JazzWax

Stan Getz at the Village Gate

In 1956, tax problems compelled Stan Getz to move to Denmark. He wasn't alone when it came to sizable tax bills and a European escape. After paying their sidemen immediately after gigs, many jazz leaders didn't or couldn't set aside an appropriate portion for the IRS. Other musicians spent all of their gross pay to cover drugs, alcohol, cars, failed marriages and other expenses, leaving them unable to pay the tax bill. Most musicians didn't think about financial planning or accountants. [Photo of Stan Getz above by Bob Parent, courtesy of Verve]

Depending on the source, Getz either dodged the tax bill entirely by living in Denmark or paid the IRS back incrementally by mail from Copenhagen. Whichever story is accurate, Getz returned to the U.S. on January 19, 1961. But the only way he could have avoided arrest is if he had paid off the debt or worked out an IRS payback deal in advance of his return.

Part of Getz's motivation to return to the States was the September 1960 death of bassist Oscar Pettiford, who also lived in Copenhagen. According to Donald Maggin's Getz biography, Stan Getz: A Life in Jazz, the tenor saxophonist took Pettiford's passing hard: "Pettiford was the only musical intelligence with whom Stan could consistently explore the American innovations, and his feelings of artistic isolation increased dramatically when Pettiford was taken away from him." [Photo above, from left, of Oscar Pettiford, Joe Harris and Stan Getz in Copenhagen in 1959]

Once back in New York, Getz was in for a jolt. New York club audiences that came to see him were thin. With the rise of John Coltrane, Ornette Coleman and other saxophonists who had a freer, more aggressive attack, Getz's smooth, high-register approach influenced by Lester Young seemed dated. Fortunately for Getz, he had a friend in Verve producer Creed Taylor, who loved his sound since his college days at Duke University. Creed also may have worked out a deal with the IRS or advanced Getz the money owed when the saxophonist signed with Verve. 

Throughout 1961, Getz, with Creed's guidance, worked methodically to rebuild his credibility and reputation in New York. In July, Creed had him record Focus, a more abstract album than Getz was used to. Getz then recorded Stan Getz/Bob Brookmeyer in September. In November, Getz was taped live at Birdland with pianist Steve Kuhn, bassist Jimmy Garrison and drummer Roy Haynes. The result was released on a Fresh Sound recording in 2013.

Now, a second tape from November 1961 has been found and released by producers Zev Feldman, Richard Seidel and Ken Drucker on Universal Music's Verve label. This one was recorded at Art D'Lugoff's Village Gate on November 26, with bassist John Neves replacing Garrison. The new album sounds fantastic and is Getz's most interesting recording of 1961. Here's why:

• Kuhn's piano is astonishing. His playing was refreshingly distinct and his block chords and Bud Powell-influenced runs lean forward with a futurist feel.
• The same is true for Roy Haynes, whose drumming in 1961 had already crossed into the 1960s.
• Though Getz is still playing like Getz, you can hear him trying out new approaches on the saxophone in an effort to revive his popularity and re-establish his name at clubs.
• The Village Gate gig came just three months before Getz and Charlie Byrd's Jazz Samba, an album that would lead to a string of revolutionary bossa nova albums by Getz and produce several major pop hits such as Desafinado and The Girl From Ipanema.

All of which fills in a blank. As I wrote in my liner notes to the 50th anniversary of Getz/Gilberto in 2014, Getz never cared much for his bossa nova recordings, despite the fame and fortune it bestowed on him. For one, he felt bossa nova was pop and dreaded being viewed by peers and fans as a sell-out. For another, Getz had his eye on returning to the top of the jazz heap and to rival Coltrane. Getz was intensely competitive. This new album provides a powerful glimpse at Getz evolving at a critical and uncertain moment in his career, just before his Brazilian Faustian bargain.

To read my two-part interview in 2008 with Art D'Lugoff, owner of the Village Gate, go here.

JazzWax tracks: You'll find Getz at the Gate: The Stan Getz Quartet Live at the Village Gate, Nov. 26, 1961 here and here. Liner notes by Bob Blumenthal.

The album also is available at Spotify.

JazzWax clips: Here's It's All Right With Me. Dig Kuhn's piano against Roy's drums...

And here's Yesterday's Gardenias. Dig the elegance of Getz and the rest of his group not to mention the killer intro...

Judy Wexler: Crowded Heart

A large percentage of singers today have wonderful voices. But not all choose the best material. Too many pick tired songbook standards that are worn thin. Others record songs they've written when, in fact, the material isn't very compelling or engaging. Judy Wexler has a terrific voice and she's done something fairly groundbreaking on her new album: She has selected 10 terrific little-known ballads by contemporary artists, and she clearly was governed by love.

Her new album, Crowded Heart (JCJ), features seven superb musicians: Alan Pasqua (piano, melodica, whistling); Larry Koonse (guitar); Josh Johnson (alto sax), Bob Sheppard (alto flute), Stefanie Fife (cello), Darek Oles (bass), Steve Hass (drums) and Aaron Serfaty (percussion). Alan Pasqua wrote the arrangements and plays marvelous accompaniment piano.

Judy's song choices are especially commendable. Many are melodically complex, but Judy aces them, taking her voice wherever it has to go to satisfy the music and win you over. [Photo above of Alan Pasqua courtesy of Alan Pasqua]

The songs are...

• Circus Life by Luciana Souza, Larry Klein and David Batteau.
• Parisian Heartbreak by Richard Galliano and Kurt Elling.
• Crowded Heart by Sinne Eeg and Mads Mathias.
• Painted on Canvas by Gregory Porter.
• Stars by Fred Hersch and Norma Winstone.
• The Last Goodbye by Alan Broadbent and Georgia Mancio.
• Take My Breath Away by René Marie.
• I Took Your Hand by Enrico Pieranunzi and Lorraine Feather.
• It's Only Smoke by Larry Goldings and Cliff Goldmacher.
• And We Will Fly by Alan Pasqua, Kurt Elling and Philip Edward Galdston.

Judy's passion for these songs is evident. She combines an emotional seriousness with a breezy feel and tremendous breath control. These songs are not easy to sing. And with Pasqua's arrangements and exquisite instrumental backing, the album pays homage to those who are writing smart jazz songs today. The album also sets a golden example for all singers who want to expand beyond the obvious and the mundane. You have to roll up your sleeves and do the research. Brava, Judy!

JazzWax tracks: You'll find Judy Wexler's Crowded Heart (JCJ) here.

Crowded Heart also is available at Spotify.

JazzWax clips: Here's the album. Just let it play...

5 Videos: Bennie Maupin

On Monday, I posted about Stanley Cowell, one of jazz's greatest living pianists. Today, I'm focusing on Bennie Maupin, another living jazz legend who doesn't get nearly the recognition he deserves. Maupin is perhaps best known for recording with Horace Silver (Serenade to a Soul Sister), Miles Davis (Bitches Brew) and Herbie Hancock (Headhunters, Thrust). Here are five videos featuring Maupin on a range of reed and woodwind instruments:

Here's Maupin with pianist Horace Silver in Rotterdam in 1968 with Randy Brecker (tp), John Williams (b) and Billy Cobham (d)...

Here's Maupin with Horace Silver in Denmark in 1968 with Bill Hardman (tp), John Williams (b) and Billy Cobham (d)...

Here's Maupin with Herbie Hancock in Paris in 1972 with Julian Priester (tb), Ed Henderson (tp), Buster Williams (b) and Billy Hart (d)...

Here's Maupin with Hancock in 1974 performing Butterfly (a hit he co-wrote) with Paul Jackson (b), Mike Clarke (d) and Bill Summers (perc)...

And here's Maupin and keyboardist Kaidi Tathum in London in 2014 performing Chameleon, a hit he co-wrote...

3 Videos: Lennie Tristano

Lennie Tristano's piano had a different sound. Chords formed by both hands were jagged and percussive, as if trying to shake something loose from the keyboard. When improvising, his left hand typically kept meticulous time with a walking bassline while his right wandered with purpose. Together, they sounded like two people on the same flight of stairs, one plodding up while the other impishly skipped down haphazardly to get outside.

Here are three videos of the blind pianist and cool-jazz innovator in concert during a European tour in 1965:

Here's Tristano in Copenhagen...

Here's Tristano in Paris...

And here's Tristano in Berlin (at 18:17), on a spectacular bill that included Earl Hines, Teddy Wilson, Bill Evans, John Lewis and Jaki Byard...

Stanley Cowell: Games

There are no bad Stanley Cowell albums. All of the pianist's leadership recordings are resplendent works of dazzling art. I don't say this about all jazz artists, since most have their moments of greatness and their misfires. Not so Cowell. Like McCoy Tyner, Cowell is percussive, robust, soulful and plays with a lovely lyricism enveloped by rich, stormy textures. And yet, when was the last time you heard someone raving about Cowell? This is unfortunate, since he should be acknowledged today as the jazz piano great that he is and always has been.

If you are unfamiliar with Cowell or his discography, a good starting place is Games. Recorded in Copenhagen in September 1991, the album on the Danish Steeplechase label features Stanley Cowell (p), Cheyney Thomas (b) and Wardell Thomas (d). It's hypnotically beautiful from start to finish, with songs twisting and turning and heading off on multiple melodic adventures. From there, you can go back in time to 1966 or forward to recent recordings, all with enormous satisfaction.

On Games, Cowell composed Sienna: Welcome to This New World; Games; Today, What a Beautiful Day, Orientale; Four Harmonizations of the Blues and From the Rivers of Our Fathers. Jimmy Heath wrote New Picture, Thelonious Monk wrote Four in One and Joe Henderson wrote Inner Urge.

Cowell's leadership albums are sensational but so are his sideman dates with Bobby Hutcherson and Harold Land from 1966 to 1968 and his work with equally unheralded trumpeter Charles Tolliver from 1967 to 2008 (Cowell and Tolliver co-founded Strata-East Records). I'll have more favorites by Cowell and Tolliver in the weeks ahead. Both artists are exceptional and should be celebrated and appreciated.

JazzWax tracks: You'll find Stanley Cowell's Games here.

You'll also find Games at Spotify along with many other Cowell albums.

JazzWax clips: Here's the entire album in individual tracks. Just let it play, and soak in Cowell's music...

Tracy, Marjorie and Bobby

In The Wall Street Journal this week, I interviewed Tracy Pollan on her wellness regimen, flexitarian diet and why husband Michael J. Fox loves the diet as well (go here). As Tracy notes, eating meat and fish occasionally removes the all-or-nothing aspects of being a plant-based eater along with the risks of quitting a primarily vegetarian diet. [Photo of Tracy Pollan in the kitchen of her Manhattan home by Brad Trent for The Wall Street Journal]

A special thanks to Sam Armstrong for selecting my book, Why Jazz Happened, in his essay: Best Jazz Books: 20 Essential Reads For Newcomers And Old-Timers at UDiscover.com (go here).

Marjorie Hyams. Last week, I mistakenly wrote that Marjorie Hyams was reflected in the mirror of a photo of Charlie Parker and Red Rodney taken by William P. Gottlieb in 1947. The Library of Congress mistakenly has her credited in the photo. In fact, the woman pictured is pianist Barbara Carroll. I corrected my post that day, but in the process, I did have the lovely opportunity to hear from Marjorie's daughter, Lisa Erickson. Here's what she wrote:

"Hi Marc. You know, Charlie Parker had a terrible reputation with women (immortalized in Clint Eastwood's film, Bird), but my mom said she never saw that side of him. He always treated her wonderfully and with respect. They were friends. If you go to my mom's Wikipedia page, there is a picture of a marquee of The 3 Deuces when she and Charlie were performing at the same club (photo above, by William P. Gottlieb).

"I don't think there are any recordings of my mom playing piano with her trio, which is such a shame. I don't know if she told you this in your interview with her but she wrote November Seascape that the George Shearing Quintet recorded. She wrote it for my dad (who was a Scorpio). If you listen to it on YouTube, you can tell how heavily influenced by Stravinsky she was. Thanks so much for writing and for helping to keep my mom's legacy alive." [Photo above of Marjorie Hyams with Woody Herman's band]

Here's Marjorie Hyams playing piano on the intro to Cherokee in 1949 and then behind Shearing, who plays the accordion. Marjorie also takes a piano solo!...

And here's Marjorie's composition, November Seascape...

To read my interview with Marjorie Hyams, go here.

Bobby Hutcherson. Following my post last week on Bobby Hutcherson, readers sent along their favorite videos:

From Neal Horwitz: "I'd politely add one more, which poetically shows the importance of using space to say more v. crowding in every note. And actually, It gets a bit too pensive towards the end for Cedar Walton, who lets loose with a small blast. Hutcherson smiles. Beautiful stuff. Thanks as always, Marc. No idea how you do it, but thank goodness you do. The Mundy Lowe interview was terrific, by the way. Didn't recall he'd brought Bill Evans to the world."

Here's the Bobby Hutcherson Quartet with Cedar Walton playing Dear Lord...

From Marco Romano: "Great Bobby Hutcherson videos! My favorite"...

Here's the Bobby Hutcherson Quartet playing Delilah...

Birth of the Cool—on vinyl. Yesterday, Capitol released for the first time The Complete Birth of the Cool on two vinyl LPs. The album's release is a tribute to the 70th anniversary of the first issuing of the material in 1949 on a series of 78s. The package features a wrapped gatefold jacket with laminated coating, as well as a new retrospective essay by Ashley Kahn. The first LP is mastered from analog tape of the original singles for the first time since the original 12-inch Birth of the Cool release in 1957. Go here.

What the heck. Here's Frankie Valli singing Can't Take My Eyes Off of You...

Oddball album cover of the week.

Hard to dis this one too much. It's under the direction of Phil Bodner, who as Bill Kirchner notes, was "one of New York's most versatile woodwind doublers." Still, she's either 6-foot 10 or the guy is 4-foot 3.

João Gilberto: Pre-Bossa Demos

Several months ago, I came across a superb album of early bossa nova music. It's called João Gilberto: Private Session at Chico Pereira’s House in 1958. The music was captured a year before Gilberto recorded and released Chega de Saudade in 1959, the Brazilian album that launched the gentle, rhythmic and melodic bossa nova. The album's back-story is as wonderful as the music.

In 1958 Gilberto—like Antonio Carlos Jobim, Sylvia Telles, Carlos Lyra, Johnny Alf and Roberto Menescal—had been playing and singing a new form of music in Rio de Janeiro at clubs and hotel lounges. Influenced by West Coast jazz and Brazilian folk, the new music shifted away from the samba and its raucous parade beat embraced a new bedroom intimacy. Ambitious, Gilberto was eager to become better known, and Menescal wanted to help. He took Gilberto to the home of Chico Pereira, the Odeon Records album-cover photographer.

According to Ruy Castro's book, Bossa Nova: The Story of the Brazilian Music That Seduced the World, Gilberto at Pereira's home was urged to take out his guitar and play, which he did. Pereira was immediately overwhelmed by Gilberto's voice and chord voicings. He stopped him to put a blank Sony tape reel on his Grundig recorder and set up a microphone. For the next 70 minutes, Gilberto played, sang and talked.

When Gilberto finished, Pereira insisted he must record a studio album. He urged him to seek out Jobim, who at the time was working as a conductor at Odeon. The two men knew each other but not well. When Gilberto mustered the courage to call on Jobim at home, he played him the rehearsal tape. The result was Chega de Saudade, on which Gilberto recorded three songs by Jobim and Vinicius De Moraes, three songs by Carlos Lyra and Ronaldo Boscoli, two originals and the rest by several other composers. It was produced by Antônio Carlos Jobim and Aloísio de Oliveira.

I'm not quite sure how this album of Gilberto's rehearsal tape surfaced about 10 years ago or how it managed to wind up digitized. But Gilberto's soft Chet Baker-y voice, his tender driving guitar rhythms and bewitching chord voicings provide a fascinating preview of the bossa nova sound that would transform popular music in Brazil, the U.S., Europe and Japan. The music is as beautiful and hypnotic today as it was when Pereira sat in the room astonished. 

JazzWax track: I can't seem to find João Gilberto: Private Session at Chico Pereira’s House in 1958 anywhere online for sale. If you know where it's available on CD or a download, please let me know and I'll pass the word.

For a collection of João Gilberto's early Odeon studio recordings, try The Warm World of João Gilberto (Fresh Sound) here.

JazzWax clip: Here's the entire 1958 Chico Pereira session at YouTube...

Five Videos of Bobby Hutcherson

Bobby Hutcherson was one of the finest vibraphonists of the 1960s. His Blue Note albums remain an adventure in modal jazz and the African-American jazz perspective. Here are five videos of Hutcherson in action over the years. He died in 2016 [photo above of Bobby Hutcherson by Francis Wolff (c) Mosaic Images]

Here's Hutcherson's quintet in Antibes, France, in 1969 performing Herzog, from one of his finest albums, Total Eclipse (1969). The players are Bobby Hutcherson (vib), Harold Land (ts), Stanley Cowell (p), Reggie Johnson (b) and Joe Chambers (d)...

Here's the majestically stormy pianist McCoy Tyner and Hutcherson in 1983 performing Walk Spirit, Talk Spirit (from Tyner's 1973 album Enlightenment) and The Seeker (from Tyner's 1980 album Quartets 4x4). They are backed by Joe Ford (as), John Blake (violin), Avery Sharpe (b) and Ronnie Burrage (d)...

Here's Hutcherson with Herbie Hancock (p) and Ron Carter (b) in 1985 performing Bouquet, from Hutcherson's 1967 album, Happenings...

Here's Hutcherson with James Newton (fl), Herbie Hancock (p), Ron Carter (b) and Tony Williams (d) in 1985 performing one of Hutcherson's most beautiful jazz standards, Little B's Poem, from his 1966 album, Components...

And here's Hutcherson in 2012 with pianist Kenny Barron performing Dave Brubeck's In Your Own Sweet Way, from Dave's 1956 album Brubeck Plays Brubeck. Hutcherson performed despite suffering from emphysema...

Mundell Lowe: Lost Recording

On February 28 or March 2, 1961, guitarist Mundell Lowe recorded an easy-listening jazz album for RCA's Camden division In New York. The album was After Midnight, featuring "Mundell Lowe with Mood Guitars." But the album, arranged by Mundy, was never released on vinyl. Instead, it came out only on a 4-track, 7 1/2-ips reel-to-reel tape. On the back of the box, no personnel was provided. What's more, the album has never been included in jazz discographies.

For those not fully familiar with magnetic tape, here's a primer. Cassette tape reels turn at 1 7/8 ips (inches per second). Reel-to-reel tape turns at 3 ¾, 7 ½ and 15 ips. The more tape that's used to record and play back the music, the better the quality of sound. Think of the music on a high ips tape as an image with much more picture detail and color sharpness. So, a 4-track tape reel turning at 3 ¾ ips will produce decent sound. At 7 ½, twice as much tape will be used, resulting in much better fidelity. At 15 ips, four times as much tape will be used as the 3 ¾ speed for the best possible sound.

Why in 1961 would RCA Camden, a budget line, be in the business of marketing a high-end easy-listening recording on reel-to-reel tape? There are several possible reasons: With the advent of stereo at the tail end of the 1950s, labels dabbled in formats that delivered increasingly improved fidelity as high-end demand increased. In addition, with the surging popularity of Playboy magazine and the bachelor lifestyle, long-playing music that didn't force you to get up and flip over a vinyl LP had marketing merit. And finally, American makers of reel-to-reel tape  recorders/players such as Ampex, Viking, Sony, Crown, Concord and others were beginning to market more affordable units in 1961 as a shift to expand beyond dictation recorders.

I first heard about this phantom Mundell Lowe tape a month ago from Pierre-M. Hellenbrand-Le Conte of the Jazz Discog Corner in Paris (go here). Pierre came across it while he was working on Mundell Lowe's discography. I tried to help him piece together the complete personnel by reaching out to Local 802 of the AFM in New York without much success. They've been purging their boxes of office paperwork and I'm afraid the studio contract sheets that listed who played on specific dates may have been a victim. I also called Betty Bennett, Mundy's widow, to see if he kept a gig book. She had no recollection.

Here's what Pierre knows about the personnel...

3 unknown (cl,b-cl,fl); prob. Eddie Costa (p,vib,mba); Mundell Lowe; 2 unknown (g) George Duvivier (b); prob. Ed Shaughnessy (d). According to Pierre's notes, the reed and flute players may have been Phil Bodner, Walt Levinsky, Ray Beckenstein or Al Klink. The other guitarists may have been any two of the following: Barry Galbraith, Don Arnone, Al Caiola, George Barnes and Howard Collins. And the French-hornist was likely Ray Alonge or Jimmy Buffington. [Photo above of Eddie Costa courtesy of Eddie Costa's Facebook page]

The songs recorded with that personnel are Why Don't You Do Right, I've Heard That Song Before, Sweet Sue—Just You, With the Wind and the Rain in Your Hair and Out of This World.

According to Pierre, the personnel on the next batch of songs includes unknown (Fr-h); unknown (oboe,fl); prob. Eddie Costa (p,vib,celeste,chimes); Mundell Lowe; 2 unknown (g); George Duvivier (b) and prob. Ed Shaughnessy (d). The songs with this lineup were Soon, You Leave Me Breathless, Moments Like This, There Will Never Be Another You and I Remember You. [Photo above of George Duvivier]

Most interesting of all, I notice on the back of the tape box that the album was produced by Ethel Gabriel. She had quite a distinguished career at RCA. She convinced the label to sign Perez Prado and along with her boss, Steve Sholes, signed Elvis Presley. By 1961, Gabriel was in charge of the label's highly profitable Living Strings recordings. She was a force in the easy listening category. Sadly, she had a miserable stretch in the 1980s when her retirement fund was grifted by a former U.S. Treasury Secretary.

For my interview with Mundell Lowe, go here.

As Pierre notes, this 1961 recording was Mundy's last for RCA. Mundy died in December 2017.

JazzWax tracks: At the moment, the only way you'll be able to hear this rare album is to track down a copy of the tape. Hopefully someone will upload at YouTube or RCA will release it as as a digital download.

JazzWax clips: Here's You Leave Me Breathless...

You Leave Me Breathless

Here's Moments Like This...

Moments Like This

And here's Sweet Sue—Just You...

Sweet Sue—Just You

Six Red Rodney Videos

Trumpeter Red Rodney began his recording career with Jimmy Dorsey in 1944, moving on to Gene Krupa in 1946 just as Gerry Mulligan began writing arrangements for the band. Later that year, Rodney recorded with vocalese pioneers Dave Lambert and Buddy Stewart, and then led his own bop group in 1947. After recording with Serge Chaloff that year, Rodney worked with Claude Thornhill, Benny Goodman and Woody Herman in their leading bands of the era. From 1949 to 1951, Rodney was a member of the Charlie Parker Quintet. Then he led a long string of groups, teaming up with Ira Sullivan. [Photo above of Red Rodney on trumpet with tenor saxophonist Charlie Ventura, left, and drummer Gene Krupa, conducting, in 1946]

Here are six videos of Red Rodney:

Here's Rodney with Gene Krupa in 1947 in Beat the Band. If you look carefully 47 seconds in, one of the musicians grabs baritone saxophonist Gerry Mulligan's arm...

Here's Rodney and Dexter Gordon in 1975...

Here's Rodney and Ira Sullivan...

Here's Rodney's fast version of The Girl From Ipanema, and yet it works. With Bill Watrous on trombone (wearing what must be the least amount of clothes by a performing jazz musicians) and Chris Potter on saxophone...

Here's Rodney playing 'Round Midnight, with Frank Morgan on alto saxophone, Monty Alexander on piano, Rufus Reid on bass and Roy Haynes on drums...

Bonus: Here's Rodney playing You Better Go Now with Ira Sullivan on tenor saxophone in November 1957. Impossibly beautiful...