Count Basie interviewed by Sven Lindahl during his first summer tour in Sweden, 1962.
Wednesday, November 12, 2014
Tuesday, November 11, 2014
"Nichols is original. He may remind us of Bud Powell and Thelonious Monk, and of Fats Waller and Teddy Wilson, but it is also obvious that he plays with a jazz style that is thoroughly Nichols. The things he can do with time and the fact that his rhythms and harmonies are interrelated, indeed inseparable, are exceptional. He is not at all interested in currently "hip" tempos, mannerisms, or finger dexterities, and on the piece he calls S'Crazy Pad, he shows he is not at all afraid of a steady "four" rhythm, of a modernized version of a simple '30s "riff tune" conception, of swing bass and that he can bring such things off.
Tuesday, November 4, 2014
These recordings document Earl Hines' return to the top after a decade of obscurity in the West Coast. Here, on a March 7, 1964 date from the Little Theater in New York City, Hines teams up with bassist Ahmed Abdul-Malik and drummer Oliver Jackson for a triumphant return to form. For three numbers, his band member from the 1940s, Budd Johnson, sits in.
I'll play a tape from David W. Niven's collection, featuring some of tunes The Earl Hines Trio (and Quartet) played during this particularly significant engagement, but before that, I invite you to read the passionate notes written by the co-organizer of the event, David Himmelstein, and passages of the New Yorker review of the concert by Whitney Balliett, both as exquisite as the recordings:
"I'm a band pianist, you know. I've never given a concert like this before," said Earl 'Fatha' Hines shortly after his arrival in New York City during the first week in March 1964. The news of this historic "first" was only the beginning of a series of surprises that Hines, after a give year absence from the New York scene, was to unveil at the three weekend concerts that were part of the Jazz On Broadway series at the Little Theatre, produced by Down Beat’s New York editor, critic Dan Morgenstern and myself [David Himmelstein]. The astonishing fact that Hines - the man who can safely be said to have singlehandedly made the piano a significant solo voice in the jazz band and whose instrumental style directly influenced the course of jazz through Bud Powell - had never given a piano recital is no less remarkable than the semi-obscurity into which he had slipped during the 1950s.