From its earliest days Jazz has drawn
heavily on popular songs and melodies. To
the uninitiated it may seem that this popular
music was solely from before 1950; however,
this is simply not the case. Well written
music, stylistic concerns aside, can always
be a viable platform for jazz improvisation.
Charles Earland was especially gifted in
taking popular material and transforming
it into art of the highest order. His rendition
of Carlos Santana's Europa reveals the richness
of the original piece while at the same
time translating it into the language of
jazz.
After recording Straight No Chaser a
couple of years earlier as a member of Miles
Davis' band, Cannonball recorded a rather
different take on the Monk standard. Taken
at a much slower tempo, this version grooves
in a way that is rarely heard. They also
took their time expressing themselves in
this treat of a long recorded outing.
Bill Evans was a master of listening
and implication. The level of interaction
in his playing, regardless of the setting,
was always high, and when taking place in
front of a live audience, his mastery of
listening and responding was truly revealed.
He also shared a sensitivity with Count
Basie of knowing exactly which single note
to play at a given moment and being able
to fill the room with it. In this recording
with his second famous trio we hear him
stretch out and interact and it almost seems
like he is sitting in the room with us in
the present.
Although associated primarily with John
Coltrane, this version of Impressions as
performed by Stanley Turrentine while still
very exploratory remains more accessible
to the jazz neophyte than most of the recordings
of Impressions made by Trane. It is especially
interesting how they can play for nearly
a quarter of an hour on a tune that has
only two chords. Impressions is a 32-bar
song form A-A-B-A, with the 'A' sections
in D minor and the 'B' section one half
step higher in Eb minor. On the piano this
translates to the first scale being all
of the white keys, and second scale being
all of the black keys along with the C and
F white keys. (Yes, for you music geeks,
we are talking Dorian, not Melodic minor
here). Nevertheless, you are in store for
quite a ride.
We close out the hour with energetic
rendition of Take Five by the Dave Brubeck
quartet. While taken at a speed that far
exceeds the original laid back tempo, the
band never misses a beat and the energy
level is palpable even at times when it
seems like the instruments are almost whispering.
At times Paul Desmond's alto lines seem
almost comical in their light heartedness
yet it is easy to tell how deadly serious
this quartet was in everything they did.
Listening to music and understanding
the language being spoken can be rich and
rewarding. With practice you will begin
to hear so much more, and engage more deeply
in the conversation. Eventually the musician
will seem to be speaking directly to you...and
he/she will be.
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