Post tag: Oscar Peterson
“Swinger” Stride Pianist Judy Carmichael’s Memoir

Swingers: A Jazz Girl's Adventures from Hollywood to Harlem by Judy CarmichaelMarlowsphere Blog (#142)

When you get to the end of stride pianist Judy Carmichael’s memoir Swinger—A Jazz Girl’s Adventures from Hollywood to Harlem (C&D Productions, Sag Harbor, NY 2017) you’re sorry the set (of chapters) has concluded. You want to know more about this sui generis performer whose multi-decade career has taken her around the world (to China, for example).

Judy Carmichael is a stride pianist. For the uninitiated, stride piano is a style of jazz piano playing in which the right hand plays the melody while the left hand plays a single bass note or octave on the strong beat and a chord on the weak beat. The style was developed in Harlem during the 1920s, partly from ragtime piano playing. Among the several dozen great well-known stride pianists are James P. Johnson, Fats Waller, Art Tatum, Willie “The Lion” Smith. Dick Hyman, Dick Wellstood, Thelonius Monk, Jaki Byard, Marcus Roberts, and Herbie Hancock. Most of the dozens of well-known stride pianists are no longer living, a reason, perhaps, why the style has mostly fallen out of favor among jazz pianists.

Judy Carmichael in China Courtesy of the U.S. State Department 1992Among this group of stride piano virtuosos, however, there are three women, perhaps I should say only three women—Dorothy Donegan (no longer living), Stephanie Trick (very much living), and Judy Carmichael!

Carmichael’s pianistic chops are formidable. I’ve heard her perform (at Tanglewood). Her former saxophonist, Michael Hashim (who also performs in my own quintet), once remarked “Her left hand is so strong she doesn’t need a bass player!” How true. Her group consists of her, a guitarist, and a saxophonist. (As an aside, jazz piano virtuoso Oscar Peterson’s playing was so strong that one of his trios consisted of him, a bass player and a guitarist. No drums!).

Swinger provides dozens of insights into the world of being a musician—not just a jazz musician, but a jazz musician who is a woman in primarily a man’s world. Carmichael also provides a perspective on how non-musicians perceive artists who are musicians. On one of her on-the-road gigs a well-to-do audience member asked Judy why she came all this way for this gig, as if to say “This is a long way to come for your art?” Her reply was “I do it for the money because musicians also need money to live!” She makes clear that even though her well-deserved fame brings her well-paying gigs, she still hustles to get gigs. It’s a never-ending process.

Carmichael’s memoir covers a lot of professional ground, from her early development as a jazz pianist, to her multi-year sojourn at Disneyland, then a Jazz Inspired Guests who have been on Judy Carmichael's NPR showUnited States Department of State sponsored tour to China in the early 1990s, to her initiation of “Jazz Inspired” on NPR. And like all memorable autobiographies, her book is full of personal travails, from her difficult relationship with her parents and her brother, to other musicians, to friends and lovers. She also delves unequivocally and unabashedly into her bouts with cancer.

Swinger reads like Judy herself. Full of wit, self-effacement, irony, and verbal virtuosity. Sometimes her narrative is blunt, sometimes subtle, but always direct, compelling, and personal. Her memoir is aptly named. Carmichael—who happens to have been born female—is an artist who has survived several professional and personal challenges, but who has prevailed over time. Her memoir is a testament to focus and tenacity, the kind of characteristics you need to become one of the world’s best stride pianists.

© Eugene Marlow August 7, 2018

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Hearing Is Believing

Justin Kauflin in concertThe Marlowsphere Blog (#119)

On April 2, 2015, The Milt Hinton Jazz Perspectives concert series  (of which I am honored to serve as co-chair) at Baruch College (City University of New York) will present a quartet led by twenty-something jazz pianist Justin Kauflin. The concert will take place in Baruch’s Engelman Recital Hall, part of the college’s Performing Arts Center.

There are certainly many young, talented jazz pianists being educated and nurtured in high school and college jazz programs across the country (around the world, for that matter). But what makes Kauflin stand a little taller than the rest is the fact that he was mentored by the very recently departed, great trumpeter and educator Clark Terry.

Keep On, Keepin' On PosterI became familiar with Kauflin and his relationship with Terry through a showing of the award-winning film “Keep On Keepin’ On.” I reviewed this film in a previous blog.

To quote from this review:

Clark Terry became acquainted with Kauflin when he was studying at William Patterson College. The relationship between these two musicians—an age difference of over 60 years—evolved into more than just a professional exchange. It became a friendship founded on the mutual respect and, yes, love, between these two artists.

But there’s more to this story. During the course of the documentary we learn of Justin’s eyesight problems at a very young age and ultimate loss of all his sight at age 11. We also learn—and see first-hand—of Clark Terry’s battle with diabetes and the ultimate loss of both his legs late in life (around age 90). Here, then, are two musical artists with serious physical challenges who share their pain with each other, but encourage each other to “Keep on Keepin’ On.”  (Click to read full review.)

The documentary has earned an armful of awards.

Clark Terry, one of the most popular and influential jazz trumpeters of his generation and an enthusiastic advocate of jazz education, died on Saturday, February 21, 2015 in Pine Bluff, Ark. He was 94. (Read New York Times obituary.)

Justin Kauflin is also keepin’ on.

But the pain that these two artists have dealt with—Terry with diabetes, and Kauflin with his loss of eyesight at the age of 11—begs the question: how do some people deal with physical adversity given their creative impulses? In particular, how do people with musical genes overcome their lack of sight to express their sonic visions?

At first blush, the perception is that the vast majority of musicians do not have to deal with “sight“ issues. But even a cursory look at the musicians who have achieved success in the music world gives one pause. The number and quality of blind American musicians who have battled past a lack of sight to become successful at making sounds is impressive. Here are a few examples of the many blind musicians in the jazz/pop genres, courtesy of http://blindamericanmusicians.blogspot.com/:

Ray CharlesRAY CHARLES (1930 – 2004) – Ray began life with sight but was blind due to Glaucoma by age 7.  He attended the Florida School for the Deaf and Blind.  It was here he received a formal education in classical music.  With this base and his growing interest in Jazz and Blues he began to develop his musical style.  He listened to Country, Blues, Gospel, Pop and Jazz on the radio.  His 1955 hit “I Got A Woman” was the beginning of finding his unique musical voice.  He loved how music allowed him complete freedom of expression.

Sammy Davis Jr.SAMMY DAVIS Jr. (1925 – 1990) – His dad, Sammy Davis Sr. was a well-known vaudeville entertainer. Davis never attended school and was self-taught through the school of hard knocks. In 1955 he lost his left eye in a car accident. His music was very traditional in Broadway, Light Jazz and Pop Standard vein. Davis was famous for his stage presence, acting ability and singing style. He had more than a hand full of big hit songs, “Love Me Or Leave Me”, “The Candy Man”, “That Old Black Magic”, and “What Kind Of Fool Am I” to name just a few.

Jose FelicianoJOSE FELICIANO –  a Puerto Rican/American born blind, Jose has become one of America’s best known entertainers internationally. He belongs in the upper echelon of the great guitarist of our time. His version of the national anthem performed at Tiger Stadium in Detroit in the late 1960’s was controversial at the time but has become recognized as one of great interpretations of the song. In the United States he is best known for his million selling hit “Light My Fire” and the Christmas classic “Feliz Navidad”  He helped to mainstream Latin music influence on Rock ‘n’ Roll.

Terri GibbsTERRI GIBBS – Terri was born in Florida in 1954 and the family moved to Augusta, Georgia. She comes from a family steeped in Gospel music. She began playing the piano at age three and began performing at an early age. She did take music lessons to help improve her understanding of the art. Like Ray Charles, Ronnie Milsap and other great artists from the South, she grew up listening to Country, R&B, Rock ‘n’ Roll and Gospel. Her debut single “Somebody’s Knockin’” became a huge hit and a crossover success.

Rahsaan Roland KirkRAHSAAN ROLAND KIRK (1935 – 1977) – He performed as a multiple instrumental artist. Jazz was what he performed and was famous for his stage antics and the ability to play more than one instrument at a time.  He left a legacy of over a dozen albums.

MARCUS ROBERTS – He is one of America’s great jazz musicians who happens to be blind since age five. His mother also was blind and a gospel singerMarcus Roberts who helped him to learn to play the piano. He attended the Florida School for the Deaf and Blind, the Alma Matter for two other great musicians, Ray Charles and Charles Atkins. He went on to college at Florida State University. He believes strongly in the traditions of the great Jazz artists. Marcus is a perfectionist and very tradition minded when it comes to his art.  Yet, he believes the artist needs to play for the audience and not for themselves.  He is an Assistant Professor of Jazz Studies at Florida State University.

Diane SchuurDIANE SCHUUR – Two-time Grammy award-winning jazz singer. While she was self-taught on the piano, she did attend Washington State School for the Blind for formal education in music and piano. She was influenced by the great Sarah Vaughn, Dinah Washington and Ray Charles to name a few. She has had several hit albums in the Jazz genre. While Jazz is her forte, she has performed in nearly every popular genre.

SIR GEORGE SHEARING, OBE (1919 – 2011) – was a world-renownedSir George Shearing British-born jazz composer and musician. Shearing became involved in the jazz scene in the greater London area.  When he immigrated to the United States in 1947 he was swept into the New York jazz world. He melded the two worlds of classical orchestra music with jazz.  He has over 300 songs to his credit as a composer, as well ass two Grammy’s and 100+ albums. His music has been heard in more than a dozen films and TV shows. In 2007 he was Knighted by the British Crown and given the official title of “Sir.

Art TatumART TATUM  (1909 – 1956) – Tatum was not totally blind.  His vision was little more than light perception. At a very early age he taught himself to play the piano. Both parents were skilled musicians. During his high school years he attended the Ohio School for the Blind.  He studied braille and music. He has over four dozen albums to his credit.  His piano styling has had a lasting impact on jazz musicians. Great musicians he influenced are Oscar Peterson, Lionel Hampton, Charlie Parker, and Herbie Hancock. He is noted for his impressive speed playing of the piano. He was posthumously honored with  the prestigious Grammy Lifetime Achievement Award.

Lennie TristanoLENNIE TRISTANO (1919 – 1978) – He was born in Chicago and was one of the nation’s leading jazz educators.  He acknowledged fellow brother in blindness, Art Tatum, as influential in his music.  He also credited Charlie Parker and Nat King Cole. He had more than a hand full of recordings to his credit.

STEVIE WONDER – a world famous singer/songwriter, was Stevie Wonderborn blind in 1950. At a very early age he began to master the piano.  Later he mastered the harmonica, drums and bass. He attended the Michigan School for the Blind where he studied classical music. Perhaps, what might have been more important were the impromptu jam sessions in the dorms at the school. Ronnie White of the Miracles discovered Stevie which led to him being signed by Berry Gordy of Motown and Tamla records. He has two dozen Grammys (including the Grammys is the coveted Lifetime Achievement Award), a Golden Globe, and an Oscar for best song in a film.

There is truth to the observation that when one loses, either partially or totally, one of his/her senses, the other senses compensate by becoming more sensitive. Perhaps there’s truth also in the observation that the jazz/pop musicians presented above achieved their artistic success, in strong part, because of their loss of sight. Their loss of vision accentuated their musical vision.

But the other significant thread among all these musicians is that they did not let their sensory handicaps to deter them. They kept on keepin’ on.

If you have any questions or comments about this or any other of my blogs, please write to me at
meiienterprises@aol.com.

Eugene Marlow, Ph.D.
March 30, 2015

© Eugene Marlow, March 30, 2015

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Classical & Jazz: A Century Old Melding of Genres

World Music BrewThe Marlowsphere Blog (#110)

There are still some quarters on this planet where musicians, musicologists, and critics perceive the world of music in terms of categories: classical music here, jazz over there, world music in other places. In fact, pick up any music history book and the world of music is neatly divided among early music, medieval music, Baroque, classical, Romantic, and then 20th century music.

This latter category is a potpourri of musical styles, and extends into the early part of the 21st century.

I am still waiting for more musicologists to come to terms with the term “world music” to define the 21st century because that is what music has increasingly become: a melding of musical styles with influences from all over the planet.

I am motivated to delve into this subject primarily for two reasons. First, later this week I’ll be hosting the fall concert of the Milt Hinton Jazz Perspectives Concert Series at Baruch College’s Engelman Recital Hall (on October 29). The performers are the Grammy-nominated Harlem Quartet. In addition to one purely classical piece (a movement from a Mendelsohn string quartet), the balance of their program will be all jazz.

Deanna Witkowski "Rain Drop"The second reason is a new CD from pianist Deanna Witkowski entitled “Rain Drop.” It is her sensitive and tasteful adaptation of several Chopin nocturnes and preludes sprinkled with her own short compositions inspired by the Romantic composer. The melding of the two genres—classical and jazz—is ever-present in this inspired CD. For example, Ms. Witkowski makes the musical point that Chopin’s Prelude in E minor (op. 28, No. 4) is also the basis for Antonio Carlos Jobin’s “Insensatez.”

This melding of classical and jazz genres (and in the case of Jobin, Brazilian rhythms) is not a recent happening, particularly when it comes to jazz-influenced classical compositions. Almost from the initial emergence of jazz as America’s classical music (a term the late Dr. Billy Taylor coined; and don’t let anyone tell you any differently), classical composers have mined the jazz genre. For example, parts of the Czech composer Antonin Dvorak’s Symphony No. 9 in E minor (written in the 1890s) have melodies that sound like black spirituals (although he claimed he did not plan the resemblance).

There are other notable classical composers who have borrowed from the jazz genre for their compositions:

      • George Antheil (A Jazz Symphony)
      • Malcolm Arnold (Concerto for Guitar and Orchestra)
      • Milton Babbitt (All Set)
      • Leonard Bernstein (Prelude, Fugue, and Riffs)
      • Boris Blacher (Concerto for Jazz Orchestra)
      • Marc Blitzstein (The Cradle Will Rock)
      • Aaron Copland (Concerto for Piano and Orchestra)
      • George Gershwin (most famously Rhapsody in Blue)
      • Hans Werner Henze (Boulevard Solitude)
      • Pail Hindemith (Suite fur Klavier)
      • Arthur Honegger (Concerto for Cello and Orchestra)
      • Constant Lambert (Elegiac Blues)
      • Rolf Liebermann (Concerto for Jazzband and Symphony Orchestra)
      • Frank Martin (Ballade for trombone and piano)
      • Darius Milhaud (Trois rag caprices)
      • Maurice Ravel (Piano Concerto in G)
      • Gunther Schuller (Concertino for Jazz Quartet and Orchestra)
      • John Serry (American Rhapsody)
      • Dmitri Shostakovich (Suite for Jazz Orchestra);
      • Karlheinz Stockhausen (Sonatine for violin and piano);
      • Igor Stravinsky (Ragtime for 11 instruments)
      • Michael Tippett (Symphony No. 3)
      • Kurt Weill (The Threepenny Opera)
      • Alec Wilder (Octets)

The mixing of classical and jazz in the 20th and 21st centuries has flowed the other way. The highly classically trained Andre Previn made several small ensemble albums of jazz and popular music standards. His classical roots are clearly imprinted on every track.

The Swingle Singers (1964)The Swingle Singers, (pictured left) directed originally by Ward Swingle (who once belonged to Mimi Perrin’s French vocal group Les Double Six), began as session singers mainly doing background vocals for singers such as Charles Aznavour and Edith Piaf. Christiane Legrand, sister of Michel Legrand, was the original lead soprano, and they did some jazz vocals for Michel Legrand. The eight session singers sang through “Bach’s Well-Tempered Klavier” as a sight-reading exercise and found the music to have a natural swing. They recorded their first album “Jazz Sébastien Bach” as a present for friends and relatives. Many radio stations picked it up and this led to the group recording more albums and winning a total of five Grammy Awards.1

You can hear the strong classical training roots in the playing of jazz pianist greats Oscar Peterson and Bill Evans. I recall Evans once telling me that when he was younger he studied the Romantic composers (he also apparently worked harder than anyone else to achieve his harmonically complex yet sensitive playing style, despite the fact that his hands were unusually large).

Turtle Island Quartet & Chick CoreaEven more recently the two-time Grammy-winning Turtle Island Quartet —through the talents of founder David Balakrishnan–has adapted jazz stylings for violins, viola, and cello. Similarly, the aforementioned Harlem Quartet performs Chick Corea’s crossover (classical to jazz) compositions.

On a more individual basis, virtuoso guitarist Romero Lubambo of Trio Da Paz fame is fond of performing Bach’s Prelude in C minor at the drop of a hat and at unbelievable breakneck speed (I have heard him perform it in the context of a Trio Da Paz performance and separately at a Diane Reeves concert). Very often jazz pianist Cyrus Chestnut will morph an improvisation into a familiar classical melody and back to various jazz stylings.

The larger concept, of course, is this trend–present throughout the 20th century—has evolved into a melding of world music styles in the 21st century. In other words, every musical and rhythmic style is now fair game for composition and performance. Influences come from all corners of the planet. It has become a melting pot of musical influences. My own quintet, The Heritage Ensemble, performs arrangements and original compositions that combine Hebraic melodies with various jazz, Afro-Caribbean, Brazilian, and, yes, classical styles.

There’s no getting around it: along with a global economy there’s also a global exchange of music styles. This is the new music of the 21st century.

If you have any comments or questions about this or any of my other blogs, please write to me at meiienterprises@aol.com.

Eugene Marlow, Ph.D.
October 27, 2014

© Eugene Marlow 2014

 

1 http://en.wikipedia.org/wiki/The_Swingle_Singers

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