Keith Jarrett LIVE concerts and sheet music transcriptions on our VIMEO channel
This video features Nina Simone (vocals, piano) delivering an intense emotional performance at the legendary Ronnie Scott’s in Soho, London on November 17, 1985. Simone is considered to be one of the most diverse singers of the 20th century, recording material in multiple genres including soul, jazz, pop, blues, gospel, and Broadway.
Most often labeled a “soul” singer due to her emotional performing tendencies, Simone is an eclectic musician, who adds a soulful mystique to whatever material she interprets. This brilliant performance at Ronnie Scott’s is testament to this fact.
Ronnie Scott’s opened in 1959 to provide a place where British Jazz musicians could jam. Eventually, American music musicians such as Johnny Griffin, Roland Kirk, Al Cohn, Stan Getz, Sony Stitt, Benny Golson, Donald Byrd, and Ben Webster played at the club making it the legendary Jazz club it is today. Today, the club still books the greatest Jazz acts in the world, but also plays host to such diverse musicians as the talented Nina Simone.
1 God God God
2 Just In Time
3 Let It Be Me
4 The Other Woman
5 I Got Life
6 If You Only Knew
7 Young Gifted And Black
8 Moon Over Alabama / Mississippi Goddam
9 Because / My Father’s Dream
10 Let No One Deceive You
11 American Pie
12 Just To Know That I’m Alive
Eunice Kathleen Waymon (February 21, 1933 – April 21, 2003), known professionally as Nina Simone, was an American singer, songwriter, musician, arranger, and civil rights activist. Her music spanned a broad range of musical styles including classical, jazz, blues, folk, R&B, gospel, and pop.
The sixth of eight children born to a poor family in Tryon, North Carolina, Simone initially aspired to be a concert pianist. With the help of a few supporters in her hometown, she enrolled in the Juilliard School of Music in New York City. She then applied for a scholarship to study at the Curtis Institute of Music in Philadelphia, where she was denied admission despite a well-received audition, which she attributed to racial discrimination. In 2003, just days before her death, the Institute awarded her an honorary degree.
To make a living, Simone started playing piano at a nightclub in Atlantic City. She changed her name to “Nina Simone” to disguise herself from family members, having chosen to play “the devil’s music” or so-called “cocktail piano”. She was told in the nightclub that she would have to sing to her own accompaniment, which effectively launched her career as a jazz vocalist. She went on to record more than 40 albums between 1958 and 1974, making her debut with Little Girl Blue. She had a hit single in the United States in 1958 with “I Loves You, Porgy“. Her musical style fused gospel and pop with classical music, in particular Johann Sebastian Bach, and accompanied expressive, jazz-like singing in her contralto voice.
Simone was the recipient of a Grammy Hall of Fame Award in 2000 for her interpretation of “I Loves You, Porgy.” On Human Kindness Day 1974 in Washington, D.C., more than 10,000 people paid tribute to Simone. Simone received two honorary degrees in music and humanities, from Amherst College and Malcolm X College. She preferred to be called “Dr. Nina Simone” after these honors were bestowed upon her. She was inducted into the Rock and Roll Hall of Fame in 2018.
Two days before her death, Simone learned she would be awarded an honorary degree by the Curtis Institute of Music, the music school that had refused to admit her as a student at the beginning of her career.
Simone has received four career Grammy Award nominations, two during her lifetime and two posthumously. In 1968, she received her first nomination for Best Female R&B Vocal Performance for the track “(You’ll) Go to Hell” from her thirteenth album Silk & Soul (1967). The award went to “Respect” by Aretha Franklin.
Simone garnered a second nomination in the category in 1971, for her Black Gold album, when she again lost to Franklin for “Don’t Play That Song (You Lied)“. Franklin would again win for her cover of Simone’s Young, Gifted and Black two years later in the same category which Simone’s Black Gold album was nominated and features Simone’s original version of “Young, Gifted and Black”. In 2016, Simone posthumously received a nomination for Best Music Film for the Netflix documentary What Happened, Miss Simone? and in 2018 she received a nomination for Best Rap Song as a songwriter for Jay Z‘s “The Story of O.J.” from his 4:44 album which contained a sample of “Four Women” by Simone.
In 2018, Simone was inducted into the Rock and Roll Hall of Fame by fellow R&B artist Mary J. Blige.
In 2019, “Mississippi Goddam” was selected by the Library of Congress for preservation in the National Recording Registry for being “culturally, historically, or aesthetically significant”.
Billie Holiday was one of the most influential jazz singers of all time. She had a thriving career for many years before she lost her battle with addiction.
Billie Holiday is considered one of the best jazz vocalists of all time, Holiday had a thriving career as a jazz singer for many years before she lost her battle with substance abuse. Also known as Lady Day, her autobiography was made into the 1972 film Lady Sings the Blues. In 2000, Holiday was inducted into the Rock and Roll Hall of Fame.
Holiday was born Eleanora Fagan on April 7, 1915, in Philadelphia, Pennsylvania. (Some sources say her birthplace was Baltimore, Maryland, and her birth certificate reportedly reads “Elinore Harris.”)
Holiday spent much of her childhood in Baltimore, Maryland. Her mother, Sadie, was only a teenager when she had her. Her father is widely believed to be Clarence Holiday, who eventually became a successful jazz musician, playing with the likes of Fletcher Henderson.
Unfortunately for Holiday, her father was an infrequent visitor in her life growing up. Sadie married Philip Gough in 1920 and for a few years, Holiday had a somewhat stable home life. But that marriage ended a few years later, leaving Holiday and Sadie to struggle along on their own again. Sometimes Holiday was left in the care of other people.
Holiday started skipping school, and she and her mother went to court over Holiday’s truancy. She was then sent to the House of Good Shepherd, a facility for troubled African American girls, in January 1925.
Only 9 years old at the time, Holiday was one of the youngest girls there. She was returned to her mother’s care in August of that year. According to Donald Clarke’s biography, Billie Holiday: Wishing on the Moon, she returned there in 1926 after she had been sexually assaulted.
In her difficult early life, Holiday found solace in music, singing along to the records of Bessie Smith and Louis Armstrong. She followed her mother, who had moved to New York City in the late 1920s, and worked in a house of prostitution in Harlem for a time.
Around 1930, Holiday began singing in local clubs and renamed herself “Billie” after the film star Billie Dove.
At the age of 18, Holiday was discovered by producer John Hammond while she was performing in a Harlem jazz club. Hammond was instrumental in getting Holiday recording work with an up-and-coming clarinetist and bandleader Benny Goodman.
With Goodman, she sang vocals for several tracks, including her first commercial release “Your Mother’s Son-In-Law” and the 1934 top ten hit “Riffin’ the Scotch.”
Known for her distinctive phrasing and expressive, sometimes melancholy voice, Holiday went on to record with jazz pianist Teddy Wilson and others in 1935.
She made several singles, including “What a Little Moonlight Can Do” and “Miss Brown to You.” That same year, Holiday appeared with Duke Ellington in the film Symphony in Black.
Around this time, Holiday met and befriended saxophonist Lester Young, who was part of Count Basie’s orchestra on and off for years. He even lived with Holiday and her mother Sadie for a while.
Young gave Holiday the nickname “Lady Day” in 1937—the same year she joined Basie’s band. In return, she called him “Prez,” which was her way of saying that she thought it was the greatest.
Holiday toured with the Count Basie Orchestra in 1937. The following year, she worked with Artie Shaw and his orchestra. Holiday broke new ground with Shaw, becoming one of the first female African American vocalists to work with a white orchestra.
Promoters, however, objected to Holiday—for her race and for her unique vocal style—and she ended up leaving the orchestra out of frustration.
Striking out on her own, Holiday performed at New York’s Café Society. She developed some of her trademark stage persona there—wearing gardenias in her hair and singing with her head tilted back.
During this engagement, Holiday also debuted two of her most famous songs, “God Bless the Child” and “Strange Fruit.” Columbia, her record company at the time, was not interested in “Strange Fruit,” which was a powerful story about the lynching of African Americans in the South.
Holiday recorded the song with the Commodore label instead. “Strange Fruit” is considered to be one of her signature ballads, and the controversy that surrounded it—some radio stations banned the record—helped make it a hit.
Over the years, Holiday sang many songs of stormy relationships, including “T’ain’t Nobody’s Business If I Do” and “My Man.” These songs reflected her personal romances, which were often destructive and abusive.
Southern trees bear a strange fruit
Blood on the leaves and blood at the root
Black bodies swingin’ in the Southern breeze
Strange fruit hangin’ from the poplar treesPastoral scene of the gallant South
The bulgin’ eyes and the twisted mouth
Scent of magnolias sweet and fresh
Then the sudden smell of burnin’ fleshHere is a fruit for the crows to pluck
For the rain to gather
For the wind to suck
For the sun to rot
For the tree to drop
Here is a strange and bitter crop
Composer: Lewis Allan
Holiday married James Monroe in 1941. Already known to drink, Holiday picked up her new husband’s habit of smoking opium. The marriage didn’t last—they later divorced—but Holiday’s problems with substance abuse continued.
That same year, Holiday had a hit with “God Bless the Child.” She later signed with Decca Records in 1944 and scored an R&B hit the next year with “Lover Man.”
Her boyfriend at the time was trumpeter Joe Guy, and with him she started using heroin. After the death of her mother in October 1945, Holiday began drinking more heavily and escalated her drug use to ease her grief.
Despite her personal problems, Holiday remained a major star in the jazz world—and even in popular music as well. She appeared with her idol Louis Armstrong in the 1947 film New Orleans, albeit playing the role of a maid.
Unfortunately, Holiday’s drug use caused her a great professional setback that same year. She was arrested and convicted for narcotics possession in 1947. Sentenced to one year and a day of jail time, Holiday went to a federal rehabilitation facility in Alderston, West Virginia.
Released the following year, Holiday faced new challenges. Because of her conviction, she was unable to get the necessary license to play in cabarets and clubs. Holiday, however, could still perform at concert halls and had a sold-out show at the Carnegie Hall not long after her release.
With some help from John Levy, a New York club owner, Holiday was later to get to play in New York’s Club Ebony. Levy became her boyfriend and manager by the end of the 1940s, joining the ranks of the men who took advantage of Holiday.
Also around this time, she was again arrested for narcotics, but she was acquitted of the charges.
While her hard living was taking a toll on her voice, Holiday continued to tour and record in the 1950s. She began recording for Norman Granz, the owner of several small jazz labels, in 1952. Two years later, Holiday had a hugely successful tour of Europe.
Holiday also caught the public’s attention by sharing her life story with the world in 1956. Her autobiography, Lady Sings the Blues (1956), was written in collaboration by William Dufty.
Some of the material in the book, however, must be taken with a grain of salt. Holiday was in rough shape when she worked with Dufty on the project, and she claimed to have never read the book after it was finished.
Around this time, Holiday became involved with Louis McKay. The two were arrested for narcotics in 1956, and they married in Mexico the following year. Like many other men in her life, McKay used Holiday’s name and money to advance himself.
Despite all of the trouble she had been experiencing with her voice, she managed to give an impressive performance on the television broadcast The Sound of Jazz with Ben Webster, Lester Young and Coleman Hawkins.
After years of lackluster recordings and record sales, Holiday recorded Lady in Satin (1958) with the Ray Ellis Orchestra for Columbia. The album’s songs showcased her rougher sounding voice, which still could convey great emotional intensity.
Holiday gave her final performance in New York City on May 25, 1959. Not long after this event, Holiday was admitted to the hospital for heart and liver problems.
She was so addicted to heroin that she was even arrested for possession while in the hospital. On July 17, 1959, Holiday died from alcohol- and drug-related complications.
More than 3,000 people turned out to say good-bye to Lady Day at her funeral held in St. Paul the Apostle Roman Catholic Church on July 21, 1959. A who’s who of the jazz world attended the solemn occasion, including Goodman, Gene Krupa, Tony Scott, Buddy Rogers and John Hammond.
Considered one of the best jazz vocalists of all time, Holiday has been an influence on many other performers who have followed in her footsteps.
Her autobiography was made into the 1972 film Lady Sings the Blues with famed singer Diana Ross playing the part of Holiday, which helped renew interest in Holiday’s recordings.
In 2000, Holiday was inducted into the Rock and Roll Hall of Fame with Ross handling the honors.
Moscow City Symphony – Russian Philharmonic
Conductor — Fabio Mastrangelo (Italy)
Soloist — Boris Berezovsky (piano)
Grand Hall of the Conservatory
March 4, 2014
Симфонический оркестр Москвы «Русская филармония»
Дирижер — Фабио Мастранджело (Италия)
Солист — Борис Березовский (фортепиано)
Большой зал консерватории
А. Хачатурян. Концерт для фортепиано с оркестром, части 2 и 3
‘I was brought up surrounded by rich folklore. This is how my way of thinking was born.’
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Although Aram Khachaturian is revered in the Soviet Union for a large body of music, his fame in the West is based largely on a mere handful of works, among which is the Piano Concerto.
The concerto’s widespread appeal is at once understandable, given its virtuosic flair, honest, unabashedly passionate melodic sense, and rich orchestration, all in the Russian Romantic manner of Tchaikovsky and Rachmaninoff.
The opening movement of the concerto is cast in a somewhat loose sonata form, the impatient main theme developing almost immediately upon its appearance. Out of this sonic mass the secondary material arises and evolves into a powerful, cerebral monologue for the soloist before the furious development leads into an exuberant, headstrong cadenza. The primary theme returns in force as the subject of the coda. – The second movement begins with a dignified melody, introduced by the bass clarinet. The dramatic heart of the movement is the middle section, a potent combination of oriental flavoring and turbulent Russian drama that builds to an ecstatic climax. The movement is rounded out by a return of the introductory material.
The far-reaching, virtuosic Allegro brillante finale is built around contrasting themes and an outrageous, bravura cadenza. The concerto comes to a close with the return, on a grand scale, of material from the first movement. The concerto is dedicated “To Lev Oborin”.
Born in Georgia to a family of Armenian craftsmen, Aram Khachaturian was not destined for a musical career. It was not until the age of 22 that his musical training flourished and he joined the composition class at the Gnessine Musical Institute, whilst continuing his scientific studies at university. He quickly became the best student and one of the few admitted to the Moscow Conservatory where he learnt composition under Nicholas Myakovsky. Sergei Prokofiev was so impressed by Khachaturian that he sent Khachaturian’s Trio for Clarinet with his son to be performed in Paris!
Khachaturian is widely known for his use of folk music in his compositions. Deeply attached to national cultures, he was inspired by the folklore of all the republics of the Soviet Union, especially Armenia and Georgia. His melodies are characterised by improvisations, variations and the imitation of oriental timbres. They permeate the majority of his compositions, like the Toccata or his ballet Gayane (1942), which features the famous “Sabre Dance.”
Like Prokofiev and Shostakovich, Khachaturian was a representative of the USSR abroad. He composed the Song of Stalin and the Ode to the Memory of Lenin. Yet in 1948, despite a public apology, he was denounced alongside Shostakovich and Prokofiev for an excess of formalism in his music and sent to Armenia to be “re-educated”. This condemnation ended at the death of Stalin, and when he returned to Moscow he did not change his compositional style, composing Spartacus, a world-renowned ballet.
Occasionally one to make a scene, Khachaturian once stormed out of the Yerevan Opera during a performance of Spartacus because the conductor had cut four bars of his music!
Piano Concerto in D flat major, written in 1936.
00:00 – I. Allegro ma non troppo e maestoso
15:11 – II. Andante con anima
26:03 – III. Allegro brillante
LIVE IN JAPAN, 1993
Open Theater East, TOKYO
In Your Own Sweet Way
Butch And Butch
Basin Street Blues
Solar – Extension
(Keith Jarrett, Miles Davis)
If I Were A Bell
I Fall In Love Too Easily
Bye Bye Blackbird
I Thought About You
(Jimmy Van Heusen)
Keith Jarrett piano
Gary Peacock double-bass
Jack DeJohnette drums
Recorded live in Tokyo, July 25, 1993 at Open Theater East
Director: Kaname Kawachi
Recorded by Toshio Yamanaka
Produced by Yasuhiko Sato
Executive producers: Hisao Ebine and Toshinari Koinuma
It’s one thing to hear, but quite another to see, the Keith Jarrett Trio in action. For those unable to do so in a live setting, this two-DVD release is the next best thing. Like the Standards I/II set that precedes it, this one was recorded in Tokyo, but puts about a decade between those first Japan performances.
A 1993 gig at Open Theater East takes place in the heart of a sweltering summer. The air shines both with the music and with the rain that forces a large and dedicated audience to listen from beneath ponchos, and the musicians to play from beneath a clear canopy. The video quality is much finer this time around, and despite a rocky start born of technical issues and the weather, captures one of the trio’s finest sets available on any medium.
What separates this concert from the others available on DVD is the openness of the band’s aura. Jarrett more than ever plays for his appreciative listeners because he understands the bond into which nature has pushed them. Perhaps it’s no coincidence that Jarrett’s The Köln Concert also famously began in the least ideal of conditions. Clearly, the pressure set him on an unprecedented creative path. And so, even as the trio struggles to feel out the climate in Dave Brubeck’s “In Your Own Sweet Way” (throughout which Jarrett must often wipe down the keyboard with a towel), all while latecomers snake to their seats, we can feel the groove emerging one muscle at a time. After the worldly touches of “Butch And Butch” and “Basin Street Blues,” we know that things have been set right.
Whereas in the previous Japan documents Peacock proved himself the man of the hour (although, to be sure, the breadth of his architectures in “If I Were A Bell” and “I Fall In Love Too Easily” are as masterful as they come), it’s DeJohnette who produces the deepest hues of this rainbow. His sticks make evergreens like Sonny Rollins’s “Oleo” that much greener, and turn a 26-minute rendition of Miles Davis’s “Solar,” combined with Jarrett’s “Extension,” into a downright sacred space.
As with the 1986 concert on Standards I/II, the trio ends on three encores: “Bye Bye Blackbird,” Jarrett’s “The Cure,” and “I Thought About You.” In all of this one can sense a quiet storm of commitment to the music that flows from within. Melodies breathe, reborn, requiring open hearts to know their graces.
Keith Jarrett (born May 8, 1945) is an American jazz and classical music pianist and composer.
Jarrett started his career with Art Blakey, moving on to play with Charles Lloyd and Miles Davis. Since the early 1970s he has enjoyed a great deal of success as a group leader and a solo performer in jazz, jazz fusion, and classical music. His improvisations draw from the traditions of jazz and other genres, especially Western classical music, gospel, blues, and ethnic folk music.
In 2003 Jarrett received the Polar Music Prize, the first recipient of both the contemporary and classical musician prizes, and in 2004 he received the Léonie Sonning Music Prize. His album The Köln Concert (1975) became the best-selling piano recording in history.
In 2008 he was inducted into the Down Beat Jazz Hall of Fame in the magazine’s 73rd Annual Readers’ Poll.
Jarrett has been unable to perform since suffering a stroke in February 2018, and a second stroke in May 2018, which left him partially paralyzed and unable to play with his left hand.
1 In Your Own Sweet Way 12:30 2 Butch And Butch 7:34 3 Basin Street Blues 7:03 4 Solar – Extension 26:06 5 If I Were A Bell 14:48 6 I Fall In Love Too Easily 10:10 7 Oleo 8:55 8 Bye Bye Blackbird 9:32 9 The Cure 7:58 10 I Thought About You 5:49
One of the most individualistic pianists, composers, and arrangers of his generation, Ahmad Jamal‘s disciplined technique and minimalist style had a huge impact on trumpeter Miles Davis, and Jamal is often cited as contributing to the development of cool jazz throughout the 1950s.
Though he was an excellent, technically proficient player well-versed in the gymnastic idioms of swing and bebop, he chose to play in a pared-down and nuanced style. Which is to say that while he played with the skill of a virtuoso, it was often what he chose not to play that marked him as an innovator.
Influenced by pianists Errol Garner, Art Tatum, and Nat King Cole, as well as big-band and orchestral music, Jamal developed his own boundary-pushing approach to modern jazz that incorporated an abundance of space, an adept use of tension and release, unexpected rhythmic phrasing and dynamics, and a highly melodic, compositional style evidenced beautifully on the best-selling 1958 offering Ahmad Jamal at the Pershing: But Not for Me.
His style and depth only increased in the ensuing decades, displaying themselves on standard-setting trio albums including 1965’s Extensions, charting crossover sets like 1979’s Intervals, and 1986’s Rossiter Road. In the 21st century, Jamal continued carving his own path with a series of live and studio albums that juxtaposed standards with his own compositions including 2003’s In Search of Momentum, Blue Moon: The New York Session/The Paris Concert in 2012, and the following year’s Saturday Morning: La Buissone Studio Sessions.
Born in Pittsburgh, Pennsylvania on July 2, 1930, Jamal was a child prodigy and began playing piano at age three, discovered by his uncle. By the time he was seven years old, Jamal was studying privately with Mary Cardwell Dawson, the founder of the National Negro Opera Company.
An accomplished musician by his teens, Jamal performed regularly in the local jazz scene and in 1949 toured with George Hudson’s Orchestra. After leaving Hudson, he joined swing violinist Joe Kennedy‘s group the Four Strings, with whom he stayed until Kennedy‘s departure around 1950.
After leaving the Four Strings, Jamal relocated to Chicago, where he formed his own group, the Three Strings with bassist Eddie Calhoun and guitarist Ray Crawford. The precursor to the later Ahmad Jamal Trio, the Three Strings would, at different times, include bassists Richard Davis and Israel Crosby. During a stint in New York City, the Three Strings caught the ear of legendary Columbia record exec and talent scout John Hammond, who signed the group to the Columbia subsidiary OKeh in 1951.
During this time, Jamal released several influential albums including Ahmad Jamal Trio Plays (also known as Chamber Music of the New Jazz) on Parrot (1955), The Ahmad Jamal Trio on Epic (1955), and Count ‘Em 88 on Argo (1956). Some of the landmark songs recorded during these sessions include “Ahmad’s Blues” and “Pavanne,” both of which had a profound impact on Miles Davis, who later echoed the spare, bluesy quality of Jamal‘s playing on his own recordings.
In 1958, Jamal took up a residency in the lounge of the Pershing Hotel in Chicago. Working with bassist Crosby and drummer Vernell Fornier, Jamal recorded the seminal live album Ahmad Jamal at the Pershing: But Not for Me. Comprised primarily of jazz standards, including his definitive version of the buoyant Latin number “Poinciana,” the album showcased Jamal‘s minimalist phrasing and unique approach to small group jazz, emphasizing varied dynamics and nuanced shading as opposed to the high-energy freneticism commonly associated with jazz of the ’40s and ’50s.
Though somewhat misunderstood by critics at the time who did not fully appreciate the inventive qualities of Jamal‘s playing, the album proved a commercial success and remained on the Billboard album charts for over two years — a rarefied achievement for a jazz musician of any generation.
The smash success of Ahmad Jamal at the Pershing: But Not for Me raised the musician’s profile and allowed him to open his own club and restaurant, The Alhambra, in Chicago in 1959. During this time, Jamal released several albums on the Argo label including Ahmad Jamal Trio, Vol. 4 (1958), Ahmad Jamal at the Penthouse (1960), Happy Moods (1960), Ahmad Jamal’s Alhambra (1961), and All of You (1961). Unfortunately, The Alhambra closed in 1961. The following year, Jamal disbanded his trio, moved to New York City, and took a two-year hiatus from the music industry.
In 1964, he returned to performing and recording. Working with a new version of his trio that included bassist Jamil Nasser and drummer Frank Gant, with whom he would work until 1972, Jamal recorded several more albums for Argo (later renamed Cadet) including Naked City Theme (1964), The Roar of the Greasepaint (1965), and Extensions (1965), Rhapsody (1966), Heat Wave (1966), Cry Young (1967), and The Bright, the Blue and the Beautiful (1968). Also in 1968, Jamal made his Impulse Records debut with the live album Ahmad Jamal at the Top: Poinciana Revisited.
This was followed by several more Impulse releases including The Awakening (1970), Freeflight (1971), and Outertimeinnerspace (1972), both of which culled tracks from his appearance at the Montreux Jazz Festival in 1971. These albums found Jamal moving toward an expansive, funk-infused style, sometimes playing a Fender Rhodes electric keyboard. Also during the ’70s, Jamal moved to the 20th Century label and continued to release a steady stream of albums that attracted both hardcore jazz and crossover audiences. Of his ’70s albums, both Genetic Walk (1975) and Intervals (1979) made the R&B charts.
The ’80s continued to be a productive time for Jamal, who kicked off the decade with such albums as Night Song on Motown (1980) and Live in Concert Featuring Gary Burton (1981). After signing with Atlantic, Jamal released several well-received albums that found him returning to his classic, acoustic small group sound including Digital Works (1985), Live at the Montreal Jazz Festival 1985 (1985), Rossiter Road (1986), Crystal (1987), and Pittsburgh (1989).
The ’90s also saw a resurgence in interest and acclaim for Jamal, who was awarded the American Jazz Master Fellowship by the National Endowment for the Arts in 1994. Though he never stopped interpreting standards, Jamal utilized his own compositions more and more as the decades passed. During this period, he delivered such albums as Chicago Revisited: Live at Joel Segal’s Jazz Showcase on Telarc (1992), Live in Paris ’92 on Verve (1993), I Remember Duke, Hoagy & Strayhorn on Telarc (1994), as well as a handful of superb releases for Birdology including The Essence, Pt. 1 (1995), Big Byrd: The Essence, Pt. 2 (1995), and Nature: The Essence, Pt. 3 (1997).
In 2000, Jamal celebrated his 70th birthday with the concert album L’Olympia 2000 (released in October of the following year), which featured saxophonist George Coleman. He followed up with In Search of Momentum (2003), After Fajr (2005), It’s Magic (2008), A Quiet Time (2010), and Blue Moon: The New York Session/The Paris Concert (2012). In 2013, Jamal released the album Saturday Morning: La Buissone Studio Sessions, featuring bassist Reginald Veal and drummer Herlin Riley.
Also in 2013, Jamal opened Lincoln Center’s concert season by performing live with the Lincoln Center Jazz Orchestra. A year later, he delivered the concert album Live at the Olympia, June 27, 2012: The Music and the Film of the Complete Concert, which featured Yusef Lateef. In 2017, Jamal delivered the small group session Marseille, which included contributions from French rapper Abd Al Malik and vocalist Mina Agossi. In 2019, at age 89, Jamal released Ballades, a recording he called a “French-inspired love letter to my past.” Comprised of three solo compositions — including his first of “Poinciana” — and three duets with longtime bassist James Cammack, the album was issued by Harcourt through Jazz Village in September.
00:00:00 – Intro 00:00:09 – Bessie’s Blues 00:11:44 – Summer Night 00:22:40 – Quartet No. 3 00:35:11 – Quartet No. 2 00:55:06 – Autumn Leaves 01:07:48 – La Fiesta
Chick Corea – piano – http://chickcorea.com/ John Patitucci – bass – http://www.johnpatitucci.com/ Dave Weckl – drums – http://www.daveweckl.com/
● #ChickCorea Akoustic Band feat. #JohnPatitucci & #DaveWeckl: Live at 12. Jazzfestival Hamburg, Fabrik, Hamburg, Germany, October 21, 1987
0:00 Sugar Plum 7:25 Midnight Mood 15:48 Turn out The Stars 20:44 Gloria’s Step 27:53 Up With The Lark 34:13 Twele Toned Tune 41:23 Morning Glory 45:48 Sareen Jurer 52:47 Time Remembered 58:25 My Romance 1:06:20 Waltz For Debby 1:12:17 Yesterday i Heard The Rain
William John Evans, known as Bill Evans, was an American jazz pianist. His use of impressionist harmony, inventive interpretation of traditional jazz repertoire, and trademark rhythmically independent, “singing” melodic lines influenced a generation of pianists. He is considered by some to be the most influential post-World War II jazz pianist. Evans had a distinct playing posture in which his neck would often be stooped very low, and his face parallel to the piano.
Bill Evans was born in Plainfield, New Jersey.He received his first musical training at his mother’s church. Evans’ mother was an amateur pianist with an interest in modern classical composers, and Evans began classical piano lessons at age six. He also became a proficient flautist by age 13 and could play the violin.
At age 12, Evans filled in for his older brother Harry in Buddy Valentino’s band. At this age he was able to interpret classical music, but he couldn’t improvise. In the beginning, he played exactly what was written in the sheet, but soon started trying to improvise, while learning about harmonies in the songs and how to alter them.
Meanwhile, he was playing dance music and jazz in a recording studio he built in his family’s basement. In the late 1940’s, Evans played boogie woogie in various New Jersey clubs. He attended Southeastern Louisiana University on a music scholarship, and in 1950 performed Beethoven’s Third Piano Concerto on his senior recital there, graduating with a degree in piano performance and teaching. He was also among the founding members of Southeastern’s Delta Omega Chapter of Phi Mu Alpha Sinfonia, and played quarterback for the fraternity’s football team, helping them win the school’s 1949 intramural tournament.
In 1958, Evans was hired by Miles Davis, becoming the only white member of Davis’ famed sextet. Though his time with the band was brief (no more than eight months), it was one of the most fruitful collaborations in the history of jazz, as Evans’ introspective approach to improvisation deeply influenced Davis’ style. Davis wrote in his autobiography, “Bill had this quiet fire that I loved on piano. The way he approached it, the sound he got, was like crystal notes or sparkling water cascading down from some clear waterfall.” Additionally, Davis said, “I’ve sure learned a lot from Bill Evans. He plays the piano the way it should be played.”
In 1974, Bill Evans recorded a multimovement jazz concerto specifically written for him by Claus Ogerman entitled Symbiosis, originally released on the MPS Records label. The 1970s also saw Evans collaborate with singer Tony Bennett on 1975’s “The Tony Bennett/Bill Evans Album” and 1977’s “Together Again”.
Many of Evans’ tunes, such as “Waltz for Debby,” “Turn Out the Stars,” “Very Early,” and “Funkallero,” have become often-recorded jazz standards. Many tribute recordings featuring his compositions and favorite tunes have been released in the years following his passing as well as tribute compositions. Pat Metheny’s “September 15th” is one such recording.
During his lifetime, Evans was honored with 31 Grammy nominations and seven awards. In 1994, he was posthumously honored with the Grammy Lifetime Achievement Award. In addition to the Southeastern Music Hall of Fame and the Alumni Association’s Alumnus of the Year, Evans is an inductee of the Down Beat Jazz Hall of Fame.
Beegie Adair (piano), Roger Spencer (bass), Chris Brown (drums)
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Herbie Hancock: Keyboards, sorcery
Bill Summers: Percussion, weird noises
Paul Jackson: Bass, good vibes
Mike Clark: Drums, pulse
00:00 Palm Grease 18m30s
18:30 Sly 10m37s
29:07 Butterfly 15m22s
44:29 Spank A Lee 6m57s
51:26 Chameleon 14m23s
1:05:49 That’s It – That’s a Take 33s
“…I had been spending so much time exploring the upper atmosphere of music and the more ethereal kind of far-out spacey stuff. Now there was this need to take some more of the earth and to feel a little more tethered; a connection to earth…” Herbie Hancock, 1997
Cascading back into the etheric plane, Hancock centered his new 70’s quintet, the Headhunters, around the filthy sounding clavinet and flanked it with a slick rhythm and blues section composed of Paul Jackson (bass), Mike Clark (drums) and Bill Summers (percussion). Not to be forgotten is saxophonist Bennie Maupin, the only member left of the original Hancock sextet, whose fiery solos flirted with breaking the earthly boundaries set by the new group.
With a funky groove, the 1973 album Head Hunters ushered in a new era of jazz that appealed to a far wider audience – making jazz listeners out of rhythm and blues fans, and vice versa. Long circulating proof of the dynamic chops of this group is this live set from November 1974, captured in Bremen, Germany, where we find the group ripping up the stage for an hour straight on ‘Chameleon’, the aptly named ‘Sly’, and newer joints from the follow-up album, Thrust – ‘Butterfly’, ‘Spank A Lee’, and ‘Palm Grease’.