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Blue Note. A Story of Modern Jazz (BBC) (1997)
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Well, you know, I was a young boy and I used to go skating and... roller-skating in a place called the Admiralspalast, I think it was, and, one day, I went there with my skates and they told me there was no skating today. They had a dance there and I saw a poster on the wall and it said Sam Wooding and his Chocolate Dandies and I didn't know anything about it but it looked strange to me, different, you know? TRAIN RUMBLES MUSIC: Sam Wooding and his Chocolate Dandies And I went in, checked out my skates and sat down and there was Sam Wooding. It was the first time I saw coloured musicians, you know, and all the music and I was flabbergasted. I couldn't, you know... It was something brand-new, but it registered with me right away, you know? I couldn't really put my fingers on it, but it was the beat. You know, it was the beat. That beat, you know, I got it in my bones! For those of you who come in late, we are now having a little cooking session for Blue Note right here on the scene. Putting the pot on in here and we'd like for you to join in with us and have a ball. APPLAUSE This is the story of Alfred Lion and Francis Wolff, two German immigrants who founded a jazz record company in 1939 that became very famous in its genre. Unlike any other jazz label, Blue Note Records influenced the revolution of music and sound, style and technical standards. Each of the Blue Note recording sessions was documented by the photographs of Francis Wolff. Alfred Lion's vision of music and Francis Wolff's clear view of the recording sessions are a legacy of the unique creative achievement that continues to this very day. Hello, there. This is Freddie Hubbard, trumpet man. Blue Note. Alfred Lion and Frank Wolff. My men. He realised that he was a catalyst, a walking, living human catalyst. You get him hearing artists like Thelonious Monk or Bud Powell and he instinctively knew that they had it down deep and he could draw that ability out of them and get it on a record and he did it by not talking about record sales and commercialism and who the big names on the date, he never got into that. He was interested in you and your thoughts and getting you to have an unrestricted flow of your ideas in his recordings. Not many people have that and he never made a mistake. Out of over 1,000 records that Alfred produced in the years that he had Blue Note, easily 900-950 of them are classics. MUSIC: Cantaloupe Island by Herbie Hancock 'Ladies and gentlemen...' I'm Herbie Hancock and I'm a musician. Oh, boy. A jazz musician. When I was a child and I first came to San Francisco, Lee Morgan, Sidewinder, and Horace Silver, Song for My Father... We call it Song for my father. And, so, the music was like a diary of what was going on. My name is Horace Silver and I've recorded for the Blue Note record label for about 28 years for Alfred Lions and Frank Wolff. And on and on, you know, Wayne Shorter and Herbie Hancock and all the people who recorded in Blue Note. They would play on the radio along with Willie Nelson or Chuck Berry. Empyrean Isles, Herbie Hancock. The Un Poco Loco. Lee-Way, Lee Morgan. Oh, Un Poco Loco. Bum-bum-ba! Inventions & Dimensions. ..Sonny Rollins to you. One Step Beyond, Jackie McLean. ..et Johnny Griffin aussi. I am authentic. John Arnold Griffin III. Otherwise known as Volcano, Vesuvius or the Little Giant. You know what they recognised? They could recognise when something was grooving and when it wasn't. The band must shring. They couldn't dance. They both had two left feet. We must have shring-ing. If something was grooving, you know, Frank would go like... He would start doing his little two-step thing. You know, and if he wasn't doing his dance, it wasn't grooving. Yeah, I knew it from the beginning. When I first saw Alfred, I was a disc-jockey on WLV in New York and I walked into this place where I worked and he was sitting there eating a hot sausage sandwich and I said, "There's my life," and he wouldn't look at me, hardly, for 11 years. 11 years. That was what he was doing, was that Blue Note and it hurt, because I knew, you know, but I spoke with a lot of musicians about it. Women will not be, ever, as important as the music and, if a woman thinks she can, she's kidding herself because a guy who really loves the music, that's where he's going to be. MUSIC: Cantaloupe Island APPLAUSE When Hitler arrived on the scene, Alfred disappeared because he was smart and he knew there was trouble, abroad, and so he left. He came to this country, barely spoke English, he was alone and he was self-sufficient and he struggled, but he was terrific. He brought Frank over later, after he had arrived here. MUSIC: La Mesha by Joe Henderson The negro with the trumpet at his lips has a head of vibrant hair, tamed down, down, patent-leathered now, until it gleams like jet, were jet a crown. The music from the trumpet at his lips is honey mixed with liquid fire. The rhythm through the trumpet at his lips is ecstasy distilled from old desire. Desire that is longing for the moon where the moonlight's but a spotlight in his eyes, desire that is longing for the sea where the sea's a bar-glass sucker size. The negro with the trumpet at his lips whose jacket has a fine one-button roll does not know upon what riff the music slips its hypodermic needle to his soul, but, softly, as the tune comes from his throat, trouble mellows in a golden note. # Dee-bee di-bi Bi-dee-dee-doo-dee. Yes. Baby, huh, what can happen? I think Alfred started right when he recorded Ammons and Lewis. He was just sort of like going with the trends and he happened to discover two really quintessential musicians in the process and that led him into a thing of capturing musicians whose prime had been passed but yet were still vibrant and moving forward. Bechet, George Lewis, The Port of Harlem Jazzmen, were sort of his first groups that represented a kind of modernist approach, and the Meade Lux Lewis Celeste Quartet. It wasn't until he really, you know, was able to develop a following with the label that he could take a chance on modern music. This is the original recording, original pressing, Sidney Bechet, Summertime, from 1940. This was their first hit. This is what created the cash flow that allowed Blue Note to continue. It was like blood, like water, like air, you know? I mean... 'We'd like to do a brand-new thing for you, at this time, 'from our most recent Blue Note album.' That's got it. There was a whole thing... That whole thing, that funky piano thing that went down there for a minute, you know? Freddie Hubbard. Clifford Brown. Oh, Un Poco Loco. Bum-bum-ba! I don't know that Alfred was an everyday, garden-variety German. Unadulterated. Undiluted. Pure. The real deal is all Alfred Lion and Frank Wolff were interested in. Bu-dum-bu-dum-bu-dum da-da Bu-dum-bu-dum-bu-dum da-da. What? I mean, every piano player I know, sat down and tried to play that. I know I did! MUSIC: Come On Everybody (Get Down) by Us3 No problem. Thank you for calling. Bye. Hello, Vanguard. Can I help you? Yes. Ron Carter will be here, two shows, 9:30 and 11:30. Yes. You may, sir. Hold on one moment, please. Wait, wait, 9:30 or 11:30? 11:30, OK. Two people? Monaco? M-O-N-A-C-O? Spell. That's what I said. Monaco. Very good, sir. So come at 11 o'clock. Thank you. When you come to the door, they'll seat you. They'll give you the best seat in the house. OK? Bye. Oh, my goodness. Luckily, I don't seat people. Anyway, there we are. In New York, at our apartment, which was kind of cute, right down here in the Village. Yes, I was young. I was about 17 or 18 when I met Alfred but I used to listen to his records on the radio, I didn't know who he was, and Alfred had called me once and he had an office and he invited me up and I did go, I brought a friend with me, and we had to go to their apartment where there was nothing to eat, two eggs in the fridge and we cooked up the eggs, a little bread, a little cheese on the side. They didn't have any money. They were very poor. Anyway, the war came, the war, and Alfred got drafted and, then, he got shipped to Texas, El Paso, and, of course, Alfred kept writing to me. Compton, Texas, and I... My mother thought he was wonderful, by the way. She said, "He's a wonderful guy". Anyway, there we were in El Paso, Texas, and Alfred and I got married. That's a test pressing of a Blue Note record. See, we used to get them from New York, and we would listen to them in El Paso. The record business was still in his mind and life, even though he was in the army. That's... Oh, and here's Alfred and Frank. See, they were very good friends. And here's Alfred and I. We had this crazy cat. We called it Victor because we got him on VE Day at the end of the war. That cat was like my kid, you know? It was... I really wanted children, but I had a cat. It wasn't a terrible split-up, for that matter, cos we liked each other an awful lot, and Alfred loved me, and I was terribly fond of him. But the reasons are obscure, and as I say, I don't intend to discuss my deepest personal life now. TELEPHONE RINGS Yes, Alfred? Wh... Sorry, Vanguard. Hello? Oh, same person. I just talked to you before. I'll see you later. Bye. I don't know who it is. There's some strange people call. APPLAUSE What you doing? MUSIC: The Sidewinder by Lee Morgan My name is Louis A Donaldson, better known to jazz fans as Lou Donaldson. Hey, Lou! Look at the hat! Who do we have here? Mighty cool today. Who do we have here? Grandpa! Yeah, you... You're the grandchild. What's happening, Grandpa? MUSIC DROWNS SPEECH Yeah, I'm on the games with the younger players. Got to get it going. He's still there. He won't budge! THEY LAUGH Blue Note helped me through some years. My kids were young, I was trying to establish myself in New York, just generally, and so it came at a great time. It was with a lot of great musicians, so it was people that I didn't really work in their groups, but just to know them. I mean, I'm sitting back like people looking, saying "Well, I played with Tommy." I mean...that was an honour. Yeah. You know? Come on. That was... So it was just an honour to be here, and I was a young bass player, and... It fed my kids. But you wanted to... You knew you were not going to leave until that record date was through. That's right. Yeah. If they had eight tunes or nine tunes... You going to make nine tunes! You'd say, "Come on, let's get these nine tunes... Let's get these nine tunes in and get out of here, so I can go spend that cheque. You know? Let me go cash the cheque. I mean... Everything'll be closed if we don't hurry, you know? And we would all go to a drugstore on 50th and Broadway... That's correct! ..that used to cash cheques, cos he paid us in cheque. And we used to go and cash our cheques. Yes, yes. Yes. And...for a long time... See you, Bob! That was really my survival. Actually, I was about 20 when I met him. And then we got together, but Alfred, he always came around to the jam sessions, you know? And then I was...at the time, I was practising with Coltrane and I was practising with Wayne Shorter. But what was so great about Alfred was that Alfred... He would talk to you about what you wanted to do. The concept of what you were writing, and he gave a lot of young people an opportunity to... to experiment and write something different. You know? It's not like it is today, where the record companies will more or less tell you what is marketable and what's sellable, so you end up writing something not necessarily coming from your heart. But during those years, at Blue Note, that period was a very creative period for me. And after listening to all these albums, people like Art Blakey and Sonny Rollins, and to get an opportunity to meet these great people, and not only perform with them, but hang out and study... I mean, that was the thrill of my life. And Alfred was very responsible for all that, you know? And he was funny. He said... He would come to the sessions, he'd say... MIMICS HIM: "Freddie is not groovy." HE LAUGHS "What do you mean, he's not groovy?" If you were swinging, he wouldn't say a word. No. No. But if you weren't... But if that stuff started bogging down... MIMICS ALBERT: "Wait! Wait! Wait!" HE DANCES ABOUT AND WAILS LAUGHTER Sit down! Yes, he would! He really loved the music, man, and I'll never forget him. And when I got my first cheque... I'll never forget, I bought two nice new suits, and I bought a car, and... But that's just part of it, you know? They knew when it wasn't happening. Yeah. Boom! I mean, if it didn't feel good... it HAD to feel good. I mean, it had to have a direction. That I understood about him. I used to laugh, cos, the beat was 2 and 4 and they would be popping on 1 and 3, but they knew... But they knew we were going down! ..that it didn't feel good. You could tell when it was starting to gel and come together, because pretty soon, little smiles was creeping across their faces. And when it got this wide, it means things are really popping now, man. He's going for take number one. MUSIC: Chitlins Con Carne by Kenny Burrell All Alfred wanted to do was go there knowing that the musicians had rehearsed for the day, that he had put together what he thought was the best combination of players for this band leader, whoever that was, and that during the course of the day, there'd be something he could relate to like this. And by and large, all those sections of music recorded, somehow on the record, there was some real swing going on. Even in the ballad. There was an Ike Quebec kind of ballad, you know, or a Sam Rivers kind of ballad. There was some swing going on there. That was Alfred's concern. VOCALIST: We want to sock it to you for a couple of minutes there. MACHINERY WHIRS AND RINGS They'd be in the place a lot of times... You wouldn't even know they were there. That's true. Unless you'd look around. If you were just looking around the place, "Oh, there's Al over there!" He'd sit back laughing and listening. You know? Yeah. Both of them. Oh, that was some good times up there. Yes, sir. Every soul and his brother came up there. Yeah, I met a lot of guys up there. Yeah. They were in paradise. Yes, right, uh-huh. Big Nick. Mm-hm. Big Nick, yes. Everybody used to come to those sessions. You know, uh... Sonny... Hey, well, man, you just name them, they were there. That's correct. Every night. You knew there would be something very interesting that would hold your attention. True, true. Every night. Seven nights a week. The school that I came from, from Charlie Parker, Dizzy Gillespie, and... Of course, I mean, the business itself was controlled by whites. If you wanted a gig or a job or whatever, it was in the white places that you worked. Only places that were controlled by blacks were the clubs in Harlem prior to the... Just about the end of the Second World War, when things became integrated. Other than that, Small's Paradise and Murrain's and Minton's, these were all run by blacks. MUSIC: Search For The New Land by Lee Morgan Well, this is the home of bebop. This is the bebop laboratory, and all of the great jazz musicians of the 1940s performed here, and it was just a home of... Of the beginning of the music, where they experimented with new ideas and talked things out and worked on new songs, the ones that became classics. And this is where it began, 118th at Minton's. THE place. Historically speaking... the music always was held in high esteem in black communities. Hence, from Jelly Roll Morton on up into Louis Armstrong and on up into Sidney Bechet and everybody else, the music was... really, in the black community, always prevailed. Al Lion and them came into it cos it was fertile, it was popular, and we had all the clubs uptown. It wasn't... And we used to... New York and all the cities were separated. There was white town and black town, and... Black town was where black music was played. Monk was a pianist who worked in Harlem. The only claim to fame he had was, I think he wrote 'Round Midnight for Cootie Williams in 1941 and Cootie Williams paid him a few bucks and put his name on it. I've heard that story. I presume it's true. But it was Alfred.... He had his monthly budget to do an album, and the choice came down to Bud Powell or Thelonious Monk, and all of Alfred's friends said, "Well, Bud Powell. You gotta record Bud Powell. "He really has a lot of technique, and he's really a pianist, "and Monk, I mean, nobody knows what he's doing. "He writes these weird compositions, "and he doesn't play technical piano." So Alfred's probably the only man in the world that would have made the decision to record Thelonious Monk. When I heard Epistrophy and Off Minor and Thelonious and Four In One and Eronel and all these things that Monk wrote, I mean, I realised that a revolution was happening here. This was a man who doesn't think like any other musician in all of musical history, let alone jazz, and Alfred had that good sense - not after the fact, but before the fact, before anyone else recognised his abilities, to get in there and record him. Monk was a sideman with Coleman Hawkins, and he was writing all this wonderful music, but no-one was really paying that much attention, excepting Al Lion. They seemed to be... ..in a way, visionaries. They saw something in these musicians of the future, and so, their vision of holds hanging in there, I think, paid off, historically, musically and creatively. MUSIC: Boperation by The Howard McGhee and Fats Navarro Boptet I'm Kareem Abdul-Jabbar, and I'm a lifetime Blue Note fan. Nice to see you. COMPERE: Ladies and gentlemen, as you know, we have something special down here at Birdland this evening. A recording for Blue Note Records. When you applaud for the different passages, your hands go right on the records there, so when they play them over and over throughout the country, you may be some place and say, "Well, that's my hands on one of those records "that I dug down at Birdland." We're bringing back to the bandstand at this time, ladies and gentlemen, the great Art Blakey and his wonderful group, featuring the new trumpet sensation Clifford Brown. Horace Silver's on piano, Lou Donaldson on alto, Curly Russell is on bass. Let's get together and bring Art Blakey to the bandstand with a great, big round of applause. How about a big hand now for Art Blakey? APPLAUSE Thank you! With the help of Ike Quebec, they sought out the most creative artists and gave them the Blue Note treatment. Care, planning and quality at every level. 1947, they recorded Bud Powell, whose tortured life would later affect his work. MUSIC SUDDENLY STOPS Would you say that the basic of jazz is blues? MUSIC: Politely by Art Blakey They set a standard. It was always a high standard, whether it was the recording or the presentation, the materials used to press the records... And this went from the 78 era to the LP. And it was always quality. My name is Max Roach and I'm a new Blue Note artist. And... KNOCK AT DOOR ..someone has knocked on the door... Second sticks. Hi, this is Taj Mahal and I'm just enjoying myself, dealing with the opportunity to reminisce about music from the Blue Note years. Hello once more. For those of you who aren't familiar with me, my name is Max Roach. I'm a percussionist, composer... father, friend... of the Blue Note... ..family... Ah, what the BLEEP am I saying? Jesus Christ. It's... It's very quiet out in the hallway... HE LAUGHS How you can tell a pressing or not is a little indentation. You can tell how close to the original pressing you are by an ear which is just slightly marked on the pressing. You see our friendly ear, you see all the information on the record. See on here, Rudy Van Gelder's name on the early ones. He was the guy who did all the mastering. So the plant could look at this and go, "Oh, Rudy Van Gelder has the mastering, "this is a first pressing. Blue Note LP1515, Side A." So that's how they used to make them and manufacture them with identities. Alfred was very reluctant to meet Rudy Van Gelder, and especially when I told him that Rudy had built a studio in his house. His living room became the studio, and he knocked out the wall between the bedroom and the living room and put in a couple of panes of glass, and he had the Ampex in there and a mixing board. And Alfred went out there, looked around and Rudy played some things for him and showed him how it all worked. And Alfred came out and he went, "Yeah, yeah, we do the things here." Hello. I am Rudy Van Gelder and I make jazz records. I think they were totally involved with the sound of the records they wanted to make...and the music they wanted to record and... ..let people hear it. It was, I think... One word that would describe it was they wanted to communicate that music to other people. Everything was directed into that. As I look at it, from the historical point of view, their importance is the fact that they documented something that perhaps nobody else really wanted or did at that particular time. That was their importance. We wouldn't have had all that wonderful music of Horace Silver's and we wouldn't have had that imagination that Art Blakey expresses in his music. It's just something very special. It's a music that grew out of the black experience. Jazz speaks about the human condition. It's an expression of the capacity for human beings to take adverse circumstances and turn them into medicine. We are three things. Animal, human, divinity, which is light. The resonance, which is music, unites the animal and the human to the light. We have light in our bodies. We have eternal energy in our bodies, beyond the molecule. We call it inspiration, we call it vision. We call it things that we cannot touch, taste or feel. It translates to faith. You know, there's no music more conducive to healing and soldering back the molecule with the light other than John Coltrane, that I know of on this planet. Coltrane made one album for Blue Note. And that album was Blue Train. And what Blue Train really does is...it's absolutely a perfect example of what sets Blue Note off from everything else that was going on during that time. As great as John Coltrane's output was on Prestige, there was nothing that really approached Blue Train. Well, you know, we have to start somewhere. I heard Naima on a Cherokee commercial and it sounded fantastic. I couldn't care whether it was selling anything. Just the song sounded so beautiful coming out of the television. Whether it's a hip-hop beat and Coltrane on top, it don't matter. They just have to get it. When I first heard about Blue Note, it was actually when I was a kid. I was about ten years old. My father had a massive collection of Blue Note records and, you know, I didn't know what jazz was, I didn't know what Blue Note was. Then when I went over to London in 1990... ..and I saw people dancing to Art Blakey. I was like, "What is this?" I mean, it was this total culture shock for me, even though it was, you know, my culture. I mean, I grew up with it, but I was ignorant of it. And... You know, I hear people talking about how they sample the Blue Note things and so forth. Cos it was a company that, on any given album, there was always something that just groove you out. You didn't leave unless... Something was swinging on it, and you were not going to leave this place. And therefore, it was a different period. You really felt like... ..you know, the music had a nice feeling. It was still dance music at that time, which the three of us came through. At our age, the music was danceable. So, a jazz group... You could go on at the club, and the people would be dancing. There were listeners, but if it didn't feel good, your butt was out of there. # Yo, check it out, I got a hype rhyme for ya # That I'll rock from London, England, to the boondocks of Georgia # Intelligent, benevolent, super # All the qualities of H-I-C, the alley-ooper # My main man and me, we've been cool since day one Scooping all the fly girls, having all the fun... My hope is that some of the young folks out here who hear some of these samplings will say to themselves, "Well, what was that?" Or "Who was that? Oh, that's Horace Silver. "Let me check out some of his recordings and see how well I..." Maybe they'll say that about Herbie Hancock and about Stanley Turrentine, and Donald Byrd and all the different tracks that they're using from these guys. Maybe they'll go and check out the original. And, who knows, eventually we might pull some of them in as jazz fans, you know? And it's just so fortunate that the person who happened to be on the scene for the recording sessions of such a major, major body of work happened to be a master artist in his own right. And he was able to document this photographically, almost at the level of the music that was being created. It's just a phenomenal coming together of two art forms, at a level that is rarely achieved. APPLAUSE Whoa! You know, they're all... All of them, they really give a very high quality. It's almost like these people who have the cameras are looking at royalty. You know what I mean? It's just like a photograph like that. This is somebody who saw the musician for what he was doing. I mean, that energy! When you look at that picture, the horn's blowing at you. You can hear it. You know, you can feel the person's energy, you know? My name is William Claxton. I'm a photographer and I'm best known for my jazz images. CAMERA SHUTTER SNAPS I wasn't aware of Francis Wolff's pictures until... ..I guess the mid-'50s, really. But once I started seeing Francis Wolff's pictures on Blue Note, I became very much aware of them, because he definitely had a look going. And I think the look was definitely his look. And what I first noticed about his look was the seemingly simple lighting he always had of a single flash. And the pictures were usually quite sharp, and the backgrounds were always black. And he caught great moments. But that was his look, I think. And he was consistent all the way through. We would walk down 57th Street and pass the Museum of Modern Art. And I'd say, "Frank, your photographs need to be in there." You know? Well, he didn't think so! Alfred could not have survived artistically or business-wise or as in friendship without Frank. They were like Siamese twins except that they were separated. You know? But somehow joined spiritually. So the Blue Note story is a very wonderful story of friendship, of loyalty, of being involved in a great endeavour. And I think every musician that was lucky enough to get on Blue Note was really happy about it. 1961, when I first went to New York from Chicago with Donald Byrd Pepper Adams Quintet, Donald Byrd became my roommate. One time when he said to me, "OK, Herbie, it's time for you to "make your own record." I said, "What?!" And I said, "No, Donald, "I'm not ready, Donald. I'm not ready." And he said, "Yes, you are. "Here's what you do." He said, "Call up Alfred," - meaning Alfred Lion. "Tell him that, you know, you're ready to do your own thing." So I went in there with three tunes and he really liked them. And I got ready to play the blues and two standards and he says, "No, why don't you write three more originals?" I said... I was stunned. I said, "Sure, Alfred." So my first album under my own name, six original tunes. I mean, they never do that. Actually, one of the tunes was Watermelon Man. I think he says that it was a tune that could really become popular. Alfred had a very unique situation. He had complete autonomy, because it was a small label. There were no A&R men. There was no art department, there was no shipping department. There was Alfred and Frank. That was it. When he needed an engineer, he went over to Rudy's place. When he needed his accounting done, he hired an accountant. But Alfred made the decisions. And what you are witnessing in those 1,000-odd records that Alfred made is one man's personal taste, his idea of what he thought was right and true. He was so driven by artists he heard. And even when he first recorded Bud Powell, or later when he recorded Herbie Hancock, I mean, these were unknown musicians, but he heard something that excited him. And he could not NOT record them. There was absolutely no financial consideration in what he did. He recorded what he felt and what he loved, and some of it sold a lot, and a lot of it sold nothing. But we owe him a great debt for the music he documented, which is some of the music that is still being used as a model by young artists today. I think that, you know, Blue Note is going through... It seems to have gone through some really interesting changes. Recently, there's been more of a concentration on vocalists. And maybe it's following a certain trend in the music. There was a time when the vocalists imitated the instrumentalists. And now, perhaps, we're getting to, once again - in a cycle - you know, getting to a point in the music where the instrumentalists are listening to the vocalists. # A little warm death # A little warm death won't hurt you, no # Come on, relax with me # Let me take away your physicality # One little warm death comin' up One little warm death with me tonight # A little sweet death # Momentary breathlessness # Feels like eternity # There's nobody here but you and me # Oh, one little warm death comin' 'round # A little warm death with me tonight # In and out of stages With the phases of the moon # It can shine so brightly # Let the fullness soon come soon, come soon # Now I feel you near me # See you much more clearly # I can hardly wait to Feel you movin' through my world, oh, my world Isn't deep without you. All of a sudden, in 1954 or 1955, erm, Columbia introduced the 12-inch LP, which... In other words, the average playing time of the side would go from 12 minutes to 20 minutes. And... Suddenly, their whole catalogue that they had worked so hard to stay in business to generate, was obsolete. Stores were converting to the 12-inch LP. And at this point, Alfred almost threw in the towel. He actually was entertaining offers. There was an offer from a company that was so embarrassingly low that Alfred decided to fight it out. And stick with Blue Note and fortunately he did because, erm, two very important things happened. Art Blakey and the Jazz Messengers and later, the Horace Silver Quintet. MUSIC: Song For My Father by Horace Silver Quintet APPLAUSE A lot of the other guys that grew up in those days, great musicians and they made great records, but they didn't get involved in the WHOLE record. They got involved in the music only. Which is all right, you know? They produced some great music. After that, they said, "OK, Alfred, you got it. "You got the liner notes, you got the photograph on the cover, "you got the graphics, you got the rest of it, you know? I did my part. "So, you got the rest of it." But I wasn't like that. I went to them, I said, "Look, I would like to be involved in the whole project." You know, not just after the music, you know, I'd like to sit down and talk about who we're going to get to write these liner notes, is it going to be Leonard Feather? Is it going to be somebody else? Who's going to do the graphics? Let me see 'em before you print 'em, you know? And let me check out, make sure everything is right. And let's pick the photos you're going to use cos I don't want to wind up seeing photos that I don't like of myself on an album cover, you know? And so, we worked hand-in-hand together, with every phase of the thing. Everything I know about making a record today, I learned from Alfred Lion. And he allowed me to learn from him, you know? MUSIC ENDS ON BASS PIANO NOTE APPLAUSE Thank you! Thank you very much. What people don't realise today is that the difference between 78s and LPs is cover art. You make a 78, you put it in a brown envelope and, boom, you have a record. Erm, once you come to the LP era, even the 10-inch LP era, with three or four songs on a side, not only do you have more recording costs, but even if you're reissuing stuff that you already own, suddenly you have art costs. You have to create a front cover, write liner notes, create a back cover. And it became a far more expensive business to be in. WOMAN: The day that that guy walked in there, Blue Note changed. Erm, the one thing about working with Blue Note is that it gave him the freedom and the creativity that he was lacking in the advertising industry, to be able to go in on the weekend and to allow and just play with type and do all these wonderful creative things that would be key to the look of Blue Note records. I like the fact that, I know it's not supposed to matter that much, but the records always LOOKED so good. Sometime I just look at the covers, I pull out my Blue Note stuff and I just look at the covers just to get a vibe. I don't even have to listen to the records. This is a classic cover. It's Time, Jackie McLean. And the music inside is really reflective. I mean when you put it on, you feel the urgency. You feel the... The movement of the record itself, and when you look at the cover, it just seems to work so well. Great! He played with the words, he'd play... He'd take Frank's pictures and crop through the head, which Frank absolutely hated. Erm, you know, he did some wonderful things with those pictures. And they used to have terrible fights about it. Screaming fights, where Reid was screaming and Frank was screaming and Alfred was screaming. But they got the cover through. They got the cover through that the three of them wanted. It was always a compromise because maybe Reid was just so terribly daring for his time. Freddie Roach did a record, here's one called Mo' Greens Please. Which is an expression you would say to somebody and say, "Hey, gimme some mo' greens," you know, "Give me some more food." So, here he is in front of the place, I think in New Jersey, where he enjoys eating food, asking the woman to give him some Mo' Greens. This is Tony Williams, Spring. It is just a simple orange on white. But it's a beautiful, simple concept. And on the back, very little information. But it's sort of like a minimalist, it's almost haiku. And he had pretty well developed this entire look and changed the way that jazz albums in particular were viewed. I mean the graphics and everything else. It went way beyond anything that was happening at the time. And here's a great one, The Three Sounds, It Just Got To Be. Three. Those early covers, they've been copied all over the world. A Caddy For Daddy. The funny part is that he wasn't really into jazz! He'd take all of the album covers that they would give him and he'd go down to the music store and trade 'em for classical records. 'Turn loose them chitlins, baby, cos daddy want a breeze boogaloo.' LAUGHTER If you walk out of your house in the morning and there are diamonds everywhere in the garden and you've seen them since you were a child, you wouldn't even pick one up. It doesn't mean a thing. You're surrounded by them. It's sort of always been there. Always not important. But Europe didn't have that. THIS is where jazz started. In THIS country. And because they were outsiders looking in and they didn't have people of the calibre of Louis Armstrong and Dizzy and Bird, they recognised it immediately. Because for them to access the music, it was a lot more difficult. You had to wait maybe until next year, when one of these people came back to Europe again, or maybe two years or three years. I mean, you had to be a devotee. Here, Americans took so much for granted, it was just sort of part of the landscape. No-one realised that in the days that Alfred started and maybe he was in business 20 years before people came to realise that jazz was not only an art form, but America's ONLY original art form. And it still is. LONG, DISCORDANT JAZZ NOTES PLAY You know what? It's really fascinating because only in Europe, erm, people had reverence and respect for this kind of music. In America, they wouldn't know with a baseball bat, if they hit it with a baseball bat, what it is, you know? We are very ignorant to our own art. I think that Miles and Charlie Parker and Duke Ellington, these are our Beethovens, you know, and someday, America will wake up. There was a condescending attitude toward it because the people who enjoyed it the most were not part of the dominant culture. Whether they liked it or not, jazz became part of the dominant culture and became an emblem of America, of... ..what happens when artistic licence is just allowed, you know, it's like you just throw the seeds on the ground and see what happens. DISCORDANT JAZZ NOTES END TRANSLATED FROM GERMAN: IMPROVISATION BASS AND DRUMS JOIN IN, APPLAUSE The reason than Europeans could see something in jazz and Americans couldn't, is the fact that anything that blacks in America have created or tried to offer to the culture at large has always been, erm, minimised and ridiculed. DRUM SOLO For white people in America, erm, they could only see jazz as bordello music because that is the only time they ever encountered it. And that image stuck. So, erm, people from Europe, who did not have the racist bias of Americans, could come and see something that was incredibly creative and artistic and they saw an opportunity to exploit it commercially. And in doing so, helped a lot of these artists survive. If it was not for them, it might have always been thought of as bordello music. I'm mad about all this! CHANTING: You got it! You got it! I have a right to be upset about this! UPBEAT JAZZ INSTRUMENTAL PLAYS And that brought revolution into jazz. It brought the personal statement, irregardless of how the press was going to respond, erm, what the standards of norm were supposed to be, into the music, you know? Charlie Parker was mad. Amiri Baraka's play, Dutchman, has a great monologue where he talks about, he said that if Charlie Parker had went out and killed the first ten white people he saw, he wouldn't need to play a note! It was a way of dealing with his anger. It was a way of taking that anger and releasing it, so that the world could understand it. And that's what Bop brought. This is the United States of America. Mr James Moody... HE PLAYS FLUTE OVER UP-TEMPO JAZZ You remember when THEY started, the United States was very prejudiced. This was before civil rights came through and for them to put a black artist on the COVER? I mean... Alfred said he didn't care, he was... "That's, that's what's going to go there." They said, "Put a pretty girl on it," he said, "No, no we're not going to do that. "We're going to put Art Blakey, or Hank Mobley or Blue Mitchell..." Or anybody that he wanted to promote. Alfred Lion and Frank Wolff created Blue Note in 1939, with nothing more and nothing less than their own great imaginations. After eight years of innovative mainstream recording of people like Sidney Bechet, Edmond Hall, Meade "Lux" Lewis and many others, they were ready to deal with the avant-garde of that day. Bebop. The first bebop band, of course, Billy Eckstine, which had Dizzy Gillespie, Charlie Parker, Fats Navarro, Miles, Sonny Stitt... Billy Eckstine's band was playing at the Club Sudan on 125th Street, which, I didn't know that club. But I wanted to go. It was a Sunday afternoon and I, for some reason or another, I didn't get there. And that was the day that Alfred Lion met Art Blakey, who was the drummer with Billy Eckstine's band. And Alfred has talked about this because they developed a friendship and of course Blakey did his most significant recording on Blue Note. The Jazz Messengers were really, were developed on Blue Note. UP-TEMPO DRUM SOLO He WAS Blue Note, Art Blakey. He recorded for other companies. He did a lot of European recording too, by the way, I'm sure you're knowing. But...Art was like Alfred's brother. He had a few brothers and sons. And he was like that. They had such a rapport, it was just, you just, I felt glorious when I was with those two guys. That particular sound, which was the black sound, I guess that was what he was listening for. He might have in his soul been black. He didn't know what it was to be a white or black, or Chinese or Japanese or anything like that, he just saw people as people. MUSIC: Moanin' by Art Blakey & The Jazz Messengers Freddie and I were friends. And... He had this old big tape recorder... ..and Jimmy Smith had given him this reel-to-reel tape of something he had done live in a club in Atlantic City. And Freddie said, you've got to hear this organ player. He's incredible. And the tapes were rather raw and the sound was crackly. But you could hear that Jimmy Smith was the young genius. And I was with Prestige at the time. And I said to Bob Weinstock, "You've GOT to sign this guy. He's... "You know, he's the next thing." And I only suggested TWO things in my life to Bob Weinstock. Jimmy Smith and Bill Cosby. And he didn't pick up on either of them. Jimmy Smith, I think the very next week was snapped up by Alfred Lion. Nobody had ever created a modern, clean sound with bebop and blues and everything that Jimmy Smith put into it like he did and he was a very serious guy, he had spent a year... He rented a warehouse, leased an organ and just spent a year, every day of his life, just working out on the organ. And so when he came to New York, he was like, fully grown as an artist and an astonishingly exciting one. What happened was Alfred was in one of those absolutely exhilarated moods and I thought, "Gee, he's off his rocker." He said, "You know, I'm going to sell Blue Note." I say, "Yeah?" "I'm going to sell Blue Note and I'm going to go "with Jimmy Smith as his road manager "so I can hear him every night." He was absolutely ecstatic. You know, Jimmy was coming through with all these sounds that nobody had ever heard before and he never lost that... happy enjoyment and, of course, the other side of happiness is the sadness. Jimmy got so big and the company, which had been a very tiny little company, then became a bigger company with Jimmy Smith and it attracted a LOT of attention. And I won't name names, but some great big record company came and took Jimmy away and that was a sad day at Blue Note. How are you? Fine, and you today? Fine, thank you. Mm-hmm. Alfred, when he first recorded, he wasn't recording compositions, he wasn't coming out of a European classical background, he was looking for blues, for very soulful blues. And, really, what... happened was that... his organic feeling for music that moved him and his compulsive, intellectual side met and that, after all, is the basic ingredients of jazz. And that's, I think, why a lot of musicians describe Alfred and Frank as being different. "They were one of us," is the common phrase that you hear from musicians, they really understood what we were doing and what they really understood was that jazz was something where the mind, the intellect and the soul and the feet got together. And that's really what musicians were projecting. And that's really what Alfred was all about and that's why Blue Note can record Herbie Nichols and Blue Note can also record Song For My Father and The Sidewinder. It's all the same thing. The Blue Note era and Alfred Lion and Francis Wolff ended in 1966 when Alfred Lion decided to sell the company to Liberty Records. With his wife Ruth, Alfred Lion retired to Mexico and began a new life. Francis Wolff died in 1972. In 1981, jazz producer Michael Cuscuna started to reissue the most important Blue Note recordings. His partner Charlie Laurie began to publish the enormous work of Francis Wolff. In 1985, the major Blue Note artists joined for the legendary Town Hall Concert. The Blue Note label was reborn in 1986 under the direction of Bruce Lundvall. Alfred Lion died in 1987. MUSIC DROWNS OUT SPEECH No, that ain't no '73. '53. '53, I was going to say. You'll see I'm playing that... I haven't played that since '57. And I'm looking... This bass that I had here, somebody walked in... I paid maybe... 2,000 something for the bass I bought in Chicago and they walked in the club, I was playing at the Blue Angel and playing shows and somebody walked in, all the other instruments onstage, there was two basses, they grabbed my bass. It was like a blessing. You mean they stole it? Stole it. Oh, boy. Six people. Clifford had the same model. Yeah, Clifford had one like that. Yeah. Yeah. Do I look different? How different is this? What is that goofy looking... Not too much. You almost look the same. No, you haven't changed. No, you look about the same. You haven't changed much. If you put those glasses on that picture, you would be about the same. Definite. |
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