Home to the filibustering solo and crowd pleasing barrages of bombast, Norman Granz's JATP extravaganzas were a direct populist affront to the intellectualism that invaded jazz in the wake of the bebop revolution. Often taking a carnival barker's stance Granz made no bones about his emphasis on saturating his concerts with thrills even when it came at the expense of substance. Entertainment was the prime directive and rivalries real and imagined were frequently the flint that sparked the substantial financial success of such events.
Mysteriously sequestered for over a half a century this previously unreleased slice of the JATP spectacle is fairly typical of Granz's winsome formula. Assemble a team of top-tier jazz soloists, choose a handful of time-tested standards, book a prestigious venue capable of reflecting the grandeur of the group, and let the crackling tinder of the talent ignite. The formula works once again from the opening salvos sounded off by Phillips flashy tenor on "Leap Here." Turk picks up the baton tossed by the saxophonist and keeps the tempo brisk above a smoldering rhythm supplied by Jones, Brown and Manne. Bird and Navarro follow suit, but it's Criss that really pops the cork of the champagne bottle on this first track with a solo steeped in equal parts ringing sass and sober agility. The younger understudy also more than holds his own negotiating the contours of "Indiana," one of Bird's favorites and a familiar stomping ground for the ill-fated altoist. Navarro's punchy statement at the tune's midpoint makes clever use of the hall's looming acoustics ricocheting clear articulations off the vaulted ceilings and into the nosebleed seats. The mammoth rendering of "Lover Come Back to Me furthers the intensity of these earlier numbers." Initially preening his balladic feathers Phillips births an inaugural solo that eventually gains steam in a booting display, eliciting waves of crowd-borne wolf whistles and cheers. Turk successfully ups the ante working his well-greased slide through a melodic obstacle course that sends the crowd to its collective feet in a display of adulation that overwhelms the mikes. Mugging like Buddy Rich for the tune's final choruses Manne shrugs off his usual subtlety in a tumbling torrent of press rolls.
The concert second set swaps the bulk of the horn section for Hawkins, with only Navarro staying on board for the resulting quintet. It's almost an even trade. Granz's spoken prelude announcing the pared down band is as uniformly garbled and its early intro for the octet. Fortunately the musicians are far better preserved in the mix. Three short numbers and a grand finale run through of Hawkins' own "Stuffy" make for a concise, but meaty set. The two frontline partners sound well matched, but also take the opportunity to work independently with Bean blending breathy romance on "Sophisticated Lady" and Fats channeling pungent tenacity through his brass on "The Things We Did Last Summer."
Discographical accounts of the concert also mention sets by Ella Fitgerald backed by Phillips, Machito's Afro-Cuban Orhestra and a version of the octet sans Bird. These were presumably excised in the interest of containing the program to single disc size, but strangely, Bob Blumenthal's otherwise conscientious liners make no mention of them. Completists may lament the omission, but the music present provides more than enough to be thankful for.
Track Listing: Norman Granz Introduction (1:21)/ Leap Here (11:21)/ Indiana (Back Home Again In) (11:16)/ Lover Come Back to Me (15:27)/ Norman Granz Introduction of Coleman Hawkins (:11)/ Rifftide (5:08)/ Sophisticated Lady (4:23)/ The Things We Did Last Summer (3:26)/ Stuff (10:10).
Personnel: Charlie Parker- alto saxophone; Sonny Criss- alto saxophone; Flip Phillips- tenor saxophone; Fats Navarro- trumpet; Tommy Turk- trombone; Hank Jones- piano; Ray Brown- bass; Shelly Manne- drums; Coleman Hawkins- tenor saxophone; Fats Navarro- trumpet. Recorded: November 2, 1949, NYC.
I was first exposed to jazz circa 1973, when I met a fellow who ran Kappy's Record Store over near 10th Ave., on 42nd St. in NYC. We really clicked and when I told him I played piano and went to Music & Art HS, and had just started at City College of NY as a music major, he asked if I liked jazz...I said yes but I didn't know much about it, but that I did have sheet music for many popular 1920's through 1940's tunes by noted composers (Porter; Gershwins; Irving Berlin; Rodgers & Hammerstein/Hart; Jerome Kern; Lerner & Loewe; etc.) that my mother had sung beautifully starting in the 1940's including tons of famous show tunes, and I played many of those songs already
I was first exposed to jazz circa 1973, when I met a fellow who ran Kappy's Record Store over near 10th Ave., on 42nd St. in NYC. We really clicked and when I told him I played piano and went to Music & Art HS, and had just started at City College of NY as a music major, he asked if I liked jazz...I said yes but I didn't know much about it, but that I did have sheet music for many popular 1920's through 1940's tunes by noted composers (Porter; Gershwins; Irving Berlin; Rodgers & Hammerstein/Hart; Jerome Kern; Lerner & Loewe; etc.) that my mother had sung beautifully starting in the 1940's including tons of famous show tunes, and I played many of those songs already. SOOOO... he started me off LP's by Oscar Peterson, Art Tatum, Bud Powell, Errol Garner, Bill Evans, Monty Alexander, Charlie Byrd, and Dave Brubeck... does it get any better than that? ...No, it doesn't. I was hooked!!
I met and had a master class with the late music giant John Lewis, leader of the Modern Jazz Quartet! This was at CCNY in 1977. I was blessed! It was an incredible class... how could it have been anything else?!?!
The first jazz record I bought was...I bought numerous records from my friend at the record store, as mentioned above. He introduced me to nothing but music giants/legends! I think The Dave Brubeck Quartet, Greatest Hits, was actually the first one.
My advice to new listeners... study first--understand the rudiments--solfeggio, keys, scales, and basic chords. Read a book or take a class that includes the study of chord progressions, especially in jazz. It should ideally be a piano class so you can play multiple notes together. Have a good EAR or else it's not really worth it in my view...to become a musician, a good EAR for music is about as fundamental as breathing! Learn to read chord charts--i.e., lead sheets - wherein you play various voicings of the chords--major, minor, dominant 7th (alterations of these, you can learn over time - the basic chords are most important for starters), plus the melody, on the piano or keyboard. If you have to read the exact notes, then it's not the same as actually internalizing it & getting it all into your head. If you can do this, I think you're ready not only for listening to jazz, but understanding many concepts of it! Of course...anyone can listen to jazz... but I think it's so good to also have a grasp of it.