Translated material
Wives of great jazzmen
The fact is almost unknown: the wives of the great jazzmen influenced their creative development. The most striking example is Lil Hardin, the pianist, the second wife of Louis Armstrong, for the sake of which he left the dearest Creole Daisy Parker from his native new Orleans, who professionally earned his living by spells of love. It was Lil Hardin who insisted that Satchmo began an independent career. Where does both Hot Five and Hot Seven come from.
The wife of the pianist Teddy Wilson, who, incidentally, was part of the Armstrong orchestra in 1933, Airen, the pianist and composer, the author of the famous standard “Some Other Spring”, radically influenced her husband’s play style. Now let's open the jazz calendar:
Teddy, Theodore Wilson was born in Austin, Texas, November 24, 1912 ...
Teddy Wilson - Sweet Georgia Brown - 2:45 (Teddy Wilson - I Got Rhythm - Verve)
DS: - “Sweet Georgia Brown”, “The dear Georgia Brown” - the bift of many jazzmen, the heroine of the most popular standard Ben Bernie and Masio Pinkard, Georgia was immortalized in music back in 1925. For the first time, the standard was recorded on March 19 of the same year by Ben Bernie, which led to the five -year leadership of the play in all cities and weights of the United States.
Composition: Teddy Wilson - Royal; Jin Reimi - doublebas and Joe Jones - drums. VERVE, 1956.
I was lucky to hear Teddy Wilson at the CSKA stadium in Moscow in 62 in the small composition of the Benny Gudman orchestra and see the game of Harlem Globetrotters basketball players there, which turned Milashka Georgia into their hymn. From a sports locker room, they ran into the light of sofites always to the music of Sweet Georgia Brown.
Teddy Wilson - Blue Turning Grey Over You - 4:15 (Teddy Wilson - Solo - Jazz Colors)
DS: “Blue Turning Grey Over You” is the play of Fats Waller. The dispensing disc “Teddy Wilson plays in Germany plays Solo Cole Porter and Fats Waller”. I note that Teddy Wilson’s pianistic talent is more than his wife Airen was influenced by the pianists by Erl Hinz and Fats Waller.
Lather Young & Teddy Wilson Quartet - Love Me or Leave Me - 6:47 (LESTER Young & Teddy Wilson Quartet - Pres and Teddy - Verve)
DS: - “Love me or leave me”, “Love me or leave me” Walter Donaldson and Gas Kan. Lester Young-tenor Saxophone; Teddy Wilson - Royal; Jin Reimi - doublebas and Joe Jones - drums. VERVE, January 56, New York.
Teddy Wilson did not shine in large compositions (like Bennie Carter), but was tilted small, especially in the parallel orchestra of the trio Benny Gudman. And yet, he opened most vividly in solo performances and records, as well as accompanying the singers (Ella, Billy, Sarah) and the best soloists of the era.
DS: - If you first downloaded the podcast of the “Jazz Time” or hit the straight line, Live, from our site svoboda.org, let me remind you: “Time of jazz” is the story of unique American music born on the cotton fields of the South, in the Breeds of New Orleans, in Saint -Louis Hank -Ton ... This Disabageled touring buses on the roads between Chicago and Kanzas City. This is Harlem in all the power of his talents and in the fireworks of crimes, this is the 52nd sleepless street of New York-Jazz Street. And these are the heroes of jazz, whose names sunk into eternity, without scratching our memory or survived, giving us above our heads. “Jazz Time” is a conversation that it will never disappear and this music that has taken roots on all continents, was carried by freedom of expression and refusal to mutate for the benefit of those for whom the culture is only a way to fill pockets.
Most of you know my voice, but I recall still: this is your DS from the town on the hay, a man who wrote poetry and books, articles in the Paris press, broadcasting on the BBC and RFI and, unexpectedly (and for me), who became a historian of jazz.
Teddy Wilson - Earl Hines - Rosetta - 2:43 (Teddy Wilson - And the They Wrote ... & Mr. Wilson and Mr. Gershwin - CBS)
DS: - “Rosetta”, the composition of Yerla Haise. Teddy Wilson - Royal; Arwell sho - double bass and Bert Dalander - drums. "Columbia" 59 years.
Teddy Wilson in order to free herself from the fruitful cargo of influences, primarily pianists of the Strage style (Yerla Hineza), it was necessary
Preserving the technique of the game with the left hand, remove the emphasis, but give freedom to the right hand in its unlimited runs, intricate patterns and accurate articulation. He crossed the octave Hines to the frank dominance of melodic lines from similar to the pipe game. The appearance of a microphone allowed him to play more delicately, without knocking his piano his teeth and without dissolving behind the sound of the remaining musicians of the combo ...
Teddy Wilson - As Time Goes by - 3:11 (Teddy Wilson - I Got Rhythm - Veryve)
DS: “As Time Goes by” - “You must remember that the kiss remains a kiss, and a sigh with a sigh. And while time flows past, these rules do not change ... "
Everyone who happened to see the ingenious film 42 T -shirt of Curtis “Casablanca” with Hamfri Bogart and Ingrid Bergman, remembers this song, which, at the request of Ingrid Bergman, performs the pianist and singer Duli Wilson. This song was written by Harmen Happeld in 31, but it was glorified by the film that “Kawn (House) Blanca (White)). In this case, Teddy Wilson - the piano, played with his classic trio: Gin Raymi - doublebas and Joe Jones - drums. "Verve", all the same fruitful 56 years.
Teddy was one of the most beloved accompanists Billy Holide. Here is her version of "time passing by":
Billie Holiday - As Time Goes by - 3:14 (Billie Holid - The Complete Commodore Recordings)
DS: - “As Time Goes by” - Billy Holide and the sextet of the pianist Eddie Haywood. 39 year.
Lunar light and songs about love
They will never go out of fashion.
And the hearts will always be full
Passion, jealousy and hatred.
A woman needs her man,
And a man is a friend.
It would be stupid to deny ...
And all this is still the same old story
The struggle for love and glory
And the choice here is the same: to die or win.
The world will always applaud lovers,
And time to follow ....
DS: - Well, we will leave Teddy Wilson, his beloved soloists and his musician friends today.
DS: - Was Donald Vishenka really in that the French call La Cerise Sur Le Gâteau? That is, the addition to the existing perfection of a giant cake crowning with the already existing perfection? Or was he the very cherry from which he reduces the jaw?
The microphone "Freedom" in Lutetia your DS and "Jazz Time". You can listen to us live or in the podcast from our site svoboda.org.
Donald Eugene Chernry, nicknamed Don was born on November 18, 1936 in Oklahoma City, Oklahoma, where his father, also a jazz trumpeter, was the master of Cherry Blossom Club, which was also played by Charlie Krischen and the Fletcher Henderson orchestra. In 40, the cherry and his family moved to Los Angeles. I note that his mother was from the Indian tribe of Chokto, so Don Cherry was a mulatto. In the city of Angels, the father worked as a bartender in the famous Plantation Club, the same club of the western coast, where the most thickened cream of large orchestras played.
At twelve years, the cherry mastered the piano, learned to beat off the tapeworm, took up the pipe and began to play swing with the school orchestra, where, by the way, he met the drummer Billy Higgins, the future participant in most of his compositions.
If you are not ready for the mature vanguard of Don Cherry, there is nothing to do! There are no schools of school years and cannot be! But I tried to choose a not very angry entry!
7. Don Cherry - Art Deco - 8:39 (Don Cherry - Art Deco - A&M Records)
DS: - “Art Deco” - the composition of Don Cherry, for whom a similar style with obvious melodic lines, of course, a step back to the European “Art Deco”, and not the vanguard of his friend Ornett Coleman, “My Guru”, as he called him. In this play, a cherry is closer to Dizzy Gillespi than to Albert Euler or Cecil Taylor.
Composition: Don Cherry - a pipe and a pipe with a Surdian; James Clay-tenor Saxophone; Charlie Hayden - doublebas and Billy Higgins - drums. The last two played with Cherry more than often.
But I would not forget the neighbor of the cherries on the jazz calendar:
8. Mose Allison - The Well - 3:30 (Mose Allison - I Donmet Worry ABOUT A Thing - Atlantic)
DS: “The Well”, “The well” is a play by a pianist and singer Mouza John Allison, a native of Trupo, Mississippi. Mouz notified the local maternity hospital on November 11, 1927. At school, he played, like Don Cherry on the pipe, but in the end he chose, on the contrary, the piano, and at the university he had already mastered the basics of a bi-box. In 56, he moved from Denver to New York and, until the age of 59, accompanied the wall of the ghetz, El Kon, Zut Simsu and (less often) Jerry Malligan and the couple Baker. The Blues who rushed to the culture, this one, as his “White Baby South” called him, recorded in 57 “The Suit of the Black Country” or, more precisely, in meaning, “The Clair of the Black Country”. That was his first disk as a leader. Bi-box helped him develop a more independent style. Nevertheless, Mouza John Allison inexorably pulled back to the Blues home. Despite the not too powerful and articulated voice, he began to sing, accompanying himself on the piano, which completely unexpectedly led to his influence on such Blues and Rock musicians as Jimi Hendrix, “The Rolling Stones”, Tom Waits, “The Yardbirds”, John Mayll, “The Who” and “The Who” Jaja Cale.
However, it is time to declare the participants of the trio, digging the “well” along with the Mouse Allison (piano). This is Addison Farmar - double bass and Ozi Johnson - drums. March 62, New York.
The Must Allison will be awarded the prestigious award of the Jazz master of the Lincoln Center for Arts on January 14, 2013.
DS: Apparently we can’t get anywhere from Alleyson, since he appeared on a disk recorded on February 6, 59 in the New York Club, Half Note. He plays in the quintet of another anniversary-the great Hokhmach, tenor Saxophonist Ela Kon. Outly performed and was recorded without a friend and drinking a drink of Saxophonist of Souat Sims. In total, it remains only to name the smuggler and the drummer of the Armenian blood of Paul Memyana. The first two solo tenor-saxophone is El Kon, born on November 24, 25 in Brooklyn, which at that time was not a New York area, but an independent town. Zut Sims plays the first "Bridge".
Quintet fulfills the classic standard of Romberg and Hammerstain "Beloved, come back to me."
But before the host of The Half Note will once again declare the composition, I will remind you that you are listening to the weekly and incorrigible swinging “jazz time” Live or in the podcast from the “Freedom” website www.svoboda.org. The microphone in Parisian has your DS.
Zoot Sims & Al Cohn - Lover Come Back to Me - 9:08 (Zoot Sims, Al Cohn, Phil Woods - Jazz Alive! A Night at the Half Note - Blue Note)
DS: - “Lover Come Back to Me”, music by Sigmund Rommyberg; Zlova wrote Oscar Hammerstain, and the song itself appeared in the Operetta Novomlunier in 1927 in Philadelphia. A year later, Operetta became a Broadway musical, and withstood 519 performances.
Before thinking about the words of the song, we announce the composition of the quintet for those who joined the Jazz Time club in the very last minutes; El Kon, aka Elvin Gilbert Kon, tenor-saxophonist and composer, born in Brooklyn on November 24, 1925, played a duet with a friend of tenor-saxophonist Soured Sims, who was born a month earlier in Solar California. Mouz Allison played on the piano; At the double bass, a native of Ramal, in Jordan, filled Tota on the shock Paul Motian. The recording was made in the Half Note club, which at that time was in house number 289 on Hudson Street in New York. The legendary club was part of the elite five of New York jazz clubs: Village Vanguard, Village Gate, Five Spot and Slugs' Saloon. From all this, I only exaggerate, I am exaggerating, a fashionable “red fish”, which is at the crossroads of the Street Street and Thompson in the same town ...
Apparently, before lowering the curtain, the version with the words of Oscar Hammerstaine-Second:
Billie Holid - Lover Come Back to Me - 3:35 (Billie Holid - Sings Her Favourite Blues Songs - D -Disky)
DS: “Lover Come Back to Me”: “The high sky was blue and the moon on it was young, like our love. And my heart, full of desires, sang: where are you beloved? "
I tried four versions of the song for this ending and the most unsuccessful, in my opinion, the interpretation of Cassandra Wilson was the second and third place was divided by Connie Ivingson and Anita O'Dei.
That's all I can say in the end. Billy Holide, who had just sounded, sang with an unidentified orchestra of the international industry that produces discs-compilations. In this case, in the Netherlands.
I say goodbye to you until next week: “Jazz Time” will again be on your company live on the “Freedom” website www.svoboda.org or in the podcast - ibid. Successful to you and a fun week, all the best, Chao, Bai-Bai.