Category Archives: Jazz

Today: The late Charles Mingus was born in 1922 – 91 years ago

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Just because I’m playing jazz I don’t forget about me. I play or write me the way I feel through jazz, or whatever. Music is, or was, a language of the emotions.
~Charles Mingus

Anyone can make the simple complicated. Creativity is making the complicated simple.
~Charles Mingus

Irascible, demanding, bullying, and probably a genius, Charles Mingus cut himself a uniquely iconoclastic path through jazz in the middle of the 20th century, creating a legacy that became universally lauded only after he was no longer around to bug people.
~Richard S. Ginell (allmusic.com)

Goodbye Pork Pie Hat – Live at Montreux 1975:

Wikipedia:

Birth name Charles Mingus Jr.
Born April 22, 1922
US Army Base in Nogales, Arizona, United States
Origin Los Angeles, California, United States
Died January 5, 1979 (aged 56)
Cuernavaca, Mexico
Genres Jazz, hard bop, bebop, avant-garde jazz, post-bop, Third Stream, gospel, orchestral jazz, free jazz
Occupations Double bassist, composer, bandleader
Instruments Double bass, piano, cello, trombone
Years active 1943–1979

Charles Mingus Jr. (April 22, 1922 – January 5, 1979) was a highly influential American jazz double bassist, composer and bandleader. Mingus’s compositions retained the hot and soulful feel of hard bop and drew heavily from black gospel music while sometimes drawing on elements of Third Stream, free jazz, and classical music. Yet Mingus avoided categorization, forging his own brand of music that fused tradition with unique and unexplored realms of jazz. He once cited Duke Ellington and church as his main influences.

Mingus focused on collective improvisation, similar to the old New Orleans jazz parades, paying particular attention to how each band member interacted with the group as a whole. In creating his bands, Mingus looked not only at the skills of the available musicians, but also their personalities. Many musicians passed through his bands and later went on to impressive careers. He recruited talented and sometimes little-known artists whom he assembled into unconventional and revealing configurations. As a performer, Mingus was a pioneer in double bass technique, widely recognized as one of the instrument’s most proficient players.

charles mingus

Charles Mingus Sextet featuring Eric Dolphy – Take The A Train (Live in Oslo – Norway 1964):

Nearly as well known as his ambitious music was Mingus’ often fearsome temperament, which earned him the nickname “The Angry Man of Jazz”. His refusal to compromise his musical integrity led to many on-stage eruptions, exhortations to musicians, and dismissals. Because of his brilliant writing for mid-size ensembles, and his catering to and emphasizing the strengths of the musicians in his groups, Mingus is often considered the heir of Duke Ellington, for whom he expressed great admiration. Indeed, Dizzy Gillespie had once claimed Mingus reminded him “of a young Duke”, citing their shared “organizational genius”.

Mingus’ music was once believed to be too difficult to play without Mingus’ leadership. However, many musicians play Mingus compositions today, from the repertory bands Mingus Big Band, Mingus Dynasty, and Mingus Orchestra, to the high school students who play the charts and compete in the Charles Mingus High School Competition.

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Orange Was The Color Of Her Dress, Then Blue Silk (Live in Oslo 1964):

Gunther Schuller has suggested that Mingus should be ranked among the most important American composers, jazz or otherwise. In 1988, a grant from the National Endowment for the Arts made possible the cataloging of Mingus compositions, which were then donated to the Music Division of the New York Public Library for public use. In 1993, The Library of Congress acquired Mingus’s collected papers—including scores, sound recordings, correspondence and photos—in what they described as “the most important acquisition of a manuscript collection relating to jazz in the Library’s history”.

Mingus: Charlie Mingus 1968” (Thomas Reichman documentary) – 58min:

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Today: Nina Simone passed away in 2003 – 10 years ago

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Jazz is a white term to define black people. My music is black classical music.
~Nina Simone

Once I understood Bach’s music, I wanted to be a concert pianist. Bach made me dedicate my life to music, and it was that teacher who introduced me to his world.
~Nina Simone

Nina Simone was one of the most gifted vocalists of her generation, and also one of the most eclectic.
~Mark Deming (allmusic.com)

Ain’t Got No…I’ve Got Life:

Wikipedia:

Birth name Eunice Kathleen Waymon
Born February 21, 1933
Tryon, North Carolina, United States
Died April 21, 2003 (aged 70)
Carry-le-Rouet, Bouches-du-Rhône, France
Genres Jazz, blues, R&B, folk, gospel
Occupations Singer, songwriter, pianist,arranger, activist
Years active 1954–2003
Labels Bethlehem, Colpix, Philips, RCA Victor, CTI, Legacy Recordings
Website http://www.ninasimone.com/

Eunice Kathleen Waymon (February 21, 1933 – April 21, 2003), better known by her stage name Nina Simone /ˈniːnə sɨˈmoʊn/, was an American singer, songwriter, pianist, arranger, and civil rights activist widely associated with jazz music. Simone aspired to become a classical pianist while working in a broad range of styles including classical, jazz, blues, folk, R&B, gospel, and pop.

Born the sixth child of a preacher’s family in North Carolina, Simone aspired to be a concert pianist. Her musical path changed direction after she was denied a scholarship to the prestigious Curtis Institute of Music in Philadelphia, despite a well-received audition. Simone was later told by someone working at Curtis that she was rejected because she was black. When she began playing in a small club in Philadelphia to fund her continuing musical education and become a classical pianist she was required to sing as well. She was approached for a recording by Bethlehem Records, and her rendering of “I Loves You, Porgy” was a hit in the United States in 1958. Over the length of her career Simone recorded more than 40 albums, mostly between 1958—when she made her debut with Little Girl Blue—and 1974.

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“Feelings” (Montreux Jazz Festival):

Her musical style arose from a fusion of gospel and pop songs with classical music, in particular with influences from her first inspiration, Johann Sebastian Bach, and accompanied with her expressive jazz-like singing in her characteristic contralto. She injected as much of her classical background into her music as possible to give it more depth and quality, as she felt that pop music was inferior to classical. Her intuitive grasp on the audience–performer relationship was gained from a unique background of playing piano accompaniment for church revivals and sermons regularly from the early age of six years old.

In the early 1960s, she became involved in the civil rights movement and the direction of her life shifted once again. Simone’s music was highly influential in the fight for equal rights in the United States. In later years, she lived abroad, finally settling in France in 1992.

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Love Me Or Leave Me:

15 min clips from 1984 Interview:

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Today: The late Bessie Smith was born in 1894 – 119 years ago

It’s a long old road, but I know I’m gonna find the end.
~Bessie Smith

I’ve been poor and I’ve been rich, and rich is better.
~Bessie Smith

Press: Who are your favorite singers?
Bob Dylan: Bessie Smith, Ma Rainey, Billie Holiday and Nancy Sinatra
~Bob Dylan press conference – Paris, May 1966

Downhearted Blues, 1923:

Trouble, trouble, I’ve had it all my days. It seems that trouble’s going to follow me to my grave.
~Bessie Smith (Downhearted Blues)

Wikipedia:

Born April 15, 1894
Chattanooga, Tennessee, United States
Died September 26, 1937 (aged 43)
Clarksdale, Mississippi, United States
Genres Blues, Jazz
Occupations Singer, actress
Instruments Vocals
Years active 1912–1937
Labels Columbia
Associated acts Ma Rainey, Alberta Hunter, Ethel Waters

Bessie Smith (April 15, 1894 – September 26, 1937) was an American blues singer.

Nicknamed The Empress of the Blues, Smith was the most popular female blues singer of the 1920s and 1930s. She is often regarded as one of the greatest singers of her era and, along with Louis Armstrong, a major influence on subsequent jazz vocalists.

She scored a big hit with her first release, a coupling of “Gulf Coast Blues” and “Downhearted Blues”, which its composer Alberta Hunter had already turned into a hit on the Paramount label. Smith became a headliner on the black T.O.B.A. circuit and rose to become its top attraction in the 1920s. Working a heavy theater schedule during the winter months and doing tent tours the rest of the year (eventually traveling in her own railroad car), Smith became the highest-paid black entertainer of her day. Columbia nicknamed her “Queen of the Blues,” but a PR-minded press soon upgraded her title to “Empress”.

Smith was gifted with a powerfully strong voice that recorded very well from her first record, made during the time when recordings were made acoustically. With the coming of electrical recording (circa 1925), the sheer power of her voice was even more evident.

She made 160 recordings for Columbia, often accompanied by the finest musicians of the day, most notably Louis Armstrong, Coleman Hawkins, Fletcher Henderson, James P. Johnson, Joe Smith, and Charlie Green.

Selective awards and recognitions:

Grammy Hall of Fame
Recordings of Bessie Smith were inducted into the Grammy Hall of Fame. This special Grammy Award was established in 1973 to honor recordings that are at least 25 years old and that have “qualitative or historical significance.”

Bessie Smith: Grammy Hall of Fame Award
Year Recorded Title Genre Label Year Inducted
1923 Downhearted Blues Blues (Single) Columbia 2006
1925 St. Louis Blues Jazz (Single) Columbia 1993
1928 “Empty Bed Blues” Blues (Single) Columbia 1983

National Recording Registry

In 2002 Smith’s recording of the single, “Downhearted Blues”, was included by the National Recording Preservation Board in the Library of Congress’ National Recording Registry. The board selects songs on an annual basis that are “culturally, historically, or aesthetically significant.”

“Downhearted Blues” was included in the list of Songs of the Century by the Recording Industry of America and the National Endowment for the Arts in 2001. It is in the Rock and Roll Hall of Fame as one of the 500 songs that shaped rock ‘n’ roll.

Inductions

Year Inducted Category Notes
2008 Nesuhi Ertegun Jazz Hall of Fame Jazz at Lincoln Center, NYC
1989 Grammy Lifetime Achievement Award
1989 Rock and Roll Hall of Fame “Early influences”
1981 Big Band and Jazz Hall of Fame
1980 Blues Hall of Fame

Baby Won’t You Please Come Home (1923):

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Today: Billie Holiday was born in 1915

Billie Holiday (born Eleanora Harris April 7, 1915 – July 17, 1959) was an American jazz singer and songwriter. Nicknamed “Lady Day” by her friend and musical partner Lester Young, Holiday had a seminal influence on jazz and pop singing. Her vocal style, strongly inspired by jazz instrumentalists, pioneered a new way of manipulating phrasing and tempo.

Southern trees bear strange fruit,
Blood on the leaves and blood at the root,
Black bodies swinging in the southern breeze,
Strange fruit hanging from the poplar trees.

My two favorite songs by Billie Holiday are Strange Fruit and Speak Low.

Strange Fruit:

Strange Fruit,  the haunting song about lynching in America was first recorded by Billie Holiday in 1939.

Strange Fruit is one of the earliest examples of a protest song. It is simple, spare and effective poetry. We must remember that it was written at a time when political protest was not often expressed in music, and still a dangerous thing to do. The three short verses has an unusual and ironic tone and are all the more powerful for it. To take such wonderful scenery and mix it with the brutality of hanging, to speak of lynched men as fruit, to mix up the smell of magnolias with that of burning flesh — this is powerful stuff to this day! We can only imagine the impact of the song when it was released.

Getting the song on record was not easy. Columbia Records, Holiday’s regular label, refused release it. It was Commodore Records, a small outfit run by Milton Gabler that finally released it.

Here is a great documentary about the film that was shown on PBS, it is a must see film:

The film tells a dramatic story of America’s past by using one of the most influential protest songs ever written as its epicenter. The saga brings us face-to-face with the terror of lynching as it spotlights the courage and heroism of those who fought for racial justice when to do so was to risk ostracism and livelihood if white – and death if black. It examines the history of lynching, and the interplay of race, labor, the Left and popular culture that would give rise to the civil rights movement.

Speak Low:

Speak low when you speak, love
Our summer day withers away too soon, too soon
Speak low when you speak, love
Our moment is swift, like ships adrift, we’re swept apart, too soon
Speak low, darling, speak low
Love is a spark, lost in the dark too soon, too soon

“Speak Low” (1943) is a popular song composed by Kurt Weill, with lyrics by Ogden Nash. It was introduced by Mary Martin and Kenny Baker in the Broadway musical One Touch of Venus (1943). The 1944 hit single was by Guy Lombardo and his orchestra, with vocal by Billy Leach. The tune is a jazz standard that has been widely recorded. The opening line is a (slight mis)quotation from William Shakespeare’s Much Ado About Nothing (1600), where it is spoken by Don Pedro.

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Bob Dylan cover version lists at alldylan

Dylan

This is a collection of some published Bob Dylan Cover Version posts @ alldylan.