#arild anderson

[mostlymonk]

Straight No Chaser

Mike Stern

Mike Stern – guitar Peter Weniger – sax Arild Anderson – bass Jon Christensen – drums

[blewnotes]

Jazziversaries October 27th set 1

Barre Phillips (bass) 1934 :: Many happy jazziversary returns to Barre Phillips. Barre Phillips is a jazz and free improvisation bassist. A professional musician since 1960, he migrated to New York City in 1962, then to Europe in 1967. Since 1972 he has been based in southern France.

He studied briefly in 1959 with S. Charles Siani, Assistant Principal Bassist with the San Francisco Symphony During the 1960s he recorded with (among others) Eric Dolphy, Jimmy Giuffre, Archie Shepp, Attila Zoller, Lee Konitz and Marion Brown.

Phillips’ 1968 recording of solo bass improvisations, issued as Journal Violone in the USA, Unaccompanied Barre in England, and Basse Barre in France, is generally credited as the first solo bass record. A 1971 record with Dave Holland, Music from Two Basses, was probably the first record of improvised double bass duets.

In the 1970s he was a member of the well-regarded and influential group The Trio with saxophonist John Surman and drummer Stu Martin. In the 1980s and 1990s he played regularly with the London Jazz Composers Orchestra led by fellow bassist Barry Guy. In 1991 he worked with Ornette Coleman on the soundtrack of the motion picture Naked Lunch.

As a free improviser he has worked with (among many others) bassists Peter Kowald and Joëlle Léandre, guitarist Derek Bailey, clarinetists Theo Jörgensmann and Aurélien Besnard, saxophonists Peter Brötzmann, Evan Parker and Joe Maneri, and pianist Paul Bley.

Arild Andersen   (bass, acoustic) 1945 :: Jazziversary greetings to Arild Anderson. Arild Andersen is a Norwegian Jazz musician (double bass) and composer, known as the most famous Norwegian bass player in the international jazz.

Andersen started his musical career as jazz guitarist in The Riverside Swing Group in Lillestrøm (1961-63), started playing double bass in 1964, and soon became part of the core jazz bands in Oslo.

He was a member of Roy Hellvin Trio, was in the backing band at Kongsberg Jazz Festival in 1967 and 68, was elected Best bassist by Jazznytt in 1967, he started as bass player in the Jan Garbarek Quartet (1967–1973), including Terje Rypdal and Jon Christensen.

After completing his technical education in 1968, he became a professional musician and collaborated with a number of the best known musicians next Garbarek, like the Norwegian Jazz singer Karin Krog, George Russell and Don Cherry (Berlin 1968), and was in the line up (rhythm section) for visiting American musicians like Phil Woods, Dexter Gordon, Bill Frisell, Hampton Hawes, Johnny Griffin, Sonny Rollins, Sheila Jordan and Chick Corea. In the same period he also worked with Don Cherry, George Russell, Ferenc Snétberger and Tomasz Stańko.

Andersen colaborated in the early 1970’s with Norwegian musicians like Magni Wentzel, Jon Eberson, Ketil Bjørnstad and Terje Rypdal, before leaving for an eventful visit to the U.S.A. in the winter 1973-1974, and has since 1974 led his own bands, at first a Quartet (1974-79).

He was in the line up for the astonishing Radka Toneff Quintet (1975-81), and has more then a dozen album releases as as band leader on the label ECM, initiated critically acclaimed band Masqualero, and appeared as side man on a series of recordings. In January 2009 he was named “Musicien Europeen 2008” by the French “Academie du Jazz”, and in 2010 Andersen received yet another prestigious award, the Ella Award presented at the Oslo Jazzfestival.

George Wallington (piano) 1924 -1993 :: born Giacinto Figlia in Palermo, Sicily, George Wallington  was a highly regarded American bop pianist and composer.

From 1943 to 1953 he played with Dizzy Gillespie, Joe Marsala, Charlie Parker, Serge Chaloff, Allan Eager, Kai Winding, Terry Gibbs, Brew Moore, Al Cohn, Gerry Mulligan, Zoot Sims, Red Rodney, and Lionel Hampton, and recorded as a leader for Savoy and Blue Note (1950).

From 1954 to 1960 he led groups in New York that included newcomers Donald Byrd, Jackie McLean, and Phil Woods, recording as leader with these musicians for the Prestige and Atlantic labels. In 1960 he retired to work in the family air conditioning business, citing the stress of endless touring, but returned to music in 1984 and recording three albums. His style is often compared to the legendary Bud Powell.

His best known compositions are the bop standards “Lemon Drop” and “Godchild”.

[blewnotes]

Jazziversaries October 27th

Arild Andersen   (bass, acoustic) 1945 :: Birthday greetings to Arild Anderson. Arild Andersen is a Norwegian Jazz musician (double bass) and composer, known as the most famous Norwegian bass player in the international jazz.

Andersen started his musical career as jazz guitarist in «The Riverside Swing Group» in Lillestrøm (1961-63), started playing double bass in 1964, and soon became part of the core jazz bands in Oslo. He was a member of Roy Hellvin Trio, was in the backing band at Kongsberg Jazz Festival in 1967 and 68, was elected Best bassist by Jazznytt in 1967, og started as bass player in the Jan Garbarek Quartet (1967–1973), including Terje Rypdal and Jon Christensen. After completing his technical education in 1968, he became a professional musician and collaborated with a number of the best known musicians next Garbarek, like the Norwegian Jazz singer Karin Krog, George Russell and Don Cherry (Berlin 1968), and was in the line up (rhythm section) for visiting American musicians like Phil Woods, Dexter Gordon, Bill Frisell, Hampton Hawes, Johnny Griffin, Sonny Rollins, Sheila Jordan and Chick Corea. In the samenperiod he also worked with Don Cherry, George Russell, Ferenc Snétberger and Tomasz Stańko.

Andersen colaborated in the early 1970's with Norwegian musicians like Magni Wentzel, Jon Eberson, Ketil Bjørnstad and Terje Rypdal, before leaving for an eventful visit to the U.S.A. in the winter 1973-1974, and has since 1974 led his own bands, at first a Quartet (1974-79). He was in the line up for the astonishing Radka Toneff Quintet (1975-81), and has more then a dozen album releasesas as band leader on the label ECM, initiated critically acclaimed band Masqualero, and appeared as side man on a series of recordings. In January 2009 he was named "Musicien Europeen 2008" by the French "Academie du Jazz", and in 2010 Andersen received yet another prestigious award, the Ella Award presented at the Oslo Jazzfestival.

Babs Gonzales (vocalist) 1919-1980  :: born Lee Brown, Babs Gonzales was an American jazz vocalist of the bebop era most notable for penning the song "Oop-Pop-A-Da", which was originally recorded and performed by his own band (Three Bips and a Bop) and was later made famous by Dizzy Gillespie. Gonzales was also once the chauffeur for Errol Flynn. In 1967, Gonzales published an autobiography entitled "I Paid My Dues: Good Times... No Bread" - A Story of Jazz, which was followed in 1975 by Movin' On Down De Line.

Gonzales worked with Charlie Barnet and Lionel Hampton's big bands before forming and leading his own group, Bab's Three Bips & a Bop (1946–49). They recorded for Blue Note, including the earliest version of "Oop-Pop-A-Da" and such songs as “Weird Lullaby” (a composition covered on Wynton Kelly's 1961 album Someday My Prince Will Come), “Real Crazy,” “Professor Bop”, “Prelude to a Nightmare”, and "Cool Whalin'". His sidemen on these dates included Tadd Dameron, Tony Scott, Roy Haynes, James Moody, J.J. Johnson, Julius Watkins, Sonny Rollins (making his recording debut), Art Pepper, Wynton Kelly, and Don Redman. Cash Box Magazine January 29, 1955 The Alan Freed "Rock 'n Roll" Ball at St. Nicholas Arena, New York show composed of Babs Gonzales on January 14, 1955

He was an exponent and pioneer of vocalese, an example of which is his version of the Charlie Parker bop standard "Ornithology". From 1950 to 1953, Gonzales was road manager and vocalist for the James Moody band and later gigged and recorded with musicians such as Jimmy Smith, Bennie Green, Lenny Hambro, Johnny Griffin, and Bennie Green on the 1958 Blue Note album Soul Stirrin' (which took its name from and included Gonzales' eponymous composition). Spending time in Europe, Gonzales performed at Ronnie Scott's in London in 1962. He was also a Beat poet.

Barre Phillips (bass) 1934 :: Many happy returns to Barre Phillips.

Barre Phillips is a jazz and free improvisation bassist. A professional musician since 1960, he migrated to New York City in 1962, then to Europe in 1967. Since 1972 he has been based in southern France.

He studied briefly in 1959 with S. Charles Siani, Assistant Principal Bassist with the San Francisco Symphony During the 1960s he recorded with (among others) Eric Dolphy, Jimmy Giuffre, Archie Shepp, Attila Zoller, Lee Konitz and Marion Brown.

Phillips' 1968 recording of solo bass improvisations, issued as Journal Violone in the USA, Unaccompanied Barre in England, and Basse Barre in France, is generally credited as the first solo bass record. A 1971 record with Dave Holland, Music from Two Basses, was probably the first record of improvised double bass duets.

In the 1970s he was a member of the well-regarded and influential group The Trio with saxophonist John Surman and drummer Stu Martin. In the 1980s and 1990s he played regularly with the London Jazz Composers Orchestra led by fellow bassist Barry Guy. In 1991 he worked with Ornette Coleman on the soundtrack of the motion picture Naked Lunch.

As a free improviser he has worked with (among many others) bassists Peter Kowald and Joëlle Léandre, guitarist Derek Bailey, clarinetists Theo Jörgensmann and Aurélien Besnard, saxophonists Peter Brötzmann, Evan Parker and Joe Maneri, and pianist Paul Bley.

Boyd Raeburn  (saxophonist, bandleader) 1913-1966 :: Albert Boyd Raeburn was an American jazz bandleader and bass saxophonist.

Boyd Raeburn was born in Faith, South Dakota, and became one of the greatest and least-known of jazz bandleaders during the 1940s. To modern ears his music sounds completely acceptable, not much more difficult to comprehend than the music of such better known leaders as Stan Kenton or Dizzy Gillespie, but without the support of a major record label or radio sponsor his band floundered for years, often going bankrupt only to reappear a few months later with new personnel.

The Raeburn orchestra evolved from its simpler, more commercial beginnings to far more advanced and complex charts during the union-imposed recording ban that took effect in October 1942 and lasted about a year and a half. The “new” Raeburn band debuted at the Arcadia Ballroom in November 1942 with arrangements by two African-American writers from Earl Hines’ band, Budd Johnson and Jerry Valentine. The band was a big hit in Chicago but when Raeburn decided to tour after nine months, most of the Chicago-based musicians refused to go with him. He was forced to build a new band to open at the Roosevelt Hotel in Washington, D.C., and was lucky enough to find such outstanding musicians as trumpeters Emmett Carls, Sonny Dunham, Marky Markowitz and Sonny Berman, trombonists Earl Swope and Tommy Pederson (who later played with Spike Jones’ City Slickers), alto saxist Johnny Bothwell, and drummer Don Lamond. Raeburn was also lucky to find an outstanding new arranger, Eddie Finckel, who wrote a sizable new book for the band. Among Finckel’s arrangements were “March of the Boyds,” “Milkman, Keep Those Bottles Quiet,” “Little Boyd Blue,” “Boyd Meets Stravinsky,” and an outstanding chart of Dizzy Gillespie’s first major composition, “A Night in Tunisia”.

Raeburn’s band made a big critical splash in New York. Billy Eckstine, whose own bebop big band also suffered from the recording ban, was ecstatic about it, helping Raeburn play a week at the all-black Apollo Theater. Eckstine exhorted the audience to pay attention to what the band was playing. During one of their New York gigs at the Commodore Hotel, their late-night broadcast was heard by trumpeter Roy Eldridge who rushed down and sat in night after night, for free, until the band’s manager simply hired him. (He stayed for two months.) But bad luck dogged Raeburn throughout his career. Finckel left in 1945 to become chief arranger for Gene Krupa’s big band, Sonny Berman and Earl Swope jumped to the high-profile band of Woody Herman, and then as later, no major label wanted to record him because his arrangements were considered “too weird” for dancers. Nevertheless, Raeburn did record 12 sides for the small Guild label in 1945, including performances of “March of the Boyds” and “A Night in Tunisia” on which trumpeter Dizzy Gillespie sat in. These records were later sold to, and reissued by, Albert Marx’s Musicraft label.

After Finckel’s departure, Raeburn discovered the even more advanced George Handy. Handy created the bulk of the book for which Raeburn is now remembered: “Who Started Love?”, “Temptation,” “Tonsilectomy (ibid),” “Over the Rainbow”, “Body and Soul”, “Yerxa”, and the band’s new theme song, “Dalvatore Sally.” Handy left to work in Hollywood on film scores, but again Raeburn was lucky, hiring such arrangers as Ralph Flanagan (later the leader of a band that played pale imitations of Glenn Miller arrangements) and Johnny Richards. Handy himself, bored with Hollywood, also returned for a brief stay.

Raeburn’s bands kept failing and rebuilding throughout the 1940s. Between October 1945 and November 1946 he recorded his best discs (in terms of both performance and sound quality) for drummer Ben Pollack’s tiny Jewel label. These records, too, had little or no distribution. After one of his several bankruptcies the band was infused with cash thanks to a very generous donation from famed bandleader Duke Ellington, himself an avid fan of Raeburn. The Raeburn band made their last records, four sides featuring vocalist Ginny Powell (who had become Mrs. Raeburn in 1945), for Nesuhi Ertegun’s fledgling Atlantic label in August, 1947. Despite several attempts at trying to score pop hits for a mass market (“Milkman, Keep Those Bottles Quiet,” “Rip Van Winkle,” and “How High the Moon” with Powell among them), the Raeburn band consistently failed to find any mass-marketing niche. It finally folded for good in the fall of 1949.

George Wallington (piano) 1924 -1993 :: born Giacinto Figlia in Palermo, Sicily, George Wallington  was a highly regarded American bop pianist and composer.

From 1943 to 1953 he played with Dizzy Gillespie, Joe Marsala, Charlie Parker, Serge Chaloff, Allan Eager, Kai Winding, Terry Gibbs, Brew Moore, Al Cohn, Gerry Mulligan, Zoot Sims, Red Rodney, and Lionel Hampton, and recorded as a leader for Savoy and Blue Note (1950). From 1954 to 1960 he led groups in New York that included newcomers Donald Byrd, Jackie McLean, and Phil Woods, recording as leader with these musicians for the Prestige and Atlantic labels. In 1960 he retired to work in the family air conditioning business, citing the stress of endless touring, but returned to music in 1984 and recording three albums. His style is often compared to the legendary Bud Powell.

His best known compositions are the bop standards "Lemon Drop" and "Godchild".

Sonny Dallas (bass) 1931-2007 :: Francis Dominic Joseph Dallas  also known as Frank "Sonny" Dallas, was an American jazz bassist and singer.

Born in Rankin, Pennsylvania, Dallas studied bass with Herman Clements, principal bassist of the Pittsburgh Symphony, who also taught jazz bassists Ray Brown and Paul Chambers, and by the mid '50s, was working with bandleaders Charlie Spivak, Ray Eberle, and Claude Thornhill.

Moving to New York in 1955, he began performing and recording with the likes of Sal Salvador, Tony Scott, Chet Baker and Buck Clayton, Lee Konitz, Warne Marsh, Phil Woods, Gene Quill, Zoot Sims, Al Cohn, Elvin Jones, Mary Lou Williams, Bill Evans, George Wallington, Jackie Paris and Lennie Tristano, with whom he was most closely associated.

Moving to Long Island in the late '60s, he obtained a Master of Arts degree in music education and began teaching at both Suffolk County Community College and Dowling College.

Down Beat listed Sonny Dallas as one of the top ten greatest jazz bassists.

Wow, today seems to be bassist day! Another of those crazy cosmic clutches of musicians playing the same instrument......so if you celebrating today grab your big fiddles and start a-countin' !

On the plus side here's wishing all you October 27th Jazzlings, bass players or not, a real happy day, may it be full of love and laughter and herald for you a year free of disaster!

Thansk to AAJ & JBC for the guidance,

Respect to the YouTube massive for the uploads,

Hi-5 with the Inspiration crew, thansk for following and for doing as you do!

And thanks to you  for jus' passin' thru'

Be water, my friends,

Walk tall,

Speak low,

Go placidly

Geo

[jessiethejazz]

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La Notte, Pt. 7 by Ketil Bjørnstad from La Notte (2013, ECM) album

track #7

Andy Sheppard, tenor & soprano sax.

Anja Lechner, violoncello

Eivind Aarset, guitars, electronics

Arild Andersen, double bass

Marilyn Mazur, percussion, drums

Ketil Bjørnstad, piano

Recorded live July 21, 2010 

at Molde International Jazz Festival

[mbfas]

Live Marie Roggen - Antonio's Song (live, Til Radka, 2009)

What is Jazz?

Jazz means improvisation. Period.

But with the progress of time, the experience of the people, the understanding of music and life, this word Jazz will become a very good topic to deal with.

More will come.