#eddie bert

Modern Jazz Festival, (handbill), YMHA Kaufman Auditorium, New York, NY, April 23, 1954 [Recordmecca]

Introduction: The year 1970 witnessed the birth of a musical masterpiece that would etch its place in the annals of jazz history – “Consummation” by the Thad Jones/Mel Lewis Jazz Orchestra. Released on the revered Blue Note Records and reissued in 2002, this album not only stands as a testament to the collaborative genius of Jones and Lewis but also serves as a pivotal moment in the evolution of…

1959 - Thelonious Monk and Orchestra - Town Hall

Thelonious Monk, piano with Donald Byrd, trumpet; Eddie Bert, trombone; Robert Northern, French horn; Jay McCallister, tuba; Phil Woods, alto sax; Charlie Rouse, tenor sax; Pepper Adams, baritone sax; Sam Jones, bass; and Art Taylor, drums. Arrangement by Hall Overton, recorded Feb. 28, 1959.

Charles Mingus - Jump Monk

From the album "Mingus at the Bohemia" (Debut Records, 1955).....

Charles Mingus

Mingus at the Bohemia

@ 1956 US Pressing (mid 80s reissue)

*****

The songs from "Cafe Bohemia" contain the typical Mingus "Jazz Workshop" characteristics. A concert as workshop meant first of all a live experiment; this is mainly true for his “guest” musician Max Roach in “Percussion Discussion”. Mingus at the Bohemia fixed a moment in time where Mingus found his musical identity.

The first song, "Jump, Monk" is a tribute to Thelonious Monk. Mingus tried to simulate with his bass play the dance like movements of the great musician. This composition is described by Mingus as "a profile of Monk", not a complete picture of the man but a side view or one aspect of a complex personality. Actually, it is a double profile because one can see an important aspect of the composer, Mingus. The eight-bar, many-voiced section that keeps alternating with the melody most certainly mirrors the emotional, earthy quality found in both subject and composer. Mingus can be heard shouting during the last chorus, thus bearing out the identity. Of importance, also, are the compositional techniques used in this piece. Along with given melodic figures, the composer created the form and mood by giving the musicians scales on which they could build their own figures. These figures then had to appear in certain places and also had to maintain the mood of the composition. During the first and last choruses, even though George and Eddie play different notes in comparable places, the mood and feeling are still the same.

The above-mentioned "Percussion Discussion" is a duet between Mingus and Roach, which was later also used in the Epitaph suite. The two men play two instruments that are very rarely found on the stand-alone. The two produce an assortment of rich and exciting sounds showcasing the artistry of both musicians. Mingus' pizzicato becomes so strong at times that it sounds very close to Max's percussive effort.

The "Work Song" (not to be confused with the Nat Adderley composition) should reflect the history of the black workers in the US, with elements of soul jazz. This is the only truly representative composition in the album. It is actually a jazz tone poem depicting the old slave gangs as they did their back-breaking work of "swinging that hammer". Driving stakes or laying railroad ties with all the oppression and problems the Black race had at that time. Notice the cannon-like sound of the piano which really simulates the blow of a sledge-hammer. This is called a "cluster" on the piano. Because of the low register clusters and other rhythm section accents, we get a strong feeling of depression throughout the piece. However, there is a note of hope in the composition which is found in the words of the original melody: "Swing that hammer over your shoulder: get bolder and – BOLDER!"

"Septemberly" is a combination of two songs: "September in the Rain" goes over into a romantic "Tenderly". Sub-titled "The Song Of The Thief", this is, of course, a conscious accusal of musical plagiarism. As Mingus said, "Two composers collect royalties for the same tune". Eddie has the first melody ("September in the Rain") and George has the other ("Tenderly"). After treating both melodies simultaneously, the arrangement then moves from one section of the first tune to another section of the second tune. The solos are built on the exact chord changes of "September", but they could just as well have been built on "Tenderly". On the end of the arrangement Mingus's new developments on old ideas can be heard. In the early days of jazz, the musicians had no planned endings. They would all solo together into some kind of consonant, harmonious ending "a la New Orleans". For this arrangement there's no ending. The musicians just move together, each in his own way, toward a resolution of the composition.

The last song is the standard "All the Things You Are" blended with "Prelude in C sharp minor". Mingus was very aware of similarities in tunes, and, as in one other case in this album, Septemberly, he combines two or three in a composition. Whether intentional or not, this often implies to the listener that one tune was derived or stolen from the other(s). In this case, the combined tunes are "All Things + Prelude". The piano line is similar to "Clair de Lune", with the three-note motif that is found in the beginning of "Prelude",  in the introduction on "Things", and although the melody is different, in the rhythmic idea of "Clair". The motif is found throughout the composition and gives the piece a well-knit feeling.

... over on a bar stool talking to the bartender, who was polishing a glass and listening with that plastic smile people wear when they are trying not to scream.”

In this passage from The Long Goodbye, Raymond Chandler failed to mention how, trying to attract the sad fellow's attention, there was that lost girl. I'm sure there must have been one; where there are sad fellows, the lost girls are never far away. Perhaps Mr. Chandler took for granted that we know that and need not have it spelled out every time we come across a sad fellow sitting on a bar stool.

But let's imagine the scene anyway. Let's say that alone on the small, dingy dance floor, a lost girl is moving slowly with a mixture of need and languid hopelessness; that her every movement is a veiled invitation to that sad fellow; and let's say that he (like the author who created him) keeps taking no notice. And so she continues all by herself, her steps tiny, her eyes half closed, and she tries harder and harder not to imagine what it would be like to be held right now by the sad fellow, by any man, by anyone ...

And let's say too that we know what music she is dancing to all by herself that night in that bar. She keeps feeding the jukebox, and over and over again it plays this intensely sensual version of Irving Berlin's All My Life. And if the lost girl gave it any thought, she might think: Yes, all my life...

The recording was was made in 1955 by trombonist Eddie Bert for his album I Hear Music & Modern Music (Jazztone J-1032); the performers on this track are:

Eddie Bert - tb Hank Jones - p Barry Galbraith - g Oscar Pettiford - b Osie Johnson - dr