Not only did I earn some money accompanying a friend to the doctor, I had enough time to open the floating book shop, albeit a little late. My thanks to the folks who bought and donated.
Here's a piece I wrote about a decade ago, Introduction to Giants:
In my early 40's I found myself becoming less interested in rock 'n roll. I was never thrilled with the "easy listening" format, although great songs certainly do crack it, so I decided to sample Jazz. I purchased a couple of compilations, which introduced me to the work of Louis Armstrong and Duke Ellington. It enriched my life.
Although I've played guitar for years, I consider myself a novice. Anything I understand about the making of music is subliminal. I'd much rather listen to than play it. Rooting around the fretboard, I arrive at familiar riffs having no clue as to how, although I sense it is by more than mere coincidence. Maybe it's an intrinsic understanding of the mathematics behind the scales. Whatever - it is as a layman that I speak of these universally renowned artists.
Most people know Louis Armstrong through his endearing rendition of "Hello Dolly" or through the ballad "What a Wonderful World," which has been popping up lately on soundtracks. These are wonderful performances, although far from his best. Experts disagree on what is his best. After all, his long career began in the '20's. I am not even close to an expert, but it is hard to imagine that any of his work could surpass that in the album "Louis Armstrong Plays W. C. Handy." Handy is considered "The Father of the Blues."
Originally released in 1954, now available as a CD, it had to be reworked, as the original tapes were lost. It is impossible to believe it had been better. Any recording that includes "Beale Street Blues" is worth the price in itself. The melancholy clarinet draws one in, the amusing lyrics captivate, and Satch's solo stuns. All that is life is in it. Three of my other favorites on the disc, "Loveless Love," "St. Louis Blues" and "Hesitating Blues" feature the saucy vocals of Velma Middleton. The interplay between this woman, considered an entertainer not a singer, and "Pops," as she calls him, is marvelous. I envy anyone who saw them live. What fun that must have been.
Armstrong has been part of some incredible duets. Understandably, his rasp turns off those who prefer purity in voice. I find it charming, although I am amazed at how effortlessly his gruffness blends with the smooth, golden tonality of the likes of Bing Crosby and Ella Fitzgerald. Jazz historians cite Armstrong as the first modern singer, influencing all who followed. He altered the previously staid vernacular of song. He is a master of nuance, timing and humor. His chemistry with Fitzgerald on the touching "Summertime" and the playful "Cheek To Cheek" is perfect, as it is with Crosby on the folksy "Gone Fishin'" and the hot "Now You Has Jazz."
Duke Ellington is Armstrong's equal. Many are familiar with "Take the A Train," which was actually composed by his frequent collaborator, Billy Strayhorn. Ellington composed more than a thousand pieces. I'd never even heard of the album "Blues in Orbit," which a friend loaned me. It is astounding in its beauty. What fascinates me most about Duke's work is its hipness. Unlike classical pieces, which, however rousing, hearken to the past, Ellington's orchestra sounds up to the minute, so accessible. Such beauty isn't over anyone's head. The pieces here are economical, unlike some Jazz, which seems to meander. They seem so tightly composed that it seems erroneous to call them Jazz, which, by definition, is "improvisational music." However, that is semantics. This is about the definitive, that is, beautiful music.
Recorded in 1959, "Blues in Orbit" is entirely instrumental. None of the 14 tracks exceeds five minutes. Only two are longer than four minutes. Driving in my car, windows rolled up, listening in awe, I find myself thinking: Human beings did this? If so, how does one explain the ugliness that too often plagues the race? Some of the musicians were not good men - yet, performing together, they attained the highest in creativity, in man. I encounter mild frustration in not being able to name many of the pieces, as there are no lyrics to which to correlate them. No matter. They are timeless. To paraphrase Shakespeare, by any name they would sound as sweet. Is "Beale Street Blues" less great because there is no Beale Street? It's actually Beale Avenue. It was changed to accommodate the meter of the song.
Like Satch, Duke also collaborated with Ella Fitzgerald, creating what is now a three-CD set. Ella, "The First Lady of Song," is incomparable in execution and versatility. Whether singing the blues of "Rocks in My Bed" or the poignant ballad "Do Nothing Till You Hear from Me" or the bouncy "It Don't Mean a Thing (If It Ain't Got That Swing)," she is a master - and without a trace of pretension. Despite uncommon talent, she was modest, respectful of an audience, never condescending. Her love of performing is evident in her live tracks. She had fun. She was as playful as a teenager.
These three remain giants years after their passing and likely will remain so as long as man appreciates music. They cannot be surpassed. An artist can only hope to become their equal.
RIP jazz great Dave Brubeck, 92.
Visit Vic's sites:
Vic's Third Novel (Print or Kindle): http://tinyurl.com/7e9jty3
Vic's Website: http://members.tripod.com/vic_fortezza/Literature/
Vic's Short Story Collection (Print or Kindle): http://www.tiny.cc/Oycgb
Vic's 2nd Novel: http://tinyurl.com/6b86st6
Vic's 1st Novel: http://tiny.cc/94t5h
Vic's Screenplay on Kindle: http://tinyurl.com/cyckn3
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