Well, I’ve been on duty all day so far at the Open Day I mentioned yesterday and am about to knock off and go home for a rest but first I thought I’d share this wonderful version of Cherokee, a tune that because of its complex chord changes is generally regarded as a test piece for jazz musicians. You’d never guess that from the ease that Clifford Brown shows as he tackles the 64-bar harmonic labyrinth at a breakneck tempo. If you want an example of jazz as a white knuckle ride, this is it!
Clifford Brown was a phenomenal virtuoso on the trumpet and it’s so sad that he died so young, at the age of 25, in a car accident. This performance was recorded in August 1953 and features an extended solo by Clifford Brown followed by a series of four-bar exchanges with the great drummer Art Blakey. Other principals are Percy Heath on bass and John Lewis on piano; Gigi Gryce (alto) and Charlie Rouse (tenor) also participate on the intro and outro. Enjoy!
Well, it’s Shrove Tuesday, Pancake Day, Mardi Gras and Fat Tuesday which gives me four excuses to post this lovely old record made by Humphey Lyttelton’s Paseo Jazz Band in the early Fifties. That’s the band that featured Humph’s regular crew alongside a number of London’s marvellous West Indian musicians of the time, hence the abundance of percussion and the resulting infectious calypso beat. Enjoy!
It’s been a very busy week so I’m about to go home and dive into a glass or two of wine, but before doing that I thought I’d leave a little something for the weekend.
Among the other things I have to do next week is make a short trip to Copenhagen to examine a PhD candidate. This track was recorded live at Copenhagen on September 8 1961 and it features Eric Dolphy (alto sax), Bent Axen (piano), Erik Moseholm (bass) and Jørn Elniff (drums). The tune The Way You Look Tonight is an old standard, written in 1936 by Dorothy Fields and Jerome Kern, but what a version this is! Dolphy tears through the changes on this performance, reinventing the piece in a way that turns what might be a routine tune into something absolutely new and refreshing. The combination of virtuosity and exuberance of the saxophone playing in this phenomenal performance is absolutely exhilarating. Enjoy!
I came across this on Youtube a while ago and I quite often play it when I’m at work if I’m in need of an aural pick-me-up when I’m flagging a bit. The tune All The Girls Go Crazy is one of many manifestations of a 16-bar blues theme that was fairly ubiquitous in New Orleans Jazz. The recording is by a band led Ken Colyer who I think is on cornet rather than trumpet on this track, but the Youtube poster gives no other information about the personnel or the date. I’m going to stick my neck out and say that the clarinettist sounds to me like Ian Wheeler and the drummer is without doubt Colin Bowden, one of the very best drummers in this style that the UK has ever produced. If I’m right then I think the date is somewhere around the mid-1950s, at the peak of the New Orleans revival in the UK. No doubt some other jazz fan out there will correct me if I’m wrong!
Ken Colyer (`the guvnor’) had very firm ideas about how New Orleans music should be performed, and you’ll notice that there’s much more ensemble work here than you find in the typical string-of-solos approach adopted by many `Trad’ bands of the period.
I’m going to look very silly if it’s not Colin Bowden on drums here, but for me he (or whoever else is the drummer) is the star of this performance, as it is he who is responsible for the steadily increasing sense of momentum, achieved without speeding up (which is the worst thing a rhythm section can do). Notice how he signals the end of each set of 8-bars with a little figure on the tom-toms and/or a cymbal crash, and it is by increasing the strength of these that he raises the excitement level. Notice also that he also has the last word with his cymbal, something jazz drummers are wont to do.
P.S. If you look here, you’ll see a certain Peter Coles playing alongside Ken Colyer in the 1970s. It’s not me, though. It’s my uncle Peter…
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..
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