Clifford Brown with Strings-"Laura"

There are a lot of lovely songs named after women-think of "Emily", "Waltz for Debbie", "Nancy with the Laughing Face', or, as featured here, "Laura". This one's by David Raksin and Johnny Mercer, and was heavily featured in the Gene Tierney/Dana Andrews 1944 film of the same name.


Brown's 1955 performance is a wonderful illustration of how beautiful trumpet playing can be. It's not all about screaming out high notes, though I certainly enjoy that sort of playing when appropriate.

Clifford, a Wilmington, Delaware native, died far too young-he was merely 25 when he died in a car accident, the year after this recording-but he is well-remembered by jazz fans and still heavily featured on jazz radio. There is also an annual Clifford Brown Jazz Festival held in his home town.

Maynard, Miles, Birdland, and "Oleo"

My last post, featuring some great 1959 work by Bill Evans, alluded to all the great jazz produced in that year, by the likes of Miles Davis, Ornette Coleman, Dave Brubeck, and others.


Today's JazzTrack was also recorded in 1959. It's Maynard Ferguson and his most excellent big band wailing at Birdland in June of that year. At that time Maynard and Miles led the dual house bands, if you will, at that esteemed jazz outpost. Each was featured for several weeks a year. One sign outside the club had Maynard as the headliner, another Miles, in an ingenious bit of artist ego-stroking.


Maynard and band here go toe to toe with a pretty intense reading of Sonny Rollins' "Oleo". No word on a body count. And, yes, big bands could play bop. Solos include Joe Zawinul on piano,  Jimmy Ford (called "The White Bird" for his Charlie Parker tendencies), Slide Hampton on trombone, and Jerry Tyree on trumpet.


It should be noted that this was an integrated band, at a time when not all that many jazz groups were. It featured black players such as Hampton and drummer Frankie Dunlop.


Here's a detailed and appropriately enthusiastic review of Maynard and band at the Newport Jazz Festival in July of that same year: "Ferguson debuted his big brassy well-oiled machine at the Newport Jazz Festival the following year. Ferguson's Friday afternoon set at the 1959 Newport Jazz Festival was an uncanny display of energy, chops and abandon melded with thoroughly polished charts by arrangers Don Sebesky and Slide Hampton..."

Bill Evans Trio - "Autumn Leaves"

I usually avoid seasonally appropriate music posts, but I couldn't resist this one-the brilliant Bill Evans on piano and Scott LaFaro on bass. This is from Bill's 1959 album "Portrait in Jazz". 1959-the year of my birth-was a particularly good year in jazz history. I don't assert a causal connection between my arrival and this fact.  

Somewhere along the way Evans became my favorite pianist. I probably would've named Chick Corea as such a couple years ago. People who know more about modern harmony than I do can tell you about Evans' approach to his instrument-how he often didn't play the roots of chords (leaving that to the bass player), his use of chords voiced in fourths instead of thirds, etc-and that's all very interesting-but technical analysis of music doesn't get you very far. Does it, for want of a better word, grab you, or not?

Vocalchord-"Texas Girl at the Funeral of Her Father"

Vocalchord is, or was, a Dutch group of opera singers who did some very nice close harmony vocals. Here they tackle Randy Newman's lovely "Texas Girl at the Funeral of Her Father". The song is simplicity itself, but very moving, and this treatment certainly does it justice.


Newman is, by any reckoning, one of the finest songwriters of this musical era. So good, in fact, that while Randy was still in his 20's the brilliant Harry Nilsson had already done an album composed solely of Newman material, 1970's "Nilsson Sings Newman".


Which makes me think of the CD's I've listened to recently: 1) Randy Newman-"Little Criminals" (which the above is from); 2) Frank Sinatra-"Sinatra's "Swingin' Session"; 3) Maynard Ferguson-"Maynard '61"/"Straightaway Jazz Themes" (the latter of this double set is from the early 60's ABC series "Straightaway" which Maynard did the music for); 4) Chick Corea-"Concerto" (Chick's sole recorded foray into classical music, as far as I know-he wrote a new orchestration of his "Spain", as well as a new piano concerto for himself); 5) The Beatles-"The White Album" (yes, I actually think that for a few minutes "Revolution 9" works, as a sort of sonic tour of Hell as imagined by John Lennon, that is before John starts into naming dances-"the Watusi, the Twist" and such); and 6) The London Brass-"Modern Times with The London Brass" (hyper-modern set designed to annoy people, though I like a lot of it, actually).

Nina Simone - "Here Comes The Sun"

It's nice to note that this treatment (please don't call it a "cover"-did Ray Charles "cover" songs? Did Sinatra?) of "Here Comes the Sun" by the great Nina Simone has over 17 million views on Youtube. Maybe it will introduce people to Nina. Cool little gospelly piano solo by Nina as well.

I've never been a big fan of George Harrison as a songwriter-he tended towards the preachy and pretentious-but this is a good one. The most obvious comparison is to Macca's "Good Day Sunshine"-very much an inferior song.

Rumer -"What The World Needs Now"

Rumer is a British singer (nee' Sarah Joyce).

The simple beauty of her voice, and of this arrangement of the Bacharach/David classic, need little comment-though I'll mention that Rumer has been likened to Karen Carpenter. Not hard to hear some similarities, but I don't think she's aping Carpenter. You'll note that Madeleine Peyroux sounds more than a little like Billie Holiday, and that Linda Eder sounds like Barbra Streisand. Not sure it's intentional in any of these cases.

Tony Bennett-"Emily"

In the 90's Tony did an album called "Perfectly Frank"-a tribute to you know who. Excellent album, but none of the 24 cuts was as good as the Sinatra version. That's the danger of doing a Sinatra tribute album!

In any case, here is a song that Tony may well do better than Frank. (Frank's "Emily" is here). Not sure when Sinatra did his treatment (Tony's dates from 1966), but obviously it's fairly late in the game. Frank's "Emily" is more about building a home with Emily; Tony's with passion for the girl. Tony's is also rhythmically looser-the waltz beat is much less obvious, when it's there at all.

For another case where Tony may in fact exceed Frank, here's a live 1993 version of "One for My Baby". Tony does it as a roadhouse shuffle, which the song needs. As a straight ballad it's sort of a lesser "Angel Eyes"-which, if you think about it, is basically the same song, only better.