Looks Like We Always End Up in a Rut

That’s Eddie Harris and Les McCann performing “Compared To What” at the Montreux Jazz Festival in Switzerland in June of 1969. People who don’t know who’s who often assume that Eddie Harris is the piano player, because he’s the star of the show in this video. But Eddie Harris is the saxophone player. It’s his trio, so he gets top billing. Les McCann is the guy pounding the horse teeth and singing. The song had a little revival when Scorsese put it in the soundtrack to Casino. It’s not listed on the Soundtrack album, but it’s in the movie. The video also features Benny Bailey on trumpet, Leroy Vinnegar on bass, and Donald Dean playing drums. I remembered Leroy Vinnegar’s name from his tenure in the Jazz Crusaders, but if you look at his Wiki page, he played with an amazing list of jazz artists beside them. He’s even playing on a Van Morrison record somewhere.

I rather enjoy the song’s generally disaffected outlook. Then again, the topics broached in the song are 55 years in the rear view mirror. Still, generally disaffected is about the only way to get through this life. If you’re not generally generally disaffected, I don’t think you’re paying enough attention.

Persian Carpet Jazz

That’s Christian Capiozzo on drums, Mecco Guidi on Hammond organ, and Daniele Santimone on Guitar. You just know you’re going to get quality stuff when three Irishmen get together like that. 

Nothing But Blue Skies

That’s a cover of Johnny Nash’s big hit from 1972. It’s in the running for the sunniest song I ever heard.

The bass player/singer, Nicki Parrott, is from the Antipodes, but has long since moved to New York. She’s performed with all sorts of interesting people over the years. Olli Soikkeli from Finland is playing the gypsy jazz guitar on the left. Vinny Raniolo is playing what looks like some version of a Gibson L-5.

Hank Mobley Straight On In

That’s Hank Mobley on tenor sax, with Tootie Heath on drums, Kenneth Drew on the horse teeth, and a very young Niels House of Pancakes on the upright bass.

Mobley charted a middle course in the 50s and 60s. John Coltrane and Ornette Coleman and similar players were doing the caustic stuff. There was a crop of sorta cool jazz guys like Stan Getz who played it very straight. Mobley wasn’t square, and he wasn’t weird. Eminently listenable, but not wallpaper, either.

The internet and the bookstores are full of lists of the habits of “great” men, most of who are just lucky, shameless, and greedy businessmen, with the occasional scientist or author who holds the correct opinions about things outside of their areas of expertise. I gather you’re supposed to get up a half hour before you go to bed, gobble Vitamin C, use a Cross pen, ride a recumbent bicycle thrice daily, eat only tofu or twizzlers, meditate over your bank accounts, or whatever fad hit some midwit when they were young and it stuck. It’s cargo cult thinking that if you eat what Einstein ate, at the same hour he did, that you’ll get smart.

Most of the famous jazz players were the musical descendants of Charlie Parker’s groundbreaking career. Unfortunately, they figured that Charlie Parker did heroin, so lots of them tried it, figuring that’s where the originality came from. That sort of thing never ends well. The drugs ate Hank up. He died young and homeless, of pneumonia, which is easy to get and hard to get rid of when you have lung cancer from smoking, and a habit.

Listen to the records. Ignore the examples, except as a cautionary tale.

The Smiling Drummer

Old skool jazz musicians, outside of Louis Armstrong, didn’t smile much. Miles Davis and John Coltrane looked like they were going to kill someone right after the show, for instance, or maybe halfway through it.

Jazz musicians wanted to be taken seriously.  They dressed like businessmen, and meant business, generally. Even the showoff fellows like Buddy Rich seemed manic, not happy. Jo Jones was different. He was serene and smiling, and looked like he was having way more fun than the rest of the band and the audience combined. His sunny demeanor was more than a pose. He sounded just like his glowing, mischievous smile. He’s the only one of two drummers I can stand a solo from.  Joe Morello and Jo Jones. Making the world safe for drum solos, one lounge at a time.

Tag: jazz

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