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Highlights Archive
2023 Jan Feb Mar Apr
2022       Apr May Jun Aug Sep Oct Nov Dec
April 2023
Tuned in to this album in the early '70s. Two favorites are Compared to What and You Got It In Your Soulness. Just recently stumbled on a film of the former which prompted this highlight.
March 2023
Facing You
As described last November, Facing You was the other album Oscar pointed me at in 1976. The two blow-me-away songs here are In Front and Lalene. Various versions of transcripts are now presented in Transcriptions.

February 2023
Adriano Celentano: Prisencolinensinainciusol
This song was composed by Adriano Celentano in 1972. Some years later it was performed on Italian television—above, and the fun starts at 1:25. It was written to mimic the way English sounds to non-English speakers. Supposedly the English sounding lyrics are mumbo jumbo and his intention was to write a song that means nothing. In addition, the claim is made that the reason it sounds so good, even if it’s gibberish, is because Celantano studied phonetics theory. In Celentano’s own words, “Ever since I started singing, I was very influenced by American music and everything Americans did. So at a certain point, since I like American slang – which, for a singer, is much easier to sing than to sing in Italian – I thought that I would write a song which would only have as its theme the inability to communicate. And to do this, I had to write a song where the lyrics didn’t mean anything.” Taking the music one step further, “OreStones” worked up a subtitled-inventive interpretation of the meaningless English-sounding words.



January 2023
Texas Seaport 1934:1937
I discovered this album when it came out while working at Rhymes Records. Among the inspired tracks, Rob Cooper’s West Dallas Drag, Joe Pullums’s Cows See That Train Comin’, Rack It Back And Tell It Right, Mississippi Flood Blues, and Andy Boy’s House Raid Blues, and Church Street Blues are especially rich.

December 2022
Christmas Time Is Here
released December 1965
A very simple arrangement of a dreamy tune.

November 2022
Oscar Peterson: Sandy’s Blues (17 Oct 1968)
By 1976 I had burned out on rock n’roll and, at the suggestion of my friend-from-the-beginning-of-time Oscar Hills, picked up copies of Keith Jarrett’s Facing You and a two-fer of Oscar Peterson’s titled, In A Mellow Mood. Putting on Sandy’s Blues, the first song on Side 2, I knew I’d gotten onto something I’d been looking for for a looooong time.
October 2022
Locomotive Boogie - Wheelhouse to the Great Beyond
Dave Ratcliffe • Locomotive Boogie - Wheelhouse to the Great Beyond
This 2000 recording paints a sound picture of a locomotive fired up, slowly rolling out of its wheelhouse, hooked up to the cars it will pull, and then barreling down the tracks to destinations amongst the great beyond.
September 2022
JOHN LEWIS
Transcription of Prelude No.16 Variation
Going back to the 1990s original by-hand transcription of John Lewis’ improvisation in the middle of J.S. Bach’s Prelude 16 in G minor from Book 1 of the Well-Tempered Clavier, I have now put together a more accurate representation, detailed at the top of John Lewis: The Bridge Game, Vol. 2, 1984/85.
August 2022
JAY McSHANN
My Chile
from the 1966 LP: McShann’s Piano
In his autobiography, African Rhythms, Randy Weston observed, “Nobody wrote more great music than Ellington, and I don’t care what Duke played or wrote—you always heard the blues underneath.” Beginning in Kansas City in the 1930s, Jay McShann expressed his own fundamental access to and articulation of the blues as composer, band leader and master pianist. “In the late 1930s and early 1940s, along with his fellow pianist and bandleader Count Basie, the singer Joe Turner and many others, McShann helped establish what came to be known as the Kansas City sound: a brand of jazz rooted in the blues, driven by riffs and marked by a powerful but relaxed rhythmic pulse.”[†] This recording of My Chile is from a 1966 LP that has never been digitized, until now.
July 2022
AT HIS VERY BEST
DUKE ELLINGTON
AND HIS ORCHESTRA
I began seriously tuning in to Duke Ellington when I was introduced to At His Very Best. For decades following I discovered a cross-section of his music from 1927 up to 1973. The reach of his imagination and creativity was utterly out of this world. The way he voiced horns, his musical ideas, writing for the specific quality of sounds each member of the orchestra brought to the table, his unmistakable pianistic style, his unbounded ability to continue to grow and expand as well as keeping his band working non-stop for more than 40 years ... The liner notes for the 1950 LP, Masterpieces By Ellington observes something of Duke Ellington’s sources of inspiration:
Ellington once listed George Gershwin, Stravinsky, Debussy and Respighi as his favorite composers, a significant group of choices to remember in listening to his music. Gershwin, the inspired melodist, also showed a masterly preoccupation with intricate rhythms and meters. Stravinsky, certainly the most important influence in modern classical music, is an experimenter of the first order, continually exploring rhythms and textures in his compositions. Debussy is the master of Impressionism, refining delicate themes to a gauzy web of articulate grace. And Respighi, whatever his claims as a composer, was a master of orchestration. These revealing choices give the clue to the basis of Ellington's music, and to its incontestably immense appeal: melody, rhythm, delicacy and color.
While he used the piano to compose, Duke Ellington’s instrument was his orchestra. As he put it in a 1962 interview in Vancouver, “The band is an accumulation of personalities, tonal devices, and as a result of a certain musician applied to a certain instrument you get a definite tonal character.”
and
Edward Kennedy Ellington
An Appreciation by Dave Ratcliffe
June 2022
ART TATUM
GOD IS IN THE HOUSE
PHOTO: DON SCHLITTEN
Genius is inexplicable, but Art Tatum, when asked, usually cited Fats Waller as his main inspiration. “Fats, man. That’s where I come from. And quite a place to come from,” he once told an interviewer. Waller, in turn idolized Tatum. Once, when Tatum entered a club where Fats was performing, he stopped the music and announced “Ladies and gentleman, I play piano, but God is in the house tonight!”
This LP, recorded in 1940 and 1941 after-hours venues, presents, in Dan Morgenstern’s words, ”the relaxed, informal, completely at ease Tatum.” In this paean to the unique spirit of after-hours, two favorite gems are Fine and Dandy and Begin The Beguine. Tatum’s seemingly effortless rhythmic fluidity underpinning and supporting the swinging melodic lines—interwoven with Reubin Harris “discreetly, moving two whiskbrooms over a folded newspaper placed on a chair”(!)—is truly out of this world.
May 2022
MARY LOU WILLIAMS
HESITATION BOOGIE
Mary Lou Williams’ composition, Hesitation Boogie was recorded by her Trio in 1946. A transcription of this recording is now published in Transcriptions. In The History of Jazz album (1978), she describes this style of playing in the Kansas City Swing era:
During this great swing period a pianist had to have two strong hands. Especially a good swinging left hand to compete as a top pianist. During this period boogie woogie was also very popular. I was never considered a top boogie woogie pianist but was trained to play all styles.
April 2022
RANDY WESTON
on THELONIOUS MONK & HARLEM STRIDE PIANO
Excerpt from Thelonious Monk: American Composer, Masters of American Music Documentary (1991). Randy Weston describes and plays an example of Harlem Stride Piano, followed by Producer Orrin Keepnews, a segment of James P. Johnson’s The Mule Walk (1939), and closes with Randy Weston describing how Monk “put the traditional and modern ... together - so there was no separation” and demonstrates this playing Monk’s tune, Functional using a little bit of stride.
 
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