East meets the West

DS: I am glad that many of you responded to the music of the Tunisian composer and the surprise Anuar Brahem. This is by no means a young jazz branch, folklore jazz: a thick mixture of traditional music (most often eastern, north African, but also Indian or Japanese) and jazz. Where did jazzmen interest in folklore jazz come from? First of all, the African Americans from the earliest days of jazz were looking for roots in Africa. But, as historians write, if the sources of rhythms or the techniques of screams and answers, it was easy to find, nevertheless (returning to the past program), African music in the American sense does not swing. This is a different shock and other rocking.

In the early thirties, American jazzmen tried to portray large clubs on the scenes, such as Cotton Club in Harlem, African jungle. But they were the same jungle as the white actors of Hollywood, repainted during the filming, in black.

And in this way, Africa and the East (namely the East!) In jazz - this is our current topic.

Good afternoon, evening or night! Wherever you are, welcome to our frequencies! And on our site svobodanews.ru. The microphone in Paris has your ds.

It all started with the play, for which Irving Mills paid the author, the thrombonist of the orchestra Duke Ellington Juan Tizol, five dollars. After the dollars migrated to the tizol pocket, and from there to the foggy bar, the desert moved along the hot sands of the desert, remaining in place to this day, the legendary caravan ...

1. Duke Ellington - Caravan - 4:14 (Duke Ellington - Money Jungle - Blue Note)

DS: “Caravan”, “Caravan” by Juan Tizol, who got the famous five from Irving Mills. The publisher of notes Irving Mills was also known under the nickname Joe Primrose. Primrose is a primure, a flower of light lemon color. Did Mills earn this, partly robber of composers, his complexion from jaundice? Everything is possible - he was not an African American, but many works of Duke or his musicians are signed by Irving Mills. Copyright on those glorious days did not exist. Over time, Mills and his brother Jak Mills Music became the largest in the world.

In this case, the trio of Duke Ellington played - the piano with Charlie Mingus at the smuggling and Max Rouchy on the drums. The disk is an excellent disk with the current name - “Jungle of money”, recorded in September 62 for “Blue Note”.

For the first time, African dunes and a caravan moving on the spot, not moving into a centimeter, were announced in December 36 by the Jazzopaters Bannie orchestra. Duke recorded his “caravan” and signed the second (Irving Mills, the last - thrombonist and author Juan Tizol), recorded in May 37 years old. Later, Mills, who loved and indulge himself with an essay (mainly words) wrote a song, which she sang at festivals and in the studios of Ella Fitzgerald:

2. Ella Fitzgerald - Caravan - 3:51 (Ella Fitzgorald Sings The Duke Ellington Song Book - Verve)

DS: - “Caravan” - Ella Fitzgerald and orchestra Duke Ellington. 57 years old, New York

Thanks to all our radio listeners who left comments on the program on the request! Send them in the future! The main thing is to find the necessary in the archive of the DS!

The second legendary attempt to get to Africa was such a popular composition of Dizzy Gillespi, “Night in Tunisia”. Almost all Jazz historians doubt the fact that Diz The Wiz really has been there. So, apparently, Dizzi, like the caravan of Tizol, moved to Maghreb, not moving. But the play really looks like a southern North African night. There are not enough cicadas, the cries of the muezzins, but the smell of jasmine, without which it is difficult to imagine those parts, still breaks through ...

By accident, in a guest, in a night train, on a dry cargo carrier crawling through the ocean or just at home in a comfortable chair you listen to the daily “jazz time” without rules. On short and medium “freedoms”, through satellites Hotbird and Asiasat-3 or from our site svobodanews.ru. The microphone in almost spring Paris is Dmitry Savitsky.

3. Dizzy Gillespie - a Night in Tunisia - 3:07 (Dizzzy Gillespie - Most Important Recordings 1937-1957 - Victor)

DS: “A Night in Tunisia”, “Night in Tunisia” - February 6, 1946, New York. Gillespi orchestra with dizzy - pipe; Don Bayz-tenor-saxophone; Milt Jackson - vibrophone; El Hage - piano; Bill de Arango - guitar; Rei Brown is a double bass and Jay Xi Herd - drums.

Dizzi Gillespi wrote “Night in Tunisia” in 42 and for the first time this bibopic composition was played by the Pianist Herla Hinse orchestra.

Here is the most famous version of "Night in tunisia":

4. Charlie Parker - A Night in Tunisia - 3:06 (Charlie Parker - Complete Savoy & Dial Sessions)

DS: “A Night in Tunisia” - Septet Charlie Parker with Miles Davis on the pipe; A bird-on an alt-saxophone; Varnishes to tompson on tenor; Arvin Harrison - on the guitar; Dodo Marmarosis - piano; Vic Makmilan - double bass and a swarm rubbed - drums. All the same 46 years, March 28, Los Angeles.

And in order to end the Phoenicians, I propose the vocal version of Ella Fitzgerald. Classical vocal is considered the performance of Sarah. In my opinion, both versions are worthy of sighs and applause:

5. Ella Fitzgerald - A Night in Tunisia - 4:06 (For the Love of Ella Fitzgerald Monments of Swing - Verving)

DS: - "Night in Tunisia" Gillespi and Paparelli. Ella Fitzgerald and the quartet of the pianist Livi Livi. Herb Ellis - guitar; Joe Mondragon - doublebas and Stan Livi - drums. June 24, 61, Los Angeles.

Dizzy wrote a lot of pseudo-African plays. He wrote something like a suite of 7 minutes “Africana”, but these are the same jungle “Cotton Club”, trumpeting elephants, drums and wriggling flute. Africa without Africa. In fact, the first Jazzman of World Music, according to Joachim Berendt, was John Coltrain with his breathtaking plays, such as Africa from the disk “Africabrass or“ Brazil ”and“ India ”(album of 4 Ci-di“ Complete collection of records of 1961-Village Vanguard Recordings "). The second, as Berendt writes, “catalyst” was Don Cherry. But today we affect the imaginary musical movement of jazzmen towards Africa and other edges and modern performers. The first impulse and the consequences.

The story of jazz at the frequencies of “Freedom”: from the early days of the regaymam to the New Orleans, Dixie, Chicago and Kansas, to New York, Bibop, Kula, the Jazz of the West Coast, to the Hard Bop, the avant-garde and what is now called World Music or World Fusion. You can listen to us on short and medium, on your smartphones and tablets, as well as from our site svobodanews.ru. The microphone in Lutetia has your ds.

6. Omar Sosa - Tumborum - 5:14 (Omar Sosa - Omar Sosa - Afreecanos - World Village - Harmonia Mundi)

DS: - “Tumborum” - Omara suza. His orchestra is more than exotic instruments, such as Kalimba, Chivokovokovo, Ngoni, Bata Polo, etc. The vocals of Lazaro Gallaraga. Omar's disc “Afreecanos”, “World Village”. On this, Sosa connected to one Brazilian, Cuban, Senegal, music; The music of Mozambique, Guinea and Mali. Omar Sosa himself plays piano. He was born in Cuba in 65, studied at the National School of Music in Havana, then performed in the cities of Ecuador, from where he moved to San Francisco. If you narrow the direction of its jazz fusion, then these are mainly Cuba, Brazil and African American. That is, great-grandchildren and grandchildren of slaves and pan-Afrrikan music and its rhythms.

7. Rabih ABOU -Khalil - Dog River - 4:25 (Rabih ABOU -Khalil - The Sultan's Picnic - Enja)

DS: “Dog River” - an easily recognizable slave Abu Khalil, his disc “Sultan Picnic”. Raby Abu Khalil himself is the author of the composition, the leader and master of the Ud. Howard Livi - harmonica; Kenny Willer is a pipe; Charlie Mariano-alt-saxophone; Michelle Hodar - tube; Steve Sunwall - double bass; Mark Nosif - drums; Milton Cardona - Congas drums; Filled haat - frame drums. Record 94 years. Rabbi Abu Khalil remains a leading musician Jazz Fusion, although sometimes his variations sin with repeatability; These are variations on yourself. But still, he remains a giant of Middle Eastern music merged with jazz. Rabbi Abu Khalil lives in Germany.

Most likely, the World Music and World Fusion will be jazz in the coming years. The planetary village, like ivy, is overgrown with jazz, not to the detriment of local vegetation. But World Fusion is a risky genre! Not everything can, say, "jazorize"! It is necessary that the local folklore is augun with jazz so that they would have some kind of potential kinship. Malik Meszadri, a native of Guadeloud, a magnificent flutist and he plays a real jazz folklore fusion. It is not so easy to run on the air! His things are slow and full of careful silence. Korean singer Yun San Nah, undoubtedly a jazz singer. She reminds me of Barbara Streisand, who escaped to jazz - good in the neighborhood .... Anouur Brahem, like “magical” Malik, plays with silence and protracted rhythms. The only difference is that he plays not on a flute, but on the ude. Babo and Chucho Walder, father and son, play a real jazz, joining with Bill Evans or Eddie Higgins, they play classical standards, but they play purely Cuban jazz. I call only those musicians whose discs are currently on the table, but recently there are more and more musicians of folklore jazz.

For example, I will try to somehow assemble a program in which French jazz guitarists play the music of Georges Brassance. But Brassance is not folklore! Right! But Brassans from the one forbidden once-became a folklore!

The finish line of “Jazz Time”, the waves of “Freedom”, the satellites of Hotbird and Asiasat-3 and our site svobodanews.ru. The microphone in the town on the hay is your DS.

8. Ahmed Abdul -Malik - La Ibkey - 5:51 (Ahmed Abdul -Malik - East Meets West - RCA)

DS: "La Ibkey", "Do not cry!" - The composition of Ahmed Abdul-Malik, an American smuggler and surprise. He was born in Brooklyn in January 1927. His parents are immigrants from Sudan. In the seventies, Abdul-Malik worked as a music teacher there, in Brooklyn under the leadership of Andrew Layott, composer, the author of seven operas, chorals and chamber music. Abdul-Malik became for some time a student of Andrew Layott, who taught an orchestra and composition. Ahmed Abdul-Malik was a smuggler at Art Blake, Rendi Poteston and Telelonius Monka, calling the most famous jazzmen. He also performed in South America in the programs of the US State Department for Cultural Exchange and participated in African jazz festivals in Morocco.

This composition, “do not cry” was recorded in 59 for Vinil “RCA” “East meets the West”. Ahmed Abdul-Malik, the leader and smuggler, played in this case with boovers like Morgan-a pipe; Benny Golson and Johnny Griffin-tenor Saxophones; Caracand - violin; Ahmed Yetman - eve, an ancient string pinch instrument with a trapezoidal case; El Harwood - shock and Mike Hamuay and Bilal Abdurabman - Darabuka, also an old small drum, common in the countries of the Middle East and Egypt.

We will part on the composition of the drummer Roy Brooks Jr. The Smart Set performed by the Trio of William Emanuel Hadelston, who, after the transition to Islam in 1950, received the name of Jozef Latif. Latif is from the very Chattanugi that is in Tennessee. Latif was one of the pioneers of the American jazz, who played in the oriental style with the actual knowledge of the music of the Middle East and its rhythms. Brooks-Jr. wrote this play in rhythm 5 on 4. Total: Jozef Latif-tenor Saxophone; Hugh Loson - Royal and Roy Brooks - drums. The recording was made by Rudy Van Helder in June 66.

9. Yusef Lateep - The Smart Set - 7:31 (Yusef Lateef - The Golden Flute - Impulse)

Well, this is the current “jazz time” came to an end. I will be at your frequencies again exactly in a week. You will find a podcast on our website svobodanews.ru. All you are blessings, a successful and cheerful week, Chao, Bai-Bai!