http://www.kzmu.org/listen.m3u ~ Use this link to access the show online.
San Francisco based pianist, Adam Shulman returns from last week with “Mr. Timmons” - his salute to pianist Bobby Timmons, an important innovator who left us far too early in 1974 at the age of 38 from cirrhosis. Tenor saxophonist Patrick Wolff improvises followed by Mike Olmos (tp), Lyle Link (as) and Adam’s piano. One of the bright spots of the eighties, pianist Fred Hersch, follows with his cover of Wayne Shorter’s “Miyako” from his “Horizons (Concord Jazz 1985). Marc Johnson makes his second appearance on bass with help from the drums of Joey Baron. My first exposure to The Jazz Messengers happened when I was watching thermonuclear explosions in 1958 at the Marshall Island Atomic Proving Grounds. Horace Silver led the group in the beginning with their breakout “The Jazz Messengers” (Columbia 1956). We’ll hear Silver’s “Ecaroh” (Horace spelled backwards) with solos from Hank Mobley (ts), Donald Byrd (tp) and Silver (p). Art Blakey, who would eventually lead the group, is relatively restrained on the drums. George Shearing, a blind British pianist thoroughly familiar with a stride/swing approach to jazz, finally gets it right after several attempts to master the bop idiom. The result shows up in his 1948 London Records “Consternation” featuring Jack Fallon (b) and bomb-thrower Norman Burns (dr) bringing this half to a close.
Miles Davis tackles famed tenor saxophonist Eddie Harris’ “Freedom Jazz Dance” exquisitely in his “Miles Smiles” (Columbia 1967). It was in this remarkable 1966 outing that we got acquainted with the twenty-year-old drumming sensation, Tony Williams. Miles improvises first, followed by Wayne Shorter and Herbie Hancock. Bassist Ron Carter shines. Cornell Belcher’s Brilliant Corners, one of the premier strategists in democratic politics, takes its name from Thelonious Monk’s mid-fifties composition. We’ll hear one of the original versions of “Brilliant Corners” from Monk’s 1956 Riverside release of the same name. Sonny Rollins’ tenor begins the variations followed by Monk, Eddie Henry’s alto and Max Roach’s drums.
Sweden’s premiere pianist, Bobo Stenson, together with partners Anders Jormin (b) and Jon Falt (dr), returns from last week with “Octoberhavet” (October Sea) from his “Contra la Indecisión” [indecision against] (ECM 2018). Newcomer Canadian’s P J Perry Quartet, on the heels of stellar reviews from All About Jazz’s Jack Bowers, brings this half to a close with his cover of Carl Fischer’s “We’ll Be Together Again” from his “Alto Gusto ~ Live at The Yardbird Suite” (Cellar Live 2017). Alto saxophonist P J warms us up to the permanence of romance. P J solos first followed by John Mayer’s piano.
The sensational Canadian vocalist Laila Biali returns from last week with her “We Go” from her “Laila Biali” (ACT 2018) with help from the trumpet of Ambrose Akinmusire. John Coltrane interprets Jimmy Van Heusen’s “Like Someone in Love” from his “Lush Life” (Riverside 1958) with Red Garland (p), Earl May (b) and Art Taylor (dr). Japanese pianist Senri Oe follows with his “Just a Little Wine” from his “Answer July” (Pnd Records 2016) featuring a vocal by Theo Bleckmann with Yacine Boulares’ soprano sax in the background and soloing along with the leader and bassist Jim Robertson.
Lauren Kinhan returns with a cover of Grand and Boyd’s “Guess Who I Saw Today” from her “A Sleeping Bee” (Dotted i Records 2018) with help from pianist Andy Ezrin. From V.A.: Brazilian Nights featuring Romero Lubambo’s “Rio Wave” (Q. Records 2002), we’ll hear Jane Monheit’s treatment of Antônio Carlos Jobim’s “Triste” (Sad) with help from the guitar of Romero Lubambo. Karrin Allyson sends us home with that loving feeling with her cover of Matt Dennis and Earl Brent’s “Angel Eyes” from her “In Blue” (Concord Music Group 2002). Steve Wilson’s alto and Mulgrew Miller’s piano surround Karrin’s vocal.
Doubt thou the stars are fire;
Doubt that the sun doth move;
Doubt truth to be a liar;
But never doubt I love.
Shakespeare/Hamlet
Let's have some fun!
