Mention the name Elkie Brooks to people of my generation or older and most will think of her popular hits from the late 1970s, especially Pearl’s A Singer which made the UK Top Ten in 1977. Elkie Brooks has however had a long and very distinguished career as a Jazz and Blues singer, including regular performances over the years with trumpeter Humphrey Lyttelton and his band. This particular track was recorded in 2002, when Humph was already in his eighties, but I think it’s a lovely performance so I thought I’d share it here.
Trouble in Mind is a very familiar tune that has been recorded countless times by jazz musicians. In fact an earlier manifestation of Humph’s Band made a very nice instrumental version way back in 1950 which I have on an old Parlophone 78. The tune is usually credited to Richard M. Jones, but it has its roots in much older spirituals and folk songs. There are a couple of things worth mentioning about it despite it being so well known.. Although Trouble in Mind is a blues, it is a slightly unusual one because it’s an eight-bar blues rather than the more usual twelve-bar variety. The other thing is that there’s something about this tune that suits a rhythm accompaniment in sixth notes, as exemplified by drummer Adrian Macintosh on this track when the vocal starts.
There’s also some fine trombone on this (by Pete Strange) and a nice bit of banter from Humph at the beginning. Enjoy!
One of the contributors to the `Out Thinkers’ event I went to a couple of weeks ago, Emer Maguire, talked about science and music. During the course of her presentation she mentioned one of the most common sets of chord changes in pop music, the I-V-vi-IV progression. In the key of C major, the chords of this progression would be C, G, Am and F. You will for example find this progression comes up often in the songs of Ed Sheeran (whoever that is).
These four chords include those based on the tonic (I), the dominant (V) and the sub-dominant (IV) – i.e. the three chords of the basic blues progression – as well as the relative minor (vi). The relative minor for a major key is a key with exactly the same notes (i.e. the same sharps and flats) in it, but with a different tonic. With these four chords (shuffled in various ways) you can reproduce the harmonies of a very large fraction of the modern pop repertoire. It’s a comfortable and pleasant harmonic progression, but to my ears it sounds a bit bland and uninteresting.
These thoughts came into my head the other night when I was listening to an album of music by Thelonious Monk. One of my `hobbies’ is to try to figure out what’s going on underneath the music that I listen to, especially jazz. I can’t really play the piano, but I have an electronic keyboard which I play around on while trying to figure out what chord progressions are being used. I usually make a lot of terrible mistakes fumbling around in this way, so my neighbours and I are grateful that I use headphones rather than playing out loud!
I haven’t done a detailed statistical study, but I would guess that the most common chord progression in jazz might well be ii-V-I, a sequence that resolves onto the tonic through a cadence of fifths. I think one of the things some people dislike about modern jazz is that many of the chord progressions eschew this resolution which can make the music rather unsettling or, to put it another way, interesting.
Here’s a great example of a Thelonious Monk composition that throws away the rule book and as a result creates a unique atmosphere; it’s called Off Minor and it’s one of my absolute favourite Monk tunes, recorded for Blue Note in 1947:
The composition follows the standard 32 bar format of AABA; the A section ends with a strange D sharp chord extended with a flattened 9th which clashes with a B in the piano melody. This ending is quite a shock given the more conventional changes that precede it.
But it’s the B section (the bridge) where it gets really fascinating. The first bar starts on D-flat, moves up to D, and then goes into a series of unresolved ii-V changes beginning in B-flat. That’s not particularly weird in itself, but these changes don’t take place in the conventional way (one each bar): the first does, but the second is over two bars; and the third over four bars. Moreover, after all these changes the bridge ends on an unresolved D chord. It’s the fact that each set of eight bars ends in mid-air that provides this piece with its compelling sense of forward motion.
There’s much more to it than just the chords, of course. There are Monk’s unique voicings and playful use of time as he states the melody, and then there’s his improvised solo, which I think is one of his very best, especially in the first chorus as he sets out like a brave explorer to chart a path through this curious harmonic landscape..
Well, it’s fine and sunny today and if the weather doesn’t put a spring in your step, hopefully this will. It’s a lovely old tune and something of a jazz standard called Melancholy, but this is very probably the least melancholy version of it you’ll ever hear. On top of that it’s quite an interesting piece of jazz history, as it features legendary clarinet player Johnny Dodds (who played in King Oliver’s Creole Jazz Band and later in the Hot Fives and Hot Sevens with Louis Armstrong in the 1920s) as did pianist Lil Hardin, but the rest of the band is from a younger generation, especially Charlie Shavers on trumpet and Teddy Bunn (a much underrated guitarist). The rhythm section has a define taste of the Swing Era rather than New Orleans, but the main thing about this is how well the different styles blend together. Enjoy!
Some time ago I posted a piece of music by Dick Twardzik from the mid-50s. The jazz piano scene in those days was so heavily dominated by Thelonious Monk and Bud Powell that pianists seem to struggle to find their own voice in the space created by those two. Twardzik certainly succeeded, though he died very young. Well, here’s another track from roughly the same period (1957) featuring another underrated musician who solved this problem in a different way. This fine track, undoubtedly influenced by Monk and Powell, but at the same time with its own sound, is by Herbie Nicholls, playing his own composition 45° Angle with the excellent George Duvivier on bass and Dannie Richmond on drums. Enjoy!
I woke up this morning to the very sad news that South African jazz trumpeter Hugh Masekela had lost the long and courageous battle he had been fighting against cancer and has passed away at the age of 78. Hugh Masakela did a huge amount to establish a uniquely South African jazz tradition and much of his music was a response to the struggle against apartheid. Although some “serious” jazz fans have criticised him for `selling out’ in his forays into pop – for which he simplified his playing style considerably – this approach definitely succeeded in bringing many new people to his music. His was exactly the same approach as Louis Armstrong, actually, and I for one don’t begrudge either his commercial success.
I was fortunate to hear Hugh Masekela live many years ago at Ronnie Scott’s Club. He had a wonderful stage presence, and played a typically eclectic mix of music and it was a wonderful night that I’ll remember for the rest of my life.
Here’s a clip of him playing and singing that gives an idea of what the man and his music were like and just how much he will be missed.
So I’m in Dublin airport waiting to board a (delayed) flight. Since it’s cold and dark outside I thought I’d take the opportunity to use the free airport Wi-fi to share something that put a bit of a spring in my step when I heard it on the radio a couple of days ago. It’s a truly phenomenal performance on tenor saxophone by the great Sonny Rollins over an infectious calypso rhythm generated by Mickey Roker on drums. Enjoy!
Now, as a special Christmas treat, I present for you one of my all-time favourite pieces of music. It was recorded by Serge Chaloff Octet in Boston, in September 1954 and I’ve loved it ever since I first heard it on The Best of Jazz, the radio show that was presented by Humphrey Lyttelton for many years on Radio 2, way back in the 1980s. Humph had eclectic musical tastes and I am forever in his debt for introducing me to relatively obscure pieces such as this which have given me so much pleasure over the years. I can see I’m not the only WordPress blogger who loves this track too!
The lineup for this track is Serge Chaloff (baritone sax) Herb Pomeroy (trumpet) Gene DiStachio (trombone) Charlie Mariano (also saxophone) Varty Haritounian (trumpet) Dick Twardzik (piano) Ray Oliveri (bass) and Jimmy Zitano (drums). Serge Chaloff was a famously dissolute and chaotic character, who struggled to control a serious narcotics habit, but he was a marvellously accomplished player of the huge and unwieldy baritone sax. Chaloff plays beautifully on this track but the star is the amazingly innovative pianist and composer Dick Twardzik, who wrote the piece. Had he not died so young (in 1955, of a heroin overdose, on tour in Paris with Chet Baker, at the age of just 24) he would have become a household name in Jazz.
Twardzik had this to say about The Fable of Mabel on the sleevenote:
The Fable of Mabel was introduced to jazz circles in 1951-52 by the Serge Chaloff Quartet. Audiences found this satirical jazz legend a welcome respite from standard night club fare. In this legend, Mabel is depicted as a woman who loves men, music and her silver saxophone that played counterpoint (her own invention which proved impractical). The work is divided into three movements: first, New Orleans; second Classical; and third, Not Too Sad An Ending. The soulful baritone solo Serge Chaloff traces Mabel’s humble beginnings working railroad cars in New Orleans to her emergence as a practising crusader for the cause of Jazz. During her Paris days on the Jazz Houseboat, her struggle for self-expression is symbolized by an unusual saxophone duet Charlie Mariano and Varty Haritrounian. Mabel always said she wanted to go out blowing. She did.
This piece is radically different from the mixture of bop tunes and standards that provided the bulk of the repertoire for Chaloff’s band in the 1950s and it provides a superb example of how the musical revolution pioneered by Charlie Parker, Dizzy Gillespie, Thelonious Monk et al. opened the doors and ushered in a wave of creativity that fanned out in all kinds of unexpected directions. I love The Fable of Mabel for its quirkiness, the virtuosity of the playing, and for the edgy, Noir-ish atmosphere that it generates. Incidentally, it’s interesting that most of the musicians on this track are of Eastern European extraction, as were many of the leading lights of Film Noir. I always felt this track would make a perfect soundtrack for such a film.
If ever got asked to go on one of those radio programmes where you have to pick your favourite pieces of music, this would definitely be among my selections. I hope you enjoy it too!
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