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Glazunov saxophone concerto

»Posted by on okt 5, 2012 in English, Uncategorized | 0 comments

How Branford Marsalis said in an interview: Andrey Boreyko tells the story of Glazunov, and how he is this proud russian composer and beause of political situation decides to leave with his friends. Glazunov gets to Paris and they say: „Well It’s very good, but we already have a russian composer“, speaking of Stravinsky, „so we don’t need another one. Your musical merits don’t matter, it’s where you come from that matters“, evidently. So he struggled as a composer. So when Andrey talks about it, he says there is this beginning melody, it’s a very Russian melody, and the reason that you hear the melody stated so many times in the piece, is that this is the melody that represents homesickness and a longing to be...

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Sessionography of Coleman Hawkins

»Posted by on mar 24, 2012 in Blog, English | Komentáre vypnuté na Sessionography of Coleman Hawkins

Sessionography of Coleman Hawkins

For now, this is a sessionography containing all to me known sessions of Hawk with detailed info. This includes date, place of recording, whether it is studio or live, personnel and tunes info. If you can provide any kind of feedback or additions, it is highly welcomed!       NYC, January, 1925 Fletcher Henderson And His Orchestra / The Original Memphis Five / Fletcher Henderson’s Orchestra / Trixie’s Down Home Syncopators Louis Armstrong, Elmer Chambers, Howard Scott (cor) Charlie Green (tb) Ralph Escudero (tu) Buster Bailey (cl) Don Redman (as) Coleman Hawkins (ts) Fletcher Henderson (p) Charlie Dixon (bj) Kaiser Marshall (d) Trixie Smith (vo) 1995-1,2              EVERYBODY LOVES MY BABY     Paramount...

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Webster – Auld – Hawkins Sextet session

»Posted by on feb 13, 2011 in Blog, English | Komentáre vypnuté na Webster – Auld – Hawkins Sextet session

Webster – Auld – Hawkins Sextet session

This session, from May 17, 1944 (sometimes falsely put on May 24), unites two disciples of the strong tenor school with their master and teacher, Coleman Hawkins. Ben Webster and Georgie Auld (at that time 35 and 25 years old) both came from the Hawk tradition of tenor playing, with full, fat, rich, robust tones, a lot of vibrato and growl. This is the first time each of these men played with Hawkins and this Apollo session produced an unorthodox front line – trumpet and three tenor saxophones. The accompaniment was provided by Billy Rowland (p), Hy White (g), Israel Crosby (b) and Specs Powell (d), which was at that time the rhythm section of Raymond Scott’s group. As John Chilton writes in his book The Song Of The Hawk: „The session started...

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Jazz Nicknames

»Posted by on dec 11, 2010 in Blog, English | Komentáre vypnuté na Jazz Nicknames

Originally from www.allaboutjazz.com Jazz Nicknames Slang is definitely cool, but other non-musical aspects, like nicknames, have created a certain allure or attraction to Jazz, too. Nicknames, especially the stories behind them, are fun, sometimes funny, and other times fascinating… The immortal Louis Armstrong had at least three of them. Even before jazz was officially a musical form, forerunners of it, such as Charles „Buddy“ Bolden, had nicknames. In fact, it seems that the bigger the artist, the quicker he or she gained a nickname. This list contains a few of those nicknames; if you know of any others or can expand upon the reasons for a given nickname, please send them to us . Adderley, Julian Edwin — Cannonball  Actually,...

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Coleman Hawkins – tritone substitutions

»Posted by on nov 10, 2010 in Blog, English | Komentáre vypnuté na Coleman Hawkins – tritone substitutions

Coleman Hawkins – tritone substitutions

Addition to the previous entry about how Coleman Hawkins came to learn the tritone substitutions. While reading Hawkins‘ book The Song Of The Hawk I have come over nice story, which tells us probably how Coleman Hawkins learned about the possibility of tritone substitutions, in words of Albert Bettonville, recalling a night out in Ostend in 1937… „We went to an Hungarian nightclub to hear a tzigane violinist playing and also improvising with maestria. Hawk was extremely interested  and talked a lot with him about harmony. When I met Hawk again after the war I congratulated him for his superb ‚Body and Soul‘. He only said – Do you remember that Hungarian violinist?“ Hawk is also talking about its acceptance, in one...

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Coleman Hawkins solo – She’s Funny That Way

»Posted by on nov 3, 2010 in Blog, English | Komentáre vypnuté na Coleman Hawkins solo – She’s Funny That Way

Coleman Hawkins solo – She’s Funny That Way

This recording was made on October 11, 1939. This date should be well known to every jazz fan, as this is the same date, on which Hawk recorded the famous Body And Soul, which laid the fundamentals of  bebop harmonic playing. Having in mind my last transcription of Coleman Hawkins, from 1944, this solo from 1939 is to me clearly showing the way, how Hawk came to utilizing the tritone substitutions in his playing. We can see his use of diminished chord (anticipating dominant F7b9 chord to the tonic Bb major), freely floating from Bb major scale through the diminished chord (mostly descending -> f# eb c a) back to the home Bb major. Changing one tone in the diminished (c to b natural) shows us exactly the way I think Hawk discovered the possible use of tritone...

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