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I had not heard that Eddie Fisher "Third cup" in many years.The fact that it was on Cadet records out of Chicago was enough to buy it when it came out.I bought all the Blues on Chess/Cadet,or as much as i could afford at that time.The Fisher record was a little mysterious as there was little that fell into this category and grooved in a "Cristo Redemptor" kind of way.,only with guitar and this presaged the entire 70's Soul/Jazz thing.His second record was gawdawful with extreme wah wah on most tracks,that also presaged the worst part of the next decade.
I was surprised to see the performance video and as i recall he passed in 1994? Had no idea who,what or where on this guy.
OK...Listen up...You want a copy of "Third Cup" go to DISCOGS.COM and put it in the search and you will find there are many for sale and a decent copy looks to be had for about 12.00 new unplayed recent reissue.
You take a look and decide what works for you.Duscogs is a good site full of reputable sellers,i buy there all the time.
Eddie Fisher,you had a good five minutes of fame,rest easy.
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Jzzmusician, I must first commend you on your keen sense of hearing and good taste. Vintage vinyl is a good place to start for a scratchy record. That's what I started with, and had my computer program clean it up. Now it sounds silky smooth on playback. Here's where to start, Vintage Vinyl; I've been doing business with these guys since way before CD's were invented. http://www.vintagevinyl.com/I'm sure they will be able to help you. Enjoy the music. |
O10,
Okay, I’ve been locked into Eddie Fisher for the past hour. Any tips you can give me on buying his music on cd? I’d even go for some downloads.
I agree that the scratchy version is sublime. The music is so good the scratches disappear.
Thanks,
Bob
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O10, Man, oh man, oh man, THANK YOU for the Eddie Fisher clips. I’ve never hear of this guy and like you said, I got lost listening to these clips. You made my day. -- Bob Here’s a mighty fine clip of the Steve Gadd band grooving hard. (Just had to contribute something. https://www.youtube.com/watch?v=3xCwOqL2S74 |
The Incredible Jimmy Smith "Back at the Chicken Shack" .....George Benson "Giblet Gravy"....Billy Cobham "Spectrum" ....Stanley Turrentine "Let it Blow" Just throwing in a few of my favs. Of course these are all Vinyls!
Matt M
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This has got to be one of the baddest jams I have ever heard in my entire life, and since he was "hometown", I got to hear it live and often. Like Monk likes to work his jams many different ways, especially when he was live; I got to hear this in and out; upside down if that's the way "Homey" wanted to work it; what I'm getting at, is just like Horace Silver could work "Senor Blues" many different ways when live; Homey could work his jam many different ways, and I was there, with my lady friend, who dug jazz every bit as much as me. This was at a fashionable club where we always had a table close to the bandstand in order to absorb every note that rang off Homey's guitar. This is the same jam three different times by the same person, my favorite is the one off the scratchy record, that must be the original. My computer has a program that cleans that up. Naturally there is no comparison to this and live, but this is the best I can do. Once you got caught up in "the flow" it was like riding on a kite, and "Homey" could work it for 15 spell bound minutes. Every time he was there, I was there. https://www.youtube.com/watch?v=-e5FVMt0FVw https://www.youtube.com/watch?v=-eoL8Z4_MWQ https://www.youtube.com/watch?v=YyE59uG0nBcEnjoy the music. |
Frogman, the link I posted clearly states who is playing on what cut. Anyone reading my post could go to tracks 1, 2 & 5 as is stated on the link; if they specifically wanted to hear Sonny Rollins; my favorite cut on that album has existed since the Summer of 59 when I bought it, and that has not changed. In high school, I even had a shirt like the one Sonny Stitt is wearing; they must have been very popular when he bought his; if you notice, his is very shiny.
Chill out and enjoy the music.
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Frogman, you've gone mad. I posted the link to the album that featured "Diz, Stitt, and Rollins"; that was sufficient enough. I picked my favorite tune on that particular album with no reference to Rollins on that particular cut; now I didn't know we were playing some kind of game called "Name the sax, on that solo".
Enjoy the music. |
Rok, Sonny is fond of playing tunes that are not only standards, but oftentimes very unlikely choices for a jazz rendition. Here's one of my favorite examples: http://youtu.be/vGnYd33z0IwWe've talked about players and singers who play exceptionally "in the pocket"; with exceptional time feel and very inside the beat. Sonny is on the short list of musicians who have (or had) that quality; alongside Pops, Ray Charles, James Brown, Miles and others. With Sonny, it's as if the rhythm section plays to HIS time feel instead of the other way around. Nice clips from "+3", thanks. Re "Duets": I'm sure the OP is aware of this detail since he is so intimately familiar with Sonny's "tone and timbre"; but, since the current topic is Sonny Rollins and we certainly wouldn't want to mislead any aspirants to "true aficionado" status, it should be pointed out that the tenor player on the "Con Alma" clip that he posted is not Rollins, it is Stitt. |
The tone, and timbre of Sonny Rollins "jazz sax", is the most recognizable there is, for me; it's almost like a person speaking. When you hear that voice, you know who it is, and this has gone on through the years. One of the very first albums I bought was Diz, Stitt, and Rollins on the album "Duets". https://en.wikipedia.org/wiki/Duets_(Dizzy_Gillespie_album)The album was so good, that it was hard for me to pick out a favorite, but I'm going to pick a cut anyway; https://www.youtube.com/watch?v=P8iGRjnb2NsEnjoy the music. |
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I've written so much about Grant Green, and him being from St. Louis; that a person could think we were friends. That's a misconception that I may have unintentionally given. I know as much about Grant Green the person, as you do. He requested to see me at the club where he was appearing because we know some of the same people, and he knew, that I knew, what he wanted to know. When I told him, he told me I was lying, got angry and walked off. Now I can't think of a worse way to meet your idol face to face than that. (when I say my idol, I am referring to his music ) That conversation is moot because it will never be revealed to anyone; but my feelings were really hurt. That's the extent of my acquaintance with Mr. Grant Green.
The reason I mention this is because it might be implied that I have some personal feelings toward Mr. Green that affect my evaluation of his music. Even if I loved Mr. Green like a brother, if he played lousy music, I wouldn't even mention him; but as it happens, his music resonates with my musical psyche. That could have something to do with us being from the same town. Since I haven't ran across any music by Mr. Green that I didn't like, I felt I should clear that up.
Enjoy the music.
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Grant Green makes for excellent late night (midnight) listening. |
As I stated once before, I heard Grant Green when he was playing for "Grant Green" and nobody else. This was in St. Louis before Blue Note even heard of him. Although I was too young to be in an establishment that sold alcoholic beverages, I was tall, and wore a hat to look older. Anywhere there was live jazz, me and my high school buddies could be found. When we heard that Grant Green was playing at a club that we often passed by, you bet; we were there. That was a long time ago, and my memory is not so good that I remember who was playing with him, or even if he had anyone playing with him. Since there was no admission, the club was packed, standing room only. That was just fine for us, because we were underage, and no one would notice this in a packed dimly lit nightclub. What I do remember is the sound of his guitar, and him; lean Grant Green with a head full of thick black hair, half standing, half leaning against a high bar stool. He was more playing to himself, than he was to the crowd of people. They were just like me and my buddies; we couldn't get enough of Grant Green's jazz guitar; all I ever heard him play was boss jazz; I can close my eyes and still hear them licks ringing in my ears. Every time he struck a note, it came ringing off that guitar like a rifle bullet, and penetrated your musical mind. Not before, not since, has anyone struck notes that rung like his. I was listening to Grant Green before Blue Note ever heard of "Grant Green", and he was playing some boss "jazz guitar" then; how could he have been playing some kind of "Sub-Standard" jazz that was not fit for release after that time? Now I find that his records that were not released, (which were supposedly sub-standard) were the best that he ever made; the question is WHY? I just received a CD titled "His Majesty King Funk" and Grant is striking some "Boss Jazz" licks even on this album. The organ is in the "funk" groove, but Grant's guitar is still striking some boss jazz licks. I got it posted here so you don't have to take my word for it. https://www.youtube.com/watch?v=Dce3qcQ6qeEI heard the man when he was playing for himself, we all knew Grant, he didn't have to impress us; he was playing what he felt, and it came out in those ringing notes. Although I have a lot of Grant Green CD's, the question arose in my mind, "Why don't I have Grant Green records"? I love jazz guitar, and I've got a lot of Kenny Burrell records, why don't I have Grant Green records? The reason I don't have Grant Green records is because they were not released. Enjoy the music. |
"It's Got To Be Funky":
Listened to the clip before reading the second part of your post. My first thought was: "some writers are small ensemble writers; it's a different skill to write for large ensemble". Eventhough the first "Silver And Brass" record worked well, I don't think this is as successful. I agree, I don't think the ensemble adds much. Also, I don't like the drummer; kinda loose and sloppy and not terribly "funky".
"It's Got To Be Funky": 1993
Bootleg concert recording ("Song FMF"): 1994. Same bass player, different drummer. Hmmmm! Coincidence? Not too many players would "turn down" a tour with Horace Silver 🤔
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Michael Brecker: A virtuoso who can play! I really enjoy listening to his music. Solos are so coherent. Today's Listen: Horace Silver & The Silver Brass Ensemble -- IT'S GOT TO BE FUNKY (1993) https://www.youtube.com/watch?v=0noGBH68qkMThe most interesting tune was a vocal version of 'song for my father, vocals by Andy Bey. Not on you-tube. This is the tune with the Brass ensemble minus Bey. Poor sound quality. Not sure the ensemble adds anything. Blue Mitchell and et al were just fine. https://www.youtube.com/watch?v=GV3j9mjsfs8Cheers |
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Review by Steve Huey [-]
Grant Green recorded so much high-quality music for Blue Note during the first half of the '60s that a number of excellent sessions went unissued at the time. Even so, it's still hard to figure out why 1964's Matador was only released in Japan in 1979, prior to its U.S. CD reissue in 1990 -- it's a classic and easily one of Green's finest albums. In contrast to the soul-jazz and jazz-funk for which Green is chiefly remembered, Matador is a cool-toned, straight-ahead modal workout that features some of Green's most advanced improvisation, even more so than his sessions with Larry Young. Part of the reason for that is that Green is really pushed by his stellar backing unit: pianist McCoy Tyner, bassist Bob Cranshaw, and drummer Elvin Jones. Not only is Green leading a group that features one-half of the classic Coltrane Quartet, but he even takes on Coltrane's groundbreaking arrangement of "My Favorite Things" -- and more than holds his own over ten-plus minutes. In fact, every track on the album is around that length; there are extended explorations of two Green originals ("Green Jeans" and the title track) and Duke Pearson's Middle Eastern-tinged "Bedouin," plus the bonus cut "Wives and Lovers," a swinging Bacharach pop tune not on the Japanese issue. The group interplay is consistently strong, but really the spotlight falls chiefly on Green, whose crystal-clear articulation flourishes in this setting. And, for all of Matador's advanced musicality, it ends up being surprisingly accessible. This sound may not be Green's claim to fame, but Matador remains one of his greatest achievements.
Anybody who has been following this thread knows why I'm posting this, in case they don't know I'll tell you why; Grant Green died in poverty, although he made many boss albums that were not released. This album was released in Japan, probably after his death; the question is WHY? If you're interested, you can read over back posts in this thread.
enjoy the music.
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I had an opportunity to hear him live, almost 18 years ago, in my hometown. Funny thing was that the concert started hour after midnight, because there was another performer, before, on the same stage, in towns theatre. So, untill one concert started, finished, and the time that was needed to set up another performance, the time ran away, which was fine for everybody. Remember that he joked that after the concert he has a flight to catch and that he will go directly to airport, because the audience kept him on stage with constant demands for more encore. Found some old link with program http://mariomendes.tripod.com/Could not find the link with actual performance, aldo the national tv recorded it, but here is the link with concert of Joe Zawinul Syndicate from next year. The quality is not the best, the music is fusion, but it can show glims of atmosphere and interview with Zawinull himself (around 5:50) if someone is interested. https://youtu.be/HPB1v5w9A5gMust add that I had the privilege to see Abbey Lincoln, Charlie Haden, Randy Weston, among others, that same year. It was quite an expirience.If somehow find those tapes, will post them |
Rok, "Finger Poppin"; another classic Silver recording! "Cookin At The Continental" has always been one of my favorite Silver tunes and my favorite on the record. I believe this is the first recording by the classic Silver Quintet and those guys were in top form. Mitchell sounds amazing and "Cookin" has one of my favorite Silver solos of all time. Great stuff!
Delta City Blues:
What can be said about Michael Brecker that hasn’t been said a thousand times over? First of all, probably the greatest saxophone virtuoso (any genre, including classical) that ever lived. He was able to do things on the instrument that no one else could and with an ease that was hard to believe. Stylistically, obviously coming out of the Coltrane school, harmonic approach-wise and tone-wise. It is not too much of a stretch to say that he was the most influential saxophone player of his generation with scores of young saxophone players copying Breckerisms over the last four decades. Even the prominent younger tenor players who strive to stay "closer to the farm" (at least in their own minds) can be heard to show his influence; especially in how they inflect certain notes on the instrument. Amazing instrumentalist and, within his stylistic world, an amazing jazz player. He was also one of the most humble individuals you could ever meet. His recent death after a long illness was a great loss to the saxophone world.
Thanks for that great clip.
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Alex, thanks for bringing Johnny Smith back to the discussion. What a nice player! Beautiful and unaffected guitar sound and feel. Jazzcourier points out his affinity for medium tempo tunes and ballads. Ballads are probably the biggest test of any player's true mettle not having the "crutch" of the opportunity to simply show off sheer and sometimes meaningless chops. Perhaps there is some significance to his choice of title for this tune: https://m.youtube.com/watch?v=gobhuQ9BKWgHowever, this is not to say he couldn't tear it up when he wanted to: https://m.youtube.com/watch?v=L4wbcMR3chk |
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Happy Birthday to Ella Fitzgerald!Enter your text ... |
jzzcourier,
Great last post. Thank you!
Bob
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Alex, johnny Smith "Moonlight in Vermont" has been in my collection since the late 50's. It featured Stan Getz on tenor; there wasn't a cut on that album that I didn't like.
Enjoy the music
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Johnny Smith! Good call.This guy was all about broad strokes of elegant harmony and he was almost alone in the preference for ballads to medium tempo tunes.What a great legacy of all those Roost and Roulette records.There were a few albums on Verve with Hank Jones.Gibson honored him with his own model archtop,it was the Rolls Royce of their line in the 50's/60's.Those early albums with Stan Getz are superb.Here is a guy who came up in the 50's and made his own path.Late in his life he made an album or two with George Van Eps while he was retired in Colorado.There is one guy left alive who plays that style-Mundell Lowe.He must be in his 90's now.He was a studio guitarist in New York in the 50's as well.
QUESTION...Anybody actually go to see either the MILES DAVIS or CHET BAKER films.....Please advise!
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Nice words, JC. Among all other funny comments, there were a few posts with good music. However, still there are many forgoten ones that deserved to be heard, again. One of them is certainly guitar player Johnny Smith, who started to record since late 40’s. He played as studio musician, as well as leader on string of his albums in 60’s, but it seems that he prefered a low profile life, so that could be one of the reasons for his obscurity. Here are the links, from his cd edition that has two albums from 1960 and 61. First is ’Sound of Jimmy Smith’, and the second is ’Johnny Smith plus the trio’. Hope you will like it https://youtu.be/NyiLN4jD1LYhttps://youtu.be/a-JwpEhvvKEhttps://youtu.be/axXFIQQSgcw |
Everyone feels their own passion about music and travels at their impulse in regard to what they feel is important and valuable.Jazz has always been a big puzzle and it takes lots of people to put it together,piece by piece.
Jazz has also "suffered" from such a broad definition that it can be the greatest thing or the most boring thing,but it is still Jazz.People define the music by what they like and they covet and defend that niche irregardless of what came before or after or what is around the corner.They simply have no interest in expanding their world beyond that neighborhood.You can't deny that comfort zone.So take of it what you will,what moves you and what calls to you,but let others venture beyond your horizon.The music has a strong and undeniable power that has taken it many places.It is one helluva ride.
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Jazzcourier, I hope they read your post in regard to saying more with fewer words, or at least "saying something". Right now, I'm suffering from eye strain trying to read their diatribes, and brain drain from trying to figure em out. I believe they are all conspiring to send me to a shrink, but now that a true "Jazz Aficionado" has come along, their efforts will be in vain. You came along at just the right time.
Enjoy the music.
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Frogman...Thanks for the heads up on this Dane? Gilad Hekelsman. Certainly has chops and has done the work and i have always liked Mark Turner.I looked at a few more recent videos of Gilad and he is impressive.Sounds like he is searching for the right tone on that instrument and i say stay out of the murky waters of amplification and let the instrument speak. Pat Martino....profound!
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Learsfool, this thread has gone on continuously since 02-24-2013, and you were the first person to post on it. Why do you continue?
Enjoy the music.
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jazzcourier, couldn't agree more re Harold Arlen and Joe Pass. Pat Martino is in a class by himself among the living players. Astounding; although Pass is the one that always moved me most. He is sorely missed. I posted this recently and I think it's worth posting again: https://m.youtube.com/watch?v=cyqJwJzGB0gI heard this young man recently at a club here in NY. I was very impressed with his maturity as a player who, while definitely with a modern sensibility, has not, as Rok likes to say, strayed too far from the Jazz farm. I think he's someone to keep an eye on: https://m.youtube.com/watch?v=fYqaiEicGjs |
Jazzcourier, you don't have to use a lot of words to say something, but if you are going to use a lot of words "say something".
Before I read Acmans post, I was in pursuit of a blues guitarist. One word in his post steered me in a different direction, "Charlie Parker"; that one word put Tiny Grimes in a different ball park.
After I found Charlie Parker and Tiny Grimes on "you tube", I realized why it's not in my collection, but it might be in my fathers collection. This music is called "early Bird"; that was "the Bird" in the making when he was playing with Tiny Grimes.
Alex, a friend of mine use to always say; "To thine self be true", and with that I'm saying I could enjoy Tiny Grimes if I were visiting you, and you played it, but I wouldn't rush out and buy it; although I can enjoy the nostalgic aspect of that music; it reminds me of music I overheard in my childhood. When I focused exclusively on "Bird's Horn" or "Tiny's" guitar, they sounded OK, but "Pre-Bop" is not my first preference in music.
Enjoy the music.
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Pat Martino....greatest living guitarist?
Of Course....Wes Montgomery!
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Eddie Lang died in 1933. He was incredibly active up to that point,so many great records and that singing,single string style really created a platform for so many to come.His records with Joe Venuti,Jack Teagarden and the great duets with Lonnie Johnson.You hear him in Grant Green and B.B. King.Into the 30's...some amazing guitar from Carl Kress,Dick McDonough and George Van Eps.Early electric and acoustic from Eddie Durham,also a trombonist and a great writer and arranger.His work wth Jimmie Lunceford ("Hittin' the bottle") on acoustic and with Lester Young on Commodore with his electric.Floyd Smith in the 30's with Andy Kirk ("Floyd's guitar Blues")
Les Paul,the demon seed of the electric guitar,so many excellent sides from rthe 1940's with speed and precision.George Barnes in the 40's with a ringing horn like tone.Billy Bauer into the late 40's with Lennie Tristano and several broadcasts with Charlie Parker.Standing alone as one of the greatest on any instrument....Django Reinhardt,throughout the 30's and into the 50's on the electric,even though he lost a step moving to the amplified guitar the sound was unearthly and another big influence on so many in that electric period. The 50's was a landslide of amazing players- Barney Kessel,Herb Ellis,Jimmy Raney,Jim Hall all heavily recorded and well documented.
Of course Grant Green,who has become a legend and never failed to impress on any of the essential Blue Note's.By the time i got to see him in 1968 he had moved into that Funk/Soul Jazz bag and was playing to half full crowds,but we had all the Blue Note's and there was always amazing guitarists everywhere you turned in that period.B.B.King at his best before Pop came to his music.Albert King,a monster and Freddie King,the hardest driver of them all.Albert Collins fresh from Texas and T-Bone Walker on his last lap,but still with an amazing slow burn of precisely chosen notes like a surgeon.Buddy Guy! By the turn of the 70's most of these guys were compromised by the lure of Rock producers and the music went elsewhere.
Still the best was Joe Pass,who seemed to combine elements from all these players plus an Art Tatum like one man orchestra approach.
Just some darn good guitar players here.As far as the living,Howard Alden.
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Learsfool, you're completely illogical, so why should I think anything you said was logical. |
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Hi O-10 - as Frogman has tried a couple of times to explain to you, it is not the tune itself that sounds like elevator music. It is the cheesy string arrangement backing up the piano in that particular Previn recording that sounds like elevator. I guarantee you Previn himself performed it live in a much different fashion that would not have sounded like elevator music - probably many times, in many different versions, since he wrote the tune. That's the thing about jazz - it is never the same twice, even from the same performer, unless you are listening to a recording. Don't you remember that from your world class friend who lived with you that summer and never practiced who you heard perform a few times a week? I wonder what he really thought about your proud ignorance of music?
And no, of course the Ella performance of that tune does not sound like elevator music - your conclusion that I must think so because I thought the other one did is completely illogical. If you really cannot understand that, then it is truly hopeless to have any sort of intelligent conversation with you about jazz, let alone music in general; but I think you really do understand that, and are just pretending not to - so I am forced to wonder, as others have, why on earth did you start this thread when you are so resistant to anyone else's opinions? You should start a blog if you want the floor to yourself - this is an open forum.
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Yes,Tiny Grimes with Charlie Parker "Red Cross" on Savoy 1944.Early Bird and almost pre-Bop.Tiny with Art Tatum,look for the Capitol trio recordings.He made lots of sessions in the 40's as Jazz was in transition from small group Swing to Bop.Prior to that he was in the "Cats and the Fiddle" a string group that played hot Jazz.In the 50's he had a instrumental band called the Rockin' highlanders and made some hard driving Jazz flavored R&B sides for Atlantic.Through all this he kept at that 4 string tenor guitar.I was fortunate to hear him live and meet him when he came to L.A. in the early 80's for a concert with guitarist John Collins,who was Nat Cole's guitarist as well as an important 52nd st.Jazz player in the 40's.Too bad Collins didn't make more solo records,he was a real master.
Tiny Grimes was not a Blues player as we would usually associate with that genre,but he always shined there and the relative uncomplicated nature of the Blues lent itself to the tenor guitar.He greatly enhanced those Prestige Swingsville sessions.
One of the unsung heroes of the intersection of Jazz and Blues guitar was Teddy Bunn. Poorly represented on records but if you can find them you will hear some great playing in the T-Bone Walker meets Charlie Christian vein.He made a few sides for Blue Note in the 40's.
Irving Ashby was another of those 40's guitarists who made a few records but had a great Christian influenced sound.
I would like to think that people still listen to and appreciate the innovations of Charlie Christian.Tiny Grimes might have been a footnote in Jazz,but Charlie Christian is a chapter.
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Acman, thank you very much for that valuable information; now I'll be able to find the best of Tiny Grimes, playing with "Bird" says more than a mouthful.
Enjoy the music.
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O-10, Tiny played with Charlie Parker, I believe the Dial recordings, and Art Tatum.
Short on on time or I would play a YouTube .
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Alex, in my young days, I traveled from one blues joint to another; consequently, my familiarity with the blues is from live music, as opposed to records, as in jazz, and the only famous name I can recall is Albert King.
At that time I never had one serious thought about the music, I was just out to have a good time, and now I have to reflect back to those times in order to put the music in some kind of perspective. When I reflect back to what I heard at that time, the blues I heard was either Delta, or New Orleans based, meaning originated from one of those two places, and I make that statement founded on what Rok, the blues expert has said about the music.
Although I liked "Tiny Grimes" I was unable to put his guitar into any kind of perspective, it sounded original to me; but what's all important is whether or not I liked it, and I did.
Enjoy the music.
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That's a very good point of view Alex, and you have succeeded because I'm unfamiliar with Tiny Grimes. I'll listen and get back to you.
Enjoy the music.
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Orpheus, Green is legend and the 'Idle Moments' is a classic album. Somehow I am always reluctant to write about such well known records. Imho we should write more about players and albums that are not so well known, in a hope that that sad fact might change, once when those album are heard by more people. Here are couple of tunes of Tiny Grimes (b.1916.), one of earliest jazz guitarist, from 1958.album 'Blues Groove', on which he plays with great Coleman Hawkins on sax and Ray Bryant on piano, among others. The focus is, of course, on blues, but these guys sure can play. Note, Grimes plays 4 string guitar Here are the links. Hope you will like it https://youtu.be/p51MT5OMw-Ihttps://youtu.be/h168KJceOr0 |
I invite all of you typists and Jazz amigos to join me on Fridays at KUNM.ORG to stream live (or check out the two week archive) for my edition of the Monday-Friday Jazz slot named (but not by me) "All that Jazz" we commence at 12:06 Mountain time and go to 1:30 pm.
This week,April 29th, i will be celebrating the Birthday of Duke Ellington
on the actual date of his birth with music from the 20's to the 70's with the emphasis on lesser known and rarely heard works.Face it,most Ellington falls into this category. In the last few months there has been features on Billie Holiday,Jelly Roll Morton,John Coltrane,Nat King Cole,Charles Mingus,Benny GoodmanJoe Pass,Toots Thielmans,Charlie Parker and even Grant Green, on his own and with Larry Young.Even mix in some living musicians (Toots is "retired") but the neglect of the great masters draws me to try to level the playing field and offer a little education and enlightenment that,obviously is sorely needed .Still some life out there on terrestrial radio,but the streaming option is great.I have listeners all over the world.
Yeah,enjoy the music..........
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