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He was man of contradictions, sometimes angry and arrogant, and on other occasions generous and introspective. He was also a genius who discovered and encouraged others. His haunting tone and constantly changing style allowed him to become involved in just about anything and everything that happened in modern jazz. His unique playing style, with its voice like quality and tone that was almost free of vibrato, could sometimes be melancholy, at others times assertive. It helped to make him the model for generations of jazz musicians and for jazz lovers the world over Miles Davis defined cool.

Here was another jazzman that came, not from the poor sided of town, but from relative affluence. His father was a dentist and a year after Miles Dewey Davis III was born in May 1926, in Alton, Illinois the family moved to East St Louis. For his thirteenth birthday Miles was given a trumpet and lessons with a local jazz musician named Elwood Buchanan. By the age of fifteen he had already got his musicians’ union card allowing him to play around St. Louis with Eddie Randall’s Blue Devils.

The rest is history…

Celebrate with our Miles Davis playlist; hear it here

“To be and stay a great musician you’ve got to always be open to what’s new, what’s happening at the moment.”– Miles Davis

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“I always listen to what I can leave out.” – Miles Davis

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“A legend is an old man with a cane known for what he used to do. I’m still doing it.” – Miles Davis

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“I don’t care if a dude is purple with green breath as long as he can swing” – Miles Davis

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“You know why I quit playing ballads? Cause I love playing ballads.” – Miles Davis

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“Don’t play what’s there, play what’s not there.” – Miles Davis


“Sometimes you have to play a long time to be able to play like yourself.” – Miles Davis



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Marcie Allen July 5th at 5:56am

Miles Davis was a sexy chocolate brown truffle - loaded with the darkest of chocolate in the middle - that is just nasty nice - Oh Yay!!!!!

C. S. Brown July 6th at 2:21pm

Thanks. 'We loved him madly'!!! (8-D=

When a photographer gets a great shot of a performer it’s most often because they are lucky or skilled enough catch a moment on stage when something magical happens; to get great shots of performers in private is much more difficult. William Gottlieb managed to, time and again, achieve both. All too often, when photographers take pictures of people, they fail to capture the essence of the person – they merely capture an image. William Gottlieb knew most of the musicians whose pictures he took; maybe it’s this knowledge that helped him find the person behind the performer. His remarkable photos bring to life a unique period in the history of jazz. You can see more of his brilliant work at the Library of Congress site Click HERE

Born in Brooklyn, New York in 1917, Gottlieb was of similar age to many of the jazz greats that feature in his photography. Having grown up in New Jersey, where his father owned a box factory, William went to Lehigh University to study economics; both his parents died while he was a teenager. It was in 1936 while at Lehigh that he first became interested in jazz. Having been brought low by a bout of food poisoning, he spent much of the summer in bed listening to jazz records which had been supplied by a high school friend and chatting with him about “America’s contribution to the arts.”

On his return to university, Gottlieb began writing a regular column for The Lehigh Review, later becoming its editor-in-chief. On leaving university he got a job on the Washington Post selling advertising space. After a few months he persuaded them to let him write a weekly column about jazz; the Post agreed to pay him an extra $10 a week. Initially, a photographer went to jazz clubs and concerts with Gottlieb, but soon the Post decided this was an unnecessary expense. Anxious to continue to get pictures for his column, he traded some of his precious jazz records for a 31/4 x 41/4 -inch Speed Graphic camera, film, and flashbulbs.

The camera was just like the ones that we’re all used to seeing in classic Hollywood movies when photographers crowd around their victim. It all looks easy on film, but in reality using a Speed Graphic was a lot more complicated. Getting to grips with the new camera was a challenge. After just one afternoon’s tuition from a Post photographer, William had no alternative but to teach himself. Because the Speed Graphic was limited to two exposures without reloading, it meant that he had to think through precisely what he wanted to take each time he used the camera. In addition, the film and flashbulbs were expensive, so there was none of the flexibility offered by modern digital photography. The result is quality, not quantity in William Gottlieb’s work.

By the time war broke out he also had his own radio show in Washington DC that featured many of the great jazz musicians who passed through the capital. Other guests included his friends, Nesuhi and Ahmet Ertegun, both keen jazz fans as well as being the sons of the Turkish Ambassador to the United States. Ahmet Ertegun went on to co-found Atlantic Records. In 1941 William left his advertising job at the Post, deciding instead to teach at the University of Maryland. By 1943 he had been drafted into the Army Air Corps where he served as a photo officer.

With the war over, William settled in New York and got a job on Down Beat magazine as a reporter and reviewer, but he continued to take photographs. He also began working for Record Changer magazine, which also published many of his pictures. Many of his photographs were taken in the great jazz clubs that were to be found on 52nd Street or on ‘Swing Street’ the block between 5th and 6th Avenues.

By the end of the 1940s, having married and had children, William thought it time to settle down and get himself a regular job that would allow him to spend evenings at home, not out on the town with his jazz musician friends. He was offered a job at Curriculum Films, an educational filmstrip company. Later he started his own company, and when this was bought out by McGraw Hill he became a president of a division; it’s where he stayed until he retired in 1979. It was at this point that, at a friends suggestion, he pulled out his old jazz negatives and published them in a book.  The recognition he soon received as a photographer far exceeded what he ever achieved as a writer.

William Gottlieb died of a stroke in 2006, shortly after a documentary, entitled ‘Riffs’ about his life was made. His photographs have appeared on hundreds of LP and CD covers, on clothing, postage stamps, in scores of publications, and have been exhibited in galleries and museums around the world. William Gottlieb will be remembered, not least, because he captured people with a truth that few photographers managed to achieve. His photographs portray the essence of the performers – which words alone cannot convey.


Louis Armstrong at the Aquarium, New York, N.Y., ca. July 1946


Charlie Parker, Tommy Potter (bass), Miles Davis, and Duke Jordan (at the piano) at the Three Deuces, New York, N.Y., ca. Aug. 1947


Duke Ellington and Django Reinhardt at the Aquarium, New York, N.Y., ca. Nov. 1946


Coleman Hawkins and Miles Davis at the Three Deuces, New York, N.Y., ca. July 1947


Dizzy Gillespie taken in New York, ca. May 1947


Nesuhi Ertegun, Herb Abramson, Ahmet M. Ertegun, Mezz Mezzrow, Jay Higginbotham(?), Art Hodes, Lou McGarity, Henry Allen, Lester Young, and Sadi Coylin(?), taken at the  Turkish Embassy, Washington, D.C., ca. 1940

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Bob Tilton May 25th at 6:21pm

Coleman Hawkins was my tenor sax idol

L.D. Fierman May 25th at 6:25pm


james m lewis May 26th at 3:43am

very nice and interesting

Joe May 26th at 8:22am

Deep and lively

louis-armstrong-and-the-all-stars-hello-dolly-kapp-250 years ago this week Louis Armstrong was riding high, atop the Billboard charts with his first ever No.1. There’s an unlikely tale behind the song that a year later would win the Grammy as ‘Song of The Year’.

In early December 1963 Louis Armstrong went into a New York recording studio, his first session in two years; he was there as a favour for his manger, who in turn was doing a favour for Dave Kapp, the brother of Jack Kapp, the former head of Decca Records, and a song plugger friend. One of the two songs they recorded was from a new Broadway show that was still in pre-production, the other, ‘A Lot of Livin’ To Do’ was from an Elvis Presley inspired Broadway show that had run for 600 performances thathad closed a year or more ago.

Neither song seemed to have what it takes to become a hit, much in the same way that none of Louis’s recent records had; he had last been on the Billboard singles chart in late 1956 with ‘Blueberry Hill’.

Despite everything on 15 February 1964 his new single entered the Billboard charts at No.76, one place ahead of the Dave Clark Five. Twelve weeks later ‘Hello Dolly’ knocked the Beatles, ‘Can’t Buy Me Love; from the top spot, in doing so it ended fourteen straight weeks of The Beatles records at No.1. In the end ‘Hello Dolly’ only spent a week there, and was knocked from the top by Motown’s Mary Wells’s ‘My Guy’ , but who cares, Satchmo was the man to dethrone the Beatles.

While ‘Hello Dolly’ was climbing the charts, Kapp wasted no time in getting Louis and the All-Stars into a studio in Las Vegas to record ten more songs that became the Holly Dolly album. It too proved to be a winner after Kapp rushed out the album in mid-May; by mid-June the LP had gone to No.1 and stayed there for six-weeks, ironically replacing the Original Cast Recording of Hello Dolly.

Perhaps most ironic of all was when Louis and the All-Stars played the Newport Jazz Festival in July. The jazz fraternity was far from complimentary about ‘Hello Dolly’, but despite this he had to play two encores of the song.

Hear the Hello Dolly Here

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On Sunday evening at the Kennedy Center in Washington D.C. there was an all star concert to celebrate 75 years of Blue Note Records. Now thanks to National Public Radio in america when can all enjoy the concert because they recorded it and have made it available on their web site.

You can listen to it here

This is really not to be missed, as you can see from the line-up…

Robert Glasper & Jason Moran, “Boogie Woogie Stomp” (Glasper, piano; Moran, piano)

Lou Donaldson feat. Dr. Lonnie Smith, “Blues Walk” (Donaldson, alto saxophone; Smith, organ; Lionel Loueke, guitar; Kendrick Scott, drums)

Lou Donaldson feat. Dr. Lonnie Smith, “Whiskey Drinkin’ Woman” (same personnel)

Lou Donaldson feat. Dr. Lonnie Smith, “Alligator Boogaloo” (same personnel)

Joe Lovano, “Fort Worth/I’m All For You” (Lovano, tenor saxophone; Lionel Loueke, guitar; Fabian Almazan, piano; Derrick Hodge, bass; Kendrick Scott, drums)

Bobby Hutcherson & McCoy Tyner, “Walk Spirit Talk Spirit” (Hutcherson, vibraphone; Tyner, piano)

Bobby Hutcherson & McCoy Tyner, “Blues On The Corner” (same personnel)

Bobby Hutcherson & McCoy Tyner, “African Village” (same personnel)

Dianne Reeves, “Dreams” (Reeves, voice; Terence Blanchard, trumpet; Robert Glasper, piano; Derrick Hodge, bass; Kendrick Scott, drums)

Dianne Reeves, “Stormy Weather” (Reeves, voice; Terence Blanchard, trumpet; Peter Martin, piano; Derrick Hodge, bass; Kendrick Scott, drums)

Terence Blanchard, “Wandering Wonder” (Blanchard, trumpet; Lionel Loueke, guitar; Fabian Almazan, piano; Derrick Hodge, bass; Kendrick Scott, drums)

Norah Jones, “The Nearness Of You” (Jones, voice/piano)

Norah Jones, “I’ve Got To See You Again” (Jones, voice; Wayne Shorter, saxophone; Jason Moran, piano; John Patitucci, bass; Brian Blade, drums)

Wayne Shorter, Medley (Shorter, saxophone; Danilo Perez, piano; John Patitucci, bass; Brian Blade, drums)



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“Never the world’s most highly animated showman or greatest stage personality, but a tone so beautiful it sometimes brought tears to the eyes—this was Johnny Hodges. This is Johnny Hodges.” – Duke Ellington’s eulogy for Johnny

Johnny Hodges had the sweetest saxophone tone of anyone – his was beautiful jazz. He also possessed technical mastery of his instrument, an individualistic style and the use of vibrato that made him admired by many. His playing of the blues was particularly sensuous and his way with a ballad made him the quintessential Duke Ellington sideman and an in demand player to accompany others.

After learning to play both piano and drums he first played soprano sax before becoming a specialist with the alto saxophone. He went to New York while still in his teens where he played with a few bands; having been inspired by Sidney Bechet he also took guidance from the jazz pioneer.

Johnny joined Duke Ellington’s Orchestra in 1928, playing on his first record in March and from the very first he became pivitol to the Ellington sound as well as co-writing some of Duke’s recordings. He appeared with Elington at The Cotton Club,  toured Europe with him in both 1933 and 1939, and three years later he played on the classic, ‘Things Ain’t What They Used To Be’ helping to make it so distinctive as well as a big hit record.

After playing on so many wonderful Ellington records Hodges left in 1951 to work within a small group environment, something he had already done within the Ellington organization. His first session for Granz’s Norgran label was in January along with two other Ellingtonians, trombonist Lawrence Brown and Duke’s long serving drummer, Sonny Greer. The album was called ‘Castle Rock’, the title track was a hit single and the album was later reissued on Verve. A month later the same players recorded an album entitles, ‘Memories of Ellington’ that was later reissued as ‘In A Mellow Tone’ by Verve

Over the next decade or so Johnny recorded a lot of albums for both Norgran and Verve. Among the highlights were ‘Ellingtonia ’56’, ‘Johnny Hodges with Billy Strayhorn and the Orchestra’ and ‘The Big Sound’. He also worked with Ellington himself and recorded ‘Duke Ellington And Johnny Hodges Play The Blues – Back To Back’ and ‘Duke Ellington And Johnny Hodges Side by Side’ that show off the wonderful musicianship of the long time colleagues.

In the early 1960s he rejoined Ellington’s band and was in the studio when Duke and Frank Sinatra recorded the album, ‘Francis A. And Edward K’ in December 1967. Among the songs they recorded was the beautiful ‘Indian Summer’ with a sumptuous Billy May arrangement. It is among the best songs Sinatra recorded for Reprise and Johnny Hodges sax solo certainly adds to the overall effect. So enthralled was Sinatra during its recording that when it ends he’s half a second late in coming in to sing; Hodges at 60 years old still had it.

Hodges last appearance was at the Imperial Room in Toronto, less than a week before his death. He suffered a heart attack during a visit to his dental surgeon in May 1970. Hodges performance on Sinatra’s record was a fitting elegy to a great saxophonist.

Check out our Johnny Hodges playlist here





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Born this day – Johnny Hodges | thejazzword July 25th at 1:08pm

[…] Check out our other story on Johnny Hodges here […]

Recorded between March and July 1993 Cassandra Wilson’s Blue Note debut is nothing short of sensational. It has one of the most seductive openings to any record ever. And what a brave opening. The song, ‘You Don’t Know What Love Is’, dates all the way back to 1941 and has been covered many times down the years, including versions by Chet Baker and Art Blakey and the Jazz Messengers. But the kind of magic that Cassandra Wilson weaves on this track, and all the way through Blue Light ‘Til Dawn, leaves them far behind.

Of course there are some who will be quick to point out that this is no jazz album. Well, who cares? It is so accomplished, so different, so adventurous, that it deserves all the plaudits that it has received. Anyone who can cover Robert Johnson (and offer something totally new) as well as Van Morrison, Joni Mitchell, and Ann Peebles, and bring the kind of freshness to the songs that Ms Wilson brings is deserving of our attention.

With a voice like satin, one that constantly evokes the vibe of smoke-filled clubs of old, the inventiveness on Mitchell’s ‘Black Crow’ and Van the Man’s ‘Tupelo Honey’ is what draws us in. Sparseness is her trademark, a sparseness that allows no margin of error on the vocals. And there is none. For me this is jazz soul, not the kind that came along in the 1960s but* jazz that is bathed in soulfulness. This is truly a landmark album, and let no one tell you it’s not jazz. Then again, maybe it’s just brilliant.

Now it is reissued in an expanded form with three additional tracks recorded live back in 1994. Later this year Cassandra has a new album of Billie Holiday songs coming out…but in the meantime this will do nicely!

You can hear the original version here.

The new expanded version is here at iTunes


May (Cassandra Wilson ‘Blue Light To A New Dawn’ tour)

5/07-08 – The Triple Door – Seattle, WA

5/10 – The Fonda Theatre – Los Angeles, CA

5/11 – Musical Instrument Museum – Phoenix, AZ

5/13 – Kuumbwa Jazz Center – Santa Cruz, CA

5/15 – Oakland, CA – Yoshi’s

5/16-17 – San Francisco, CA – Yoshi’s

5/19-20 – Dakota Bar & Grill – Minneapolis, MN


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As a part of the celebration of the 75th Anniversary of Blue Note Record there is now an exclusive iTunes store dedicated to placing all the label’s catalogue in one convenient place. During the course of the coming year 100 Blue Note albums will be made available in the Mastered for iTunes format ensuring the best quality through increased audio fidelity, more closely replicating what the artists, recording engineers, and producers originally intended.

The Blue Note destination will highlight current and classic releases, including a monthly Artist Spotlight that begins today with Don Was taking a look at the landmark Blue Note recordings of the legendary keyboardist and composer Herbie Hancock, whose Blue Note catalog includes his debut album Takin’ Off, recorded 1962, along with numerous classics such as My Point Of View, Empyrean Isles, Maiden Voyage, and Speak Like A Child.

New releases featured today at include a 75-track anniversary collection titled Blue Note 75 that spans the label’s entire history as well as six exclusive introductory 10-track Blue Note 101 compilations. A series of Blue Note Select collections will also be featured beginning with Miles Davis’ Take Off: The Complete Blue Note Albums on May 19, and Clifford Brown’s Brownie Speaks: The Complete Blue Note Recordings, which will be released June 10.

Those of you in the USA can also check out Blue Note Radio – one of the first label branded stations on iTunes Radio – thatwill stream tracks covering all 75 years of Blue Note Jazz from Thelonious Monk to Robert Glasper. The station will continually grow as new music is released, including recent albums from Ambrose Akinmusire (The imagined savior is far easier to paint), Brian Blade & The Fellowship Band (Landmarks), and Takuya Kuroda (Rising Son), as well as upcoming releases from Bobby Hutcherson/David Sanborn/Joey DeFrancesco, Joe Lovano/Dave Douglas, Jason Moran, Wayne Shorter, and more.


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giai01 May 7th at 7:45am

Reblogged this on Giai01's Blog and commented:

It’s time for us to leave the Cheltenham Jazz Festival but before we actually depart leafy Montpelier Gardens, the festival site, we thought we’d give you a review of what made this year’s gathering so very good – the best yet in the views of many regulars we talked with.

We’ve already posted about the fabulous Friday Night is Music Night, hosted by the BBC. People spent all weekend talking of it and it really was that good – how often do you get to a 70 piece band with a full string section and seasoned jazz men playing together? Saturday was, for many, ‘Loose Tubes Day’. The appearance of the 20 strong collective, their first in 20 years, was eagerly anticipated and it didn’t disappoint. Playing a mixture of old material and newly commissioned compositions by BBC Radio 3 it was pure delight. With Django Bates conducting much of it from his keyboard it was tight, fresh and above all, just how many of the audience remembered them. A show of hands had maybe a third of the packed Big Top having seen the band, “back in the day.” As one of the band quipped, “the rest of you were probably not born when we were around in the old days.” Among the new compositions was one named, ‘Smoke & Daffodils’ which was outstanding.

Among the other highlights of Saturday was Denys Babptiste and his composition, ‘Now Is The Time’ marking the 50th anniversary of Dr. Martin Luther King’s assignation. It was everything it was hoped it would be and more. Robert Cray brought his unique blend of blues and soul to the Big Top; his four piece of Hammond B3, bass, drums and Cray’s stellar guitar work was superb. For some it was a rush to take the 10 minutes walk to the Town Hall for Kurt Elling’s solo show. Whereas in the big band setting he was outstanding, his performance hit a new level with his four piece band of piano/organ, bass, guitar and drums. Elling’s vocals are exposed in all their glory and he took the audience on a musical journey in songs of love from France, Poland, Cuba, England and America. When it was over the audience were left, wanting more… it’s the sign of consummate performer that he did just that.

While all this was happening Jamie Cullum broadcast his BBC Radio 2 show, live from the backstage area, which at times was technically demanding and it was to Jamie’s credit that he held the thing together so brilliantly and proved that he is a master of radio, much like he is at the keyboard and microphone. Late night Saturday at the Town Hall was the eagerly awaited appearance of Snarky Puppy and their funked-up modernized take on all things 70s –there were hints of the Ohio Players, Earth Wind & Fire and Stevie Wonder meets the Funk Brothers – is it jazz? Who knows, and who cares when it is so popular and brings people to the world of jazz. Their set was followed by Gilles Peterson who played his usual eclectic mix of world, hip hop, afro beats and in this 75th year of Blue Note a good smattering of classics from the label.

Sunday lunchtime may not be the obvious time for jazz – unless it’s a Sunday brunch with a three piece going through the GAS with more intent than panache. However, we were treated to Ambrose Akinmusire (pronounced Akin-muse-ery) and his unique and beautiful chamber jazz. Much of his set was from his new Blue Note album, the brilliant, ‘The Imagined Savior Is Far Easier to Paint’. Along with pianist Sam Harris, drummer Justin Brown, and Harish Raghavan on bass Ambrose weaved a kind of magic rarely heard from jazz trumpeters these days. The audience was captivated and there was a sense of having witnessed something very special on appropriately, a Sunday. We missed Jake Isaac and Lake Street Dive but caught them later doing a couple of acoustic numbers and what is clear is that Isaac is a star turn. Other standouts from Sunday were veteran drummer Billy Cobham who gave a master class in drumming brilliance and also Liane Carroll was back doing her trio thing and it was further proof of her immense talent.

For many the highlight of Sunday was the return of Cheltenham’s own prodigal son, Gregory Porter. He’s been claimed by many Cheltenham Ladies as their own and there were not a few men who fell under his spell with his unique take on jazz, Marvin Gaye and deep soul. His voice commands respect and his stage presence is huge and he did not disappoint with the audience in raptures – with the added bonus of Akinmusire guesting on trumpet. There are still some who have not heard his Blue Note album, ‘Liquid Spirit’, which to those of us who have been n his secret for so long find strange, but then again they are in for a special treat – hearing it for the first time. Quite simply it is a game-changer. From 9pm until 11 Clare Teal was broadcasting live from the backstage area and like Jamie did an outstanding job – as well as singing quite a few songs. We caught the last part of the show and her afternoon rehearsal with her trio at which she did a beautiful version of Peggy Lee’s ‘The Folks Who Live On the Hill’ among others.

Sadly we shall be missing Curtis Stigers’s solo show on Monday as well as Jools Holland and his Rhythm And Blues Orchestra with Gregory Porter as his special guest.

Ian George. the Festival’s director, does an amazing job in collecting together so much talent in one place and the way the whole thing is organised leaves most festivals in the shade. Kudos! Like Kurt Elling did we’ve been left wanting more, which means we shall definitely  be back next year.

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Curtis Stigers in the Big Top

Last evening, a packed Big Top at the Cheltenham Jazz Festival was entertained by the BBC Concert Orchestra, The Guy Barker Big Band, Liane Carroll, Curtis Stigers and Kurt Elling – and what entertainment it was. Hosted by Jeremy Vine it was all themed around Prohibition, Al Capone, the ‘halcyon days’ of New York and Chicago’s speakeasies, the famous Cotton Club and a time when swing was the thing, torch songs and the singers with the big bands were not just jazz, they was pop!

Broadcast live on the BBC’s Friday Night Is Music Night the evening opened with Sing, Sing, Sing, Louis Prima’s classic made famous by Benny Goodman’s Orchestra with Gene Krupa. It was a scintillating way to start with the horns, the full sized string section and some powerhouse drumming on Guy Barker’s arrangement made this the perfect opener. Appropriately the evening closed with a medley of Louis Prima classics including Jump, Jive & Wail…by which time The Joint is Jumpin‘ – the Fats Waller song had been performed with stylish, effortless panache half way through the concert by Curtis, Kurt and Liane.

Many in the audience had probably never seen Kurt Elling perform live and when he finished his opening number, Blue Skies there was a momentary pause before some thunderous applause from an audience that was in shock at the dexterity of his vocals. he went on to sing I Can’t Give You Anything But Love, I Like The Sunrise, an awesome version of Cab Calloway’s Minnie The Moocher (it felt like we were all back in the Cotton Club in ’31) with some help from the audience on vocals and his closing solo number was Ellington’s Tootie For Cootie to which Elling had put words to trumpet player Cootie Williams’s solos – it was quiet simply astonishing – and wonderful. Kurtis Stigers, who has played the festival before is a more traditional jazz singer than Elling but he was a huge hit, giving us, Someday You’ll be sorry ( a rarity, a Louis Armstrong composition), the fabulous, I Found a Million Dollar Baby in a 5 & 10 Cents Store and a quiet, understated but simply beautiful version of Blame It On My Youth. Curtis Stigers is a singer who is way more substance than he is flash, making him one of the best modern-day interpreters of the Great American Songbook.

And then there was Liane. She opened with a stunning version of Ethel Waters, Stormy Weather, another staple of the Cotton Club. Later there was Midnight Sun, a sassy Love For Sale and Lover Man (Oh Where Can You Be). These were all brilliant but the showstopper was The Man I Love – who can forget Billie Holiday with Lester Young absolutely killing this number in 1939? While No one could forget Lady Day, let me tell you Liane managed to redefine this song in a way that made it all her own last night.

After the concert we went back to the Hotel Du Vin where, after midnight, both Kurt and Liane jammed in that way that jazz musicians who love their craft do. Giving freely of themselves, their talent and their time. Some people who had dined there earlier and stayed on when the music started were initially unaware of what they were in for. What they got was world class singers giving of their best.


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