And surely enough has been said - "Satchmo" and the grande dame of jazz certainly need no further introduction. In the '50s just the mere mention of their forenames was enough to light up the eyes of jazz fans. A glance at the track list reveals that tranquility rules the day: wild stomps and improvised scats will neither be sought nor missed. Of prime importance to the jazz ballad is a feeling of "letting oneself drift" in the inspiration which gushes forth from the minds of Album) American songwriters.
This is no contest - for the artists all pursue a common goal with extreme sensitiveness. The background combo, made up of first-class musicians and led by Oscar Peterson, performs with great concentration and almost obtrusive unobtrusiveness.
Verve's highly successful producer Norman Granz decided quite deliberately to make the recording in the studio instead of at a live session.
And success has verified his judgment, for such vocal jazz knows only gentle tones - but the result is all the more intensive for that. How much would you pay for the most palpable illusion you'll ever experience that Pops and the First Lady of Song are back among the living—standing, breathing, singing, and blowing, right in front of you?
It's the only QRP Verve I've heard so far, but if it's a harbinger of things to come, it's what Satch would call a mitzvah! The results are simply staggering. If you have a good stereo, you'll swear they're in the room! There is, for example, the iconoclasm of the soloist having to mesh with collective improvisation. There is also, for lack of a better term, the business of jazz singing. Jazz, of course, began a good century ago as a vocal music. In fact, the one definable tradition of jazz singing is probably blues singing.
The rest of jazz singing has for some time been in the scattered, dissimilar hands of people who have persisted without the backrest of tradition. Among male singers who have LP, by and large, had the prowess of female jazz singers-there have been Leo Watson, the remarkable scat singer whose word streams formed a series of harsh, cubistic dreams of birds, Chicago, and big bass drums; Jelly Roll Morton, a great jazz singer whose soft, thin, barreling voice still retains on his records an urgent poignancy, and his semi-followers, Clancy Hayes and Turk Murphy; Lips Page; Jack Teagarden, his prvoice good burlap; Nat King Cole, who developed a Casual, suede approach; and, finally, Louis Armstrong.
In recent years, the ranks of female jazz singers, though swelling daily, have been LP by little more than handsome, leggy dilutions. But Ella Fitzgerald, has, for one reason and another, remained the most vigorous and ineffable singer in jazz and popular music. Her style was virtually set by the time she began professionally in the Thirties with Chick Webb. It was a rhythmical, agile, humorous way of singing that depended on a healthy, rather ordinary voice; a lack of useless ornamentation most young singers today affect styles that are, basically, borrowed ornamentations ; a direct and understanding delivery of lyrics again, most young singers handle lyrics as if they were sucking mothballs ; and a musicianship that enabled her to get away from the melody in a Blues-A-Plenty - Johnny Hodges And His Orchestra - Blues-A-Plenty (Vinyl that any composer would have been proud had he thought of it originally.
It has, nevertheless, become more subtle, more flexible, more polished, and recently has manifested a luminous lyricism that is not apparent so much in its single parts as in the whole. She gives the impression today of the finished artist whose seams no longer show, whose approach is stable but exciting, and whose mind is in balance with the heart.
Louis Armstrong, on the other hand, has retained the insuperable singing style he had worked out by the late Thirties. There is less of the whooping, shoveling quality in his voice, which has, like rough waters, inevitably smoothed down, but the great singing foundation is apparent, particularly in the way he approaches ballads.
And what great warmth and soul! What his voice has always been is an indication of how jazz singing could go. Louis invariably handles melody like a bear giving a hug; he smothers it in the peculiarities of his voice and enunciation, and out pops a new shapea kind of counter-melody, dressed, nevertheless, in tweeds and pearls.
Unfortunately, of late, Louis has confined himself almost exclusively to remaking blues of an earlier age and pedestrian popular songs so that each impression was but a fainter and dimmer carbon of the original great talent. This record gives Louis a chance at restoration. The materials are a judicious choice of high-level standards. And instead of his usual, diffident Dixieland backing, there are the Oscar Peterson Trio Ray Brown on bass and Herb Ellis on guitar plus Buddy Rich, who are properly pulsive and wholly discreet.
In such a palmy setting, Armstrong is in simple, unraffish condition, and Ella is in impeccable voice. A quiet, Sunday-go-to-meeting record, with slow and middle tempos throughout, that, however, never stop swingingit creates the sort of jazz that is pensive, rich, and rewarding. Considered one of Ella's greatest recordings, she's backed on this release by pianist Paul Smith. The album hits at a depth of emotional understanding that critics often complained was missing in Ella's reading of jazz lyrics, and once again establishes her as one of the supreme interpreters of the Great American Songbook.
But if Soulville was everything I hoped for, Epitaph is the over-achiever. Ella recorded a series of her 'greatest hits' for the soundtrack of this entirely forgettable movie, a few of which were used. Ella played a singing piano player, so she recorded the songs with only piano backing by Paul Smith.
Recorded in at the United Western Recorders in Hollywood, which produced great sounding hits for everyone from Nat King Cole to the Beach Boys, this has always been recognized as one of Ella's best sounding records, and was released long ago by Classic Records.
This new mastering by the late George Marino at Sterling Sound easily bests that earlier effort. Great music recorded during the golden age of recording at one of the great studios, mastered to perfection. Ella Fitzgerald. John Cornelius "Johnny" Hodges - was an American alto saxophonist, best known for solo work with Duke Ellington's big band. He is considered one of the definitive alto saxophones players of the big band era alongside Benny Carter.
When Ellington wanted to expand his band inEllington's clarinet player Barney Bigard recommended Hodges. His playing became one of the identifying voices of the Ellington orchestra. From toHodges left the Duke to lead his own band, but returned shortly before Ellington's triumphant return to prominence — the orchestra's performance at the Newport Jazz Festival.
The self-taught player made many solo forays during his long career, one of his '50s outfits included a young John Coltrane, but history remembers Hodges for his virtuosic sidemanship, particularly his sensitive rendering of ballads. Originally issued on Verve Records inBlues A Plenty finds the alto saxophonist in one of his standout dates as a leader, commandeering a talented group featuring Ben Webster tenor saxophoneRoy Eldridge trumpet and Vic Dickenson trombone along with the Ellington rhythm section of Billy Strayhorn pianoJimmy Woode bass and Sam Woodyard drums.
Johnny Hodges And His Orchestra. Playing alto sax throughout this album, Stitt hardly sounds like a Charlie Parker clone, something that unfortunately was a frequent claim by tin-eared critics throughout a fair portion of his career. Blues-A-Plenty - Johnny Hodges And His Orchestra - Blues-A-Plenty (Vinyl music includes several potent originals, especially "Hymnal Blues" and the slow, powerful "Morning After Blues.
He was one of the best-documented saxophonists of his generation, recording over albums. He was nicknamed the "Lone Wolf" by jazz critic Dan Morgenstern, in reference to his relentless touring and devotion to jazz.
Stitt was sometimes viewed as a mere Charlie Parker mimic, especially earlier in his career, but gradually came to develop his own sound and style particularly when performing on tenor sax.
He was an alto saxophonist in Tiny Bradshaw's band during the early '40s, then joined Billy Eckstine's seminal big band inplaying alongside other emerging bebop stars like Gene Ammons and Dexter Gordon.
Last updated 3 years ago. Similar ideas popular now. Duke Ellington. Jazz Musicians. That Look. Berigan Taylor. Jazz Players. Blue Train. Jazz Club. All That Jazz. Miles Davis. Black Star. Classical Music. Jazz Blues. New Orleans. Jim Ardoin. Gerry Mulligan. Exactly Like You. Vinyl Lp. Types Of Music. Over The Years. Passion Flower. Kinds Of Music.
Blue Bird. Art Background. Jazz Artists. Song Artists. Le Jazz Hot. Cool Jazz. A Love Supreme. Hard Bop. Music Artists. Heart Photography. Portrait Photography. Jazz Composers. Happy Born Day to Johnny Hodges. Blues Artists. Photography Gallery. Fine Art Photography. Recording Studio. When Ellington wanted to expand his band inEllington's clarinet player Barney Bigard recommended Hodges.
His playing became one of the identifying voices of the Ellington orchestra. From toHodges left the Duke to lead his own band, but returned shortly before Ellington's triumphant return to prominence — the orchestra's performance at the Newport Jazz Festival.
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