I spent a lovely evening with the two of them, which included catching the outstanding trumpeter Sean Jones under the stars in one of the city’s gently sloped park lands. As Kente Arts vibrant newsletter and event notices continued to roll in, clearly it was time to get caught up with Mensah. Some months back The Independent Ear ran the interview I did with you for the Weeksville Heritage Center oral history project on your work as music curator at Brooklyn’s legendary East. So how’s a dedicated Brooklynite like yourself wind up in Pittsburgh? LOVE, LOVE, LOVE!!! It will make you do all kinds of things. In 1987, Lois Hernandez of the Odunde Festival called a conference of East coast festival organizers in Philadelphia, PA. Adeyemi Bandele, Dr. Segun Shabaka & I went on behalf of the International African Arts Festival. Gail Austin, Sabira Bushra & Dr. Aisha White came from Pittsburgh representing the Harambee II Black Arts Festival. Harambee was on a strong growing curve and needed bigger name artists and I had a book with many of them. So that’s how the communication started. Gail and I eventually married. We had a commuting marriage for the first five years and then I retired and moved to Pittsburgh. What’s the genesis of Kente Arts Alliance? While in Brooklyn Adeyemi, Basir Mchawi, Mzee Moyo (RIP) and I formed Kente Productions; when I moved to Pittsburgh and wanted to continue bringing presentations to the community I was granted permission to use Kente for my first promotion in “the Burgh”. Kente Arts Alliance was formed a year later with Gail Austin, Fred Logan, Dr. Aisha White & Lynda Black. In 2007, Kente achieved non-profit status and hasn’t looked back since. How does Kente Arts Alliance support itself and continue to present performances? Pittsburgh has a strong foundation community which is supportive of the arts community. Each year, Kente develops a series theme and writes a number of proposals to support the series. We have been very fortunate in catching the attention of the both corporate and non-profit foundations. Editor’s note: Read on, one such Kente Arts thematic series, focusing on jazz ROYalty, is detailed below… What’s been the Pittsburgh community response to Kente Arts Alliance and your activities? Like all small non-profits vying for limited dollars, we struggled at first. After six years, Kente has attracted a loyal following that have helped us to grow. As that support grows, we are aiming to build an organization that is sustainable by increasing our revenues beyond foundational support. Apparently, our strategy is working. We are increasing our number of sold out or nearly sold out performances, thereby increasing our ticket revenues. Talk about last season’s Royalty series. Our Jazz Royalty Series featuring Roy Ayers & Roy Haynes was the most successful series of all. Unfortunately the last Roy in the series [trumpeter

Jazz musicians and fans have been sending out their thoughts and prayers via Facebook and Twitter following the news that pianist Mulgrew Miller suffered a serious stroke yesterday. Details are somewhat limited but it is reported that Miller is currently in intensive care. Miller, who has been called a protege of Oscar Peterson, suffered a stroke back in 2011 and made a full recovery. Musicians such as Terence Blanchard, Geoff Keezer, and Charlie Haden have been sending out well-wishes on Twitter.

Tomorrow will be the 87th anniversary of the birth of Miles Davis, the most famous and historically significant jazz musician to come from the St. Louis area and one of our favorite subjects over the years here at StLJN. As in the past couple of years, on the Saturday closest to his birthday, we've assembled a video tribute, which this year features six extended-length performances showcasing four of the legendary trumpeter's bands during his electric period. The first video up above was shot in 1969 in Copenhagen, and shows Davis with the group sometimes referred to as the "Lost Quintet," because they weren't documented on any of his studio albums at the time. That would be Wayne Shorter on saxophones, Chick Corea on keys, Dave Holland on bass and Jack DeJohnette on drums, seen here playing a mix of older and then-new material that included "Bitches Brew," "Agitation," "I Fall In Love Too Easily," "Sanctuary," "It's About That Time" and "The Theme."Down below, there are two shows recorded during Davis' 1971 European tour, with Gary Bartz (saxophones), Keith Jarrett (keyboards), Michael Henderson (bass), Leon "Ndugu" Chandler (drums), Don Alias (percussion) and James "Mtume" Forman (percussion). The first is from November 6, 1971 in Berlin, and the second was recorded three nights later on November 9 in Oslo, Norway. The fourth set was made in 1973 in Stockholm by a band including Davis, now playing organ as well as trumpet, plus Henderson, Mtume, David Liebman (saxophones, flute), Pete Cosey (guitar, percussion), Reggie Lucas (guitar) and Al Foster (drums).The final two videos are from 1982, and feature Davis with an ensemble including Bill "Not the Legendary Pianist" Evans on saxophones and flute, Mike Stern on guitar, Marcus Miller on bass, Foster on drums and Mino Cinelu on percussion. The set occupying the fifth slot is from April 1982 at the Hammersmith Odeon in London, and the last video is from May 8, 1982 in Brussels, Belgium. To see more of StLJN's extensive past coverage of Miles Davis, click here.

Australian guitarist Quentin Angus will be a couple of months shy of his 26th birthday when he releases Perception (Aurora Sounds AS-QA001), his second self-produced recording as a leader. Yet the New York-based instrumentalist, composer and bandleader has already garnered an impressive series of ...

With the release on May 14, 2013 of her recording debut The Art Of The Melody (Nicholas Records), Australian alto saxophonist Angela Davis added a fresh new voice to the legacy of illustrious improvising artists on her instrument who influenced and inspired her like Art Pepper, Paul Desmond and Lee ...

With the March 12, 2013 release of The Soundtrack Of Things To Come (Changu Records CR002), Jaleel Shaw premiered 10 compositions inspired by works of art and recent life experiences both sad and joyous with a compelling and highly personal musical statement soldifying his standing as one of the ...