Mary Lou Williams: Night Life

Mary Lou Williams is probably the most important female African-American jazz pianist. Williams was also a fine songwriter and arranger and she worked with major figures in jazz including Benny Goodman and Duke Ellington. Williams was born Mary Scruggs in Atlanta, Georgia, in 1910.

Williams played with Duke Ellington’s band, The Washingtonians, in 1925. By the late Twenties she was pianist in the Andy Kirk’s band, “The Twelve Clouds of Joy.” While with Kirk, Williams supplied the band with the songs, “Cloudy,” and “Little Joe from Chicago.” Williams made her first recordings with Kirk in 1929/30 and recorded the piano solo sides, “Drag ‘Em” and “Night Life.” These solo sides would see Williams become a national name and brought her to the attention of Benny Goodman, Earl Hines, and Tommy Dorsey who all hired her as an arranger.

Williams became involved in the bebop movement of the Forties and wound up as a mentor of sorts for the likes of Dizzy Gillespie and Charlie Parker.

In the Sixties, Williams began recording religious jazz music, and she continued recording prolifically until her death in 1981.

Williams best recordings can be heard on the following albums: “Mary Lou Williams Trio” (1944), “Signs of the Zodiac” (1945), “Piano Solos” (1946), “Black Christ of the Andes” (1964), “Zoning” (1974), “Mary Lou’s Mass” (1975), “The Chronological Classics: Mary Lou Williams 1927-1940” (1995), “The Chronological Classics: Mary Lou Williams 1944-1945” (1998) and The Chronological Classics: Mary Lou Williams 1945-1947” (1999).

Dizzy Gillespie: Salt Peanuts

The great jazz trumpeter, Dizzy Gillespie, was one of the musicians at the forefront of the development of be-bop music in the Fifties. Gillespie was born John Birkes Gillespie in Cheraw, South Carolina, in 1917. Gillespie earned the moniker, “Dizzy,” for his ebullient personality and antics while performing.

After hearing the great Roy Eldridge on the radio as a child, Gillespie decide then and there that he, too, wanted to be a jazz trumpeter. Gillespie got his start in New York City, in 1935, playing in the bands of Teddy Hill and Edgar Hayes. It was with the Teddy Hill Orchestra that Gillespie would make his first recording, “King Porter Stomp.” Gillespie stayed with Hill for one year and then freelanced with several bands for a while before finally winding up in Cab Callaway’s Orchestra in 1939. Calloway would fire Gillespie three years later following an altercation between the two men.

In 1943, Gillespie would join Earl Hines band which featured Charlie Parker and was beginning to create a new music which would become bebop. From there, it was on to the Billie Ekstine band, which also featured Parker. He would later leave the Ekstine band because he wanted to play in a smaller ensemble.

In the mid-Forties, Gillespie, Parker and other jazz musicians such as Max Roach, Bud Powell, Thelonious Monk, and Kenny Clark would meet at clubs such as Minton’s Playhouse and Monroe’s Uptown to jam and experiment. It was at these jams that bebop was born.

Gillespie would become a member of the “Quintet,” the legendary be-bop supergroup formed in Toronto in 1953, with Parker, Powell, Charles Mingus and Max Roach. Following his one-show tenure with the Quintet, Gillespie would form his own Dizzy Gillespie Orchestra.

Among the best of the classic sides that Gillespie recorded in the Forties and Fifties are: “A Night in Tunisia,” “Salt Peanuts,” “Hot House,” “Manteca,” “Perdido,” and “Night and Day.”

Gillespie’s best albums begin with the Quintet. His “Salt Peanuts” from the album “Live at Massey Hall” is perhaps the best moment of many brilliant moments on that live recording of the Quintet’s only show. Other fine Gillespie albums include, “Dizzy In Paris” (1953), “For Musicians Only” (1958), ”Gillespiana” (1960), “Groovin’ High” (1953).

After Gillespie had had his fill of bebop, he became interested in Afro-Cuban music. Gillespie died in 1993.

Art Tatum: Tea for Two

Art Tatum is considered by many to be the greatest pianist in the history of jazz music whose technical skills were unrivaled. Tatum’s unmistakable sound was the result of his prodigious speed, harmonic inventiveness and swinging style which featured the frequent use of thrilling cadenzas. He playing was drawn from the stride style of James P. Johnson and Fats Waller and the more modern approach of Earl Hines. When a young Oscar Peterson first heard a recording of Tatum and was told that the recording was the work of a single pianist, Peterson refused to touch a piano for a week.

Tatum was born in Toledo, Ohio, in 1909. His parents were both musicians at a local Toledo church. As a child, Tatum developed cataracts and eventually lost sight in one eye completely, while being left with only partial sight in the other. Tatum was a child prodigy at the piano and learned to play by ear while listening to church hymns and music on the radio. In 1925, he would begin learning music and braille at a school for the blind.

By 1933, Tatum was in New York City, and he began to make a name for himself at piano playing competitions known as “cutting contests.” It was at one of these contests that Tatum famously out-dueled stride legends James P. Johnson, Willie “The Lion” Smith and Fats Waller with spectacular versions of “Tea for Two” and “Tiger Rag.” While Tatum was working at the Onyx Club in March of 1933, he recorded his first four sides for the Brunswick label. For the remainder of the Thirties, he toured around the Midwest and had stints in Chicago and trips out to Los Angeles before returning to New York.

In the Forties, Tatum recorded with singer Big Joe Turner for Decca Records and formed a trio with guitarist Tiny Grimes and bassist, Slam Stewart. By the end of the Forties, Tatum had returned to solo performing and continued solo until his death in 1956.

Any compilation of Tatum’s incredible recordings is a must-have. The best of these include, “Piano Starts Here” (1968), “The Complete Capitol Recordings” (Volumes 1-2) (1989), “Classic Early Solos” (1991), “The Chronological Classics: Art Tatum 1934-1940” (1991), and “The Complete Capitol Recordings of Art Tatum” (1997).

Django Reinhardt and the Quintet of the Hot Club of France

Guitarist Django Reinhardt and violinist Stephane Grappelli were probably the two greatest European jazz musicians of the 20th century. Both men were founders and members of an outfit known as the Quintet of The Hot Club of France, a jazz ensemble that recorded during the Forties.

 Reinhardt, born in Liberchies, Pont-a-Celles, Belgium, was a gypsy guitar prodigy. When he was eighteen, his hand was so badly burned by a fire in his caravan that two fingers on his left hand were rendered useless. His family and friends thought that any future career plans as a musician had been prematurely snuffed out, but Reinhardt adapted and learned to play with just the index and middle finger on his fret hand. Despite his handicap, Reinhardt still earned a reputation as one of the greatest guitarists in the history of popular music.

 In 1934, Reinhardt, jazz violin virtuoso, Stephane Grappelli, brother and fellow guitarist, Joesph Reinhardt, guitarist Roger Chaput and bassist Louis Vola formed the “Quintette du Hot Club de France” and recorded some of the best jazz of the Thirties and Forties.

 During his tenure with the Quintet of the Hot Club of France, Reinhardt recorded the classic selections, “Minor Swing,” “Djangology,” “Runnin” Wild,” “Paramount Stomp,” :Belleville,” and “Night and Day.” The Hot Club recorded in the swing style that was the vogue of the mid and late Thirties. The band would disband in 1939, only to reform in the Forties with a different line up of sidemen supporting Django Reinhardt and Stephane Grappelli.

 Reinhardt died in 1953 at the age of 43, while Grappelli would continue playing and recording until his death in 1997, a month shy of his 90th birthday. Django Reinhardt would leave behind a legacy of musical brilliance and serve as an inspiration and major influence on countless guitarists from rock, country, jazz, and even classical music. Rock guitarists, Jerry Garcia of the Grateful Dead and Tony Iommi of Black Sabbath, both suffered serious injuries to their hands early in their careers and credit Reinhardt as a huge inspiration in overcoming their respective injuries. Reinhardt and the Quintet of the Hot Club of France appear on numerous fine compilation albums.

Art Blakey and the Jazz Messengers

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Drummer Art Blakey and his band, The Jazz Messengers, are the pioneers of a jazz sub-genre called “hard bop”. Hard bop takes the fundamentals of be-bop and adds elements of rhythm and blues. The idea behind hard bop was to make be-bop music more danceable and perhaps, more palatable to mainstream music fans.

Art Blakey was born in Pittsburgh, Pennsylvania, in 1919, and by the Fifties, his virtuosic and incessant drumming would put him at the forefront of the be-bop genre along with Dizzy Gilliespie, Thelonious Monk and others.

In 1954, he formed the band, The Jazz Messengers, which became a training ground for up and coming young jazz musicians. New Orleans trumpet prodigy Wynton Marsalis would get his professional start as a member of the band. Among the best of the Art Blakey and The Jazz Messengers albums are “A Night at Birdland” (Volumes 1-3) (1954), “The Jazz Messengers” (1956), “A Night in Tunisia” (1957), “Drum Suite” (1957), “ArtBlakey’s Jazz Messengers with Thelonious Monk” (1958), “Ritual” (1959), “Moanin’”(1959),  “The Big Beat” (1960),  “Mosaic” (1961) “Free for All,” “A Night in Tunisia” (1961), and “Indestructible” (1965).