Posts Tagged ‘montreux jazz

02
sep
12

“We’re gonna play my shit but differently”

Aldus Phil Collins nadat hij met zijn eigen Phil Collins Big Band de avond van het Montreux Jazz 1996 festival had geopend. Montreux is mede groot geworden door Norman Granz die daar in 1975 zijn opwachting maakte. Festival directeur Claude Nobs had aangeboden dat Granz drie avonden  de programmering mocht doen met de  musici van zijn toenmalige label Pablo Records. Dat was een kolfje naar zijn hand en Granz zou Granz niet zijn  als hij Montreux in latere jaren niet volledig naar zijn hand zette.

Het is een genoegen om drummer Phil Collins aan het werk te zien in een totaal andere setting dan zijn voormalige band Genesis of als solo artiest. Maar zijn composities blijken uitstekend geschikt voor het bigband werk en Phil laat zien wat voor een fenomenale drummer hij is. Compleet met brilletje op want bij een big band moet er gelezen worden. Ga er even voor zitten voor deze zeer dynamische uitvoering van “Two Hearts”.

25
feb
12

Norman Granz – The Man Who Used Jazz For Justice (last episode).

Norman Granz - 1918 -2001.

This is the last blogpost about the live of  Norman Granz, based on the book “Norman Granz, The Man Who Used Jazz For Justice” by Tad Hershorn.

On November 22, 2001, Norman Granz died in bed in his Geneva appartment in the early hours of the morning. His tremendous contribution to the world of jazz will never be forgotten. As founder of the Jazz At The Philharmonic concerts which he rolled out in the USA, Europe and Japan, his innovative first live jazz recordings, the Clef, Norgran,Verve and Pablo labels he founded, his business management over decades for Ella Fitzgerald, Oscar Peterson and Joe Pass, his commitment to numerous and famous jazz musicians, his involvement in the Montreux Jazz Festivals, one can say the world of jazz would have looked totally different without him.

As The Los Angeles Time wrote: “Norman Granz set the business of jazz through most of the twentieth century. He helped end the two-track system in which white players generally earned more than blacks and helped integrate jazz on a large commercial scale”. An extensive interview with author Tad Hershorn of the book cab be found on JazzWax. To close the circle, here is the famous Coleman Hawkins version of “Body and Soul”  which made Norman Granz a jazz fan when he heard this for the first time in his life.

13
feb
12

Basie’s jam with Ray and Jimmy in “Nob’s Blues”.

Through his involvement in the famous Montreux Jazz Festivals Norman Granz used the ample opportunities the festival gave him to promote his Pablo musicians. As someone said, “Granz is not an innovator but a popularizer”. That remains to be seen in the light of history but fact of the matter is that through Montreux he used a lot of commercial opportunities like selling records and video’s / DVD’s of the festival. In 1977 he put together a group of musicians lead by Count Basie. In this video we hear the announcement of Norman Granz introducing the Basie Trio with Ray Brown and drummer Jimmie Smith in a brilliant jam playing Nob’s Blues.

Source: Hershorn, Ted  – Norman Granz – The Man Who Used Jazz for Justice – University of California Press 2011 – ISBN 978-0-520-26782-4




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