#TaddDameron with #JohnColtrane - Super Jet

İki efsane🙏 Tadd Dameron with John Coltrane - Super Jet ttps://youtu.be/BYqohmc4tm0 #cazhareketi #jazzmusic #TaddDameron #JohnColtrane

— Görkem Yaşar (@Gorkem_Yasar) 5 de dezembro de 2016

”TADD DAMERON (Pic w/Mary Lou + Dizzy)

“There’s enough ugliness in the world. I’m interested in beauty.”TADD DAMERON (Pic w/Mary Lou + Dizzy) #jazz pic.twitter.com/fsav6wIzc8

— globaljazzqueen (@globaljazzqueen) July 23, 2016

Ted Heath Plays Tadd Dameron

Reprinted from http://jazzwax.com

The U.S. had Glenn Miller and Stan Kenton. The U.K. had Ted Heath, who combined both sounds. Born in 1902, Heath played trombone in jazz bands from the 1920s through the mid-1940s, when he formed his own big band on D-Day in 1944. Inspired by Miller's Army Air Force Band, with its precision and dramatic moodiness, Heath grew in popularity after the war, incorporating Kenton's explosiveness and performing every Sunday at London's Palladium.

Then came Heath's 1956 tour of the U.S. that kicked his reputation up several notches. Negotiating a groundbreaking deal with the American Federation of Musicians, Heath was allowed to perform in the States with Nat King Cole, June Christy and the Four Freshmen—playing 43 concerts in 30 cities in 31 days. Though Heath never became a household name in the U.S., he recorded ferociously in London up until his death at age 67 in 1969.

For much of 1948—as bebop's popularity neared its zenith—American musicians were prohibited by their union from recording. That year, Heath commissioned Tadd Dameron to write arrangements for his band, which was remarkably ambitious and proficient. Dameron penned a batch for Heath—including his Lyonia written for Heath, Hoagy Carmichael's The Nearness of You, Roy Kral's Euphoria and his own So Easy. Earlier, George Shearing had written the arrangement to Dameron's Ladybird.

These five arrangements wound up on singles recorded in London in 1949. To create a concert atmosphere, Heath's theme—Listen to My Music—opened and closed a reissue of the album. [Pictured above: Tadd Dameron]

As always, Dameron's bop arrangements here are noble and hip. They also are fairly difficult, with sections constantly moving in and out and intersecting every now and then with the song's melody. Interestingly, So Easy is virtually the same arrangement that Dameron wrote for Artie Shaw's 1949 band—but taken at a faster and more engaging clip.

This album shows off the Heath orchestra's crisp style and the ease with which it could play big-band bop in '49. Britain was devastated economically after World War II and it would take until the 1960s before U.K. households began to recover financially. Throughout the '50s, Heath kept the the British in good spirits, proving that the country's homegrown answer to the Miller and Kenton bands could indeed keep up. 

JazzWax tracks: You'll find Ted Heath Plays Tadd Dameron here.

JazzWax clip: Here's Tadd Dameron's arrangement of Ladybird for Ted Heath's orchestra in '49...

Ladybird

JazzWax treat: I came across a YouTube link that will let you listen to all 12 tracks of Ted Heath's Kern for Moderns—a terrific album from the '50s that demonstrates his band's tight style and Heath's awesome taste. Go here.

- See more at: http://www.jazzwax.com/2013/06/ted-heath-plays-tadd-dameron.html?utm_source=feedburner&utm_medium=email&utm_campaign=Feed%3A+Jazzwax+%28JazzWax%29#sthash.1xr5k3dx.dpuf

Used with permission by Marc Myers

Tadd Dameron with John Coltrane - On a Misty Night

"On a Misty Night" from Tadd Damerons "Mating Call" album.
Composed by Tadd Dameron. Recorded November 30, 1956 in Hackensack, New Jersey.
Musicians:
*John Coltrane: tenor saxophone
*Tadd Dameron: piano
*John Simmons: bass
*Philly Joe Jones: drums
*Rudy Van Gelder: recording engineer

Tadd Dameron

Tadley Ewing Peake

Pianist, Composer, Arranger(1917 - 1965)

Tadd Dameron is hailed by critics as one of the most significant composers and arrangers of the era spanning swing and bebop. Dameron began arranging for swing bands in 1938, but he was absorbing the new music of the beboppers and was the first to inject these new ideas into big band arrangements. He became especially skilled at achieving a big sound for small groups, apparent in his Fontainebleau recording for octet from 1956.
Dameron began his career as a pianist in a Cleveland band, but in 1940 he went to Kansas City to arrange for Harlan Leonard’s Rockets. Two years later he met Dizzy Gillespie who introduced his compositions “Good Bait” and “Our Delight” and in 1948 performed his extended work, “Soulphony,” at Carnegie Hall. Dameron arranged Sarah Vaughan’s hit 1946 session in which she introduced his enduring ballad “If You Could See Me Now,” based on an improvised line of Gillespie’s and with lyrics by Carl Sigman.
In 1947 Esquire magazine named Dameron Best New Jazz Arranger. By this time he was leading his own small group featuring the brilliant trumpeter Fats Navarro, who died prematurely in 1950. Dameron then hired another trumpet genius, Clifford Brown, who died tragically young in a car accident in 1956, the same year that Dameron recorded his landmark album with John Coltrane, Mating Call. Unfortunately Dameron’s narcotics addiction led to his arrest in 1958 and two years in prison. During the ‘60s he wrote for Blue Mitchell, Sonny Stitt, and Milt Jackson.
As a composer Dameron is remembered for his melodic and harmonic strengths in songs such as “Hot House,” “Casbah,” and “Lady Bird,” which have entered the jazz canon. In 1989 Dameronia, a group originally organized by drummer Philly Joe Jones, memorialized Dameron’s work in a Paris concert. A biography of Dameron was published in England by Ian MacDonald, Tadd, The Life and Legacy of Tadley Ewing Dameron (ISBN 0953377806 - Out of print but can occasionally be found used).
Sandra Burlingame

http://www.jazzbiographies.com/