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Louis Armstrong live in Concert

December 11, 2011 / Jose Reyes posted in Videos / No Comments

Louis Armstrong was a major influence on the development of Jazz but many have forgotten him. Not in the sense that they don’t recognize him at all but more on how much of a great musician he was. Not to mention, his unique style of singing voice, seemed to be misinterpreted. “Satchmo” was a great entertainer and a great American. He was known as the “Ambassador of Jazz.” There are so many biographies on him, this one is about the complete one:

(Born August 4, 1901, New Orleans, Louisiana, U.S.—died July 6, 1971, New York, New York) the leading trumpeter and one of the most influential artists in jazz history.

Armstrong grew up in dire poverty in New Orleans, Louisiana, when jazz was very young. As a child he worked at odd jobs and sang in a boys’ quartet. In 1913 he was sent to the Colored Waifs Home as a juvenile delinquent. There he learned to play cornet in the home’s band, and playing music quickly became a passion; in his teens he learned music by listening to the pioneer jazz artists of the day, including the leading New Orleans cornetist, King Oliver. Armstrong developed rapidly: he played in marching and jazz bands, becoming skillful enough to replace Oliver in the important Kid Ory band about 1918, and in the early 1920s he played in Mississippi riverboat dance bands…..Learn More

Note: Just think, if he wasn’t placed in the special school, would have never learned to play the Cornet.

It is very hard to find footage Louis Armstrong playing in concert but there is a great series of DVD’s named the “Jazz Icons Series.” Visit this link and learn more. You can find all these high grade video there “Louis Armstrong LIVE in 1959″ The videos on this post can be found there.

“When it’s sleepy time down South”:

“Now you has Jazz”:

“Mack the Knife”:

“When the Saints come Marching in“:

Most people alive now and for some time already, fail to realize that his golden days were when he was young. It seems that many people identify him and “picture” him as someone who made it later on in life. It’s really not their fault because of the lack of technology in the early years of Jazz but now Louis Armstrong’s music is being remastered and reissued. This DVD went through the process and look at how great it is.

Highlights of Charles Mingus “Epitaph”

September 28, 2011 / Jose Reyes posted in Videos / No Comments

Charles Mingus, one of the most influential jazz composers of our time, died before he could see his magnum opus performed in its entirety. That’s precisely why he called it Epitaph; he says he wrote it for his tombstone.

Mingus passed in 1979, leaving behind not only a remarkable legacy but a mess of compositions, recording, and notes. When Andrew Homzy went in to archive and catalogue everything, he discovered a massive 500-page score that featured 19 movements for 31 musicians. Epitaph was the largest jazz composition ever written at the time, and was finally performed live in 1989 at the Alice Tully Hall in New York City.

Eagle Vision presents that 1989 performance, which was recorded live for British television, in its original, retro glory. The concert, which lasts over two hours, begins with an introduction by Sue Mingus, Charles’ wife. Once conductor Gunther Schuller takes the stage, however, Epitaph is played straight through with incredible skill and creativity by an orchestra filled with jazz veterans—including a very young Winton Marsalis.

The music itself is incredibly moving and brilliant. If you’re a fan of Mingus, then you’ll instantly recognize his contrapuntal orchestrations, the gospel hymns, swelling low brass sections, and the occasional spoken word segment. While his music can at times be very challenging and chaotic, Mingus’ tunes can also be very accessible. Epitaph is like a history lesson, not only through Mingus’ personal career, but through jazz itself. He weaves in references to other jazz greats (like in the piece “Monk, Bunk & Vice Versa (Osmotin)”) and even does a full-on cover (he tears apart a version of Jelly Roll Morton’s “Wolverine Blues”). Because there were some large gaps in Mingus’ weathered and confusing composition notes, Schuller tried to fill in the blanks a bit. He works in the Mingus classic “Freedom,” which features the entire orchestra chanting behind the recitation of free verse poetry. The individual compositions, much like Mingus’ music in general, are varied and energetic, yet create a cohesive masterpiece. The performance ends with a three-part improvisation by the entire 31-piece orchestra. Risky stuff, but they pull it off beautifully.

Epitaph has only been performed live a handful of times since it was discovered, and this is the first time that its premiere has ever been released on video. If you’re a fan of Charles Mingus, or jazz in general, this is not to be missed………Learn More

Peggy’s Blue Sky:

Wolverine Blues:

Better Get It In Your Soul:

You can Buy the Two-CD Version of Epitaph here

“Con Alma” with “Manteca” from Denmark 1970

August 20, 2011 / Jose Reyes posted in Videos / Comments Off

These two videos are from a 1970 Dizzy Gillespie concert in Denmark. It’s one of many great DVD’s of “Live” performances from Jazz Icons. This one is split into two separate recordings, 1958 and 1970. Purchase it here

Sample Liner Notes by Ira Gitler: I started listening to jazz as a pre-teen in the Swing era, schooled by my older brother and surrounded by the sounds (through records and radio) and images (through movies and theater stage shows) of the big bands. I remember the buzz Benny Goodman’s band created with their appearance at the New York Paramount in March of 1937. It was the talk of our dinner table. I was 8 years old.

By the end of 1938, at 10, my favorite was Count Basie, with Jimmie Lunceford a close second. Our record collection continued to grow and we had recordings from Harry James and Charlie Barnet to Erskine Hawkins and Edgar Hayes, as well as the very popular Cab Calloway. Two of those Calloway recordings, “Bye Bye Blues” and “A Bee Gezindt” had solos by Dizzy Gillespie, but I didn’t become aware of this until after I discovered him in 1945.

As I was already heavily involved with jazz by this time, I can’t say that Dizzy Gillespie radically changed my life, but he strongly reinforced the direction I was going. Like many young musicians and fans of my generation, I embraced the music of Gillespie and Charlie Parker. I had already planned on a career as a writer, but this new passion brought it all into focus—I wanted to write about jazz. In 1946 my first jazz piece for my high school newspaper was centered on Gillespie’s appearance at the Spotlite Club on West 52nd Street.

Dizzy had already announced himself to the jazz world at large in 1945 at the Three Deuces on that very same 52nd Street when he and alto saxophonist Charlie Parker led a quintet that changed the course not only of jazz, but music around the world. The recordings they made together in that time spread the message beyond the audiences of New York……Learn More

“Con Alma” which means “With Soul” was composed by Dizzy Gillespie

“Con Alma” 1970:

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“Manteca” was co-written by Dizzy Gillespie and Chano Pozo in 1947. It was one of the first examples of world music and Afro-Cuban influences being incorporated into mainstream jazz.

“Manteca” 1970:

Herbie and Chick (Video)

July 15, 2011 / Jose Reyes posted in Videos / No Comments

Herbie Hancock and Chick Corea are two masters of piano and Jazz. Here are three great Duos, one from 1974 and two from 1989. Here are bios of both.

Chick Corea:

From Miles Davis to Bobby McFerrin, Chick Corea has collaborated with an amazing amount of talents from the modern era. Born in Massachusetts on June 12, 1941, he began playing the piano at the age of six. By the time he turned 21 he was involved with well known leaders such as Herbie Mann and Blue Mitchell. But it was with Miles, in the late ’60s, that Corea found his most influential early gig. He was part of the Davis unit that created the electric jazz-rock opus, Bitches Brew. Davis’s liberal mind-set regarding jazz’s stylistic parameters gave Corea a green light to follow a multitude of subsequent moves. In the progressive acoustic quartet called Circle he investigated classical influences while still improvising; during this time, he also made superb, meditative solo piano discs. At the start of 1972 he plugged into electric music again, founding Return To Forever, one of fusion’s most popular ensembles. With bassist Stanley Clark and guitarist Al Dimeola, he wooed pop fans with rock rhythms and flashy soloing. His name became known well beyond the usual jazz turf. By the start of the ’80s there was virtually no setting in which the pianist hadn’t worked. Duets with Herbie Hancock and vibist Gary Burton were backed up with the recording of a Mozart concerto. The pianist found himself with a new cadre of players who were on his wavelength, and varied back and forth between his Akoustic and Elektric Bands……Learn More

Herbie Hancock:

Herbie Hancock’s 40-year career as a recording artist is graced by a series of astonishing musical landmarks. Few other musicians of the 20th century have exhibited the wide range of interests and mastery of various genres that this jazz legend has brought to his remarkable body of work. Nonetheless, at the age of 58, Hancock still expresses the kinds of irrepressible curiosity and restless creativity that keep him pushing at the boundaries of modern music.

“At this point in my career,” Hancock says, “I’m much more interested in projects that have the potential to be events, not just records. I want to do something broad-based that has the potential to reach into the life of people in more ways than just their ears.” The wedding of that ambitious artistic vision to his extraordinary musical versatility put Hancock in the perfect position to approach his new Verve recording, Gershwin’s World, a far-reaching tribute to the life and times of the great composer who did so much to popularize the jazz and blues idioms.

“I have always loved Gershwin’s music,” Hancock says. “I want to give respect and tribute to all of George Gershwin’s musical origins. The particular genres that Gershwin chose — classical music, jazz, and pop — are ones that I’ve explored, too.” Featuring performances by vocal superstars Stevie Wonder, Joni Mitchell, and Kathleen Battle, and the instrumental contributions of the Orpheus Chamber Orchestra, pianist Chick Corea, saxophonists Wayne Shorter, James Carter, and Kenny Garrett, trumpeter Eddie Henderson, and bassist Ira Coleman, Gershwin’s World finds Hancock applying his unique piano genius not only to classic songs by Gershwin, but to pieces by contemporaries closely associated with Gershwin — stride piano master James P. Johnson, blues popularizer W. C. Handy, classical composer Maurice Ravel, and jazz giant Duke Ellington…..Read More

1989 Mt. Fuji Jazz Festival.

“Lisa”:

“Leap In”:

This video is from 1974.

“Someday My Prince Will Come”:

Thelonious Monk (Videos) and Charlie Rouse Bio: “Blue Monk” and more

April 6, 2011 / Jose Reyes posted in Videos / 2 Comments

Charlie Rouse Biography (Happy Birthday):

Born: April 6, 1924 | Died: November 30, 1988 | Instrument: Sax, tenor

Though a top tenor man in his own right, he will always be remembered as the saxophonist for the Thelonious Monk quartet. He adapted his playing to Monk’s music; his tone became heavier, his phrasing more careful, and he seemed to be the medium between Monk and the audience.Charlie Rouse studied clarinet before taking up tenor saxophone. He played in the bop big bands of Billy Eckstine (1944) and Dizzy Gillespie (1945), but made his first recordings as a soloist only in 1947, with Tadd Dameron and Fats Navarro.

After playing rhythm-and-blues in Washington and New York, he was a member of the Duke Ellington Orchestra (1949-50) and Count Basie’s octet (1950). He took part in Clifford Brown’s first recordings in 1953, then worked with Bennie Green (1955) and played in Oscar Pettiford’s sextet (1955); with Julius Watkins, also one of Pettiford’s sidemen, he led Les Modes (later the Jazz Modes), a bop quintet (1956-59). He joined Buddy Rich briefly before playing in Thelonious Monk’s quartet (1959-1970), the association for which he is best known.

In the 1960s Rouse adapted his style to Monk’s work, improvising with greater deliberation than most bop tenor saxophonists, and restating melodies often. His distinctive solo playing with Monk may be heard on the classic recordings in the bands heyday.

Though he would go on to do some solo projects, they were very selective and he opted for quality over quantity. His first outing as leader was “Taking Care of Business,” (1960) for this overdue debut, he selected trumpeter Blue Mitchell, and a rhythm section of pianist Walter Bishop and bassist Earl May, and Art Taylor on drums.

During the 1970s he worked as a freelance, and recorded three albums as a leader. The album “Two is One” was recorded in 1974 for Strata East. Charlie in 1977 did “Moments Notice,” and enlisted the help of some top crack Brazilian locals for “Cinnamon Flower.” Dom Salvador, Amaury Tristao, Dom Um Romao, Portinho and Claudio Roditi were hooked up with some of NYCs finest-Ron Carter,Bernard Purdie and Clifford Adams. This was a highlight album for Rouse in that period, very well received.

In the early 1980s he was a member and joint leader of the quartet Sphere, which was dedicated to the performance of Monk’s music. He recorded other albums as “Social Call,” (’84) where he joined up with Red Rodney. His offering of “Epistrophy,” (1988) was his tribute to Monk. This was his last recording as he died seven weeks later. (AllAboutJazz.com)

Here’s a Video of Thelonious Monk with Charlie Rouse “Blue Monk” 1963:

“Lulu’s Back In Town” (Part One)1966:

“Lulu’s Back In Town” (Part Two)1966:

(Video) Roy Eldridge and Coleman Hawkins Jam Session

March 29, 2011 / Jose Reyes posted in Videos / No Comments

Podcast: Play in new window

The Great Johnny Hodges

March 4, 2011 / Jose Reyes posted in Videos / 1 Comment

Johnny Hodges Biography:

Born: July 25, 1907 | Instrument: Sax, alto

Johnny Hodges – alto saxophone, (1907-1970)“Never the world’s most highly animated showman or greatest stage personality, but a tone so beautiful it sometimes brought tears to the eyes, this was Johnny Hodges. Because of this great loss, our band will never sound the same. Johnny Hodges sometimes sounded beautiful, sometimes romantic, and sometimes people spoke of his tone as being sensuous. With the exception of a year or so, almost his entire career was with us. So far as our wonderful listening audience was concerned, there was a great feeling of expectancy when they looked up and saw Johnny Hodges sitting in the middle of the saxophone section, in the front row. I am glad and thankful that I had the privilege of presenting Johnny Hodges for forty years, night after night. I imagine I have been much envied, but thanks to God….” Duke Ellington eulogy.

John Cornelius Hodges was born on the 25th July 1906 in Cambridge, Mass. He started his musical career playing drums and piano before taking up the saxophone at the age of 14, beginning on the soprano and later the alto. Originally self-taught he was given lessons by Sydney Bechet, whom he got to know through his sister. He followed Bechet into Willie ‘The Lion’ Smith’s quartet at the Rhythm Club (around 1924), then played in the house band with Bechet’s Club ‘Basha’ in Harlem. He continued to live in Boston and traveled to New York at weekends playing with such musicians as Bobby Sawyer (1925), Lloyd Scott (1926), then from late 1926 with the great Chick Webb at The Paddock Club and The Savoy Ballroom, etc. followed by a short stint with Luckey Roberts .

In May 1928 Johnny joined Duke Ellington’s orchestra and he remained a mainstay of the group for the next 40 years. From his first recording in 1928 he revealed his authority and technical mastery of the saxophone, playing with a broad, sweeping tone and producing impressive, cascading runs. In the opinion of many people, he soon became Duke’s most valuable soloist. He made hundreds of recordings with Duke and from 1937 led his own small studio group drawn from the orchestra which made many successful series of recordings for Victor and other labels. Titles included “Jeep’s Blues,” “Hodge Podge,” “The Jeep is Jumpin” all of which were co-written with Duke. Also in this period of great creativity he played in many other small groups with musicians such as Lionel Hampton, Teddy Wilson, etc., producing classics of the period.

Johnny was one of the many stars of the Ellington band of the 40s producing solos of immense authority on songs such as “Things Ain’t What They Used To Be,” “Don’t Get Around Much Any More,” “Passion Flower,” etc. From the 40s he concentrated on the alto leaving the soprano alone completely and in this period he regularly won the popularity polls run by magazines such as Downbeat, Metronome, and Esquire.

In March 1951 Johnny left Duke to form his own small group taking with him Lawrence Brown and Sonny Greer and in their first recording session they produced a hit record of “Castle Rock.” Johnny disbanded the group in the spring of 1955 and after a brief spell of TV work on the Ted Steele Show, rejoined Duke in August of that year where, apart from a few brief periods, he remained for the rest of his life. In the spring of 1958 he worked with Billy Strayhorn and in 1961 went to Europe with some of the other band members in a group called The Ellington Giants…….Learn More

“Timons of Athens”

“All of Me”

“Isfahan”

Cannonball Adderley and “Jive Samba” 1963

January 26, 2011 / Jose Reyes posted in Videos / No Comments

This is the Cannonball Adderly Quintet performing one of their big hits, ‘Jive Samba” in 1963. The quintet consisted of Cannonball Adderley – alto sax; Nat Adderley – cornet; Yusef Lateef – tenor sax, oboe, flute; Joe Zawinul – piano; Sam Jones – bass; and Louis Hayes – drums.

Video: Charles Mingus “Goodbye Pork Pie Hat”

January 13, 2011 / Jose Reyes posted in Videos / No Comments

Charles Mingus grew up in the Watts area of Los Angeles. He first attempted to learn trombone and cello, but after being frustrated by poor teachers he took up double bass in high school, studying with Red Callender and a former bass player with the NY Philharmonic Orchestra, Herman Rheinschagen. He also studied composition with Lloyd Reese.

He played with Barney Bigard’s ensemble (1942), and toured as bass player in the big bands of Louis Armstrong (1943) and Lionel Hampton (1947-48). In his first recordings he accompanied jazz musicians and rhythm-and-blues singers, and as “Baron Mingus” led diverse ensembles.

He gained national attention as a member of Red Norvo’s trio (with Tal Farlow) in 1950-51. Thereafter he settled in New York, where in the early 1950s he worked with Billy Taylor, Duke Ellington, Stan Getz, Art Tatum, and Bud Powell. Some of his performances during this period, including the famous concert at Massey Hall in Toronto with Charlie Parker and Dizzy Gillespie, and several of his early Jazz Workshop sessions, were preserved on recordings issued by Mingus’s own company, Debut Records (1952-55)…..Read More