Feeds:
Posts
Comments

Posts Tagged ‘oscar peterson’

Jane Irving is one of Sydney’s most swingtastic singers. I’ve had the pleasure of performing and hanging out with her many times and she is one of my all time favourites.
Every Sunday you can check her out with her all star band “The Swinging Blades”  down at Marrickville Golf Club 3:30pm-6:30pm.
www.janeirving.com

Check it!!!

Here’s her top 3 albums:

Sarah Vaughan ‘Swingin’ Easy’.
The tracks on this CD are from two New York recordings. 1954 and 1957. John Malachi and Jimmy Jones piano; Joe Benjamin and Richard Davis bass and Roy Haynes drums.
~I first heard this album somewhere back in the early 80s in high school. It was my introduction to jazz singing. It completely blew my mind then and when I return to it now it’s the combination of interaction, quality of accompaniment and Sarah’s effortless singing style that I love. Swingin easy indeed. The thing I remember the most however, was hearing Sarah’s solo on All Of Me. A perfectly constructed solo, inventive, grooving and acrobatic. It was that precise moment that I fell in love with Sarah and made my decision to go about learning how to sing jazz. I knew I had a long road ahead of me but I was attracted to that beautiful mystery. I love her time, her humour, the range (hello!) and the willingness and confidence to really take a tune somewhere –not just sing the melody and be done with it. On this album Sarah’s personality shines beautifully bright –especially for someone who had only recorded once before with a small group, and in the 50’s her larynx was no-where near as close to the floor as in later years. There are some straight ahead tunes here, ‘Polka Dots and Moonbeams’, ‘They Can’t Take That Away From Me’ and other tracks including a very swinging ‘You Hit The Spot’, ‘If I Knew Then’, ‘Words Can’t Describe’, ‘Linger Awhile’ and the opening track ‘Shulie a Bop’ (a tune that Sarah wrote with George Treadwell) -are tunes that I will forever associate with Sarah.

Mark Murphy ‘Kerouac, Then And Now’ 1989
Bill Mays piano; John Goldsby bass and Steve LaSpina bass; Adam Nussbaum drums.
~ Mark Murphy draws from the days of Jack Kerouac including readings from the ‘Big Sur’ and ‘On The Road’ both with rhythm accompaniment but
this is a pretty big album in terms of material. Mark says in the liner notes that people like Monk and Eddie Jefferson (who are also acknowledged in this album) “…all added a richness to the legacy of the Beats –and beyond. This legacy still is as hot today as it was then”. Well, Mark should know. He is jazz. Monk’s ‘Ask Me Now’ is so god damn groovy I can’t stand it and his singing on ‘The Night We Called It A Day’ is just sublime. Every single track on this record holds you, deeply invested in –what’s about to happen and there is a lot of ground covered. Mark is the ultimate story teller. His perspectives are totally unique and he goes to great lengths to get his point across over a lyric with the most beautiful phrasing – never the same, always giving every word the precise weight it deserves. Like a conversation. I’ve learned much from this record.

Sonny Stitt sits in with The Oscar Peterson Trio’
Two sessions1957 with Oscar; Ray Brown bass; Herb Ellis guitar; Stan Levey drums and 1959 with Oscar; Ray Brown bass and Ed Thigpen drums and Sonny on tenor and alto.
~This one swings it’s ass off, unwavering, right in the pocket. I’ve pretty much committed this album to memory – well, pretty much, ha! A tune that nobody does ‘The Gypsy’ was the killer for me. I’m sure that when instrumentalists know the lyrics to tunes, you can hear it in their blowing. Well, whether Sonny did or not, the soul and intent in this mans playing is extraordinary. This is pretty much a dream band and the vibe of both recordings is just so happening. ‘I Know That You Know’ is what I like to call stupid fast and they all get around it. Sonny with all those triplet rolls and the way he gets from one part of the horn to the other in half the blink of an eye, is so fluid. I think I’m gona take it for a spin right now… happy happy daze!

Later,
E. Dilla

P.S Coming up next – Kristen Beradi!!!

Advertisements

Read Full Post »

Steve Barry hails from New Zealand and since moving to Sydney in March 2009 to study at the Sydney Conservatorium he has played with Dale Barlow, James Muller, Roger Manins and George Coleman Junior. He’s also played Thredbo and Manly Jazz Festivals, and toured New Caledonia with Dale Barlow, Brendan Clarke and George Coleman Jnr (USA).

I’ve been fortunate to be able to play with Steve almost every week, and at one point we were playing everyday for about 3 months. We’ve both really been into playing bebop heads in unfamiliar keys and odd time signatures for fun. He’s always inspired me to work harder, and until I met Carl Morgan I hadnt met someone so disciplined in developing such a high level of craft. He’s one of my best mates and I think he’s absolutely worth checking out live.

He leads a great trio with Dilworthers Alex Boneham and Cameron Reid.

Oscar Peterson
Keith Jarrett
Herbie Hancock
Brad Mehldau
Bill Evans

I got into playing through Oscar Peterson, one of the first albums I ever bought was the Sound of the Trio with Ray and Ed. As far as feel and chops go in that style no one beats Oscar. Keith was my second big influence, I go back to him all the time and still can’t get over his seemingly inexhaustible depth of ideas. Herbie took things to another level melodically, especially those 60’s albums and with Miles. Brad’s different again. Bill Evans I could never really get into until recently and I’m just realising just what a harmonic genius he was. The main thing for me is feel, and these 5 guys sure as hell have it!

Steve Barry (Jan 2010)

Yeah baby 😉
Eamon

Read Full Post »