ONE LP

EDUCATION | EXHIBITIONS: ONE LP EXH@BCU/RHYTHM CHANGES: THIRD FLOOR SECTION 1

The One LP Project - Rhythm Changes International Conference: Jazz Utopia - School of Media and the Faculty of Art, Design and Media, Birmingham City University. 

Outline 

One LP is a unique and critically acclaimed portrait photography project that explores the 

inspirational qualities of jazz recordings and the impact that they have on people’s lives. 

Each artist portrait features the subject holding a recording that is of fundamental importance to them. The photograph is accompanied by a short interview that explores the meaning and value of the selected album. 

Concept and development 

“One LP is a project that commenced in 2010 as a response to conversations with musicians about their relationship with the work of other artists encountered via recordings. In particular, conversations had focused on the albums that had profoundly moved the subjects. As a conversation is of course transient – usually committed only to memory - I was eager to find a format that would adequately document my interactions with the artists.  

The One LP series is the outcome - something that excavates layers of memory, influence, being and uniqueness.  

Perhaps more poetically, One LP has come to represent a 

journey into another’s soul: the album that each artist selects is a part of them: their past, present and future. 

The project, conceived in the jazz world has been extended and now includes around 200 people in a spectrum of occupations in the creative milieu - artists, academics, broadcasters, musicians, writers and photographers.” 

William Ellis 

Exhibitions 

The premiere One LP exhibition was held in New York at the ARChive of Contemporary Music in 2014. The portraits were subsequently shown in Los Angeles during the Britweek arts program. 

The exhibition at Birmingham City University is the most comprehensive to date and reflects the status of jazz as the most diverse of musical genres. 

The artists featured here range from innovators whose provenance reaches back to the birth of the jazz genre and moves through to those at the cutting edge of contemporary composition and performance. The exhibition also includes subjects whose passion for the music inspires them to excel in their respective fields: here we feature world famous jazz club and specialist record store owners, concert directors and record producers, promoters, agents, journalists, historians and photographers. 

One LP is a mature and ongoing project. However, initiatives to broaden its remit are welcomed. I am open to discourse on new collaborative assignments and projects in the UK and overseas 

. William Ellis 

British photographer William Ellis is perhaps best known for his impeccable photos of jazz musicians. Truly cool interactive exhibits like this that combine multiple art forms don’t come around often. Time Out New York 

About 

William Ellis was born in Liverpool in 1957. Developing his distinctive style encompassing portrait, performance and still life images of musical instruments via study and appreciation of a widerange of artists and fellow photographers. 

His breakthrough into jazz came with the opportunity to photograph Miles Davis in 1989. 

William has since worked with many of the world’s leading musicians. 

His work is exhibited extensively at international level: it is held in private collections worldwide and those of major institutions including the National Portrait Gallery London, the Archive of Contemporary Music in New York and the American Jazz Museum in Kansas City MO. William’s photographs have been used in the JAM (Jazz Appreciation Month) Outreach program in the United States initiated by the Smithsonian Institute. They also appear regularly in print/online publications, and are used by record companies in artist promotion. One LP is featured on the leading website allaboutjazz.com 

Commission One LP 

The OneLP Project is available as a bespoke art event and can be integrated into existing programmes or operated as a stand-alone event. The latter is usually based on an exhibition that can complemented with a range of optional activities, including for example, individual OneLP portrait and interview sessions, presentations, seminars, methodology and practitioner workshops, and discussions relating to technical aspects of portrait and music photography. 

Visit onelp.org/experience email info@william-ellis.com 

“Beautiful images.” - Herman Leonard 

“One LP is a marvellous idea, superbly executed. The range of subjects (human and musical) is wide indeed, often surprising, sometimes touching, always interesting. May it go on and on.” - Dan Morgenstern, Director Emeritus, Rutgers Institute of Jazz Studies, NEA Jazz Master 

  • “I can’t remember which one it was!!I like Louis Prima - I had the pleasure of working with him in New York a few years ago on Ed Sullivan’s show. We got chatting and I enjoyed his company - I enjoyed his playing and his singing is excellent - good jazzer!”Acker Bilk: Lyceum Theatre, Crewe, 14th November 2010Louis Prima: Strictly Prima - released 1959Acker BilkInterview
  • I met up with Alan and Mark at the Blue Whale in little Tokyo, LA on a hot late Sunday afternoon where I discovered they had gone for the same album for very different reasons.Alan:	Yeah.  Well, this album from a horn player  - I’m a trombone player  - so, from a horn player’s perspective, it was very influential on me in a number of ways.  Number one being that it was the first time I was introduced to Woody Shaw and his pentatonic style of playing.  Very compelling, the way he was playing and I was attracted to a more modern style of playing a brass instrument and when I heard him initially I just knew I liked it . I didn’t know what the heck was going on and as I explored it a little bit further I got more familiar with pentatonics and his complete mastery of that and this record really, I think, is some of the strongest … ah … some of  Woody Shaw’s strongest playing.  In addition to Joe Henderson, I think the two of them are great foils for each other.  Joe Henderson being one my absolute favourite tenor saxophonists  and, you know, the trumpet/tenor combination has a long history in jazz and I think this is one of the premier examples of that, especially with Elvin Jones being on and then Larry Young, of course.An amazingly open feeling because of the organ.  Larry Young and Elvin have this very loose kind of feel yet very...it just grooves so hard but it’s not in the organ-grinder kind of way.  It’s an amazing example of kind of liberating the traditional organ/drum relationship from that to a more modern jazz context.  And then you put those two horn players up on top of it and it just blew my mind.Mark:	Yes, as a drummer, this could be one of the benchmark records for Elvin Jones, one of the classics - obviously there’s the whole John Coltrane library that’s, you know, sort of untouchable in a lot of ways, but this is one of the few dates, to my knowledge, that Elvin did with Larry Young.  I know a few other records but this one is special in a sense that there’s one track on there where they play duo.  I had never heard that before, this record , with those guys playing together.  What, for me, what I heard was what I’m so used to, as a drummer , to hook up with the bass player, the organ player.  This is a great example of… they’re not hooking up and yet they are.  Elvin Jones is playing way behind Larry Young’s beat but somehow it works amazingly.  It’s still a mystery.  The reason why I think this record is still a complete mystery to me: how that sounds so good, because they’re playing almost in their own ostinatos, their own worlds, yet it gels so great and then obviously the playing on top of that, all the soloists are some of the most classic solos in jazz.  So, I could talk for hours about this record but that, for me, was something that really stuck out.WE: That’s lovely. Thanks, gentlemen.Alan Ferber and Mark Ferber: 'The Austin Powers Room' - Blue Whale, little Tokyo, Los Angeles, May 2013Unity: Larry Young, leader - organ. Woody Shaw, trumpet. Joe Henderson, tenor sax. Elvin Jones, drumsAlan FerberMark Ferber
  • {quote}It is so special because, as many people know, that Abbey Lincoln passed away earlier this year [August 2010] and I have always been really inspired by her.   From a very early age, she was one of the – you know, after Ella Fitzgerald – she was the next person I really got into.  So I am a massive fan of her and I’ve got all her albums.  	The reason I chose this is because I think this is one of the lesser-known ones but there’s beautiful tracks on here and the one that I really love is “Exactly Like You” because I listened to another version of this by Carmen McRae, which I love, and when I heard this version I loved this equally.  You know, it’s the way her sentiment, the way she gets the lyrics across, are so different to a lot of other singers.  She is very deep when she sings and you can really hear a lot of emotion.  Not in the same way that you can with Billie Holiday but you know it’s coming from a real spiritual sort of place, when she plays and that’s why I love her.{quote}Anita Wardell: The Spa, Scarborough, 26th September 2010Abbey Lincoln: It's Magic - released 1958Anita Wardell
  • {quote}The album I brought is one of my most treasured possessions: the actual 3-LP set ‘The Last Waltz’ by The Band that I got when it was originally released — Probably around 1978 or ’79, I think.'’The Last Waltz' was also released as a film, directed by Martin Scorsese. So it must have been around my 10th birthday when my mum took me and a group of good friends to see this movie at the Cinerama Dome in Hollywood.  It was, of course, truly amazing.  Loud, epic, and unbelievable to witness on that huge screen.I had already listened to some of the albums that my mum had in her collection by ‘The Band’, and a lot of the people who appeared in the movie were favourites of mine already, like Bob Dylan and Joni Mitchell.  Dr. John, Neil Young, and Ringo, all of these people.  So we piled into the car and went to see this movie and I was completely blown away by the music, by the performances, by the songs. We all were.I just loved everything about it.  I got the album and just played it to death.  I know it by heart.To me, this album still embodies a lot of what I find the most essential in music.  All the performances are filled with so much commitment, so much power, and so much presence. Just listen to The Band play ‘The Night They Drove Old Dixie Down’  here and you’ll know exactly what I mean. It’s astonishing.These are artists who, at that time, were at the peak of their artistry.  To see Joni Mitchell; The Staples Singers; the basically one-camera close-up of Muddy Waters singing ‘Mannish Boy.’  To experience the great orchestral arrangements by Allen Toussaint and the huge recorded sound on vinyl or any format. This album is just a beast! I didn’t think of it this way when I was a kid but now, looking back, I can see that the kind of music that The Band played, that Joni Mitchell played, Neil Young, Bob Dylan, Emmylou Harris, Van Morrison, it was a mixture of all of the roots of American music, expressed so beautifully.  There was blues, there was jazz and often a kind of ragtime feel that I really love, there was country music and gospel; all kinds of folk forms existing together in an organic way, and just great, great songs and great songwriting.  And even in a kind of jam session-like, super amped-up party atmosphere, all the performers demonstrated a great sense of focus in bringing the best out of each song they played.All of that resonates with me more and more as I focus on increasing my ability to render songs themselves as vividly and specifically as possible.  And in making my own music, I find it crucial to stay connected to all the things that are root musical sources for me. ’The Last Waltz' serves as a kind of model for me in doing that. I don’t only love jazz. I love a huge range of music, and ‘The Last Waltz’ is surely one of the most important and enduring records for me in the way it encompasses all that I started out loving, and continue to love, about music.{quote}Anthony Wilson: On stage, Cody's Viva Cantina, Burbank CA. 31st March 2015My birthday - what a night...! Anthony was the featured player at the legendary John Pisano's Guitar NightThe Band: The Last Waltz released 1978Anthony Wilson
  • “So my album of choice - it's a tough one - always a tough one! But if it has to be one then it would be an album called 'Sunlight' by Herbie Hancock which I first heard when I was 13 years old, on the way to Italy actually.  I was in a car and I'd just bought this record on CD and I put it in my little CD player and I remember being sat next to my dad listening to it on my headphones and it was just a kind of epiphany.  I felt like I was finally hearing a sound that I'd kind of always been looking for almost.  There's something about this album, it basically bridges the gap between instrumental groove and improvisation and then full symphonic classical arrangements and orchestrations.  So it's kind of bridging the gap of these two worlds in the most eloquent and groovy and original way I'd ever heard, you know.  And so, yeah, it was kind of like a very significant moment of inspiration.  I felt like this was my kind of template for a sound when I was like 13...14.  It's something I've, ever since, been striving to kind of recreate my own version of (laughs).WE     And were you playing at the time Bill'? were you playing keyboards then already?“¥eah, yes. I'd pretty much been writing since I was really young and trying to find a sound that kind of satisfied me but I was always, you know, trying to categorize myself whether I was like .. jazz - whether I was making a jazz album or a pop album or, you know, an electronic album.  And hearing this kind of made me realize that actually you know you can have all these genres together, they can work side by side and actually that's really exciting when they do you know.  Actually rather than thinking - categorizing yourself is a constructive thing - I think it can actually be limiting, you know... to kind of disregard genre as such and just sort of embrace all the music that I've come to love anyway is what I've started to do and I feel like this album was the initial inspiration of that.The other thing is, just the visual, the kind of artwork itself is just legendary because it's just him and his kind of, you know, 70's attire with a gold chain and looking like really for disco times with his sort of semi Afro on the cover and then on the back you have this kind of laboratory of keyboards.  I remember just seeing it and just like. looking like the end of the rainbow for me.. just all these incredible analogue synthesizers and a Clavinet and just.. I just think it's such a cool way of kind of identifying where all these sounds came from and it's just him in the middle of this little kind of keyboard laboratory ... yeah great stuff.”Bill Laurance: Band on the Wall, Manchester, 8th March 2016Herbie Hancock: Sunshine released 1978Bill Laurance
  • “It had to be Michael Jackson – then I had a tough time picking which record - but this has my favourite song – ‘Man in the Mirror’ – I love it so much.I narrowed it down from Off the Wall, Bad and Thriller - it was difficult to narrow it down even that far.This record means so much to me.”Becca Stevens: The Bay Horse, Manchester, March 2013Michael Jackson: BadBecca Stevens
  • Dizzy Gillespie and Dexter Gordon: Blue 'N' Boogie{quote}Well - I've been around for a long time, and during the time when I got started there were no such things as albums so there were no covers!Cause there was a time of the 78 recording with 3 minute at tops for each recording, so whatever the person was going to present they had to present it within the 3 minute framework.Sometimes you didn't get the bridge of the song and they went out and things like that so they had to gear it for the 3 minutes and that's what I grew up with when I started that's what was going and later the 33 1/3 records came into existence - and they weren't 12 inch LPs they were10 inch LPs! And then later the 12 inch LPs came, yeah.And then later the albums came with the album covers at was much later though - it wasn't in the beginning!I had many heroes in the beginning, my first one was probably Coleman Hawkins and then Don Byas, Ben Webster, Lucky Thompson but then one that really got me down the line was a fella named Dexter Gordon.And he made a recording with Dizzy Gillespie and when I heard that my life changed again - it changed when I first heard the saxophone but when I heard that recording Dizzy Gillespie and Dexter Gordon it opened up something else for me cos his style was different from Coleman Hawkins and Don Byas and Ben Webster, it was another sound - even different from Lester Young.Like I said it opened my ears up when I heard that and I started trying to do other things because at that time I didn't have my own interpretation or concept - like money in the bank to reach in and do what you want to do, I had nothing in to reach in to get. So I was eclectic, imitating everyone - piano players, guitar players trying to understand what this thing called jazz is all about.Especially improvisation cos that's what jazz is all about. Nobody comes to hear the melody over and over again - after the first run of the melody they want to know what you've got on your mind musically!And you have to have something to say: you should have - and it takes a while to get to that point.Dexter had something to say in a little different way than the others, and to me, at that time - it's a long time ago - it was pretty hip, pretty hip.And from there you continue keep reaching - reaching then eventually you develop your own sound - whatever that is, and even when you develop your own sound and after a while maybe you even want to modify your own sound maybe wanna hear something else.Then you go through periods like Picasso did you know, like Cezanne came in: with the Cubism - then he went to pointillism and he went through many things.I saw some of the things that he did he did as a student and the anatomy was almost like a photograph - and then later he had one eye up here and one below and the nose over on the side and you maybe ths guy doesn't know anything about anatomy - he did - but he had a different perception as time went on.He went to pointillism which looked like little vertical scratches - I mean incredible what he did!And musically that's what we sort of do as we continue to reach.We think - while we're striving 'at this point' - whatever this point is, 'I'll be satisfied.'But when we get to that point somehow we're not satisfied - we're always striving to best ourselves - to get better at what we do, and to understand our selves better.Because what jazz is all about is improvisation and when you improvise you're bringing into existence things that had no prior existence - it didn't exist.Whether it's 2 notes or whether it's a whole series of notes  - your playing them that particular way did not exist.So you have to have - imagination. If you are going to create something that had no prior existence you have to imagine things - because they don't exist!And that's like an adventure I fancy it's like a big game hunting like a safari but we're only we're not hunting live game - we're hunting new concepts - new ways of doing the old things, new ways of expressing yourself.These extrapolations sometimes are just as important as the new discoveries, because you're bringing new life to it and you're presenting it in another way, Dizzy Gillespie during that time when he was coming up, that's what he was doing - he took the old tunes like 'Whisperin' and putting another melody on the chords and calling it 'Groovin' High'.Tadd Dameron took 'What Is This Thing Called Love' put another melody on the chords and called it 'Hothouse'.So this is an exciting time - 'Ornithology' was 'How High The Moon' and then it went on from that to total different concepts, different titles and different melodies.In the beginning we used the old structures 'What Is This Thing Called Love?', 'Whispering' as time went on we did away with those and came up with our own concepts, that's how I came up with 'Whispering' - 'Stabemates' and whatnot.It wasn't 'What is Thing called Love?' any more - It was something entirely different, but we had to graduate to that point because we were going into areas that didn't exist - and we were like the pioneers goin’ into - opening doors along the corridor to see what's behind these doors.It was like an adventure everyday, couldn't wait to wake up to try again.What can I do today better than I did yesterday?Where am I going?You ask yourself all those questions - what is it I want ? What am I trying to achieve?And sometimes we didn't even know that.Everything was so new - so all those early days were like an adventure.And still today - I'm an old guy today - but I've still have my ears open and I still think there are things I would like to that I haven't done yet even in my old age you know And it's still has that sense of adventure to it - yeah.It's creating things - improvising - what you're doing on an instrument or pen on paper - which is a form of improvising. It's exciting and it's adventurous and I think I'm still a part of that because it still awakens certain things within me creatively and I don't want that to die - I don't want to lose that - if I lose that I might as well get a job as a wash room attendant or selling groceries.Yeah - I love this music called Jazz.And as Sonny Rollins said {quote}There's no end to it.{quote}Nobody says - 'well I'm at the end of it and I don't need to study any more - I know all there is to know.'There is no such thing -and no one person knows everything,so we keep going ahead.Some of it's good, sometimes some of it's bad - stinko, and we reject it start over again but it's a great thing trying to arrive at these things.Oh yeah - and when you achieve it - oh it's like giving birth all over again, we wait in that maternity room and wait for the slap on the butt - it's alive!Yeah - it's an adventure of sorts - yeah - and I'm committed, I really am, and I guess like Sonny Rollins said {quote}There's no end to it.{quote}They ask me a lot of times - {quote}Mr.Golson - what is the favourite tune that you have written.{quote}And my answer's always the same {quote}I haven't written it yet.{quote}There's always something to do.{quote}Benny Golson: The Royal Conservatoire of Scotland, Glasgow, 17th September 2015Mr Golson cited a recording of Dizzy Gillespie with Dexter Gordon, I deduced Watson that it's Blue 'N' Boogie.The Dizzy Gillespie Sextet with Dexter Gordon  released 1945Benny GolsonSpecial thanks to Tommy Smith for kindly arranging the session.
  • Brad Stubbs: At home, West Hollywood CA, 12th May, 2013{quote}I chose Getz/Gilberto with Stan Getz and João Gilberto, which was my entry into jazz - I didn’t even know it was jazz - and I loved it so much and it’s just an album that I have just bought over and over and over again and I listen to it all the time.  I listen to it when I’m  kissing my wife, when I’m making love.  Everything was built on this album, after I heard this, then I fell in love with Sting, I fell in love with Michael Franks, I fell in love with Sade.  I’m a writer and I write stuff like that, that sort of same beautiful…it’s jazz, but it’s beautiful.  And jazz isn’t always beautiful to some people when you listen to Coltrane or something when he’s gettin’ all crazy in the 60s, but this is beautiful, you know.  And I loved it so much and anyway that’s why I picked this album.  But I have so many copies of it and I just keep buying it.  If I saw it today at [???] I’d probably pick it up again and I’d go, Oh wait a second, I already have this.  I don’t care! So that’s my story on that.  Stan Getz though, something interesting about him, he got a lot of flak for this album, you know, and it’s happened to a lot of artists since then.  You know, that’s not real jazz, it’s beautiful but if you look at this album it’s still in the top ten of jazz songs.  This, Miles Davis Kind of Blue, Take Five – those are the top ten songs.  And I look at people like Brian Wilson from The Beach Boys, he got a lot of flak and it hurt him and it drove him crazy and he neglected his music.  It happened to Sly Stone from Sly and the Family Stone.  The black community gave him a hard time because he was writing these positive songs and Norah Jones, another one – I love Norah Jones – but she got a lot of flak for this music but you know what?  Those are the records that are going to last and last and last and it was almost a tragedy that Stan Getz couldn’t embrace this, you know, for longer because you know his peers were judging him – it “wasn’t real jazz” but to me it was the best stuff that Stan Getz ever did.   And of course Jobim, oh what a great writer!  One of the greatest writers since Beethoven, in my mind.  You know, he does such interesting things with music, that I can spend years just analysing his songs and the way he writes, because he’s otherworldly. And anyway, that’s why I love Getz/Gilberto.{quote} [laughs]Brad Stubbs: At home, West Hollywood CA, 12th May, 2013Stan Getz, Joåo Gilberto: Getz/Gilberto released 1964Featuring Antonio Carlos Jobim and Astrud GilbertoBrad Stubbs
  • “I choose a Clifford Brown album called The Beginning and the End it chronicles this guys experience from the beginning of his musical career until a recording the day before he actually died.It’s strange because when I first got the record I didn’t really know what the record was about or why they put it together I just remember hearing this amazing this amazing trumpeter and trying to mimic his version of {quote}Donna Lee{quote}, and I can remember at the end of the song hear him speak to the audience – and even as a little kid feeling that this guy had a lot of heart and was compassionate – through his voice – you know what I mean?He sort of says a farewell to the world and I had no idea that’s what actually was happening you know. So when I got a little bit older and I realised what was going on it made me want go back and re investigate it when I was a much better trumpeter and I realised he was playing some pretty impossible things on the instrument when in essence he was a baby - this guy passed away in his early twenties. There’s stuff that this guy did with the instrument that many fifty year old trumpet players would never attempt and this guy did it sixty years ago.It’s scary to think about it.The thing I love so much about Clifford Brown - in addition to his trumpet playing being so refined and so perfect, you could just always tell he was playing with sincerity and love in his heart, that’s a model that I’ve tried to keep going.Lots of guys - they look at some of my song titles and titles of the albums, some of the music is about social issues and things of that nature and they’re kind of charged sometimes – they say ‘oh well this guy’s angry’ - but if they only knew I actually was playing the music from a stance of love. I don’t want this (social issues) to affect my kids - I’m just trying to take that model and apply it to the time period that I inherited.”Christian Scott: Band on the Wall, Manchester, November 2010Clifford Brown : The Beginning and the End- released 1973Christian Scott
  • {quote}It's 'The Tony Bennett and Bill Evans Album' - two reasons - I adore Tony Bennett - and I adore Bill Evans!I found this album and the one song that absolutely touched me was 'Waltz For Debbie'.I think Bill Evans wrote it for his daughter. That song grabbed me on the whole album - so much so that I asked my piano player to do the charts for it and I started to perform it and I was able to record it myself which was a real joy.'What kind of jazz album would you like? 'For me it would be a singers album.So that's really the reason I chose that one.WE Would you say that was a formative album for you?CK Oh it was definitely - I recorded that in 1986, so I was listening to that probably from the early eighties.That would be the album I would put on if I just wanted to sit back and relax and listen to this beautiful piano playing - he was adorable and Tony Bennett's amazing voice.It was a real inspiration for me, especially the fact that he was singing with just piano.I'd been tinkering around with the idea but as soon as I heard that I said 'I can do that - I can do that - I can do lots of songs just with piano. It was very inspirational.{quote}Carol Kidd: Glasgow, 8th October 2015The Tony Bennett/ Bill Evans Album released 1975Carol Kidd
  • {quote}Well, that record is the world-famous Kind of Blue album by Miles Davis, which was the most-sold jazz record in history.  The reason it’s dear to my heart is because Miles Davis was staying at my parents’ house when he made that album.   I was in high school and my stepfather was his doctor and I was playing trumpet and going to the conservatory and Miles gave my stepfather the test pressing – you know with no grooves on one side – and so I became enthralled with Miles Davis and then just the music on there is just so classic, you know, with Coltrane on it, you know, and Paul Chambers, Jimmy Cobb…Wynton Kelly, Bill Evans.Yeah, Bill Evans and Cannonball.  It was just like the quintessential music of that era, almost of all time.  I mean, it really changed the face of quote-unquote jazz music and really changed my life, because seeing him in person - and he took me to a gig when I was 17, 18 years.  He stayed at the house.  So that album and just that experience is dear to my heart, you know.WE:	Beautiful.  Beautiful.  That is so special.  Thank you.EH:	Yeah. Yeah.  You know, I could go on and on for hours.WE:	I’ll bet.  EH:	But, you know, I think everybody... with that album and that music.WE:	Your experience of Miles staying at your house is so unique.EH:	Absolutely….and me playing the trumpet too.  It made it ever so much more significant to me.WE:	When you were very young at that time, did you talk to Miles about the trumpet, and did he talk to you?EH:	Well, he wouldn’t just come by like a normal person and say this is this and this is that, it’s just by observation.  In fact I may have played one of his records, you know, and he just smiled and said - 'you sound good but that’s me'  [laughs]  That was an eye-opener right there, you know.{quote}Eddie Henderson: Universal Rehearsal Studios, New York City, April 2013Miles Davis: Kind of Blue released 1959Eddie Henderson
  • {quote}It’s the best playing of Duke Ellington I ever heard in my life. It’s really beautiful.  You can hear him humming on “Sophisticated Lady” in the background and it’s heart wrenching - it’s so beautiful.  On something like “I’ve Got It Bad and That Ain’t Good” he starts off with some real slow playing of it in free time just by himself and then the band pulls it in after he plays the first verse and it feels like somebody’s just taking a romp through the park on a warm summer day.  And then “Caravan”, which has that Latin beat to it, he just really grooves on it and leaves a couple of measures out and then comes back in.  And those measures he leaves out are so important and so strong – he just did the right thing all the time – he was totally intuitive.  He’s a real hero.  You see, I don’t play that kind of music; I come from the slow blues of Jimmy Yancey .  I accompanied Jimmy’s wife, Mama Yancey, after he died.  I learned on the streets first and then I took a couple of degrees in music later.  I love classical music but it kicks my ass in so badly when I try to play it so I memorise stuff.  So I am more wired to play improvised music so this is the kind of stuff I play- but I don’t play like Monk but I just love what he plays.  Most of the stuff I love is what I can’t do!{quote} [laughs].Erwin Helfer: Katerina's, Chicago, 14th May, 2013Thelonious Monk: Thelonious Monk Plays Duke Ellington released 1955Erwin Helfer
  • {quote}This is called 'One on One' - it's Shelly with Russ Freeman - he was a very good jazz pianist - unique.He left the jazz world and composed for movies and tv - made a lot of money but stopped playing jazz!This is one of the last things Shelly did - it's just the two of them playing off each other - it's very original. They played together alot at one time - every once in a while Shelly would try to get him to come out and play - {quote}just come out and play Russ!{quote} Russ was a perfectionist and he didn't feel he could do it as well he used to so he just wouldn't play anymore, so it was kind of too bad.{quote}Flip Manne: Sun Valley CA. May 2013Russ Freeman and Shelly Manne: One on One 1982Los Angeles Jazz Society
  • “I had been brought up on classical guitar from the age of nine and then I had various stupid accidents to my fingers when I was about twelve which really ruled out classical guitar.  I went on to harpsichord for about four years then I went to art school - Chelsea Art school, and I got into blowing instruments like, you know - clarinet and alto.  And I started The Temperance Seven at Chelsea and was playing banjo - which was incredibly boring - so I left and of course they shot to stardom after I left (laughs).  But I heard Gerry Mulligan - I think it was in the mid 50's - and that was just like a starburst.  It was incredible because the music was without chords and I could hear these lines going along and it reminded me so much of the harpsichord music that I'd been playing.  I rushed out and I bought this very ancient LP, which is all yellow as you can see.  A favourite one on this LP is ‘Soft Shoe’.  I do have another one, another LP somewhere which has 'Line for Lions' which I absolutely adore as well.  It's so nice that I still have this LP and it's still playable.  That just turned me onto modern jazz - straight away, I sort of never looked back - I didn't look back at Temperance Seven either!   That's really how I sort of got into jazz in that way, but I didn't actually buy a double bass till I was about 25.  It was my father who was always very interested in all instruments who told me that there was a shop in the High Street somewhere and he said 'Oh there's a double bass going there for £12.’ It was a little chamber bass with great thick strings which had all ripped and were very rough - gut strings - £12.  So I saved up for this and I bought it. I think it was 1960 and I wasn't doing very well at all with my painting.  I was, you know, quite desperate - I wasn't making any money at all.I was doing all sorts of jobs .. anything at all ... like sign writing or cleaning picture frames, anything at all.  I was hardly making any money at all and starving away.  So I was so thrilled to get this instrument.  I just played and played and played.  I put on records... played to records.  And, of course, because my parents had always been interested in jazz and always used to play jazz on their gramophone I was interested in jazz and I could tell how many bars were in a 12 bar blues.... that sort of thing so I was able to hear the chords going and recognise a lot of the tunes on the LPs that I had.After a fortnight this friend of mine came, this guitarist, came along and he said ' Oh, there's an ad in this magazine I've got, it's called The Melody Maker, and somebody wants a bass player for a gig - for tonight'. So I said 'Don't be ridiculous I've only had this for a fortnight, how can I possibly...'  He said ' Well it's worth 7 and 6'! - and that was more than I earned in the week before so I said ok.  So the bass didn't have a cover, and I didn't have a car so I just got on a number 22 bus, with it standing on the platform and me holding it, and went to this place - Parsons Green I think it was - and went to this little hall and I played in this little band, a Dixieland band, and found the guys in the band didn't seem to know how long a 12 bar blues was.  So I thought 'Well, if they can earn all this money and not even play properly I'll continue so I did - and that was it really!”We spoke a while longer - Gill recounted playing with many of the leading American musicians - including Sonny Stitt.“He wore a huge white stetson and drank lots and lots of water - I think that’s what killed him!{quote}Mr. Stitt had given up alcohol.Gill Alexander: At home, Needham, 23 February 2016Gerry Mulligan: The Gerry Mulligan Quartet Volume 1 released 1952Gill Alexander-Levin (Artist and Tithe Barn Music/Arts venue, Norfolk)
  • “It was impossible to make a choice! This is Charlie Parker with Strings – a compilation of all the Charlie Parker with Strings – not just the one studio performance there’s some live performances.Someone at The Charlie Parker organisation that used to give the benefits for Charlie Parker - the Foundation that his wife started, made this compilation and they gave them out to some of the sponsors and people who came to support that organisation.There are recordings from the Apollo Theatre and different venues.It’s a unique collection – as you know - it’s Charlie Parker man, Charlie Parker one of the geniuses of our music so - you know I’ve heard people say ‘if you don’t play no Charlie Parker you ain’t playing Jazz!’Everybody takes a little bit of Charlie Parker in their improvisation.”Jimmy Heath: Langston Hughes Library, Flushing, New York, 30th April, 2013Charlie Parker with Strings Master Takes, recorded 1947 - 1952Jimmy Heath
  • Kenny Burrell: Distinguished Professor Of Ethnomusicology, Director of Jazz Studies, UCLA{quote}The record the maestro recorded in Paris in 1963 there are many great things on this recording.It starts off with Rockin'n Rhythm which we all know has gotten it's own wings after Ellington.Written in 1929 - hello! - Zawinul and those guys were do it later.Star Crossed Lovers from the Suite,the Theme from the Asphalt Jungle movie,couple of pieces featuring Cootie Williams, Concerto for Cootie, Tutti For Cootie and The Suite Thursday another suite by Ellington and Strayhorn.One that I particularly like - well I have to say it's one of favourite pieces in all of Ellingtonia - and all music is Tone Parrallel To Harlem known as  Harlem Suite.This was commissioned in 1950 by Arturo Toscanini of The NBC Symphony Orchestra of New York. Ellington at that point was pretty popular and also gaining recognition as a serious composer so that's why he got the commission - at the time he was fifty one.That piece has been recorded in many formats including symphony orchestras both here and in Europe and on various occasions by Ellington himself with his band - this happens to be one of my favourite versions of it.First of all I love the composition, I think it's one of the most outstanding musical compositions ever written, certainly (ever written) by Ellington.It's a through composed piece of material - and it is jazz, not a lot of improvisation in this piece because it's through composed.But the main thing about this - it is a great extended composition of jazz music - that only Ellington could do.I would encourage anyone to listen this, it happens to be my favourite version of it - and this a live performance in Paris in 1963.One of the things you should listen to this piece of music is the huge variety of time changes - the huge variety of harmonic changes - the huge variety of tonal colour - of shifting around.It's amazing how he could get such variety with fifteen musicians - it's unbelievable, but he managed to do that and that's why he's considered many the greatest - not only the greatest jazz composer of the twentieth century but the greatest composer of the twentieth century and this is coming from some serious classical musicians who feel that way - let alone jazz musicians who feel that way.The classical people are starting to say this is some new - material done in a highly sophisticated way that has never been done before - so that's why I wanted to talk about this record!It's like all great art - the more you listen, the more you look - the more you hear, the more you see - I never tire of hearing this.Listen closely and something else reveals itself.{quote}Kenny Burrell: University of California, Los Angeles, 7th May, 2013Duke Ellington: The Great Paris Concert released 1973Kenny Burrell
  • {quote}This is fantastic because…the first thing, you know, my father was in gospel music so we always grew up in that and then, you know, the church music and then we started playing, I guess back then we’d call it rhythm and blues or doo-wop.  But then one day I was over at somebody’s house and I heard Charlie Parker playing “Just Friends” and he was just flying through the air on his beautiful music and I say “What is that?!” and they say “That’s jazz and he’s on improvisation” and  I said “Wow!  I’ve gotta learn how to do that” and that was the beginning of it.{quote}  Lonnie Liston Smith: Richard Goodall Gallery, Manchester, 7th October 2010Charlie Parker with Strings: 1949,1950Lonnie Liston Smith
  • “Miles at his height in the 50's before jazz took another turn - this album, along with the other Miles' of this period was really at the height of the elegant era of jazz: Then it went somewhere else that was equally amazing.But I really love how the combination of soulfulness and intelligence that these guys played with - 'Trane and Red Garland, Paul Chambers, Philly Joe, Cannonball and Miles - just an unbelievable group and this record is just - Philly Joe - Paul Chambers - they're just killin’ on this record.{quote}Marcus Miller: Band on the Wall, Manchester, November 2011Miles Davis: {quote}Milestones{quote} released 1958Marcus Miller
  • It is special for a couple of reasons.  When I was asked to pick my favourite record I sat at dinner – Mike Chadwick told me about it – and I sat at dinner for about an hour trying to think of it and I couldn’t come up with anything - like my singularly favourite record.  So I decided to pick like a record that was one of my favourite somethings.So this is my favourite bass record, actually, as a bass player.  I think every track, the bass playing and the key bass playing to me is like absolutely perfect, like everything that  I ever have wanted to be as a bass player, you know is on this record, both key bass and electric bass.  The other reason why it is special to me because this dude is the mentor of my mentor, Bernard Wright.So Bernard is the guy who kind of totally shaped the way that I think about music and play and Don Blackman was Bernard’s mentor, growing up together in Jamaica, Queens.  So I feel that there is kind of like, you know, maybe a little bit of that kind of lineage sentimentality, I guess, you know, about it but yeah  absolutely, just an incredible record from back to front - you got it!Michael League: Band on the Wall, Manchester, July 2013Don Blackman: Don Blackman 1982Michael League: Bandleader Snarky Puppy
  • Orbert Davis, co-founder and Artistic Director of Chicago Jazz Philharmonic.{quote}This is Clifford Brown with strings, I was a teenager when I first heard this incredible album - the depth is in it's subtleties - and Clifford is so perfect with the string writing of Neal Hefti.It's a true blending of classical and jazz.The first thing I knew - this is funny – I recognised the name Neal Hefti from the Batman theme!For me as a trumpet player I study Clifford Brown - as an arranger I study Neal Hefti, so this brings both those worlds together - and it did so when I was back in high school when I discovered this recording- this is my One LP!{quote}Orbert Davis: Symphony Centre, Buntrock Hall, Chicago. 15th May, 2013Clifford Brown with Strings: arranged and conducted by Neal Hefti released 1955Orbert DavisChicago Jazz Philharmonic
  • {quote}My favourite recorded series of works - it's an extensive collection of beautiful beautiful music that was written in the 11th century.It was written by a woman by the name of Hildegard Von Bingen and the greatest performance of those particular works is by a vocal group called Sequentia.These are Gregorian chants and it's just  some of the most beautiful spiritual music you've ever heard.{quote}Pat Martino: Band on the Wall, Manchester, 23rd May 2013Hildegard Von BingenSequentiaPat Martino
  • “Johnny Richards’ writing has always struck me as being bold, exciting, brash, tender AND noble. ‘Cuban Fire’ is his masterpiece, and the Kenton orchestra of the 1950’s with Mel Lewis propelling a stellar group of horn players and soloists and percussionists— including my teacher George Gaber who played timpani on 2 cuts — is the height of big band ecstasy for me. I’ve treasured this album ever since I was young, and listening to it still gives me goosebumps, inspiring me and reminding me of why I’ve always wanted to play the drums. Choosing ‘Cuban Fire’ as my One LP disc was an easy and natural choice.”Peter Erskine: Stage right, The Bridgewater Hall, Manchester, 20th November 2015Stan Kenton: Cuban Fire! released 1956Peter Erskine
  • Ruth Price is Founder and Artistic Director of the Jazz Bakery in Los Angeles.{quote}I think I respect this album more than any other, it's called Peggy Lee Mirrors - it was done a while back I don't know exactly when - not recently that's for sure!When you think of Leiber and Stoller you think of Yakety Yak - really famous songs, the only song on this album anyone would know would be Is That All There Is? - which sounds really Brechtian.These are trunk songs that nobody ever heard - they're wonderful. Johnny Mandel did the orchestration - it's the perfect marriage.If I had done this album I would consider my life well spent, I really do respect it - it's gorgeous. But I have a lot of singers I love - and a lot of musicians I love.{quote}Ruth Price: At home, Beverly Hills CA. April 2014Peggy Lee: Mirrors released 1975Ruth PriceThe Jazz Bakery
  • “I have done many live recordings but I have never done a live recording of my own as a band leader and this is on my label which is entitled Sound Reason and that emblem has a significance.  As you can see, it’s kind of a play on words because when you look at it, it’s a sun in the background with gold bars in front of it, so - Sonny Fortune [laughs]- the boy ought to be ashamed of himself but I’m not! So, you know, it’s all my compositions and it’s with a band that I feel very, very good about.  That was the reason why I recorded it.  And it’s, like I said, my first live recording as a band leader.I tell you what - there’s a tune on there that I wrote for someone that I have the highest regard for, is Elvin Jones .  There is a tune on there called “The Joneses” and the tune consists of…it’s dedicated - and there were some reviews and people thought that I was talking about the family of Joneses, Thad and Mel, but actually I’m talking about Elvin and his wife Keiko, and she was Japanese and so the composition consists of a Japanese acknowledgement as well as an Elvin Jones acknowledgement and I feel very good about that.Coltrane told me that if I ever got the opportunity to play with Elvin Jones to take it, so I was working with Elvin the night Coltrane died.So I’m kind of locked into where I’m at because of a whole history of events and I should add that my two favourite drummers - last year when the Four Generations of Miles got together I told Jimmy Cobb - I said you ask anybody that’s known me for years and they’ll tell you I tell them that I developed my rhythmical concept from Jimmy Cobb and Elvin Jones, those were the two guys that influenced me the most.So to be working with Jimmy Cobb now is a continuation of when I was working with Elvin Jones.”Sonny Fortune: Harlem, New York City, April, 2013Sonny Fortune
  • {quote}It's Miles Davis 'Four and More' and the reason why it's so special for me because I remember the first time I heard it as a kid. Listening to that live performance blew me way because you know I had been listening to a very different style of trumpet playing and improvisation. Those guys just kept me in a tail spin trying to figure out what they were doing, where they were going and I remember I was trying to get a handle on what jazz was so I would play each track - and this was back in the days of albums so you're trying to find that spot on the record with the needle! So I used to play 'em over and over and over again.I would play you know, like ‘Four’, I would listen to Miles play then I would only listen to Herbie, go back then only listen to Ron, go back, only listen to Tony. I kept doing man until in my mind - the whole album man, that album had such an impact on my life - you know because it was so forward thinking in the realms of this music - and think about the date that it was recorded.To think that it still stands the test of time today speaks volumes about how important it is.{quote} Terence Blanchard: Old Fruit Market, Glasgow, 30th June 2011Miles Davis: Four & More released 1966 (recorded 1964)Terence Blanchard
  • WE   “ Mr. Stanko you’ve chosen an album you love very much, I wonder if you can say what it is and why it’s so special for you please?TS  “All  life for me is ‘Kind of Blue’ - very simple. What is most important - beautiful sound and Miles - ‘Kind of Blue’.” Tomasz Stanko: Kirk Douglas Theatre, Culver City CA, 29th March 2015Miles Davis: Kind of Blue released 1959Tomasz Stanko
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