Stop in, look around, have a drink and crank some tunes. I'll be posting some songs ripped from records, some out of print and hard to find stuff, some songs by artists you should be listening to, and a few mixes here and there.
Thursday, June 01, 2006
Milt Rocks!
I would really like to see this guy rockin' live. I picture him almost falling off his stool when he gets cooking. Check out that crazed look in his eyes. File under keyboard instrumentals by crazy-eyed cads.
SORRY. FILES HAVE BEEN REMOVED.
2 comments:
Anonymous
said...
If I'm not mistaken, Milt Buckner played with Louis Jordan in the 1940s. In any case, this excellent album should be posted in its entirety--especially given its rarity. Who was the sax player? Illinois Jacquet? My day is much improved.
For anyone who may not know, Milt Buckner was a major influence in George Shearing's piano style.
I quote Shearing himself:
"When I went to the States, one of the jobs that I took was at the Hickory House, where I was told that they wanted to get away from jazz and to develop a show policy. So I turned myself into a glorified cocktail pianist for the time that I played there. But I played everything—from cocktail piano to Fats, Tatum, Wilson and what little I knew of bebop then. This was before I'd heard too much of Charlie and Diz. Then later on I tried copying Bud Powell, tried to play some of Charlie's lines on piano, went into a little bit of the Lennie Tristano school. And so on. All the time with this Milt Buckner locked hands thing in the back of my mind. Since 1946 I'd heard records of Hamp's band, where Milt was playing this style, but strictly for the blues and for jazz.
And I started to think: 'Well, this has been presented to the public in the form of four saxophones and a clarinet, some brass and a rhythm section under the baton of a guy named Glenn Miller.' Now this may seem strange—to link Milt Buckner and Glenn Miller. But you can take the first three notes of the major scale—C, D and E. The chords could be C in the left hand, E, G, A, C in the right hand, D in the left, F A flat, B, D in the right, E in the left hand, G, A, C, E in the right. And, whether you play them in the form of improvised blues. or as the actual voicings of a tune like 'Sunrise Serenade' or 'Roses Of Picardy' or 'East Of The Sun' or whatever, it becomes a sound which people can readily identify and accept."
Many thanks for a rare opportunity to hear Buckner.
I would really like to see this guy rockin' live. I picture him almost falling off his stool when he gets cooking. Check out that crazed look in his eyes. File under keyboard instrumentals by crazy-eyed cads.
2 comments:
If I'm not mistaken, Milt Buckner played with Louis Jordan in the 1940s. In any case, this excellent album should be posted in its entirety--especially given its rarity. Who was the sax player? Illinois Jacquet? My day is much improved.
For anyone who may not know, Milt Buckner was a major influence in George Shearing's piano style.
I quote Shearing himself:
"When I went to the States, one of the jobs that I took was at the Hickory House, where I was told that they wanted to get away from jazz and to develop a show policy. So I turned myself into a glorified cocktail pianist for the time that I played there. But I played everything—from cocktail piano to Fats, Tatum, Wilson and what little I knew of bebop then. This was before I'd heard too much of Charlie and Diz. Then later on I tried copying Bud Powell, tried to play some of Charlie's lines on piano, went into a little bit of the Lennie Tristano school. And so on. All the time with this Milt Buckner locked hands thing in the back of my mind. Since 1946 I'd heard records of Hamp's band, where Milt was playing this style, but strictly for the blues and for jazz.
And I started to think: 'Well, this has been presented to the public in the form of four saxophones and a clarinet, some brass and a rhythm section under the baton of a guy named Glenn Miller.' Now this may seem strange—to link Milt Buckner and Glenn Miller. But you can take the first three notes of the major scale—C, D and E. The chords could be C in the left hand, E, G, A, C in the right hand, D in the left, F A flat, B, D in the right, E in the left hand, G, A, C, E in the right. And, whether you play them in the form of improvised blues. or as the actual voicings of a tune like 'Sunrise Serenade' or 'Roses Of Picardy' or 'East Of The Sun' or whatever, it becomes a sound which people can readily identify and accept."
Many thanks for a rare opportunity to hear Buckner.
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