The Miles Davis Quintet had just finished recording its fourth album Nefertiti before embarking on an all-star jazz tour billed as “The Newport Jazz Festival in Europe.” The track “No Blues” was recorded during the group’s first stop in Belgium on October 28, 1967, with Wayne Shorter on tenor saxophone, Herbie Hancock on piano, Ron Carter on bass, Tony Williams on drums and Miles on trumpet.

Carter remembers the European concerts as the next step in the evolution of this once-in-a-lifetime ensemble.

“None of us realized that the band would reach this level of historical value,” Carter said. “I think we realized we were doing something a little different than the other groups who were playing at that time. I think we were so focused on playing better every night. Many times we never knew we were being recorded at the live concerts. The studios were a much more controlled environment, the sound was much more even in the studio due to the microphones and the shape and the size of the rooms, and the engineer knew what he was looking for because he heard the band live in New York or somewhere. So the environment is completely different.”

All five concerts were recorded by state-owned radio and television stations, and feature previously unreleased or first-ever authorized released material. Executive producer Erin Davis, son of the late Miles Davis, says his father put his musical instincts to work when he assembled the Quintet.

“When you go back it’s hard to imagine this being one band. It seems like something that could happen for one show or something, but this was a band that was together for years. That was just one of his great talents was putting together a band,” Davis noted.

Erin Davis believes these recordings capture the Quintet at its best.

“I think they all considered each other equals and didn’t have to show each other up, so, I think, what you got was just an excellent performance all the time,” he said.

The Miles Davis Quintet Live in Europe 1967: The Bootleg Series Volume 1 also features concerts recorded in Denmark and France, as well as a DVD of concert footage shot in Sweden and Germany.

Source: Voice of America

If you surf the Internet for articles about jazz and photography, you might find a few. But a recently-released book compiles accounts and rare expressive photos of jazz greats Louis Armstrong, Duke Ellington, Miles Davis, Sonny Rollins, Billie Holiday and others.

Blue Notes in Black and White: Photography and Jazz, by Benjamin Cawthra, charts the development of jazz photography from the swing era of the 1930s to the rise of Black Nationalism and the civil rights movement in the 1960s. It also introduces the readers to some great jazz photographers, including Herb Snitzer, Francis Wolff, Roy DeCarava, William Claxton, Gjon Mili, William Gottlieb, Herman Leonard and others.

I talked with the author, Benjamin Cawthra, who is Associate Professor of History at California State University, Fullerton, and Associate Director at the Center for Oral and Public History. He told me he worked on the book for more than 10 years to offer an account of the partnership between two of the 20th century’s innovative art forms: photography and jazz.

It all started when Cawthra was working at a museum at St. Louis, Missouri and had the brainstorm of doing an exhibition on jazz great Miles Davis, a native son of St. Louis area.

“It seemed that he’d never taken a bad picture, and so many photographers had taken his pictures,” noted Cawthra who was struck by some extraordinary images that were part of the exhibition. “So, when I went to do my dissertation at Washington University at St. Louis I was just thinking: where did these really great photographs come from? Why would they taken? What impact, if any, did they have at the time they were taken? And how they become such classic, iconic images and photographs of jazz musicians?”

Blue Notes in Black and White: Photography and Jazz recounts more racism stories related to jazz greats, including Davis. Miles Davis was performing at a club in New York. He was taking a break to escort a “pretty white girl named Judy” to a Taxicab between sets. A white police officer told him to move along — to keep the sidewalk clear. Davis, who was famous at the time, explained to the situation to the officer, but it tuned into a scuffle.

“A second detective comes along and starts beating him on the head with a baton,” explained Cawthra. “So, the next image we see of Miles Davis is him with a blood-spattered jacket, a bloody scalp and being booked at police headquarters. And again here’s a moment where the social tension and the difficulty of race in America are impinging on the jazz image.”

Blue Notes in Black and White: Photography and Jazz also shows the links between diverse photographers, examining their common interest in jazz as a subject. In addition, the book sheds light on their “substantial differences” in terms of approach as jazz itself underwent stylistic changes and cultural repositioning against the backdrop of the modern civil rights movement.

Cawthra opens his book by looking at a powerful moment in 1960 when African-American jazz icon Louis Armstrong actually lets his guard down for a photographer named Herb Snitzer who was working for the jazz magazine Metronome. Armstrong was on a tour in the Northeastern United States with his All-Stars band. He was probably the most famous entertainer in America — maybe in the world — not named Charlie Chaplin in the 1920s and the 1930s, Cawthra explained.

“And yet as [photographer Ralph] Ellison suggests in his novel [Invisible man,] which was published in 1952, during that year Louis Armstrong – the real Louis Armstrong – was not really visible, he’s invisible because he has to play a role,’ the book author elaborated. He has to smile, he has to play a particular role that’s expected of him from his audience, especially his white audience and that just the way it was,” the author said.

“He was on tour with Armstrong in Connecticut. He took some extraordinary photographs of Louis Armstrong in which he’s not smiling, he’s not the gregarious entertainer that we think of, and he came to find out later that Armstrong had been denied the use of restroom facilities on the tour,” said Cawthra. “That was really affecting his mood, and that’s perhaps why he has this look on his face.”

In Blue Notes in Black and White: Photography and Jazz, Cawthra writes: “Surely Armstrong was acutely aware of his own invisibility – his second-class status as a man – during those early years. After all in ‘Black and Blue’ he sings ‘I’m White Inside,’ which Ellison may have read not as a sellout but as the strongest assertion of equality a black singer could have made in the early 1930s.”

The book has some of the most extraordinary and famous photos, which didn’t receive much play in the press between the 1940s and 1960s, nor in some of the leading jazz magazines of the time. Among them are photos of Louis Armstrong, Duke Ellington, Dizzy Gillespie, Charlie Parker and Billie Holiday, which in 1996 became a U.S. postage stamp.

Source: Voice of America: Jazz Beat

For more on jazz music, listen to VOA’s Jazz America

Mimi Fox

Irene is gone! It’s been a couple of tense days with safety concerns and preparations for the biggest hurricane many of us would probably encounter in their lifetime. Hopefully everybody is safe and ready to move on with life.

Let’s look at those things that are inspiring in life. People. People are inspiring. Mimi Fox is inspiring! For those not familiar with her, here’s a brief introduction at Wikipedia.

I first came across Mimi Fox through the guitar lessons at True Fire. I got curious after the first encounter. I started looking for more information about here. Does she have any CDs of her own? Who did she play with?

I looked up her personal web site: mimifoxjazzguitar.com. I immediately ordered her CDs: Perpetually Hip, She’s the Woman, Kicks, Turtle Logic and Standards. Went through her complete discography listed on her website to learn more.

This lady has style! Aside from her solo work, Fox has also played with everyone from Branford Marsalis to Diana Krall to Stevie Wonder, among many others. As a student of jazz guitar, I have to say that I consider her not only inspirational but possibly life-changing.

Here are a couple of clips from YouTube:
Mimi Fox – Live At The Palladium: “Blues For Two”, Lullaby of the Leaves“, and Greta Matassa Live at Bakes Place: Take the A-Train.

And for those that do want to read more about Mimi Fox, here is a Mimi Fox Interview With Jazz Guitar Life and from Vintage Guitar Magazine – Mimi Fox: Breaking Barriers in Jazz (January 2011) in PDF format.

- Lazarus

Pennsylvania Gov. Tom Corbett is declaring a state of emergency in anticipation of damage from Hurricane Irene. I guess it’s best to take his advice and be prepared.

I tried to dig out any jazz related tunes I could, featuring the name Irene. All I got is two tunes:

• Fattburger – Irene and
• Bill Frisell – Goodnight Irene

Let me know if you know of some more.

Stay safe!

-Lazarus

The music of Miles Davis by Lex Giel

I don’t know what process you guys follow in learning jazz music. I rely a lot on books, music books that is. Some include CDs with patterns, arpeggios, licks, etc. Sometimes I seek out a DVD that usually includes a booklet of some kind. But among all the useful educational resources that I’ve come across, there’s this book that looks like a treasure! I’m saying “looks like a treasure” because I’m still in the process of discovery. Soon after that, digestion should follow! It doesn’t have a CD and it doesn’t have a DVD. Just a plain book!

The book is “The Music of Miles Davis” by Lex Giel and published by Hal Leonard. It professes to be for all musicians. It is positioned as “a study and and analysis of compositions and solo transcriptions from the great jazz composer and improviser.” It’s 320 pages and analyzes the works and provides transcriptions of the solos, Some of the songs covered include: All Blues, Four, Freddie Freeloader, My Funny Valentine, Nardis, So What, Solar, Stella by Starlight, Tune Up and more…

Besides the lead sheet for each tune it includes an ‘Analysis sheet’ which, according to the author, examines five fundamental aspects of the chords from the lead sheet:

1. Each chord from the lead sheet is written bar-by-bar in its basic four-part form.
2. Roman numerals under each chord identify the chord function in relation to a key or tonality.
3. A basic scale that can be played over the chord is listed under the Roman numerals.
4. The main key of tonality is listed at the top of the analysis sheet.
5. The form of each song is also listed at the top of the analysis sheet.

The book addresses keys and tonalities which, again, in the authors words:
“Keys or tonalities (which describe the use of modes) are established through chord progressions. Knowing this, it is important to realize that the bass and the piano (or accompanying instrument) are most prominently used in establishing they key in a jazz song. As songs and solos are discussed, be careful not to confuse key or tonality names with scale names as they function differently.”.

The book is being sold through online stores like Amazon.com and Barnes & Noble. The Amazon.com store offers a look to the inside of the book, allowing for preview of a few pages.

I think it’s worth every penny of it’s price (currently $22.76) – and, really a lot more…

I think it’s going to take me a while to fully digest this book. But I’m really thrilled with what I see, and the possibility that some day I might get a glimpse into the musical thoughts of the jazz genius called Miles Davis.

- Lazarus

The first album of Steps Ahead featured Mike Mainieri – vibes, Michael Brecker – tenor sax, Eddie Gomez – bass, Peter Erskine – drums, Eliane Elias – piano.

Somehow this morning started with Steps Ahead. I don’t know how I ended queuing some on their tunes, but I did. I have digitized my music collection and have everything stored on a network volume. I then use a software application to manage my collection and have my computer send a bluetooth signal to my stereo system, which in turn powers the speakers in the room where I sit.

Anyway, I had my morning coffee and browsed through the news outlets on the Internet while Mike Mainieri (vibraphone) Michael Brecker (tenor sax), Steve Gadd (drums), Eddie Gomez (bass), Don Grolnick (piano), reaffirmed once again how beautiful and engaging jazz fusion can be.

If you are not familiar with the band, here’s something from YouTube: Steps Ahead at Umbria Jazz 85 Safari and Steps Ahead Live at Mt. Fuji 2004 – Oops. There’s more gems out there if you do a search.

One of my favorites is from the album Modern Times – Radioactive. Just make sure to crank up your sound system when you play it! This is what get’s me going in the morning. After listening to this, I’m ready to face the world!

Samick Greg Bennett Royale 5. A picture from the seller.

I’m all smiles today! There’s a new family member that I am expecting soon! A member to my guitar family that is. A Samick Greg Bennett Royale 5. For those not familiar with the brand, Samick is the name of a Korea-based musical instrument manufacturer, one of the largest in the world.^[1].

The best part, at least for me, is that I won this guitar on an Ebay auction for $199.95. Suggested retail price is around $800, but it seems you can find it starting at $560. Well, I just paid for it – so, hopefully I’ll have it in a week or so.

Samick Greg Bennet RL 5 features^[2] (Watch Greg Bennett talks about the Royale series)

• Single cutaway, semi hollow body
• Bound, arched, select spruce top
• Bound, mahogany set neck
• Rosewood fingerboard
• Gold Grover™ tuners
• Gold jazz tail piece
• Shipped with rosewood jazz bridge and gold adjustable bridge
• HH Duncan Design™ pickups

I’m excited – and maybe you couldn’t care less if you don’t share my affinity for guitars. I’ve bought all my guitars and bass guitars (the total number of which exceeds 30 by now. I don’t count anymore…) through Ebay auctions. All except one. The first guitar that I got in this country, sometime in the 90s (I’ve lived in Greece before…), which was a Fender Telecaster and it was a birthday gift. I don’t think I’ve paid more than $400 for a single guitar, but I did get some pretty good deals for $100-$200. Like this Korean Hamer Sunburst Archtop for $176.87 – and that included a hard shell case! Or this 12 String Schecter Diamond acoustic for $202.49. At first I was a little reluctant. Thoughts go through one’s mind. Like “what condition will the guitar be in”, “will it be as advertised?” Although there have been a couple of cases where the product arrived damaged, my overall experience with shopping for guitars online has been positive. In one of the ‘bad’ cases, the guitar arrived in a damaged box with the set neck clearly and totally separated from the body of the guitar. Thankfully the product was insured against shipping damages. The cost for repair was reimbursed in full.

Anyway, I’m happy for today. I think I’ll sleep like a baby tonight!!

PS. Maybe I have to come up with a name for the new family member. Well, since she’s part of the ‘Royale” series, I think the name should reflect that. How about “Empress”?

- Lazarus

1. ^[1] Wikipedia: Samick ↩
2. ^[2] Greg Bennett guitars ↩

On my lunch break today, I stumbled across a new (2010 actually) album that’s out by Larry Carlton. It’s called the “Larry Carlton plays the Sound of Philadelphia.” I figured “Larry Carlton = jazz guitar & Philadelphia = this is where we are.” I decided to take a closer look at this album.

Larry Carlton has a backing of some nice musicians on the album. Paul Shaffer (organ), Tony DeSare (piano), Tommy Byrnes (rhythm guitar), Christopher Jackson (bass), Bill LaBounty (vocals), Andrea Valentini (drums), Mark Douthit (sax), to name some. On the album, there’s a lot of melodic arrangements accompanied by a guitarist noted for his technical skill and soulful playing.

Also came across these audio samples (available through the Larry Carlton web site)

Audio Samples:

I’ll Be Around

Could It Be I’m Falling In Love

Here’s a video interview with Larry Carlton talking about the release of his album.

The track Back Stabbers is also available through YouTube.

This is by no means a review of an album. I just wanted to share my finding. If anyone’s interested in the album, it’s available through Amazon.com as a CD purchase or an MP3 download

Alright, since I’m not coming around thesedays, I’ll need somebody to take the initiative to contribute by providing and maybe posting information in regards to the sessions. Maybe like I have been doing at the times when I was showing up? Let’s say, who plays what,  and what tunes you tackle? Let me see those hands go up!!!

From my part, I’ll be providing information about all the paths I cross during my jazz learning endeavors. A “I’m learning jazz” blog in essence. I would like to encourage anybody and everybody else to contribute in a similar manner if they’d like.

For starters, and in order to accommodate these new demands, I switched the forum platform from Joomla to WordPress. In the process, I successfully transferred all user accounts over – I had no luck with carrying over your old passwords. So, I’d like to ask you to log in with the password that I will be emailing you, and then go to your personal settings and change the password to one of your liking.

More to follow – for the time being enjoy this Marcus Miller video clip!

– Lazarus

PS. If you din’t get my email with the password for accessing the forums, use the contact form below to let me know.

[contact-form 1 "Contact form 1"]

Instructor: Alex Maio

I’ll wait for somebody to provide with more details.