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For All We Know Peterson Oscar 1986
Oscar Peterson is joined by vibes player Milt Jackson during the First
Bern International Jazz Festival in 1986. Oscar's trio has Niels Perersen
on bass and Martin Drew on drums.
Milt Jackson (1923 -- 1999) was an American jazz vibraphonist and one of
the most important figures in the hard bop style. A very expressive
player, Jackson differentiated himself from other vibraphonists in his
attention to variations of dynamics and rhythm. He was particularly fond
of the 12-bar blues at slow tempos. He preferred to set the vibraphone's
oscillator to a low 3.3 revolutions per second (as opposed to Lionel
Hampton's speed of 10 revolutions per second) for a more subtle vibrato.
In 1951 Jackson started the Modern Jazz Quartet.
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Someday Sweetheart Hodes Art 1968
With a piano introduction by session leader Art Hodes this groups jams
through "Someday Sweetheart". We see and hear Smokey Stover on
trumpet, Toni Parenti on clarinet and J.C. Higginbotham on trombone. Eddie
Condon is this performance as well. They must have found a banjo for him.
Usually he is not heard playing the 4 string guitar. He is fairly quiet on
the banjo as well. Bassist Rails Wilson and I don't know the drummer.
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High Society Hodes Hodes Art/Barney Bigard 1968
In 1968 in Chicago pianist Art Hodes was the host in a series of jazz
films from some small jazz club. He would be able to feature one or more
jazz musicians in a program called Jazz Alley.
In this clip Art Hodes presents New Orleans clarinettist Barney Bigard who
in his early years played with the Duke Ellington Orchestra and later in
the forties and early fifties was the reedplayer with Louis Armstrong's
All Stars.
Going back to Barney's roots, New Orleans, he plays "High
Society"
On piano host Art Hodes, on bass Rails Wilson (?) and Bob Cousins on
drums.
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China Boy Hodes Art 1968
In a series of TV broadcasts in 1968 Chicago pianist Art Hodes presented
Chicago styled musicians who had made fame in the thirties and forties.
Art plays piano and features cornet player Jimmy McPartland and
clarinettist Pee Wee Russell in "China Boy."
Pee Wee Russell ( 1906-1969)
From his earliest career, Russell's style was distinctive. The notes he
played were somewhat unorthodox when compared to his contemporaries, and
he was sometimes accused to playing out-of-tune. Though often labelled a
dixieland musician by virtue of the company he kept, he tended to reject
any label.
From the 1940s on, Russell's health was often poor, exacerbated by
alcoholism - which led to a major medical breakdown in 1951 - and he had
periods when he could not play.
He played with Art Hodes, Muggsy Spanier and occasionally bands under his
own name in addition to Condon.
In his last decade, Russell often played at jazz festivals and
international tours organized by George Wein
Russell's unique, and sometimes derided approach was praised as ahead of
its time, and cited by some as an early example of free jazz. Coleman
Hawkins, who considered Russell to be color-blind, at the time of the 1961
Jazz Reunion (Candid) record date - they had originally recorded together
in 1929 - dismissed any idea that Russell was now playing modern, saying
that he had always played that way.
By this time, encouraged by Mary, his wife, Russell had taken up painting
abstract art as a hobby. Mary's death in the spring of 1967 had a severe
effect on him.
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