2-5-1: Recent Episodes
Simon Whiteside and Nicholas Tomalin
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We talk about the some of the big figures in jazz education Dizzy Gillespie, Hal Crook, Jerry Coker, John Meghan, Jamey Aebersold, Mark Levine and Barry Harris.
There are others we couldn't fir into the 5 minutes
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Jazz on screen is an annual tie-in with the London Jazz festival. recent years have seen
2023
The three films are: Imagine the Sound + Introduction by Stewart Lee; Sven Klang’s Combo + Introduction by Ehsan Khoshbakht and The Stormy Man.
2024
Symphonies in Black : Duke Ellington Shorts
We Insist-Black Sun
So Watt: Jazz and Improvisation on British TV
Our episode on Sven Klang is here
2025
The Diaspora Suite by Ephraim Asili-Nov 13th
So Watt: Derek Bailey's On the Edge – Improvisation in Music Nov15th
Jazz In Exile – Big Ben: Ben Webster in Europe & Cecil Taylor à Paris Nov 16th
Link to this years events here
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Another of our book reviews, this one is on a biography of Sonny Clark.
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This is not about the inner voice that tells pianists to " Kill the Bass Player" this is about moving the middle of the chord around to create interest and tension then release. There is a bonus recording at the end of some of a transcription Simon did of the Introduction to Stella from Standards Live Keith Jarrett Trio.
here is a link to the Apple Music version of September in the Rain Anita Wardell with Liam Noble
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Jazz is a multi hour multi episode documentary about the genesis and progression of Jazz in America by Ken Burns
Kenneth Lauren Burns is an American filmmaker known for his documentary films and television series, many of which chronicle American history and culture. His work is often produced in association with WETA-TV or the National Endowment for the Humanities and distributed by PBS
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One of our practical episodes, Simon and Nick discuss the Montuno. a rhythmic ostinato common in Mambo and Salsa. Check our website as we sometimes make blog Posts about the subjects we cover in episodes
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Pedro Jústiz was born in Banes, Holguín, on January 31, 1913 into a family of local musicians. Taught by his mother since 1923, he soon learned to play the piano and joined the family band La Rechiva del Son, directed by his uncles. In 1928 he moved to Antilla to study piano and saxophone under the supervision of his grandfather, Emilio Rodríguez.
In Havana, Peruchín worked occasionally with Orquesta Casino de la Playa and Mariano Mercerón's orchestra. In 1942 he joined Los Swing Boys, a big band directed by saxophonist Emilio Peñalver and featuring José "Chombo" Silva. He then became a member of the Conjunto Matamoros, an expanded version of the Trio Matamoros. In 1943 he joined Armando Romeu's Tropicana Club orchestra. He rejected an offer by Mario Bauzá to replace Joe Loco in his band, The Afrocubans, and instead recommended René Hernández
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The Mambo Kings Play Songs of Love" is a Pulitzer Prize-winning novel by Oscar Hijuelos, published in 1989. It tells the story of two Cuban brothers, Cesar and Nestor Castillo, who immigrate to New York City in the 1950s and become successful musicians known as the Mambo Kings. The novel explores themes of family, love, loss, and the immigrant experience in America, focusing on the brothers' journey through fame, relationships, and ultimately, the passage of time.
The story follows the Castillo brothers' rise to fame in the mambo scene of New York City. By day, they work ordinary jobs, but by night, they pack dance halls and clubs with their sensuous, pulsing Latin music. Cesar, the charming womanizer, and Nestor, the quiet romantic, experience both the highs and lows of their musical career and personal lives. The story also delves into Cesar's later life, filled with memories of his brother, past loves, and the music they created together.
The book is known for its evocative portrayal of the mambo era, its vibrant characters, and its exploration of the immigrant experience and a lot of steamy sex. It's a story that resonates with readers through its themes of passion, loss, and the enduring power of music. The novel was later adapted into a 1992 film of the same name and a stage show in 2005.
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To round off this Series we talk about Ours and endings. The way jazz players stop a tune. thanks for Listening and look out for series 3!
Perhaps you will hear the ending and intro of our podcast in a new light.
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In this episode Simon and Nick talk about the common conception and mis conceptions- of how jazz happens. We actually made this episode up of the cuff....How very meta!
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This is one of our more technical episodes where we try to demystify the way jazz musicians make the music by the end of this episode you may even know what Cm7b5 means in musical terms.
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Jazz has always taken popular tunes as a starting point. Some of the most famous jazz originals like Ornithology are new tunes on old chords sometimes called contrafacts. In this episode Nick and Simon discuss the subject of modern songs done in a jazz way.
Jazz versions of Beatles tunes playlist here
Rock Swings here
Herbie Hancock The New Standard here
When Love Breaks down Dominic Howles Septet here
Post Modern Jukebox here
All above are Apple Music Links you will find them on other streaming sever ices too
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Watch Terry Pollard with Terry Gibbs here
Terry Pollard (August 15, 1931 – December 16, 2009) was an American jazz pianist and vibraphonist active in the Detroit jazz scene of the 1940s and 1950s. She has been described as a "major player who was inexplicably overlooked."
listen to Terry Pollard on Apple Music here or Spotify here
Listen to a Detroit Legend on Apple Music here or Spotify here
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You can't steal a gift a book review You Can't Steal a Gift. Frederick Eugene John Lees (February 8, 1928 – April 22, 2010) was a Canadian music critic, biographer, lyricist, and journalist. Lees worked as a newspaper journalist in his native Canada before moving to the United States, where he was a music critic and lyricist. His lyrics for Antonio Carlos Jobim's "Corcovado" (released as "Quiet Nights of Quiet Stars"), have been recorded by such singers as Frank Sinatra, Peggy Lee, Queen Latifah, and Diana Krall.
Listen to arranging the score Series 1 episode 44 here
Erratum Simon Apologises for getting his American Geography wrong Louisville is in in Kentucky!
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Christian Jacob
Jacob was born in Metz, Lorraine on 8 May 1958. A pianist by age four, he was immersed in studying the French classics. Something of a child prodigy, Jacob had perfect pitch and natural talent. He did not discover jazz until age 10, but when he did, its improvised nature appealed to him immediately. Early influences were Dave Brubeckand Oscar Peterson. As a teen, Jacob studied under Pierre Sancan at the Conservatoire National Superieur de Musique in Paris.Later, he would teach piano at the Conservatoire National de Region in Metz.
In January 1983, Jacob entered Berklee College of Music in Boston, Massachusetts, and won many awards as a student, including the Joe Zawinul Jazz Masters Award, Oscar Peterson Jazz Masters Award, and Down Beat "Top Collegiate Jazz Soloist" before graduating magna cum laude in 1985. Jacob then took a teaching position at Berklee.
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One of our book reviews this time it is the Novel or is it? by Michael Ondaatje
buy it here in print or listen to the audio book here
The work deals with the life of Buddy Bolden the legend of early jazz who never recorded or was documented much during his life.
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This is a follow on to episode 44. We go a bit further into the beat poets reading their poetry with live jazz backing. We talk about City Lights and Steve Allen and more.
A couple of Corrections
Howl was first performed by Ginsberg who read a draft of "Howl" at the Six Gallery reading in San Francisco in 1955. Fellow poet Lawrence Ferlinghetti of City Lights Books, who attended the performance, published the work in 1956. Upon the poem's release, Ferlinghetti and the bookstore's manager, Shigeyoshi Murao, were charged with disseminating obscene literature, and both were arrested. On October 3, 1957, Judge Clayton W. Horn ruled that the poem was not obscene.
Also
Al jazzbo Collins records were with Steve Allen you can watch the records revolve and listen to his righteous Spiel here
If you haven't already check out our on podium blog on this subject
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We intended for this to be just one episode but felt that we had a lot more to say and ended up with enough for 2 five minute episode the next will follow in March 1st 2025.
this is the introduction to a blog on the beats on our website links below
The Beat movement was a literary movement which emerged in the United States in the post war-era. ‘Beat’ was slang for ‘down and out or poor and exhausted’. Jack Kerouac also spoke of the beat, especially the Jazz beat and also beatitude in a spiritual sense. Central elements of Beat culture were the rejection of standard moral and narrative values, the importance of spiritual quest, rejection of materialism, experimentation with psychedelic drugs and sexual liberation.
Pivotal works include Alan Ginsberg’s Howl, William Burrough’s Naked Lunch and jack Kerouac’s On The Road. The core group met in 1944 in and around Columbia University in NYC, although later writers settled on the West Coast.
The beat writers were attracted to jazz and especially bebop because of its, underground, counter-cultural status. The writers were also influenced by the ‘improvisational’ nature of jazz which many tried to replicate in their writing.
There is a good documentary called " The source" a standard definition version is on You tube here but full fat versions are available to buy from apple or Amazon Prime the imdb page is here
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We are Back after our mid season break so we thought we would start with Intros. We discuss what makes a good intro and what the function of such intros are. With some audio examples
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In this episode we chat about Christmas with the George Shearing Quintet album. I t was recorded with George Shearings new quintet
- Vibraphone – Don Thompson
- Guitar – Reg Schwager
- Piano – George Shearing
- Bass – Neil Swainson
- Drums – Dennis Mackrel
A mixture of classic Jazz tunes, many of which we looked at in detail in our 2020 Christmas special, and traditional carols. including a John Rutter carol who also helped GS with background for the liner notes.
Hear a couple of the tunes live lunchtime Dec 9th 2024 at the Spice of Life Cambridge circus performed by Nick's Shades of Shearing band. More info HERE
Merry Christmas from us! Hear previous Christmas editions on the links below
Here is a link to the Apple Music version It will be on all other streamers weassume.
Previous Christmas episodes
2020 2021 2022
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Nick and Simon are taking a break. The next 2-5-1- 5 Monte podcast will go out on Feb 1st 2025. We are about to record a Christmas special in a slightly longer format so that will appear in your feed if you subscribe or find it on our website
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Episode 40 of Series 2 to the 50 plus episodes from series 1 and our long form series on Sonny Clark and Kenny Drew.
Busking a tune what does that men? Sometimes when you hear a jazz band some of the players are playing a tune for the first time by ear with a few pointers from the person calling the tune.
Simon and Nick discuss the concept
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What do we understand to be a big band? Nick and Simon discuss the ingredients that might go into to making a big band in terms of instruments style and techniques. Then put the template to the test by considering a few examples
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In this episode Nick and Simon talk about Mole Jazz a shop that closed 20 years ago now but is fondly remembered by Jazz aficionados of a certain age. They also had a small catalogue of releases on the Mole Jazz label.
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The connection between jazz and cooking is investigated through this book review of Jazz Cooks: Portraits and Recipes of the Greats by Rob Young and Al Stances with photographs by Deborah Feingold.
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In this Episode Mink Coal Tin and This is Wine mode discuss the mercurial art of creating a Pseudonym to get around a contractual issue with ones record company, so to find out who Kunst Bauer is and if he ever recorded with Sir Osbert Haberdasher listen to this episode of 2-5-1
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One of our under the radar pianist episodes, we look at the piano stylings of Sir Charles Thompson.
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Nick and Simon present one of their jazz book reviews.
Kind of Blue : Miles Davis and the making of a masterpiece.
Ashley Kahn Granta 2001 is an in-depth look at the legendary album its creation and its legacy. Ashley Kahn has written much about jazz and his books on A Love Supreme and Impulse Records : the house that Trane built [ Simon got that title slightly wrong in the podcast]
in December 1999 Kahn got to hear the master tapes of the sessions including the false starts etc and the 50th anniversary release contains those so you can hear them too. the Cd release also included a DVD including a documentary
Miles Davis-Kind of Blue-Celebrating a masterpiece
The Legacy edition is on Apple Music
and other streaming platforms.
Simon has written a blog post on the book and 2 other related books on the podcast website.
The book is available in Print and E-Book format but not as an audio book.
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Sven Klang’s Kvintet
2-5-1- field trip notes
We went to the Barbican during the London Jazz Festival in November 2023 and watched a screening of this film. There was an introductory talk and the Black and white movie was projected on a good sized screen. In brief the plot is a function band lead by Sven Klang is joined by a really good Sax Player and his addition causes big changes in the band. It is about the human interactions within the group and both of us were very impressed with the way the playing is captured really well.
" Sven Klang's Combo (Swedish: Sven Klangs kvintett) is a 1976 Swedish musical drama film directed by Stellan Olsson. The film was based on a 1974 play by Musikteatergruppen Oktober, and was shot in Ängelholm and Höganäs. At the 13th Guldbagge Awards it won the Special Achievement award. In 2012 it was voted one of the 25 best Swedish films of all time"
from wikipedia
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Didn't you used to be Tom Scott?
In this episode we talk about the relationship of fame/commercial success and Jazz. During May 2024 several Jazz musicians have died
David Sanborn, Bill Holman and Palle Danielsson. We start from the newsworthyness of these deaths. We chose the title “ Didn’t you used to be Tom Scott” based on a shared reminiscence of a comedian saying someone came up to them and Said “ Didn’t you used to be…” illustrating the point that “ if a tree falls in the forest…” or if you have been in the public eye and are no longer in the public eye do you exist. How do Jazz musicians fit into this? Is it jazz if it’s popular.
To be clear Ton Scott is [ at time of writing] very much alive. he was very well known in the 70’s and arguably less so today and seemed like the type of musician some might not know if he is still about. He actually has a brilliant podcast himself
So Tom we hope we haven’t offended you
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Bird [ the Movie] Clint Eastwood
Bird is a 1988 American biographical musical drama film about jazz saxophonist Charlie "Bird" Parker, directed and produced by Clint Eastwood from a screenplay by Joel Oliansky. The film stars Forest Whitaker as Parker, and Diane Venora as Chan Parker. It is constructed as a montage of scenes from Parker's life, from his childhood in Kansas City, through to his early death at the age of 34.
The film moves back and forth through Parker's history, blending moments to find some truth to his life. Much of the film revolves around his only grounding relationships with wife Chan Parker (Venora), Bebop pioneer trumpet player and band leader Dizzy Gillespie (Wright), and his influence (both musically and into the world of heroin addiction) on trumpet player Red Rodney (Zelniker).
From Wikipedia
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Here is a bit more about Ray Smith of Rays Jazz Shop fame
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Rays Jazz Shop
Rays Jazz shop was originally Collets Jazz and Folk Records
" The shop moved to Shaftesbury Ave in 1974 and the following year Ray came to an agreement with Chris Barber to store and sell a vast number of mint condition 78s which Chris had picked up from a warehouse in New Jersey. They were on the Savoy, DeeGee and Bop labels, still boxed in original packaging from the late 40s, by Charlie Parker, Dizzy Gillespie, Dexter Gordon, Sonny Stitt, Wardell Gray & others. The publicity raised the profile of the shop, television and radio publicity followed, and Peter Clayton interviewed Ray, with Matthew Wright, for a broadcast on the BBC World Service,
In 1983, Collets wanted to move the record shop but the jazz staff – Ray, Matthew and Bob Glass - had no interest in going. Ray decided that as it had been his life for nearly thirty years, he had most to lose and was more committed to it, so he bought the lease from Collets.
They closed for a few days, pulled down a wall, repositioned the counter and reopened it as Ray's Jazz Shop, ready for trading. Ray's wife, Wendy, a professional illustrator, designed the cat logo for the shop. It quickly established itself and live music sessions were held there. It was a meeting place for musicians and legendary hipster Slim Gaillard became a regular.
In 2002, spiralling costs and ill health forced him to give up the lease, but thanks to the endeavours of Paul Pace, the name lives on at Foyle’s in the Charing Cross Road and in the words of Georgie Fame’s song “Vinyl”.
In his final years he only occasionally moved out of his home area of Camden, but could be seen from time to time at gigs, usually accompanied by close friend and musician Paul Shearsmith. "
From Cargo Collective
Look out for the bonus episode coming soon
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But is it Jazz
We discuss another philosophical question and throw up a few questions to each other as to if we class things as jazz or not. This episode could have gone on for much longer if you have any questions on that line of jazz/not Jazz get in touch via our website
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Can Ai Learn JazzIn this episode we discuss the question above. Neither of us are developers but we both teach and so, in many ways ,the episode is more about what is required to learn Jazz and ponder whether artificial Intelligence could learn on those lines.
what do you think?
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What is comping? Who Does it? What is it meant to achieve? We discuss this and more in this episode. Find a playlist from Apple Music that is multiple versions of the same tune with different comping styles here
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ECM records have a place in Jazz only rivalled by the classic American Labels like Blue Note, Prestige. There are clear comparisons with Blue Note,
- A Unique look
- a Particular sound
- a roster of important musicians
You can see a Pinterest collection of ECM covers here In this episode we discuss these and other points
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A picture that is well known to those in jazz and beyond was taken August 12th 1958 for esquire Magazine by Art Kane. we discuss it in this episode. The documentary is available here
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The fame of Andy Warhol has lasted a lot longer than fifteen minutes but perhaps his jazz album cover artwork is less well known than his soup tins, Marilyn Monroes or his Velvet underground Banana Cover. We discuss these in this episode many are collected in this blog by The Music Aficionado here with some thoughtful insights, more can be found on the discos site here
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Pat Moran was active as a Jazz pianist in the 1950s-1960s and played with many good artists particularly on the west coast. Her trio album with Scott La Faro 1957 is a real gem in our opinion. Her Classical training has furnished her with a great facility at the piano and her fast runs are crisp and well phrased. The complete trio album released by Fresh Sounds combines the Scott la Faro with The Pat Moran Quartet (1956), with Moran on piano John Doling on bass, John Whited on drums and Beverly Kelly fronting on vocals. Scott la Faro actually said "I don't even like any of my recordings except maybe the first one I did with Pat Moran on Audio Fidelity."
There is also an interesting live album from Birdland with Horns added. in this album the whole band sing 4 part harmony
here is a link to an Apple Music playlist
here is the link to a short documentary
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Nick and Simon talk about the artist Romare Bearden Who was connected to the jazz scene in more than one way. His most well know works are collage and often depict jazz subjects. He went to School with Billy Eckstein and wrote Seabreeze with him which featured on the Branford Marsalis album Romare Bearden Revealed
a cultural figure whose foundation supports his legacy and the artistic community
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Simon and Nick talk about the long running radio show hosted by Marion McPartland.
episodes are still available to stream from NPR like this one with Gene Harris
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This episode is based around the book " Blue Rhythm Fantasy" which is concerned , primarily, with the Work of arranger Chappie Willet. A freelancer who set up an office in the Times Square district calling it The Broadway Music clinic. He was a successful African American entrepreneur and worked for some of the top acts of his day including Louis Armstrong.
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Nick And Simon Discuss the short lived but influential London Jazz club "Club Eleven", named after the number of founder members, began life just before Christmas in 1948. It was a co-operative arrangement designed to bring bebop to the attention of the jazz public at large. The musicians involved were Ronnie Scott, Hank Shaw, Leon Calvert, Johnny Rogers, Bernie Fenton, Tommy Pollard, Lennie Bush, Joe Muddel, Tony Crombie and Laurie Morgan plus manager Harry Morris. Johnny Dankworth and Denis Rose were regulars from the start. Some gave up steady work, Scott left Ted Heath, Fenton severed relations with Oscar Rabin, and Rose, Crombie, Muddel and Dankworth came from the now defunct Tito Burns orchestra.
This venue with these musicians were the first truly organised bebop sessions in Britain. With the star-studded assembly of musicians, Club Eleven became the focal point for the new jazz and the inspiration to many other young musicians throughout the country.
The music was played by the Johnny Dankworth Quartet comprising Dankworth, Bernie Fenton (pno), Joe Muddel (bs), and Laurie Morgan (d) and a band led by Ronnie Scott with Hank Shaw (tpt), Johnny Rogers (alto), Tommy Pollard (pno), Lennie Bush (bs), and Tony Crombie (d). The Dankworth quartet became a quintet when trumpeter Leon Calvert was added.
Mac's Rehearsal Rooms, 44, Windmill Street, (where the Moffat Club had been), became the first venue operating on Thursday and Saturday nights. Entry was by descending a wooden staircase to a cramped low ceilinged room with a bandstand at one end. It was dimly lit with with bare light bulbs with a few battered sofas. Only bebop was played - fierce and urgent music! The early months of the Eleven saw the highest peak of enthusiasm in the history of British modern jazz. The jazzmen continued to listen and study as many records of Charlie Parker, Dizzy Gillespie and Miles Davis that they could get hold of. Broadcasts, recordings, and concerts came in quick succession and public acclaim was such as to force a move within a few months to much larger premises at 50, Carnaby Street, satisfying the legions of fans coming from all over the country to the by now famous Club 11. It was now operating six days a week in the evening and was open in the afternoon as a meeting point for musicians. At this point Johnny Dankworth left to form his Seven taking Joe Muddel with him, and Harry Morris also quit.
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Nick And Simon talk about the Jazz Novel Blow up a storm published in 1959 [ a seminal year in Jazz history]
This is a first novel by the director, producer and dramatist, Garson Kanin, whose short stories have appeared in Esquire, Vogue and the Atlantic Monthly. Written in the first person and told in flashback this is a dramatist's recollections of his early days in jazz -- during the depression and the close of prohibition. While in Chicago, on tour with his actress wife, the narrator receives a phone call from a forgotten Lee Woodruff which brings back a flood of impressions and memories of their small combo shaped and led by Woody. Through a haze of half remembered incidents he recalls the growth of their trio into a sextet, the men who gave the group impetus and the women who were tenuously involved with the band. Woodruff, now an emotional wreck, unable to play, in and out of hospitals, insists upon unburdening himself to the narrator and attempts to explain the eventual failure of their group.
Kanin's best-remembered for his screenplays, however, which were written in collaboration with his wife, actress Ruth Gordon, whom he married in 1942. Together, they wrote many screenplays, including six that were directed by George Cukor. These included the Spencer Tracy - Katharine Hepburn film comedies Adam's Rib (1949) and Pat and Mike (1952), as well as A Double Life (1947), starring Ronald Colman.
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Simon & Nick discuss the Score to Mr Benn by Don Warren an Alias for Duncan Lamont
who for several decades Lamont worked as a freelance musician (on flute and clarinet as well as saxophone), based around Archer Street in Soho and playing in the surrounding jazz clubs. He often performed with British bands accompanying American vocalists, including Fred Astaire, Tony Bennett, Bing Crosby, Sammy Davis Jr., Marlene Dietrich, Peggy Lee and (for 19 seasons) with Frank Sinatra. He also played with touring bandleaders such as Count Basie, Benny Goodman and Henry Mancini. Lamont led his own band for 11 years. He worked on recording and performing projects with Kenny Wheeler for many decades.
For those who missed the original Mr Benn books and TV show (the former, published first In 1967, the latter aired between 1971 and 1972 before making several returns via reruns on the BBC), then the plot is also straight forward. Black suit and bowler hat-clad London professional Mr Benn leaves his house each episode, walks to a local fancy-dress shop, and chooses an outfit. An adventure then ensues, set in a world that reflects his outfit. Harking back to a glorious time in children's television - one that has latterly been remembered for its psychedelic edges and surrealist tendencies - Duncan Lamont's score was a perfect accompaniment to those mini odysseys. It's woozy, blissful and dreamy at times, then jaunty and upbeat the next moment, taking the form of brief but beautiful accidentals to set those senes.
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NicK and Simon Talk about the film Born to Be Blue a 2015 drama film directed, produced and written by Robert Budreau. The film stars Ethan Hawke and Carmen Ejogo. ] The film is about American jazz musician Chet Baker, portrayed by Hawke.
Directed by | Robert Budreau
Written by | Robert Budreau
Produced by | Jennifer JonasRobert BudreauLeonard FarlingerJake Seal[1]
Starring | Ethan HawkeCarmen Ejogo
Cinematography | Steve Cosens
Edited by | David Freeman
Music by | David Braid Todor Kobakov Steve London
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Inspired by a post on Instagram, and the standard stereotypical responses to the question " Dear 'people who don't like jazz' what don't you like about it?" posed by Kira C Garcia (follow her here) Nick and Simon pondered the question. Look out for a blog on this from Simon.
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Jam sessions have been and continue to be at the heart of the jazz scene. In this episode Simon and Nick briefly discuss the history, culture and function of jam sessions in jazz.
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In this episode Nick leads the discussion on the subject of jazz and it's connection to the Civil Rights movement in the US
In this Episode we discuss Spike Lee's Mo Better Blues.
Wikipedia says
Mo' Better Blues is a 1990 American musical comedy-drama film starring Denzel Washington, Wesley Snipes, and Spike Lee, who also wrote, produced, and directed.[1] It follows a period in the life of fictional jazz trumpeter Bleek Gilliam (played by Washington) as a series of bad decisions result in his jeopardizing both his relationships and his playing career. The film focuses on themes of friendship, loyalty, honesty, cause-and-effect, and ultimately salvation. It features the music of the Branford Marsalis quartet and Terence Blanchard on trumpet. The film was released five months after the death of Robin Harris and is dedicated to his memory, being his final acting role.
Any student of Jazz will be well aware of Aebersolds, over 100 play along records with accompanying books. There are even supplements with transcriptions of the voicing the pianist played if you are into that. Nick and simon discuss the origin and impact of the series.
His website is here
it has an interesting page for further reading
In this episode Simon & Nick discuss Jazz and Meditation. There are elements of meditation that improvisers may well relate to : flow state, acceptance , being in the moment, completely absorbed in the process yet fully aware of what is happening around you.
we mention
Kenny Werners Effortsless Mastery
Tony Scott Music For Zen Meditation
Jerry Begonzi Developing a jazz language
there are various Apps to help you get going with meditation
the Calm app is very popular
many others are available Headspace and Balance are also popular.
This episode is about an " under the radar " pianist Jimmy Jones. An arranger pianist for some of the greats singers here is an Apple Music link to the album Nick mentioned Sarah Vaughan
"The Divine One"
2 pianists Look confused walking into a Bar
it was a 11/8 bar
What role does Humour play in Jazz
Playing the piano and singing, what's involved? Nick and simon talk about it in this episode.
Another in our new series of jazz film reviews. The Bertrand Tavernier jazz movie that refreshed Dexter Gordon's career late in his life.
Dudley Moore may well be best known for his comedy partnership with Peter Cook and his success on screen in the films 10 and Arthur, but he was also a very accomplished musician. He was an Organ Scholar at Oxford which is where he met the other folk who comprised Beyond the Fringe.
Perhaps less well known is what a great jazz pianist he was. Simon and Nick discuss him in this episode. Link to his Genuine Dud album here
To start season two Simon & Nick talk about the Fabulous Baker Boys.
This is a new strand where Nick and Simon talk about jazz related films.
At present there are a few distinct strands:
- Under the Radar Pianists- like Hod O' Brian
2.Jazz Oddities- e.g. Jazz Oboe - Technical discussions - like Block Chords
4 Jazz Books- e.g. Jazz Heavyweight
5.Jazz Films-like Round Midnight
All episodes are available on our new OnPodium Website.
Where you can also leave comments and suggestions for subjects to cover.
There is also a blog page where you can find material that supports the podcasts as well as more general jazz subjects.
In the full episode 2 it was a pleasure to chat with Arranger Orchestrator Giles Thornton. He helped me out on some of the transcriptions for the Marty Swings the singers project [watch this space for news of the gig} One of the charts he took down was "Surrey with a fringe on top" and we discuss that plus " it's Too Darn Hot" a transcription I am currently working on.
Here is a link to a reduction of Surrey With a Fringe on top LINK
the piano solo from Ep 1 is also in that folder "Too Darn Hot reduction will follow"
here is a link to the 2 songs on AppleMusic
if you use Spotify they are on the link from episode 2.1
Thanks to Giles from me.
His Website is linked on episode 2.1
This is the 15 minute introduction to the full episode 2 as episode 2 is 1 hour 15 minutes I felt it better to publish the intro separately
here Is a link to the albums as a playlist on apple music and Spotify
This new five part longer form series starts with Nick and Simon examining Marty Paich as pianist. Paich was a musical polymath and his career spanned jazz, classical & film music. Simon will present the other four episodes talking to various arrangers about Marty Paich as arranger - looking at his medium-sized ensemble work with particular focus on the octet, his work for big band referencing Art Pepper + 11, his work for the famous Dektette focussing on his work with Mel Torme, and his work in film.
An end of series announcement. in the 50 episodes Nick and I have covered, 8 under the radar pianists, reviewed 7 Jazz books, talked about 10 technical subjects discussed 5 unusual Jazz instruments and even managed 1 April fool.
Plus many more subjects like famous jazz clubs and record labels.
We have also made 2 long form series over 5 podcasts about Kenny Drew and Sonny Clark also interviews with 4 London based Jazz influencers and produced 3 Christmas Specials.
Look out for Simon's upcoming series on arranger Marty Paich
We will return with Series 2 April 15th 2023
Another episode in our " Under the Radar Pianists" series.
George Wallington wrote a tune that was made well known by Gerry Mulligan's
arrangement on Birth of the Cool and established himself as one of the best bebop pianists of his generation.
He was prolific as a sideman in the 1950s but in 1960 dropped out of music
to pursue something far cooler. Listen to find out more!
In this Special Episode Nick and Simon Discuss
George Shearing and Nick's new project playing his musicShades of Shearing gigs areSat January 14th 2023 - Peggy's Skylight - Nottingham
Feb 18th Blue Room - Lincoln
Wed May 24th - The Fleece - Boxford
Fri July 7th - Steyning Jazz Club - Steyning.
**The Band Is
Nick Tomalin – piano
Nat Steele – vibraphone
Dave Warren – guitar
Dominic Howles – bass
Matt Fishwick** – drums
Nick and Simon discuss four newish (one jewish) holiday offerings.
1. Snowbound- Emma Smith
2. Louis Wishes you a Cool Yule - Louis Armstrong
3. On Christmas Day- Paul Edis and Friends
4. Big Band Holidays- JLCO with Wynton Marsalis
Frabjous Nicktide from us!
Nick and Simon discuss a record label that started in the USA and continues now in the UK.
A label with many jazz greats represented as well as new and emerging talent.
We discuss 'enclosures' one of the cornerstone concepts of what makes jazz sound like jazz - particularly post-bebop jazz. We talk about the idea of 'enclosure' with regard to the melodic line and play some examples.
Get the pdf here
In many ways the life of The Bass Clef jazz club is a story that is echos in ripples from the centre to the outskirts of London. Jazz is a tough music to make a profit from and as such clubs spring up in low rent areas, they thrive bring character to a district and then that district gentrifies. Hoxton is now a far cry from the run down weekend ghost town it once was buisness is booming and the prices of the properties soaring. Many new venues have emerged further out and the pattern continues as east London becomes the next wave of development and gentrification. Nick and Simon discuss Peter Ind's 10 year tenure in this episode
We discuss the book arranging the score by the Canadian Jazz Critic and musician Gene Lees.
in the book Lees paints portraits of some of the great jazz arrangers including Gerry Mulligan, Gil Evans Kenny Wheeler and Billy May
Chris Hodgkins has been an integral part of the UK jazz scene since the early seventies. As a trumpet player he performed with the Icon Jazzmen and toured Europe and the US with various bands. In 1974 he co-founded the Welsh Jazz Festival which later became the Brecon Jazz Festival and in 1985 became director of Jazz Services for which he is perhaps best known. In this wide-ranging conversation Chris talks about his early musical life and later involvement with the Welsh Jazz festival and Jazz Services, he also considers the state of jazz funding in the present climate, marketing for musicians and his recent work with the All Parlimentary Jazz Appreciation Group.
The 'Review of Jazz' Chris talks about can be found here:
www.appjag.org
and Chris's website including the Jazz Services archives he mentioned are here:
https://www.chrishodgkins.co.uk/
Andre Previn had a long career Simon and Nick discuss his life and his work in the jazz, Film and Classical Music.
Nick and Simon discuss the biography Thelonious Monk: The Life and Times of an American Original. Author Robin Kelley grew up in Harlem in a house where modern jazz was the soundtrack His PhD was on Social movements but through a series of posts at top american universities he moved more towards writing about music.
The Fillmore district of San Francisco was known as " The Harlem of the West" in the 1940s and there were many clubs that flourished for a decade or more. Live recordings of top artists bare the names of some of them. There are currently several jazz clubs and a specialised centre in San Fransisco so in the words of Frank Zappa, in Fog City " jazz isn't dead it just smells funny"
Nick and Simon discuss one of the more well known books of jazz portraits 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 Blues in black and White a book about the relatuionship between jazz image and Jazz music below is the blurb for 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 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 could have 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 in a big way and when?
Nick and Simon discuss these points
When is a Dominant chord not a dominant chord?
When it's a triton Substitution.
We try to de mystify this term and speak about it's use in jazz harmony.
The Flamingo Club
The London Flamingo club [ not to be confused with the Club Flamingo of Police Squad ]
was active from 1952-1969 it was initially all Jazz and later 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 on getty images here
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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Archer StreetWe discuss the role of a single Soho street in the lives of musicians looking for work in London from the 1920s until the 1960s
Watch the Documentary mentioned here
Musicians Union Article here
In our third interview with people who promote, facilitate and help proliferate Jazz.
Sebastian Scotney is the driving force behind London Jazz News a hub for the promotion of new jazz releases upcoming gigs and all things Jazz in London.
Tete Montoliu was a spanish pianist who had a long and successful career. As part of our " pianists under the radar" we discuss him and his playing style. This goes with our other episodes on pianists Mel Powell, Joe Albany, Hod O'Brien and Horace Parlan all well worth checking out if you haven't heard those episodes.
Riverside records only ran from 1953 to 1964 but in that time captured some of the greats of the period. Orin Keepnews was the producer of a majority of the jazz albums and even had a tune named after him composed by Bill Evans at his anagramatical best
In this Episode Nick and Simon discuss Stars of Jazz which was an American television program that ran between 1956 and 1958 and featured performances and interviews with many leading jazz performers of the time. The innovative program started on KABC-TV in Los Angeles in June 1956. It was produced by Jimmie Baker, and presented by pianist and songwriter Bobby Troup. Musicians who appeared on the show included Oscar Peterson, Billie Holiday, Art Blakey, Dave Brubeck, Stan Getz, Kid Ory, Chet Baker, and Troup's wife Julie London. All 130 shows were filmed as kinescopes, but all but 45 were later lost. The remaining films were donated to the UCLA Film and Television Archive, where they are gradually being restored.
Another in our series of music theory podcasst this time Nick and Simon focus on the Whole Tone Scale. In music, a whole-tone scale is a scale in which each note is separated from its neighbors by the interval of a whole tone. In twelve-tone equal temperament, there are only two complementary whole-tone scales, both six-note or hexatonic scales. A single whole tone scale can also be thought of as a "six-tone equal temperament". Some early instances of the use of the scale in jazz writing can be found in Bix Beiderbecke's "In a Mist" (1928) and Don Redman’s "Chant of the Weed" (1931). In 1958, Gil Evans recorded an arrangement that gives striking coloration to the "abrupt whole-tone lines"of Redman's original. Wayne Shorter's composition "JuJu" (1965), features heavy use of the whole tone scale, and John Coltrane's "One Down, One Up" (1965), is built on two augmented chords arranged in the same simple structure as his earlier tune "Impressions"
However, these are only the most overt examples of the use of this scale in jazz. A vast number of jazz tunes, including many standards, use augmented chords and their corresponding scales as well, usually to create tension in turnarounds or as a substitute for a dominant seventh chord. For instance a G7 augmented 5th dominant chord in which G altered scale tones would work before resolving to C7, a tritone substitution chord such as D♭9 or D♭7♯11 is often used in which D♭/G whole tone scale tones will work, the sharpened 11th degree being a G and the flattened 7th being a C♭, the enharmonic equivalent of B, the major third in the G dominant chord.
Art Tatum and Thelonious Monk are two pianists who used the whole-tone scale extensively and creatively. Monk's "Four in One" (1948) and "Trinkle-Tinkle" (1952) are fine examples of this.
Nick and Simon talk about Birdland the jazz club which started in New York City on December 15, 1949. The original Birdland, which was located at 1678 Broadway, just north of West 52nd Street in Manhattan, was closed in 1965 due to increased rents, but it re-opened for one night in 1979 for the 30 year anniversary. A revival began in 1986 with the opening of the second nightclub by the same name that is now located in Manhattan's Theater District. The current location is in the same building as the previous headquarters of The New York Observer.
Horace Parlan is another in our under the radar players episodes, known for working in the hard bop and post-bop styles of jazz. In addition to his work as a bandleader Parlan was known for his contributions to the Charles Mingus recordings Mingus Ah Um and Blues & Roots.
What is a fakebook, where can I get one and is a real book different? These questions answered as Nick and Simon discuss the jazz players tune bible.
In this episode Nick and Simon discuss classic holiday albums from the past, and also look at a couple of new Christmas releases.
This year we also deal with the issue of wassailing!
Here is an apple music playlist of some of the albums we discuss
https://music.apple.com/gb/playlist/2-5-1-christmas-special-2021/pl.u-2aRjqtKaoYZ
MERRY CHRISTMAS!
Norman Granz set up Jazz at the Philharmonic with little more than chutzpah and a handful of cash. JATP would go on to create careers and fortunes for many musicians.
Find out more as Nick and simon discuss a series of concerts that changed jazz.
Who was the Jazz Heavy weight? Nick and Simon discuss the biography of a jazz great who had a varied career.
What is an altered scale , where can you use it, what are its other names, and what scale is it related to? Nick and Simon shed light on the altered scale and its harmonic usage.
Who was Hod O'Brien? In this episode Nick introduces Simon to a pianist he feels deserves wider recognition.
In this episode Nick and Simon discuss the Cabaret Card and it's impact on the New York jazz scene of the 1940's and 50's.
Nick And Simon visited Paul Pace at Ronnie Scotts and asked him these 5 questions
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- Could you tell us about the history of the Spice of Life jazz club. How did it come about, what were the early days like etc
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- What is your involvement with the club now and what are some of the challenges involved in running a jazz club at this time.
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- How did you become involved with Ronnie Scott's jazz club
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- What does your work at Ronnies involve today.
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- Could you reflect on the jazz scene in the UK today. What do you feel are the challenges it faces, and how do you see the future.
Find out what his answers were.
Can You Hear Me at the Back?
Nick and Simon lay out the development of amplification, and how it has been used in jazz.
Salutations solid gone gators, Nick and Simon beat their gums to give you the swingformation on Jive talk. They are putting it down and you better pick up on it, so tune on in and get your signal right. Hey gate! put down that giggle water we don't want no gin mill cowboys here, so agitate the gravel jack, only Ding Dong Daddies and Dungaree Dolls hip to the jive welcome. If you dug our episode on nicknames, a few hair cuts on the back beat now, this will fry your wig, 'cause this is the most to say the least.
If you understood all that you are one copasetic shape in a drape! if not you may need to translate with Straight from the fridge dad
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In this episode Nick and Simon enjoy an ice cream while speaking Esperanto. No? OK, they discuss the concept of 'The Lick", that divisive little melodic fragment in the improvisation debate. Are you improvising if you play a lick? What does the 'language analogy' bring to the table, la table, la mesa, la tablo? Will you have a banana? Have you been to the Guildhall?
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In our jazz quest to entertain and inform we like to shed light on some less well-known pianists who we think are worth exploring. Joe Albany is one such player.
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When it's a voicing.
Nick and Simon discuss the meaning of the word voicing in jazz and on piano in particular.
In this episode we outline the origins of some nick names of jazz players. Why was Charlie Parker called Bird? How did Jeff 'Tain' Watts get his moniker and we skate over why Eddie Davis was known as Lockjaw!
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In the first of our new interview stream we talk to Steve Rubie who has run the 606 club for many decades. We asked him about
1. The history of the club and the move to Lots road.
2. The ethos of the club
3. Surviving the Pandemic
4. Highlights over the years and any anecdotes
5. What does the future of the 606 look like?
Check out the 606 Website and you can hear Steve play on 21st May
In this episode Nick introduces Simon to a little known pianist : Dick Twardzik.
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In this episode Nick And Simon discuss the symmetrical scale that has been known about for a surprisingly long time and has come to be used extensively by jazz improvisers.
Normal service is resumed after the April fools gag that was Des Luton.
In this episode Nick and Simon discuss the use of tuba in jazz from its role as primary bass instrument to colouristic and improvisational member of the ensemble.
Comments welcome via your podcast app or via our Facebook page.
2-5-1-Facebook
Thanks for listening!
In this episode Nick and Simon discuss the obscure British pianist Des Luton [1924-1987?]. Known for an incredible left-hand technique, Des has since fallen into obscurity. Nick and Simon have managed to get hold of possibly the only recording of the mercurial piano player via a 78 RPM recording made as a demo and unreleased commercially; so for once we can play it!
(Please note, this episode of our podcast was an April Fools Day special and sadly Des 'Left Hand' Luton never actually existed!)
In this episode Nick and Simon consider the subject of bebop scales. Did Charlie Parker use them? What are they and what do they sound like?
In this episode Nick and Simon discuss the legendary Village Vanguard Jazz Club in New York.
In this episode Nick and Simon discuss how the available recording media at various times have affected jazz.
Nick and Simon briefly explore the pianistic technique of playing block chords, find out what block chords are, who used them and how the work.
Nick and Simon discuss the pianist Mel Powell who had an illustrious career in Jazz and Modern classical music. He played with some of the top jazz players of the age and married a film star. His later Years were as an educator at the highest level replacing Paul Hindemith as head of composition at Yale and setting up Cal Arts back in Hollywood.
a pianist who deserves more attention perhaps.
WTFH?
What the French Horn?
Nick and Simon discuss the use of the French Horn in Jazz
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In this bonus Christmas edition Nick and Simon discuss five tunes favoured by jazz musicians.
- The Christmas Song
- Have yourself a Merry Little Christmas
- White Christmas
- Winter Wonderland
- O Christmas Tree
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Merry Christmas!
In the final episode of Series 2 Nick and Simon discuss Dexter Calling, the last album Kenny Drew made with Dexter Gordon in the US, and One Flight Up one of the few Blue Note albums recorded in Europe in the 1960s; Our Man in Paris being an other obvious example, also a Dexter Gordon session. In 1961 Kenny Drew moved to Europe and Dexter Gordon soon followed. Dexter did return in 1973 to US soil but Kenny Drew saw out the rest of his career in Europe.
Dexter Calling
One Flight Up
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Nick and Simon discuss Undercurrent, arguably a hidden gem in the rich soil of the Blue Note label's discography. It was Kenny Drew's last album as leader for the label, and shows his compositional style and improvisation skills off in a showcase of original tunes with a band playing exceptionally well.
This Episode focuses on the Classic album BLUE TRAIN and Kenny Drew's part in it.
In 1957 John Coltrane had a pivotal year. He was sacked by Miles Davis for his heroin addiction so kicked the habit cold turkey and got down to rebuilding his life. He joined Thelonius Monk and made several albums under his own name as leader but only one of those was for Blue Note.Apple MusicFACEBOOK GROUPJASON LYON ARTICLEPATREON
Nick and Simon discuss Kenny Drew's contribution as sideman on the original vinyl release of It Could Happen to You , Chet Baker Sings.
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Nicholas Tomalin and Simon Whiteside are back for a new series of 2-5-1 Two Pianists,Five Podcasts, One Subject. In this series the subject is pianist Kenny Drew.
We examine this hard-bop pianist through the lens of five albums. The first is his Blue Note debut as leader from the series of 10 inch LPs " New Sounds New Faces " called Introducing the Kenny Drew Trio.
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In the season finale Nick and Simon discuss Sonny Clark's ballad playing style as sideman and soloist, playing musical excerpts and discussing his playing approaches.
This episode is sponsored by Open Studio - Jazz Lessons from Jazz Legends. Become a better jazz musician, guaranteed at openstudiojazz.com.Nick and Simon go on to discuss Sonny Clark's legacy, and talk about what they have learned from the extensive listening and study they have done and what happens next.
Help decide the subject for series 2 by taking this simple one choice poll
https://www.surveymonkey.co.uk/r/QK5V6YD
Thanks for listening and please leave constructive comments, reviews and suggestions
and give the podcast a rating.
In Episode 4 we discuss Sonny Clark as a leader in the trio format. We focus on two tunes in detail: "Somebody Loves me" from what is now known as the Standards Album, and Sonny's most recorded original tune "Minor Meeting" the version (take9) from the full edition of the trio album with George Duvivier and Max Roach. We also consider his improvising style, his compositional approach and his influences.
In this episode we explore Sonny Clark's work as leader on Blue Note records. Specifically his work with ensembles.
In this episode Nick Tomalin and Simon Whiteside discuss the music Sonny Clark recorded with Buddy de Franco, Grant Green and Dexter Gordon. Even after re-recording the Buddy De Franco section to half it's length, the original podcast plan to also include Sonny Criss and Hank Mobley meant it ran to 1.5 hours. So we decided to drop those two sections.
If you would like to hear that long version it will be publicly available on our Patreon page later. If enough people register their interest through comments on the podcast outlets we can upload it to all the usual suspects later.
https://www.patreon.com/user?u=25450273
In episode one Nick Tomalin and Simon Whiteside talk about Sonny Clark's short but musically prodigious life, from his birth in July 1931 to his death in January 1963.