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Nick and Simon discuss the  well known book of jazz interviews  'Hear  me Talkin' to Ya The Story of Jazz as Told by the Men Who Made It.'

Red Garland was one of the big beasts of the 1950s New York jazz scene recording  many albums as leader with his  trio, he was also part of the first great Miles Davis quartet and with Paul Chambers and Philly Joe Jones  they collectively became known as " The Rhythm Section"

In this episode Nick and Simon discuss and demonstrate Red Garlands pugilistic block chord playing style. 


 

Simon and Nick discuss the book Blue Notes in Black and White a book about the relationship between jazz image and jazz music.  Below is the blurb from the book: 

You can read an excerpt here 

Miles Davis, supremely cool behind his shades. Billie Holiday, eyes closed and head tilted back in full cry. John Coltrane, one hand behind his neck and a finger held pensively to his lips. These iconic images have captivated jazz fans nearly as much as the music has. Jazz photographs are visual landmarks in American history, acting as both a reflection and a vital part of African American culture in a time of immense upheaval, conflict, and celebration. Charting the development of jazz photography from the swing era of the 1930s to the rise of black nationalism in the ’60s, Blue Notes in Black and White is the first of its kind: a fascinating account of the partnership between two of the twentieth century’s most innovative art forms. Benjamin Cawthra introduces us to the great jazz photographers—including Gjon Mili, William Gottlieb, Herman Leonard, Francis Wolff, Roy DeCarava, and William Claxton—and their struggles, hustles, styles, and creative visions. We also meet their legendary subjects, such as Duke Ellington, sweating through a late-night jam session for the troops during World War II, and Dizzy Gillespie, stylish in beret, glasses, and goatee. Cawthra shows us the connections between the photographers, art directors, editors, and record producers who crafted a look for jazz that would sell magazines and albums. And on the other side of the lens, he explores how the musicians shaped their public images to further their own financial and political goals. This mixture of art, commerce, and racial politics resulted in a rich visual legacy that is vividly on display in Blue Notes in Black and White. Beyond illuminating the aesthetic power of these images, Cawthra ultimately shows how jazz and its imagery served a crucial function in the struggle for civil rights, making African Americans proudly, powerfully visible.

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Simon and Nick discuss the book Blue Notes in Black and White a book about the relationship between jazz image and jazz music.  Below is the blurb from the book:

You can read and excerpt here

Miles Davis, supremely cool behind his shades. Billie Holiday, eyes closed and head tilted back in full cry. John Coltrane, one hand behind his neck and a finger held pensively to his lips. These iconic images have captivated jazz fans nearly as much as the music has. Jazz photographs are visual landmarks in American history, acting as both a reflection and a vital part of African American culture in a time of immense upheaval, conflict, and celebration. Charting the development of jazz photography from the swing era of the 1930s to the rise of black nationalism in the ’60s, Blue Notes in Black and White is the first of its kind: a fascinating account of the partnership between two of the twentieth century’s most innovative art forms. Benjamin Cawthra introduces us to the great jazz photographers—including Gjon Mili, William Gottlieb, Herman Leonard, Francis Wolff, Roy DeCarava, and William Claxton—and their struggles, hustles, styles, and creative visions. We also meet their legendary subjects, such as Duke Ellington, sweating through a late-night jam session for the troops during World War II, and Dizzy Gillespie, stylish in beret, glasses, and goatee. Cawthra shows us the connections between the photographers, art directors, editors, and record producers who crafted a look for jazz that would sell magazines and albums. And on the other side of the lens, he explores how the musicians shaped their public images to further their own financial and political goals. This mixture of art, commerce, and racial politics resulted in a rich visual legacy that is vividly on display in Blue Notes in Black and White. Beyond illuminating the aesthetic power of these images, Cawthra ultimately shows how jazz and its imagery served a crucial function in the struggle for civil rights, making African Americans proudly, powerfully visible.

The rent party was a phenomenon that occurred from 1920-1950's particularly in areas like Harlem, to raise the money needed to meet the cost of accommodation,  which was often higher for black tenants.  They were covertly advertised on simple cards  as "Social Parties" or "Whist Parties"  Rent parties in Harlem often had music provided by stride piano stars like Fats Waller or James P Johnson. Harlem renaissance poet and man about town Langston Hughes collected these cards and some of his collection is viewable here and here. 

to steal from the master

" Not too slow and not too fast
but a hip old podcast while it lasts" 

which in this case is 5 minutes!

What is quartal harmony? Who brought it into jazz and when?

Nick and Simon discuss these questions.

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Here are 2 examples of quartile harmony to support the previous podcast

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When is a dominant chord not a dominant chord?
When it's a tritone substitution!

We try to demystify this term and speak about its use in jazz harmony.

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The Flamingo Club

The  Flamingo Club (not to be confused with Club Flamingo of Police Squad!)
was a London nightclub active from 1952-1969. It was initially, primarily a jazz club and later became a haunt for the swinging 60s crowd featuring bands like The Who.

Simon would like to make a correction 1959 is, in fact, not the book he was thinking of it was London Blues. However 1959 is also a great novel about Jazz (but in Virginia America)

There are some photos of The Flamingo Club on Getty images here

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Book Review

Ted Gioia has written 11 books on music, many of them on jazz. Simon wrongly said that the first book of Ted's he read was West Coast Jazz forgetting that it was actually  " Jazz : An Imperfect Art" from 1989 - one of the four books of  Gioia's which won the ASCAP Deems Taylor Award.

How to listen to how to listen to jazz - click here

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