F* Yeah! Jazz

Music, like most things these days, is considered a young person’s game. Most songwriters do write the bulk of their material early. Very few performers make a splash late in life. If a musician such as Miles Davis or Bob Dylan goes through several incarnations over the course of a lifetime, that becomes his signature, with the implication that most people just don’t do this. Jones, by his example, put the lie to that kind of thinking. He wasn’t splashy, but by maintaining a restless, yearning spirit all his long life, he reminded us that there are no boundaries in music, that it’s never settled, that you can always learn more, do more, notch it up to a new level, no matter how old you are.

Anyone who plays music with any seriousness, at any age, knows this implicitly, but most of us aren’t Hank Jones, so we think, “Well, if I played and practiced as much, I might somehow attain the level of [your hero here].” We don’t stop to think that, in fact, there’s never any stopping, never any “good enough.” Jones, having no one he had to look up to, saw clearly that he was just getting his feet wet in the great ocean of music. There was always room for something new. You could say, in that respect, that he was cut down in midcareer. What a hero. Go listen.

Malcolm Jones, in a really nice appreciation of Hank Jones. (via newsweek)
Hank Jones R.I.P.
“…one of the greatest piano players that we’ve ever had. He had a profile as a piano stylist in his own right and could do everything — stride, bebop, swing, serve as a great accompanist. He had such command of all the aspects of jazz piano. He was just remarkable until the very end.” –Dan Morgenstern
My friend Nick Moy pointed out this Washington Post obituary on jazz pianist Hank Jones. Partly because of the two records I produced in the 70s when Nick and I were roommates, but mainly because there were very few talents like Hank.
It must be said that Hank Jones being “produced” by a white kid from the New York suburbs is a complete overstatement, but it was an experience I’ll never forget. As is said about him almost everywhere, Hank was a gentleman to the core, with a soft but purposeful approach to life, which translated into his persuasive musicianship. A few hours spent with him translated into deep life lessons on many fronts.
Check out this half hour radio show, Piano Jazz Session on NPR’s Marian McPartland’s Piano Jazz, and you’ll not only get a taste of some great piano, but of a real man in a tough business. (via Frederator Studios Blog)

Hank Jones R.I.P.

“…one of the greatest piano players that we’ve ever had. He had a profile as a piano stylist in his own right and could do everything — stride, bebop, swing, serve as a great accompanist. He had such command of all the aspects of jazz piano. He was just remarkable until the very end.” –Dan Morgenstern

My friend Nick Moy pointed out this Washington Post obituary on jazz pianist Hank Jones. Partly because of the two records I produced in the 70s when Nick and I were roommates, but mainly because there were very few talents like Hank.

It must be said that Hank Jones being “produced” by a white kid from the New York suburbs is a complete overstatement, but it was an experience I’ll never forget. As is said about him almost everywhere, Hank was a gentleman to the core, with a soft but purposeful approach to life, which translated into his persuasive musicianship. A few hours spent with him translated into deep life lessons on many fronts.

Check out this half hour radio show, Piano Jazz Session on NPR’s Marian McPartland’s Piano Jazz, and you’ll not only get a taste of some great piano, but of a real man in a tough business. (via Frederator Studios Blog)

albumfred:

Dave Brubeck Quartet

albumfred:

Dave Brubeck Quartet

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100 plays

kathleenlovesmusic:

Joe Venuti & Earl Hines > C Jam Blues
Composed by Duke Ellington

It was pretty clear to me in the last post that Hank had a hard time picking a favorite Joe Venuti track, so I figured I’d play the second one too. A classic in many ways.

Violin Week #4
Legends of the Violin #3 
Legends of the Piano #11 
Legends of Swing #5 & #6

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70 plays

kathleenlovesmusic:

Joe Venuti & Dave McKenna > At the Jazz Band Ball
Composed by Larry Shields & Nick LaRocca

Back in the day I spend some time around Chiaroscuro Records but was too self involved to realize the grandeur of the music going on around me. I’m making up for lost time which includes some bon bons by the great Joe Venuti. Being severely undereducated I asked Chiaroscuro owner/producer Hank O’Neal to suggest some tracks. This one caught my ear. From Hank:

“I’d take ‘C Jam [Blues]’ on the one with Earl [Hines] and ‘At the Jazz Band Ball’ on the McKenna. Both were remarkable dates for a lot of reasons. I just wish I’d had the opportunity to do more work with all of them, particularly Joe. I guess I was lucky to have gotten what I did.”

Violin Week #3
Legends of the Violin #3 
Legends of the Piano #10 
Legends of Swing #5

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72 plays

kathleenlovesmusic:

Keith Jarrett > When I Fall In Love
Composed by Victor Young & Edward Heyman

It’s no surprise to Keith fans that he’s a sentimentalist (no surprise to my closest listeners that I am either), so I was going to feature something from his tribute to Miles’ life. I chose one of his trio’s spontaneous interpretations of one of my favorite Miles tracks instead.

Fitting to end the week on a standard, given the decades he’s dedicated to them. This one is traditionally jazz than my the album from the beginning of the week, but, just as satisfying.

Keith Jarrett Week #5
Legends of the Piano #2
Ballad #41

Standards #9

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52 plays

kathleenlovesmusic:

Keith Jarrett > Life Between the Exit Signs
Composed by Keith Jarrett

I’d never even heard of Keith Jarrett when my buddy David Reitman suggested we cop the name for my first midnight college radio show.

Keith Jarrett Week #4
Legends of the Piano #2

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100 plays

kathleenlovesmusic:

Keith Jarrett > Starbright
Composed by Keith Jarrett

The movement toward solo and duo jazz albums had already been gaining steam when Jarrett released his first (fully improvised) on ECM and began to join his influencers in the canon. It made him so famous that folks like me starting dismissing his unique approach to piano.

I saw Jarrett play solo in Carnegie Hall last January,  the first time since The Mercer Arts Center, New York, in 1971, when he was supporting this LP. His command and confidence was no different in the almost 40 year gap.

Keith Jarrett Week #3
Legends of the Piano #2

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53 plays

kathleenlovesmusic:

Jan Garbarek, Keith Jarrett, Palle Danielsson, Jon Christensen > The Windup
Composed by Keith Jarrett

Since the first time I saw Jarrett was when he was electronically doodling with Miles Davis, maybe it makes sense that some of my most memorable tracks aren’t strictly traditional.

Keith Jarrett Week #2
Legends of the Piano #2

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51 plays

kathleenlovesmusic:

Keith Jarrett > My Wild Irish Rose
Composed by Chauncey Olcott

Never in a hundred years (OK, maybe 40) would it have occurred to me that I’d build our first artist week around Keith Jarrett. Hank Jones, Cecil Taylor, maybe Herbie Hancock? Them, I might have predicted. But year after year I keep pulling Keith albums out.

Particularly this one. (In fact, I featured it a year ago.) Not jazz in any traditional sense (no soloing), but I can’t imagine anyone but a jazzman interpreting melodies this way.

To me, this song was just an international cliche until I couldn’t dislodge Keith’s version from my head. He nails the melody so deeply…

Keith Jarrett Week #1
Legends of the Piano #2
Ballad #40