Musical Memories

Or how I became a Jazz Nutter!

I'm not sure when I became more than peripherally interested in music. Certainly as a kid I had compulsory piano lessons which I objected to and therefore neither showed much interest in nor demonstrated any natural talent

I also remember listening to the radio in the days when it was called the "wireless". Geraldo and Henry Hall were two very popular dance bands. But unlike most youths, the pop music of the day did not interest me too much either.
But somewhere along the line I was introduced to jazz, more by accident than design. Quite how I'm not sure. I had and still have a friend Peter who was an avid listener to the American forces network where we could hear the likes of Billy Holiday, Lester Young, Teddy Wilson and Benny Goodman etc. Peter was an incurable jazz addict; he had collected quite a few equally addicted friends, and somehow I became engulfed. The very first jazz 78-rpm record I bought was of Woody Herman playing "the Good Earth". I was in my teens, and naturally an "angry young man" and in my small but highly cherished collection of 78s was Peggy Lee's "Don't smoke in bed" and Billy Holiday's "Strange Fruit". But with out a doubt I was unquestionably weaned on Stan Kenton.

And I am sure it was his influence that led me into classical music via such great composers as Prokofiev, Richard Strauss, Rimsky-Korsakov, Shostakovich and Stravinsky. Although through the years my interests have broadened considerably my allegiance to my early mentors have remained to this day.

I also consider myself lucky to be "involved" with jazz in the 50s and feel highly privileged to have seen in concert so many jazz idols. Of the big bands, Kenton of course, Duke Ellington, Count Basie. Then there were the ensembles; Dave Brubeck, Jerry Mulligan, Jack Teagarden with Earl (Fatha) Hines, Modern Jazz Quartet. There were as well the Norman Granz groups, called Jazz at the Philharmonic who would tour the UK as well as the rest of Europe. There were so many, Dizzy Gillespi, Miles Davies Ella Fitzgerald, Oscar Peterson and many many more. Most of them, sadly dead.

And we have to face it, when it comes to Jazz there is nobody in the same league as the Americans.
Jazz to the Americans is like Opera to Italy, Bag pipes to Ireland and Scotland and Classical music to mid and east Europe. Sure there is a lot of talent elsewhere, but as often as not such talent migrates to the centres of excellence.
I think that the 50s is the period I am most comfortable with although I really enjoy some of the earlier 30s and 40s music, such as Louis Armstrong's Hot 5 & 7 in the 30s. Also Kid Ory, Muggsy Spanier and even earlier, King Oliver.
As for the present day, I seem to be less interested because the people I most enjoy play the type of jazz that was of an earlier era. For example, Bob Wilber on soprano sax keeping up the Bechet image along with Kenny Davern's complementary clarinet. And there is tenor sax man Scott Hamilton maintaining the traditions of Ben Webster and Coleman Hawkins.
But maybe I do myself an injustice, because I do have in my collection such artists as Kenny Baron, Regina Carter and Fred Hersch. And I also do enjoy what I call "chamber Jazz" such as Chico Hamilton, Eric Dolphy and Charlie Mingus.

I've often wondered what the recipe is for enjoyable music. Naturally it will be different for each of us, but do wonder.

I am probably a bit old fashioned with respect to jazz in that there are some basic ingredients without which it does not work.

First of all, jazz is all about improvisation or to use the equivalent "classical" phrase, variations on a theme. And you cannot appreciate the improvisations if you do not know the theme. That's pretty fundamental and I touch on the principle in other chapters.

Secondly, I say to myself, it has got to swing. But maybe that is not too rigid a specification even if a real foot tapper takes a bit of beating. Although "mood" music for the want of a better phrase does captivate me, I would generally say I get a real kick out of a happier nature.

For example Prokofiev's "Classical Symphony", Richard Strauss's "Till Eulenspiegel" and Saint-Saens's "Carnival of the Animals".

And the one Jazz pianist who in all of his records seems to exude so much fun and enjoyment. Without a doubt when I am feeling a little low it is with Erroll Garner that I would choose to relax.

And also for some reason, there just does not seem to be a single work of ballet that I dislike, covering the whole gambit from Herold to Shostakovich and beyond. Something that captivates me with Classical music and the likes of Duke Ellington and Stan Kenton, there is so much going on underlying the basic melody line. I must have listened to Tchaikovky's 5th and 6th symphonies 50 times or more, but with each listening I hear something fresh and even surprising.

And Art Tatum's piano playing. He packs so many notes in every second, yet very one is so important that if left out then it would sound wrong. But then there is the negation of Tatum. Can there be anyone better than Count Basie who will generate great swinging jazz from just a handful of notes.

So I have difficulty in the concept that the music must be fresh, with surprises, yet familiar. Of course, familiarity can mean a lot of things. The style of a composer or a performer or a particular melody. For example Thelonious Monk's "'Round Midnight", a jazz standard played by so many different groups. Also did you know that The Beatles "Yesterday" has been recorded by more people than any other piece of music?

Then there is the interpretation by each conductor of a symphony. Mind you I think a conductor is more akin to a football coach or cricket captain trying to get the absolute best out of his team. With a large orchestra this must be very difficult.

As I mentioned before, I am a ladies man. And that goes for jazz singers. June Christy, Ella Fitzgerald, Rosemary Clooney, Anita O'day, Maxine Sullivan, Peggy Lee, Billy Holiday, Sarah Vaughan to mention just a few. Then there is that special group of ladies who accompany themselves on the piano a tradition started by that great jazz pianist, Nat King Cole. Nelly Lutcher, Rose Murphy, Blossom Dearie, Shirley Horn and most recently, Canadian Diana Krall.

One rather satisfying thing is I can honestly say I am unable to identify a favourite. It may be June Christy today, next week it may be the fabulous piano of Earl "Fatha" Hines. And then again I'll start getting hooked up on Janacek's Suite for string orchestra.

If pressed I would say the most important instrument for me would be the piano. Perhaps because I can play it a little and can appreciate just how difficult it is to play. It is supreme as a solo instrument in both jazz and classical. Raval's Piano concerto in G for example. Also it is a superb orchestral instrument fully exploited by Stravinsky in his Petroushka.

But for the piano, I would have to give my vote to the trombone. This may date back to my Kenton days. Kai Winding while with Kenton was convinced that massed trombones made the noise closest to the angels!

No Dixieland, Creole or Ragtime band would be right without the fruity sound of the trombone. George Brunis, Kid Ory, John Gill to name but three. Of course JJ Johnson needs no introduction. And who else better at playing the blues than Jack Teagarden and Al Grey (top picture). Interestingly, the blues is the simplest of all music, yet in the "right" hands it is completely riveting. Kai Winding was born in Denmark, which only goes to show that one can find pockets of talent almost anywhere.

Before I leave the subject of music, I just start to wonder who is the artist now that technology has infiltrated so much.

TO BE CONTINUED!

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(posted April 2007, updated Aug 2011)