1. Alert! There's video of Elvin Jones w/Duke Ellington. I've heard audio of Elvin's brief post-Coltrane stint w/ Duke in 1966, but I've never seen video until today. Now, where the hell is the rest of this concert? (Skeets Marsh is the second drummer.)
2. There's a backstory (natch). Elvin's experience with Duke was not a happy one. Elvin spoke about it with Whitney Balliett of the New Yorker for an essential profile in the magazine in 1968, published under the title "A Walk to the Park."
3. "I joined him in Frankfurt, and my stay with him lasted just a week and a half, through Nuremberg and Paris and Italy and Switzerland. I was new. It was difficult for the band to adapt to my style and I had to do everything in a big hurry, trying to adapt to them.
4. "Then the bass player started playing games with me by lowering and raising tempos to make it look like I was unsteady, and finally I had to speak to him and he stopped. Hodges and Cat Anderson and Gonsalves and Mercer Ellington knew what was going on, but Duke didn't.
5. "And I guess I didn't connect with the anchormen, because they complained about my playing to Duke. I don't know whether Cootie who kept giving me the fisheye, wanted me to call him Mr. Williams and shine his shoes or what.
6. "Also, Duke had a second drummer in the band and he was an egomaniac. So Duke and I talked at Orly Aiport and I told him to send a telegram to Sam Woodyard and tell him to get himself over there, because he knew the whole book.
7. "I saw Duke later, after he'd found out what had been going on, and everything was fine -- no sweat. He told me I could come back with the band any time I wanted.
8. "He's such a great man. Given more time under different circumstances -- being left alone and all -- it might have been a beautiful thing for me."
9. Must have been such a drag for Elvin -- who left Trane when Rashied Ali joined as a second drummer -- to now also find a second drummer on the bandstand when he showed up to play with Duke.
10. Here's 52 minutes of audio of Elvin w/the band from Paris. The highlight for me is "La Plus Belle Africaine" at 20:45 mark -- the marriage of Elvin's groove and the music's exoticism show the potential had Elvin been able to stay with the band.
11. Here's another audio track of Elvin with the Duke that shows what might have been. "Ad Lib on Nippon."
Coda: Ask and ye shall receive: From Ronan Guilfoyle comes a link to the entire Ellington performance in Milan with Elvin.
Happy birthday to the innovative bassist Oscar Pettiford, born Sept. 30, 1922, and gone in 1960 at the tragically young age of 37 (viral infection). Here his is in 1959, playing his composition "The Gentle Art of Love."
Pettiford often gets overlooked -- he's namechecked perhaps but not often studied. When folks think about the development of the bass they often go from Blanton to Ray Brown, maybe a quick sidestep for Mingus, and then on to Paul Chambers. But Oscar is critical.
He was on the scene a little before Brown, and O.P. was the first to grasp the chromatic language of Bird and Dizzy and their rhythmic phrasing. He really played bebop. Ray is right in there too of course. But no Oscar, no PC -- and no Ron Carter.
1. Maestro @herbiehancock turns 81 today. Herbie is great in so many ways, but perhaps this doesn't get said enough: He's one of the best accompanists in jazz history. What are the greatest examples of Herbie "comping" on record? Please chime in with faves. I'll start with a few.
2. Stella by Starlight w/Miles, 1964. What an intro! 4 rubato bars of perfection. Telepathy w/Miles is off the charts, Herbie playing in the cracks. Harmony, touch, melodies & rhythms link Miles phrases in ballad or swing time. Same thing behind George.
3. Snuff w/JMac, 1964. 32-bar modal structure. B-flat minor for 8 bars, B-flat 7 for 8, chromatic bridge, then back to B flat 7. Herbie’s rhythmic hook up w/Roy Haynes--whew! He's alert to the blues behind Jackie but wanders harmonically behind Tolliver.
Word has come that the peripatetic composer-pianist Freddie Redd has died at 92. He hit a peak in 1960, recording two masterpieces, "The Connection" (February) & six months later the equally remarkable but more obscure "Shades of Redd." (Both LPs are on Blue Note.)
2 "The Connection" is Redd's score for Jack Gelber's play of the same name that ran in NY at the experimental Living Theatre, 1959-60. Redd's 4qt w/Jackie McLean appeared as actors, performing at regular intervals. (Gelber specifies music in the style of Charlie Parker.)
3 The play is a bleak, existential drama descended from "Waiting for Godot" and "The Iceman Cometh," with a play-within-in-a-play structure about a bunch of heroin addicts waiting around for their connection.
Devastated by Chick Corea’s passing. R.I.P. to a master. Full stop. I wrote a piece in ‘99 about the bond between Chick & Herbie Hancock, interviewing each separately talking about the other. I’d do some things differently today, but the core stands. freep.com/story/entertai…
I interviewed Chick many times. He was unfailingly warm & gracious. He was all about connecting — with musicians & audiences. He seemed to be EXACTLY the same person on & off stage. The last time we spoke in 2018, the topic was Detroiters past & present. google.com/amp/s/amp.free…
Chick’s debut as a leader in Detroit was this weekend stand at the Strata Concert Gallery in 1971. Chick flipped when I showed him this. He definitely remembered the gig and said this trio was ground zero for what morphed into Return to Forever.
1 A Twitter discussion yesterday led me to pull 5/29/69 issue of Downbeat off my shelf. A random issue, 51 yrs ago, & you cannot believe the picture it paints of the scene. Cover interviews w/Sonny Rollins (Ira Gitler), Dexter Gordon (Gitler) & Louis Jordan (Leonard Feather)
2 Here's the Dexter interview:
3 Here's the first page of the interview with Sonny.
1 I've spent an insane amount of time digging deep into the Sinatra discography, but after all these years, I keep discovering gems that had somehow eluded me. Here's a late-period ballad from 1974 worth savoring.
2 Sinatra was inconsistent in this period, still getting his voice back together after his 1971 retirement. Here, however, he's in command of his instrument.
3 The phrases aren't as long as when he first recorded this beautiful song (at a brighter tempo) 32 years earlier with Tommy Dorsey. But the storytelling is as rich as a novel, and the feeling of loss is almost overwhelming.