jazz long playing

Jean-Luc Ponty took a chance on jazz and left his day job with a major symphony orchestra to pursue a unique horny violin sound on this daring debut.    Born in Avranches, France to a father that taught violin and a mother that taught piano; he was accepted to the Conservatoire National Supérieur de Musique de Paris at the age of sixteen. Graduating two years later with the prestigious Premier Prix, he took a position as a violinist with the Concerts Lamoureux sympony orchestra in Paris.  At the same time, he developed a passion for jazz music and began performing in clubs around the city at night while working for the orchestra during the day.  He even dabbled with playing the clarinet and the saxophone until he decided to focus his primary instrument on jazz.  His method of playing was more influence by jazz horn players that by typical violin technique.  It only took a year for his unique style to catch on, and he recorded his debut album in June and July of 1964 with producer Daniel Richard for the Philips label.  'Jazz Long Playing' features Jean-Luc Ponty on violin;   Michel Portal on flute;  Eddy Louiss on piano;  Gilbert Rovere and Guy Pedersen on double bass;  and Daniel Humair on drums.   

Ponty says:   "Naturally, I had to make a choice, so I took a chance with jazz ...  I started as a rather sophisticated musician when I started playing jazz. It very quickly became modern and avant-garde jazz,  I was happy about the reissue [on CD of Jazz Long Playing] because I forgot how I used to play. The record really sounds like it has a bebop violinist on it. I only played jazz for three or four years at that time. I had a vinyl copy which I could not play anymore because it was so scratched. It came as a surprise when the jazz label at Universal in Paris found it—probably in a closet somewhere. They sent me a few copies of the CD and I was happy because I rediscovered my playing from that era. It was also interesting for me because Life Enigma found me once again developing my sound and working with new instruments as I did following Jazz Long Playing. I've sort of come full circle...People who choose to pick up the instrument tend to be different as individuals because of the posture that needs to be adopted and the discipline and dedication required. I guess I was eccentric when I was a young guy. [laughs] I don't really see myself as eccentric, but I can be at times and yes, Nigel Kennedy is eccentric. But behind any eccentricity is a discipline. That eccentricity cannot exist 100 percent of the time. The dedication, concentration and discipline of practicing the instrument is absolutely necessary throughout the whole life of a violinist. To this day, if I'm away from my instrument for a few days, I feel a little bit rusty when I play it again. It's the most difficult instrument in the world to play in tune. So, even if a violinist appears to be eccentric, you're likely seeing a good violinist who is a very serious personality that has something deep going on inside them."









http://ponty.com/








"Au Privave"
https://www.youtube.com/watch?v=Kx6qrGY_AS0






'Jazz Long Playing' 
full album:


https://play.spotify.com/album/04zgndVRTh4MpMZzJYDhBu

https://itunes.apple.com/ca/album/jazz-long-playing/id446014084

https://www.youtube.com/playlist?list=PLpQjJS5RnmCsg3bkKf3SSy-NxKiaihrdS

https://www.last.fm/music/Jean-Luc+Ponty/Jazz+In+Paris+-+Jazz+Long+Playing

https://tidal.com/browse/album/335098


"Une nuit au violin" (Martial Solal) - 4:43
"Modo Azul" (Jef Gilson) - 4:38
"Spanish Castels" (George Gruntz) - 3:40
"Sniffin' the Blues" (Jef Gilson) - 3:28
"Postlude in C" (Raymond Fol) - 3:21
"Au Privave" (Charlie Parker) - 3:45
"Manoir de mes rêves" (Django Reinhardt) - 3:05
"YTNOP Blues" (Jean-Luc Ponty) - 3:10
"I Want To Talk About You" (Billy Eckstine) - 3:48
"A Night in Tunisia" (Dizzy Gillespie) - 3:02
"Satin Doll" (Duke Ellington) - 4:20

monk's dream

Thelonious Monk found his greatest success with his first session recorded for Colombia Records.  Tired of wrangling with Riverside Records over royalties after they bought his contract from Prestige Records, Monk had recorded a number of live albums to finish out his contract.  The high priest of bebop had been banned from playing in New York clubs after being beaten and arrested along with his benefactor  Baroness Pannonica de Koenigswarter; but after some legal negotiations he had his cabaret card back and had taken up residency at  the Five Spot Cafe.  His new quartet had played together on his final two Riverside albums, 'Monk in France' and 'Thelonious Monk in Italy'; and would appear on 'Criss Cross' which was also released in 1963.  

'Monk's Dream' was recorded at the Columbia 30th Street Studio in New York with producer Teo Macero and features Thelonious Monk on piano; Charlie Rouse on tenor sax; John Ore on bass; and Frankie Dunlop on drums.  The album would be the best seller of Monk's entire career.  Monk mused:   "I was calling it bipbop, but the others must have heard me wrong...I don't have any musician friends.  I was friends to a lot of musicians, but looks like they weren't friends to me...All you're supposed to do is lay down the sounds and let people pick up on them.  If you ain't doing that, you just ain't a musician. Nothing more to it than that...All ways know, always night, all ways know - and dig the way I say 'all ways'...A man's a genius just for looking like himself...Play yourself!" 





http://www.theloniousmonk.com/

http://www.monkbook.com/

http://www.monkzone.com/

http://monkinstitute.org/

https://www.facebook.com/theloniousmonk/

"Bolivar Blues" 




"Just a Gigolo" 









'Monk's Dream' 
full album:



All compositions by Thelonious Monk except as indicated.

Side one
"Monk's Dream" – 6:26
"Body and Soul" (Edward Heyman, Robert Sour, Frank Eyton and Johnny Green) – 4:29
"Bright Mississippi" – 8:34
"Five Spot Blues" – 3:15
Side two
"Bolivar Blues" – 6:25
"Just a Gigolo" (Julius Brammer, Irving Caesar, Leonello Casucci) – 2:29
"Bye-Ya" – 6:01

"Sweet and Lovely" (Gus Arnheim, Harry Tobias, Jules LeMare) – 7:48



http://vimeo.com/68356922

‪Monk's Dream - Thelonious Monk [FULL ALBUM] [HQ]‬‏ - YouTube [360p] from Hamid Hajam on Vimeo.

clifford brown

Clifford Brown
 (October 30, 1930 – June 26, 1956)




"Brownie" died in a car accident on a rainy, early summer morning on the Pennsylvania Turnpike. The trumpeter was a rising star in the jazz world who was already being compared to Dizzy Gillespie and Miles Davis. His trumpet playing emulated the hard bop stylings of Theodore "Fats" Navarro and had a warm round "fat" tone that was expressive and articulate within the context of intricate high speed bebop as well as in the slower ballads. During a remarkable three year run, he released more than a dozen albums that reveal a maturity and musicianship beyond his years. He played in groups with Chris Powell, Tadd Dameron, Lionel Hampton, and Art Blakey before forming his own group with Max Roach. The Clifford Brown & Max Roach Quintet helped define the urban hard bop sound. He also made his mark on jazz through his clean-living. He stayed away from drugs, did not like alcohol, and had a mild manner that disarmed his fellow musicians. He was on his way to Chicago with pianist Richie Powell to play a gig with the quintet. Powell's wife, Nancy was driving when the car missed a curve, smashed through a guardrail and hurtled down a 75-foot embankment, killing all three passengers.






http://cliffordbrown.net/

'Oh, Lady Be Good / Memories Of You'

This is the only known footage of Brown, from the Soupy Sales TV Show.

'I Come From Jamaica' is one of Brown's first recordings with Chris Powell & his Blue Flames

'Once In A While' with the Art Blakey Quintet

'Cherokee' by Clifford Brown & Max Roach Quintet

'Powell's Prances' by Clifford Brown & Max Roach Quintet

'Donna Lee' allegedly was recorded at a jam session just a few hours before he died.

Brown & Roach Incorporated


00:00 - Sweet Clifford
06:43 - I don't stand a ghost of a chance with you
14:06 - Stompin' at the savoy
20:34 - I'll string along with you
24:47 - Mildama
29:22 - Darn that dream
33:28 - I get a kick out of you

The Beginning And The End

miles davis

Miles Dewey Davis III

(May 26, 1926 – September 28, 1991)



Controversial and influential icon of jazz and rock whose unique and haunting work on the trumpet played a key part in bebop, cool jazz, modal, and fusion.



He learned music from his mother during his youth in St. Louis. When his father sent him to the Juilliard School of Music in New York, Davis sought out saxophonist Charlie Parker.  He dropped out of school and began playing professionally in clubs and recording studios, leading his own group within a year.  










https://www.milesdavis.com/








'Now's The Time' was one of the songs recorded during the first of the legendary Savoy Sessions 1945 with a nineteen year old Davis playing trumpet with Charlie Parker on alto sax, Curley Russell on bass, Max Roach on drums and "Hen Gates" (Dizzy Gillespie) playing piano.

'Boplicity' came from his groundbreaking 'Birth of the Cool' compilation that marked his turn from the hard edge of bop to a more introspective sound. It was recorded in 1949 and 1950; but not released until 1957. The song was credited to Cleo Henry and Gil Evans. Henry was a pseudonym based on his Davis' mother's maiden name that he never used again.

'Doxy' was composed by Sonny Rollins. It first appeared on Davis' 'Bags' Groove', performed with Davis on trumpet, Rollins on tenor saxophone, Horace Silver on piano, Percy Heath on bass, and Kenny Clarke on drums.

''Round Midnight' was the centerpiece of Davis' debut on Columbia Records 'Round About Midnight' recorded in 1955. The song was composed by Thelonious Monk and features a saxophone solo from John Coltrane.

'Milestones' was originally called 'Miles' when the album 'Milestones' came out in 1958. It was his first foray into modal jazz. It features Miles on trumpet, Cannonball Adderley on alto saxophone, Red Garland on piano, Paul Chambers on double bass, Philly Joe Jones on drums,

and a fabulous solo from John Coltrane on tenor saxophone.

The impressionistic modal jazz of 'So What' opens his seminal 1959 'Kind of Blue' album.

The title track to his 1963 'Seven Steps To Heaven' was co-written with pianist Victor Feldman, who Davis replaced with Herbie Hancock for the album. It includes George Coleman on tenor saxophone, Ron Carter on double bass, and Tony Williams on drums.

'Footprints' appeared on his 1967 album 'Miles Smiles'. It was composed by saxophonist Wayne Shorter.

'Spanish Key' is from his 1970 jazz fusion double album 'Bitches Brew' featuring what Miles called "the best damn rock and roll band in the world."

'Black Satin' is from his 1973 album 'On The Corner' which saw Davis experimenting with funk and electronic music.

The title track to his 1986 album 'Tutu' was written by bassist Marcus Miller, and dedicated to Archbishop Desmond Tutu.