Loverman


Parker“Lover Man” is one of the torchiest and bluesy of all ballads. It is not a true blues, but it has many elements of the blues and a set of lyrics that portrays a great deal of sadness and longing. It has been recorded primarily by female vocalists, but there are many great instrumental recordings of this ballad. The alto sax falls in the range of many female vocalists and this is probably why is has been recorded by so many great alto players.

Lover Man - Episode 1

On this podcast I have picked five classic interpretations of the composition as performed by some of the most renowned alto saxophonists starting with Charlie Parker’s infamous 1946 version. Each instrumentalist injects their style of phrasing and nuance into the performance. They have to compensate for the fact that the lyrics are not presented to the listeners.
CompositonArtistAlbumYear
Lover ManCharlie Parker1946
Lover ManLee Konitz/Gerry MulliganGerry Mulligan Quartet Plus Lee Konitz1953
Lover ManJackie McLeanNew Traditions1955
Lover ManCannonball AdderleyCannonball en Route1957
Lover ManSonny Stitt/Don PattersonSoul Electricity1968

Lover Man - Episode 2

CompositionArtistAlbumYear
Lover ManDon Byasca. 1953
Lover ManBillie Holiday/Toots Camerata Orchestra1944
Lover ManSarah Vaughan TrioSwingin’ Easy1954
Lover ManBlossom DearieBlossom Dearie1956
Lover ManCarmen McRaeSings Lover Man and Other Billie Holiday Classics1961
Lover ManEtta JamesMystery Lady—The Songs of Billie Holiday1994

Paul Chambers


Chambers #1Oscar Pettiford is the bassist generally assumed to have picked up where Jimmy Blanton left off, with Ray Brown, Red Mitchell, Percy Heath and others following in his footsteps. Paul Chambers (1935-1969) was the star of the next generation of bassists who came of age in the mid 1950’s. Among other achievements, Chambers is the first jazz bassist to earn dual renown as an arco and pizzicato soloist. Born in Pittsburgh, he grew up in Detroit and took up the double bass around 1949. While he was studying at Cass Tech (1952 to 1955), he had opportunities to interact with Thad Jones and Barry Harris. His formal bass training started in 1952, when he began taking lessons with a bassist in the Detroit Symphony. By the time he left for New York at the invitation of Paul Quinichette, he was already greatly experienced.

Paul Chambers - Episode 1

From 1954 on through 1955, he gained significance touring with such musicians as Bennie Green, Paul Quinichette, George Wallington, J. J. Johnson and Kai Winding. In 1955 he joined the Miles Davis quintet, staying on with the group until 1963 and appearing on many classic albums, including Kind of Blue. One of Chambers' most noted performances was on that album's first cut, "So What," which opens with a brief duet featuring Chambers and pianist Bill Evans. He free-lanced frequently as a sideman for other important names in jazz throughout his career.
CompositionArtistAlbumYear
Sepia PanoramaJimmy Blanton1941
The ThemePaul Chambers/Miles DavisThe New Miles Davis Quintet1955
Tail of the FingersPaul ChambersThe Whims of Chambers1956
Dear Old StockholmPaul Chambers/Miles DavisRound About Midnight1956
You’re My EverythingPaul Chambers/Miles DavisRelaxing1956
C Jam BluesPaul Chamber/Red GarlandGroovy1957
I’m Confessin’Paul ChambersBass on Top1957

Paul Chambers - Episode 2

This podcast will continue with recordings of bassist Paul Chamber. Between 1957 and 1960 Chambers was involved in some of the most important recording sessions in jazz, including all of Miles Davis recordings, but also work with John Coltrane, Red Garland, Jackie McLean, Blue Mitchell, Lee Morgan, JJ Johnson, Sonny Rollins, Bud Powell, Art Pepper, Cannonball Adderley, and many others. These are some of Paul’s most memorable recordings that feature him in supporting and solo roles. His sound and bass lines are probably his most recognizable qualities. His improvisations feature horn-like lines; how could he not be influenced the great musicians he played with?
CompositionArtistAlbumYear
YesterdaysPaul ChambersBass on Top1957
Blue TrainPaul Chambers/John ColtraneBlue Train1957
The Very Thought of YouPaul Chambers/Red GarlandRed Garland’s Piano1957
Black OutPaul Chambers/Red GarlandCan’t See for Lookin’1958
I Got RhythmPaul Chambers/Cannonball AdderleyJust Friends1959
So WhatPaul Chambers/Miles DavisKind of Blue1959
Someday My PrincePaul Chambers/Miles DavisSomeday My Prince Will Come1961

Cannonball Adderley


Adderley 1Cannonball Adderley (1928-1975) was one of the most distinctive alto saxophonists post Charlie Parker. Originally from Florida, he was a high school band director in Ft. Lauderdale before moving to New York in 1955 with his brother Nat. After sitting in with Oscar Pettiford’s band at the Cafe Bohemia in New York in the summer of 1955, the alto saxophonist became an instant sensation.

Cannonball Adderley - Episode 1

Adderley clearly had his own approach to the horn, which drew inspiration from Benny Carter as well as Charlie Parker. He quickly formed his first quintet, which featured his younger brother Nat Adderley on cornet. Within a year, Cannonball caught the attention of Miles Davis, who hired the alto saxophonist to play in his sextet from 1957 to 1959. He recorded a number of important albums with Davis, including Kind of Blue. The recordings from this podcast feature Adderley’s first important recordings as a bandleader.
CompositionArtistAlbumYear
Arriving SoonCannonball AdderlyQuintet Plus One1961
New Swing StreetBenny Carter1938
Blood CountJimmy Hodges/Duke EllingtonHis Mother Called Him Bill1967
Still Talking to YouCannonball AdderleySummer of '551955
Tribute to BrownieCannonball AdderleySophisticated Swing1957
Lover ManCannonball AdderleyCannonball Enroute1957
The Way You Look TonightCannonball AdderleySophisticated Swing1957
Wee DotCannonball AdderleyAt Newport1957

Cannonball Adderley - Episode 2

By 1958 Adderley was one of the most ubiquitous alto saxophonists on the jazz scene. He was performing with his own group and also a member of the Miles Davis Sextet. His recognizable sound and affinity for soul jazz made him very popular. All the recordings from this podcast draw attention to his full sound, ebullient musical personality, and blazing technique.
CompositionAritistAlbumYear
MinorityCannonball AdderleyPortrait of Cannonball1958
Autumn LeavesCannonball AdderleySomething Else1958
Limehouse BluesCannonball AdderleyCannonball in Chicago1959
JeannineCannonball AdderleyJazz in Paris - 19601960
What is this Thing Called SoulCannonball AddlerleyWhat is this Thing Called Soul1960
Waltz for DebbieCannonball AdderleyKnow What I Mean?1961

Cannonball Adderley - Episode 3

Cannonball had a strong affinity for the blues and his soul jazz crossover hits were immensely popular. Not only was his music of the highest caliber, but it was also accessible to a very wide audience. He was an articulate and engaging musician who educated his listeners with witty commentary that illuminated the music. He was also a talent scout who introduced several prominent musicians to record producers including Wes Montgomery and Chuck Mangione, and collaborated with the young singer, Nancy Wilson. The open, affirmative personality he displayed on stage was reflected in his music. The recordings on this podcast are from the late 1950s through the mid-1960s and represent the best of his soul jazz recordings.
CompositionAritistAlbumYear
Bohemia After DarkCannonball AdderleyThe Quintet in San Francisco1959
This HereCannonball AdderleyThe Quintet in San Francisco1959
The Work SongCannonball AdderleyParis 19601960
The Jive SambaCannonball AdderleyThe Jazz Workshop Revisited1962
Mercy, Mercy, MercyCannonball AddlerleyMercy, Mercy, Mercy1966
Fiddler on the RoofCannonball AdderleyFiddler on the Roof1964