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"No film footage exists of Sonny Rollins practicing on the Williamsburg Bridge in 1959, but this enduring bit of jazz lore made its way into the Ken Burns 'Jazz' segment on Rollins via atmospheric black and white images of the bridge itself. In fact, few stories on Rollins fail to mention the saxophonist's famous bridge practice sessions, and this month in GQ magazine, writer Tim Sultan addresses the topic in a piece called 'Take It to the Bridge.'"'Sonny had been looking for a place to practice that wouldn't disturb his neighbors, and 'he soon solved his dilemma when, walking past the nearby Williamsburg Bridge, he spotted a set of steps at the base. They led to a catwalk. 'It was a perfect area,' he recalls, 'a private, unseen expanse high above the cars, the train and the boats blowing their horns below. A space to practice, to jog, even to do chin-ups on the railings overhead. I had found my Shangri-la.'
"The subject also comes up in Ted Panken's Down Beat February cover story on Rollins, in which Sonny explains that he went up on the bridge 'to shore up some fundamental technical things on the saxophone.'
"It's even mentioned in a small feature in the current Conde Nast Traveler that touts Rollins's May 2nd concert at the Olympia Theater in Paris as a 'Hot Ticket.' (The Paris date is part of a spring European tour; a ten-concert tour of Japan is scheduled for the fall.)"
Here's where to find Rollins live and on stage: http://www.fantasyjazz.com/html/onroad.html
Good Ones From George Shearing
Taste seems to be the word that springs to mind when someone mentions George Shearing. The English-born pianist is perhaps best known for his quintet, which produced many jazz classics back in the 50s. Shearing has a lightness of tone and an ability to reach deep into the souls of his listeners.Two CDs from performances recorded in 1979 and 1980 have been packaged together in a new Concord release called "Lullaby of Birdland." The original albums were issued as "Blues Alley Jazz," recorded live in 1979 at the Blues Alley club in Washington, and "On A Clear Day," taped live at the Concord Pavilion in California during August of 1980.
On both sessions, Shearing is simply and completely delightful. On the introductions you also get to hear a bit of the fabled Shearing humor. Of "On A Clear Day," he comments, "I couldn't see a damned thing." (Shearing, of course, is blind.)
Highlights of the first CD include an emotional rendering of "Autumn in New York." Shearing's accompanist on both CDs, Brian Torff, is an absolute magician at the string bass and receives ample room in which to demonstrate his prowess.
The supreme movement of the second CD comes with Shearing providing a stunning interpretation of the Democrat Party's theme song, "Happy Days Are Here Again," played as a ballad.
Each CD contains a fine vocal by Shearing, who possesses an excellent voice, always in tune, always handling lyrics with aplomb. The tunes getting the Shearing vocal treatment are "This Couldn't Be the Real Thing," with music written by Gerry Mulligan and lyrics added by Mel Torme. On the second disc, Shearing does a wonderful job with "Have You Met Miss Jones?" that lovely masterpiece from Rodgers and Hart.
Swing from Germany
Ain't swing wonderful? One of the best parts of the recent Ken Burns "Jazz" series on public television was the 90-minute salute to swing music. Although it was frustrating to have nearly all songs played in bits rather than in their entirety, it still was fun to see that black-and-white footage bring back some of the great musicians of the Twentieth Century.I always considered swing as music slowed down and made simple so that Mom and Dad would appreciate it. Now that I'm a great-grandfather (a very young one, of course), swing sounds just as good as it did a half-century and more ago.
It's nice to find young musicians who are taking up the swing banners. Two recent releases from the reliable Arbors Records put the spotlight on musicians who are unknown but ready to receive the flash of recognition. First comes Engelbert Wrobel's Swing Society featured on an album called "Sophisticated Swing." This tight sextet spotlights the well-known Dan Barrett on trombone and cornet.
Leader Wrobel started out as a youngster playing clarinet in his father's marching brass band in Germany. The youngster was just 16 when he launched his own band, the Happy Jazzman. In the years since, (he's now 42).
"Sophisticated Swing" will delight any swing fan, whether new or dating way back, like this writer.
Pianist Chris Hopkins performs on the album. He's also the solo artist on another in Arbors' series of piano albums. "Daybreak" provides the American introduction to a performer who has created a raft of fans back home in Germany. Hopkins is an amalgam of styles, from stride piano to the swing/jazz styles made famous by such as Teddy Wilson, Count Basie, and Joe Bushkin.
Although born in New Jersey in 1972, Hopkins has spent most of his life in Germany, where his father is a classical keyboard player, at home on the piano, harpsichord and organ. Young Hopkins first heard jazz on a record when he was 13. He was hooked, and that's what he's played ever since.
"Daybreak" contains a stellar array of excellent old tunes. Hopkins plays each as if it were brand new. With his light touch, a definite sense of humor, and an ability to find the essence of each of the 19 selections, this album makes for easy listening in the best sense of the word.
Anyone who hears this album may well start badgering Arbors to release another one.
WIN FREE MUSIC
Would you enjoy having the postman slipping a package containing some excellent jazz into your mailbox? It's possible, Powerssound readers.Ý All you have to do to enter the first contest in this column's two-year history is to sit down at your computer and type out a 250-word essay on why you love jazz.No profound statements are sought. Just express, the best you can, why you feel jazz is the music of the times. If you have a story about a famous jazz player you met, or simply heard perform, that could bring you a bonanza of new music from the extensive files maintained by Powerssound.
Give me another week or two and I'll be specific as to the exact prize.Ý Meanwhile, send me your entry.Ý Remember, if you don't enter, you can't win. Simple as that.
Send your entry to: rpowers@ee.net .
Thanks a bunch!
