Seiji Ozawa, conductor, September 1, 1935–February 6, 2024
Vienna Philharmonic (Seiji Ozawa, cond.) with Anne-Sophie Mutter (violin), live, Tokyo, 2020; Toru Takemitsu (1930-1996), Nostalghia: In Memory of Andrei Tarkovsky (for violin and orchestra), 1987
Mars Williams, saxophonist,composer, arranger, conductor, May 29, 1955-November 20, 2023
With Psychedelic Furs, “Sister Europe,” live, 2013, excerpt
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With Tim Daisy (drums), live, Chicago (Hungry Brain), 2014, excerpt
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Mars Williams’ “The Devil’s Whistle” (with Nels Cline [guitar], James Brandon Lewis [saxophone], Jason Marsalis [drum kitchen], Michael Zerang [trash can drum kit], et al.), live, New Orleans (Music Box Village), 2022, excerpts
Tony Bennett, singer, August 3, 1926–July 21, 2023
With Bill Evans (1929–1980, piano), “Lucky to Be Me,” “My Foolish Heart,” “When in Rome,” “We’ll Catch up Some Other Time,” “A Child Is Born,” “Make Someone Happy,” “Together Again,” 1976
Peter Brötzmann, saxophonist, clarinetist, March 6, 1941–June 22, 2013
With his quartet (PB [reeds], Alexander Von Schlippenbach [piano], Peter Kowald [bass], Paul Lovens [drums]), live, Poland (Warsaw), 1974
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With Last Exit (PB [reeds], Sonny Sharrock [guitar], Bill Laswell [6-string bass], Ronald Shannon Jackson [drums, voice]), live, Germany (Frankfurt), 1994
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With Chicago Tentet (PB [saxophones], Ken Vandermark [saxophones], Joe McPhee [saxophones], Roland Ramanan [trumpet], Toshinori Kondo [trumpet], Jeb Bishop [trombone], Fred Longberg-Holm [cello], Kent Kessler [bass], Michael Zerang [drums], Paal Nilssen-Love [drums]), live, France (Le Mans), 2004
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lagniappe
random sights
other day, Chicago (Alexander Calder [1898-1976], Flamingo [1973], detail)
Ahmad Jamal, pianist, composer, July 2, 1930-April 18, 2023
With Israel Crosby (1919-1962, bass), Vernel Fournier (1928-2000, drums), live (TV show), 1959
“Darn That Dream” (J. Van Heusen, E. DeLange)
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“Ahmad’s Blues” (A. Jamal)
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From the New York Times obituary (4/16/23):
Bebop pianists, following the lead of Bud Powell, became known for their virtuosic flurries of notes. Mr. Jamal chose a different path, which proved equally influential.
The critic Stanley Crouch wrote that bebop’s founding father, Charlie Parker, was the only musician “more important to the development of fresh form in jazz than Ahmad Jamal.”
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In his early years, Mr. Jamal listened not just to jazz, which he preferred to call “American classical music,” but also to classical music of the non-American variety.
“We didn’t separate the two schools,” he told The New York Times in 2001. “We studied Bach and Ellington, Mozart and Art Tatum. When you start at 3, what you hear you play. I heard all these things.”
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Probably the best-known musician to cite Mr. Jamal as an influence was not a pianist but a trumpeter and bandleader: Miles Davis, who became close friends with Mr. Jamal, recorded his compositions and arrangements and would bring his sidemen to see Mr. Jamal perform. He once said, “All my inspiration comes from Ahmad Jamal.”