Jeff Hamilton would definitely be on my “Desert Island Playlist.” He is one of my favorite musicians to listen and watch and if you have never heard him play, stop reading this now and go buy one of his albums. He has played with everyone and currently tours with Diana Krall. This interview is worth every minute. Find an hour this weekend and watch part 1 and 2 (below).
BookChattr is in full swing and I hope you are enjoying reading the book. As you know, we are reading Learning to Listen: The Jazz Journey of Gary Burton: An Autobiography by Gary Burton. This post will discuss chapters 3-9 and will include listening examples as mentioned in the book.
Chapters 3 – 5 take place in Gary’s early years (around 1959 – 1962). He continues to talk about growing up in Indiana and starting college at the Berklee School of Music. Chapters 6 – 9 are the beginning of the section marked “Apprenticeship” and include his move to New York (when he meets Joe Morello), his time with George Shearing and then Stan Getz. I am enjoying reading about his experiences and lessons he is learning at a very young age.
“Sometimes, we play because we really want to play; sometimes we play as a favor for another musician; and sometimes, it’s just because we need the money. Despite countless hours of practice and concentration to elevate our art, we all too often have to put that aside because of circumstances.” – Gary Burton [Chapter 4, pg. 48-9]
Below, you will find the listening resources. I am also going to put together a Spotify playlist and I will add a link to it on this post. If you find something that is not correct or missing, please let me know.
Chapter 3: The Local Scene
The Nashville All-Stars – After the Riot at Newport
Chapter 4: College Bound
No musical examples
Chapter 5: New Adventure
New Vibe Man in Town (1961) [Gary’s First Album as a Leader] – Selections
“So Many Things”
Part II. Apprenticeship
Chapter 6: “Autumn in New York”
Who is Gary Burton? – Selections [with Clark Terry (trumpet), Bob Brookmeyer (valve trombone), Phil Woods (alto sax), Gary Burton (vibraphone), Tommy Flanagan (piano), John Neves (bass), Chris Swansen (drums)]
“I’ve Just Seen Her”
Chapter 7: On the Job Training, Part One
George Shearing Quintet – September in the Rain
George Shearing Jazz Concert – Not Available
Chapter 8: The West Coast Scene
Harry Partch – Genesis of a Music
George Shearing Quintet – J.S. Bop
George Shearing Quintet – Out of the Woods
Gary Burton Something’s Coming – Selection
Chapter 9: On the Job Training, Part Two
Jazz Samba with the Charlie Byrd Trio – Selection
Stan Getz Focus
Stan Getz & Joao Gilberto Getz/Gilberto (1963)
Getz Au Go Go (1964) – Selection
The Hanged Man (Movie – First broadcast November 18, 1964)
This was the second made-for-tv movie shown on U.S. television.
“The Girl from Ipanema”
“Only Trust Your Heart”
Get Yourself A College Girl
“The Girl From Ipanema”
“Sweet Rain” – Not Available
Bob Brookmeyer and Friends
The Groovy Sound of Music – Not Available
A Genuine Tong Funeral
Performance Spotlight with VF Signature Artist Ed Saindon performs Danny Boy by Frederic Weatherly.
BookChattr is starting soon. Come join the DrumChattr community and read Learning to Listen: The Jazz Journey of Gary Burton: An Autobiography by Gary Burton. I started the book last week and I am really enjoy it. The style of writing is conversational and the information is informative and insightful. As I was reading the first couple of chapters, I starting think about how I would like to listen to the pieces Gary talks about in the book. So I decided to put together a resource guide (similar to the Steve Schick Listening Guide Part 1 & Part 2 that I compiled when we read his book). While some of these recordings are probably not the exact recordings Mr. Burton heard, I wanted to familiarize you with the pieces. If there is something I missed or if there is another version we should listen to, please leave your comments below and I will add them to the post.
Unfortunately, the 1994 Fresh Air interview is not available. The only NPR interview was recorded on May 8, 2004. Gary Burton Steps Down, Out.
Part 1: Early Years
Chapter 1: What is a Vibraphone?
Twelfth Street Rag (Performed by Pee Wee Hunt & his Orchestra 1948)
Way Down Yonder in New Orleans – Al Jolson (Played on a Victrola)
Bye Bye Blues (Performed by Les Paul and Mary Ford)
Chapter 2: “After You’ve Gone”
After You’ve Gone (Benny Goodman Sextet 1945)
After You’ve Gone (Eddie Daniels & Gary Burton Quintet Live in Bern, May 1994)
Memories of You (Performed by Lionel Hampton 1939)
Flying Home (Performed Live by Lionel Hampton 1957)
Kind of Blue Miles Davis 1959
We are excited to announce the 4th Annual BookChattr 2014. This year we will be reading Learning to Listen: The Jazz Journey of Gary Burton: An Autobiography by Gary Burton.
A seven time Grammy Award winner, Gary Burton was born in 1943 and raised in Indiana. He taught himself to play the vibraphone and, at the age of 17, made his recording debut in Nashville, Tennessee, with guitarists Hank Garland and Chet Atkins. In the 1970s, Burton began his music education career with Berklee College of Music in Boston. Burton began as a teacher of percussion and improvisation at Berklee in 1971. In 1985 he was named Dean of Curriculum. In 1989, he received an honorary doctorate of music from the college, and in 1996, he was appointed Executive Vice President, responsible for overseeing the daily operation of the college.
Why this book? It has been a while since we have read an autobiography (The Percussionist’s Art: Same Bed, Different Dreams – Steven Schick). Mr. Burton’s new book has been receiving a lot of critical acclaim and I thought our community would enjoy reading it.
Starting July 1st, we’ll read a few chapters a week. Each week, we will be putting up summaries and discussion points for the chapters. (Please use the link above to purchase your book. If you use this link, you will help support DrumChattr.)
After we finish the book, we will put together a Google Hangout to talk about the book. I am also going to email Mr. Burton and see if he will join us for an interview. Thanks and enjoy the book!
Ever since the early 90’s when I first heard a live recording of the classic “First Circle” I’ve eagerly awaited every new Pat Metheny Group release. In 1995 while at Northwestern I was fortunate to study with PMG’s drummer Paul Wertico about the same time “We Live Here” was born. With “Imaginary Day” (1997) the group expanded their tune length and included some harder almost heavy metal elements to their style. In 2002 we saw the debut of Antonio Sanchez who replaced long time drummer Wertico (a move that frankly was a tough one for me). Then, in 2005, with “The Way Up”, it all changed for me. It blew away everything that came before it. One full album, with only 4 continuous tracks, featuring a heavy minimalistic/Steve Reich influence, that left you changed after listening to it in one sitting. While many saw it as alienating I was completely obsessed with it. Even keyboardist Lyle Mays, who I was fortunate enough to play with at ZMF ’09, spoke to me of his initial uneasiness of the project. Since 2005, we’ve had nothing from PMG.
But since then we’ve had some great collaborations with Mehldau, Grenadier, Sanchez and McBride but no new PMG. In 2010 there was all that “Orchestrion” (see video below) stuff which I wasn’t really sure what to think about. Unity Band (2012) featured Chris Potter on Sax and was, in some ways, a move back toward PMG, but still had mostly a more acoustic be-bop style (although I vaguely remember seeing spare parts of “Orchestrion” spattered to the far reaches of the stage. Surely, I kept thinking that sooner rather than later we’d see the band back together again.
The Unity Band’s newest release entitled “Pat Metheny Unity Group: Kin (< ->)” is all about the multi-instrumentalist. Leading they way is Giuilio Carmassi who reportedly plays 11 instruments. Carmassi brings back the vocal element that many will remember from the decade before. Even Antonio Sanchez leaves the kit a bit for the cajon. Is the PMG dead? Maybe, but Kin (< ->) is the closest thing yet to a return, not in personnel, but in structure. Back are the long structures, the huge builds of energy releasing in ecstatic arrivals. It seems to me that while we have some shout outs to earlier PMG stylings, this release is about combining the key elements of acoustic be-bop style, with the best of PMG, and even more Orchestrion sounds. A melting pot of sorts.
No matter what your preference you have to admire an artist who seems to never duplicate, clearly following his own muse. Watch the curated related videos below, check out the recording and leave your thoughts below the post.