Intonation: Good Enough For Jazz?

There's an ancient trope musicians share while they're tuning up. After a few minutes of slides and mouthpieces being manipulated to try and agree on a Bflat, someone says "Ok-good enough for jazz."

How much a listener is distracted by intonation in jazz is personal, but it's clear that in the hierarchy of jazz values, personal expression trumps intonation. In fact, a lot of great players have existed in a kind of a tuning nether-region. I don't mean "bending" notes, which is an obvious device. But, is the musician purposely playing out of tune, doesn't notice it, or is he or she hearing the music in another way; possibly more as in a non-tempered, just-intonation framework?

This varies from instrument to instrument.

Bass players will be pissed off, but I find their intonation often dubious. Walking-ok, but once the solos start and they're freed from the shackles of playing important chord tones, it's a different story. Can't really talk about pianists, of course, as they do what they can with what they're given. As far as trumpet players- look at pictures of classical trumpet players and you see they have

 
fingers in both the first and third valve slides, in order to make adjustments. Not so, jazz players, who are often out of tune, especially when they use mutes. I hear trombonists adjusting well, especially in the upper register, when the slide is least extended. Mutes are an issue for them, too.

Really, it's about sax players-and mostly about alto players.

There's a school of alto players to which applying the usual standards of playing sharp or flat just doesn't make sense.

Here's where some of them fall to me:

Cannonball Adderly: bright tone, pleasantly sharp.
Gary Bartz: pretty much in the center
Benny Carter: liked to push it up and down, but settled at home
Johnny Hodges: all over the place, but he knew where he was
Ornette Coleman: an intonation enigma; where will he be?
Lou Donaldson: moderately bright tone, but, surprisingly, sometimes a shade under pitch(!)
Eric Dolphy: often far away from "in tune" on the sharp end.
Charlie Parker: His tone changed (almost) everyone's tone to the edgier bright sound that has dominated since that time. I think that people must have heard him as playing sharp, which a lot of the time he was, but less sharp than his tone would lead you to think.
Jackie McLean: He's the guy that inspired this post; pushes sharp to the extreme.

Where do you stand on this question?

George Russell on the DuPlex

The DuPlex Mystery Jazz Hour took a look at the work of this important composer/arranger/pianist on 6.22.17. Russell should be given his due as an important formulator of the modal concept in jazz,   adopted by so many musicians in the 50's and 60's. He was also a very early adopter of electronic instruments and synthesizer in jazz.

LISTEN HERE

PLAYLIST

Dizzy Gillespie and His Orchestra with Chano Pozo "Cubana Be Cumana Bop" 1947 on RCA Victor

Buddy DeFranco "A Bird in Igor's Yard" 1949 on Capital-Buddy DeFranco (clarinet), Al Cohn (tenor sax), Gene DiNovi (piano), Bernie Glow, Paul Cohen, Jimmy Pupa, Jack Eagle (trumpets), Ollie Wilson, Earl Swope, Bart Varsalona (trombones), Lee Konitz, Frank Socolow (alto saxes), Gerry Sanfino (tenor sax), Serge Chaloff (baritone sax), Oscar Pettiford (bass), Irv Kluger (drums), possibly Jimmy Raney (guitar). Composed by George Russell.

Artie Shaw & His Orchestra "Similau"  1950

George Russell Sextet "Concerto for Billy the Kid" from "The Jazz Workshop" 1956 on RCA Victor-Art Farmer (trumpet), Hal McKusick (alto), Bill Evans (piano), Barry Galbraith (guitar), Milt Hinton (bass), Paul Motian (drums), George Russell (arrange)

George Russell Sextet "Fellow Delegates" from "The Jazz Workshop" 1956 on RCA Victor Teddy Kotick -b, Osie johnson-drums

George Russell Sextet "Ezzthetic" from "The Jazz Workshop" 1956 on RCA Victor

"Manhattan" from "New York, N Y"1959  on Decca-George Russell - arranger, conductor' tpts-Art Farmer - Doc Severinson Ernie Royal Joe Wilder Joe Ferrante; tbpne Bob Brookmeyer Frank Rehak Tom Mitchell Jimmy Cleveland Hal McKusick - alto saxophones Phil Woods - tenor saxophone John Coltrane -Al Cohn Benny Golson -Sol Schlinger - baritone saxophone, bass saxophone Gene Allen - baritone saxophone Bill Evans - piano Barry Galbraith - guitar George Duvivier - bass Milt Hinton - bass Charlie Persip - drums Max Roach - drums Don Lamond - drums Al Epstein - bongos Jon Hendricks - vocals, narration

"Waltz from Outer Space" from "Jazz in the Space Age" 1960 on Decca= -George Russell: arranger, conductor;trumpet Ernie RoyalAl Kiger Marky Markowitz:tbn Frank Rehak: David Baker:Bob Brookmeyer: Jimmy Buffington: french horn Hal McKusick: alto, Dave Young: tenor, Sol Schlinger: baritone Bill Evans: piano Paul Bley: piano Barry Galbraith: guitar Howard Collins: guitar Milt Hinton: bass Don Lamond: drums Charlie Persip: drums

George Russell "The Lydiot" from "Jazz in the Space Age" 1960 on Decca

George Russell Sextet "Round Midnight" from "Ezzthetics"1961 on Riverside George Russell - piano, arranger  Don Ellis - trumpet Dave Baker - trombone Eric Dolphy - alto sax and bass clarinet Steve Swallow - bass Joe Hunt - drums

George Russell Sextet "Nardis" from "Ezzthetics" 1961 on Riverside

"The Stratus Seekers" from "The Stratus Seekers" 1962 on Riverside Stratus Seekers  -George Russell: piano, arranger, conductor Don Ellis: trumpet David Baker: trombone Paul Plummer:tenor John Pierce: alto Steve Swallow: bass Joe Hunt: drums

"Pan Daddy" from "The Stratus Seekers" 1962 on Riverside
"Othello Ballet Suite" from "Othello Ballet Suite" 1968) on Riverside- recorded November 3, 1967 at the studios of Radio Sweden in Stockholm; Alto–Arne Domnerus Drums–Jon Christensen; Swedish Radio Symphony Orchestra, Tenor– Bernt Rosengren and Jan Garbarek Trumpet – Rolf Eriksson

George Russell's Living Time Orchestra "Electronic Sonata for Souls Loved by Nature" from "Electronic Sonata for Souls Loved by Nature" 1969 on Flying Dutchman-Jan Garbarek: tenor, Manfred Schoof: tot,Terje Rypdal:  guitar, Jon Christensen: drums, Red Mitchell: bass, George Russell: piano

Lisen to the Silence- live album by George Russell originally recorded in 1971. Text Credits:"Bury My Heart at Wounded Knee" by Dee Brown, "The Mark" by Maurice Nicoll, "Duino Elegies" by Rainer Maria Rilke. George Russell-timpani, arranger Stanton Davis-tpt,Jan Garbarek - tenor sax,Terje Rypdal-electric guitar,Webster Lewis - organ, Bobo Stenson-electric piano,Bjørnar Andresen- fender bass, Arild Andersen-acoustic bass Jon Christensen -percussion, Chorus of the Conservatory of Music in Oslo, Norway George Russell "Event 1" "Event II" from "Listen to the
"Event III" from "Listen to the Silence" 1971) on Concept Records
   

Unaccompanied solos, Live and Recorded

Happy to have baritone sax player Zach Mayer on the 4/9/15 ‪Duplex Mystery Jazz Hour on WZBC.
Also, happy to jam with him (at about the half-hour mark). The live playing is interspersed with the recordings.

Check out the playlist. There will be some things you know and probably some you don't.


LISTEN HERE.

Charlie Parker's Earliest Recording 1940 ~ Honeysuckle Rose/Body and Soul‬-4:00

Coleman Hawkins "Picasso" from "Picasso" (1948) on Verve 3:15

‪Artie Shaw- These Foolish Things‬--Decca 1953 3:12"

Chet Baker- "Spring is Here" from "Chet With Strings" 1954) on Columbia 1:15

Mike Brecker- "‪Funky Sea, Funky Dew ‬part 2" from "‪Funky Sea, Funky Dew ‬part 2" 1980 on youtube-7:50 0

Eric Dolphy- "God Bless the Child (1961) [Live]" from "The Illinois Concert" (1963) on Blue Note 8'50"

Tom Harrell- "Joy Spring" from Helen Merrill's "Brownie: Homage to Clifford Brown" (1995) Verve-4'

‪McCoy Tyner- "In A Sentimental Mood‬" from "In A Sentimental Mood" (1974) 6:30

Bob Mintzer- ‪Bass Clarinet Solo.mp4‬-"Improvization" youtube-3:20

Thomas Kneeland- "Confirmation" (Jazz) on youtube--2'50"

John Coltrane- "I Want to Talk ABout You" from "Live at Birdland" (Jazz, 1964) on Impulse! 8:15

‪Anthony Braxton "#5" from "Alto Saxophone Improvisations‬" (1979) on Arista #5-4'30"

Carol Sloan- "Never Never Land" from "live" (Jazz, 1985) on youtube- 2'

‪Jimmy Giuffre‬- "The Sheepherder" from "‪The Jimmy Giuffre Clarinet 1956‬" (1956) on Capital 5'30"

‪Wynton Marsalis- "Stardust‬" from "Stardust" on youtube- 2'

‪Robin Eubanks- "Intro to Blues for Jimi‬" from "Intro to Blues for Jimi" on youtube- 3'30"

Joe Pass -"‪Joe's Blues‬" from "‪Joe's Blues‬" (Jazz) on youtube-5'30"

Bobby McFerrin- "Drive" from "Live" 1987 on youtube-faded out

The Scene in L.A./ Central Ave.

Jazz, R&B and blues from 1940's-50's L.A, played on the Duplex Mystery Jazz Hour with Steve Provizer on 06/19/2014. Audio archived at WZBC.ORG 

 PLAYLIST

 Roy Porter´s 17 Beboppers "Sippin With Cisco" (earliest recording session of Eric Dolphy)

 Howard McGhee Sextet "Dial-Ated Pupils" 

 Roy Porter´s 17 Beboppers "Gassin the Wig" 

 Howard McGhee Sextet "Up In Dodo's Room" 

 Johnny Otis Quintet & The Robin & Esther "Double Crossing Blues" 

 Gerald Wilson "Cruisin' With Cab" 

 Gerald Wilson Orchestra "Dissonance In Blues (1947)

 Joe Liggin & Honey Drippers "Pink Champagne" 

 Dexter Gordon Quintet "Mischievous Lady"

 Wardell Grey "move" 

 Nellie Lutcher "I Thought About You" 

 Percy Mayfield "Please Send Me Someone to Love"

 Lionel Hampton "Red Top" 

 Big Jay McNeeley "Deacon's Hop"

 Dexter Gordon and Wardell Gray "The Chase" 

 Charles Brown "Black Nite"

 Jimmy Witherspoon "Big Fine Girl"

 Camille Howard & Her Boyfriends "Money Blues"

 Nellie Lutcher "Fine Brown Frame"

 Roy Porter´s 17 Beboppers "Little Wig"

 Teddy Edwards Quartet "Blues in Teddy's Flat" 

 Wardell Grey "Farmer’s Market" 

 Annie Ross "Farmers Market" 

 Joe Swanson Orchestra "East of the Sun" 

 T-Bone Walker "Stormy Monday"

 Big Jay McNeeley "Nervous, Man, Nervous" 

 Jimmy Liggins and His Drops of Joy "Tear Drop Blues" 

 Frank Morgan "The Champ" 

 Roy Milton and His Solid Senders "Hop, Skip and Jump"

 Art Tatum "Too Marvelous for Words"

 Pee Wee Crayton "Blues After Hours"

 Charles Mingus "Mingus Fingers"

 Charles Mingus "These Foolish Things"

1950's Trumpets, Pt. 2: Booker Little

Don Fagerquist was the first focus of our attention in this series about lesser-known brilliant trumpet players of the 1950's. If Fagerquist's playing was pretty much down-the-middle, Booker Little set up musical camp farther out on the edge. Fagerquist was anchored in jazz developments of the 40's and early 50's, while Booker looked ahead to the 60's.

Booker Little was born in 1938 in Memphis, a city where Phineas Newborn, Jr. was elder to a number of future jazz artists, such as Frank Strozier, trumpeter Louis Smith (Booker's cousin) and George Coleman, who got Booker moving seriously toward jazz. 

In 1954, after high school, Booker moved to Chicago and got a Bachelors degree in music at the Chicago Conservatory. For nine months of his stay, he roomed with Sonny Rollins, who was in Chicago preparing to join the Clifford Brown-Max Roach Quintet. Sonny introduced Booker to Max Roach, with whom Booker made his first recording and eventually gigged. The musicians in Roach's circle and those he knew from early Memphis days became many of the people he ran with during the short span of his career. His first recording was in June, 1956 and he died on October 5, 1961 of uraemic poisoning/kidney failure at the age of 23.

Booker articulated his views on music in a valuable Metronome magazine article by Robert Levin, an article used as the basis of this piece by Dan Miller. One way to introduce Booker's music is to quote his own words from that interview:

"Most of the guys who are thinking completely conventionally--they'd say 'Well maybe you've got a wrong note in there.' But I can't think in terms of wrong notes--in fact, I don't hear any notes as being wrong. It's a matter of knowing how to integrate the notes and, if you must, how to resolve them. Because if you insist that this note or that note is wrong I think you're thinking conventionally-technically, and forgetting about emotion. 

Coltrane and the Jazz Fracture-by Steve Provizer

Tom, one of our commentors, speculates about Coltrane's contribution to the fracturing of the jazz audience and the concomitant loss of jazz audience in the early 1960's. This fracturing was certainly underway before the early 60's; chiefly through Ornette and somewhat via Cecil Taylor and Dolphy, but for several reasons-and for better or worse- Coltrane was most responsible for this process. I would lay a few shekels on the notion that this era gave birth to the jazz expression: "You gotta be able to go inside the house before you can go outside." If the adage did exist, I'd say it alluded to being able to play the blues-not to the bop/free dichotomy. But whether or not the phrase was newly coined, it was in the air. And, of all those playing "free jazz" or "the New Thing," if you will, Coltrane was the only one who had obviously negotiated that transition (for the moment, let's suspend the large discussion that could be devoted to Dolphy and chord changes). Another factor is that, while he was pressing on the "outside," Coltrane continued to make "inside" melodic music: the Johnny Hartman and Ellington records, recording "Someday My Prince Will Come" with Miles; even as late as 1964's "Crescent." It's reasonable to think that listeners who loved 'old' Trane would be willing to expend some energy trying to follow and find the musical value in his new directions. This may have led some to a kind of limbo; possibly the place where our friend Tom found himself. The point I tried to make in Coltrane on Coltrane is that he basically just went about his (extraordinary) business. He talked about trying to be in tune with the Creator, but never proselytized; never tried to elevate his status as a "spiritual" person. Others, however, took him up for their cause; ridiculous in the case of people with political agendas (c.f. the Frank Kofsky interview); understandable in the case of people with a spiritual bent. Secular music-jazz-always had a bit of a shaky spiritual relationship with the culture at large. Coltrane changed that. His highly credible musical history, his nearly universal acceptance by other musicians, the widespread perception of him as an exemplary character and his early death, made him the exemplar of this change. In 1965, some thought you couldn't successfully pull the spiritual thread out of the jazz skein any more than you could the rhythm thread or the harmony thread. Others thought the most important thread was being given the primacy it deserves. This difference in perception continues.

There's Two Kinds of Jazz People...

-Those who care that Dolphy plays in/out of tune and those who don't. -Those who think a player from a given city has a "sound" from that city and... -Those who skip the Mal Waldron solos and... -Those who admire Wynton's playing and hate what he says and... -Those who think the piano is a percussion instrument and... -Those who lack the moral scruples to create a post like this after creating this post and... -Those who think that bastards can't play beautiful music and... -Those who just collect 78's and those who also play them. -Those who lost Trane in '58, or in '60, or in '63, or in '66; those who lost him in the reverse order, and those who never lost him. Like most people, depending on the day, I am both/all kinds. Addenda welcome.