Jazzfest facts, hot off the press. - New Jersey Jazz Society

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JerseyReviewsJazzNJJS FebruaryMember MeetingSpeaking FranklyAuthor and journalist Will Friedwald presented aninformative program on the music and artistry ofFrank Sinatra at an NJJS Member Meeting at TrumpetsJazz Club in Montclair on February 11. Mr. Friedwaldpresented a series of vintage Sinatra performances onvideo from the 1950s and 60s and offered insights andobservations about the many “sides of Sinatra.” Theseveral clips demonstrated the wide variety of Sinatrapersonae, ranging from the swinger (“I’ve Got You UnderMy Skin”) to the family man (“High Hopes”) to themelancholy loser (“Angel Eyes”). The clips were played ona large screen TV perched on a solo stool where Sinatra’simage flickered on a stage bathed in dim amber light. OnePhoto by Tony Mottolaimagines Frank would have appreciated the stagecraft. “Ifyou combined the ultimate actor with the ultimate singer,it would be Frank Sinatra,” Friedwald said. “He was the apogee of the way the Great American Songbook be sung.”The presentation was followed by a lively Q&A session with an audience that appeared also quite well informed aboutthings Sinatra.Will Friedwald is the author of Sinatra! The Song is You: A Singer’s Art among other books and is the jazz and cabaretcritic for The New York Sun.LETTERS continued from page 4Jay McShann’s first combo inKansas City in the mid-1930s.I met Dizzy in 1983 when he wasappearing at Constitution Hall inDC. I found him in his unlitdressing room in the basementbefore the concert — softlyblowing on his bent horn — sanspuffed cheeks. Gillespie said hewas particularly proud to beplaying here, remembering thatthe DAR would not allow MarionAnderson to do so. (EleanorRoosevelt then arranged forMarion to sing at the LincolnMemorial.) Dizzy told me he wasso weak from not eating that hedidn’t know whether he could play— he was speaking so low that Icould hardly hear him. I had anapple in my raincoat pocket andoffered it to him. He thanked me,but said he was fasting at the time,as was required by his Baha’ireligion.I also read with interest Hyman’scomments in his piece, “AcousticThoughts While Hearing BrendelPlay.” Hyman discussed whethermusicians should just take advantageof Carnegie Hall’s magnificentacoustics and to perform withnatural sound, or use some formof audio amplification. Althoughit has no particular bearing, Irecall the liner notes that jazzimpresario Dick Gibson wrote forone of his albums — Jazz in theTroc — Elitch Gardens, Denver,1968. Although he said there wasnothing intrinsically wrong withaugmented music, he noted thatThe Beatles produce sounds onrecords which require so muchelectronic equipment — so manysplices, re-takes, and sound mixing— that they could no longerappear in public and comeremotely near to reproducingthese sounds for a live audience.Gibson insisted that there be notechnical augmentation for thisalbum, and that the “playing ofthese master jazzmen beunimproved…reflecting honestlyhow they sounded in the Troc onthose two nights in July.”Bill SmithPalm Desert, Ca[Beatle fans might dispute Mr.Gibson about those “technical”reasons. The fact that the groupdidn’t perform live during the lastthree years they were together wasmostly due to personal and artisticdifferences among the band mates,as was examined in the 1971documentary film Let It Be madewhen the group was recordingtheir last two albums. The filmclosed with a 17-minute clip oftheir last public performance —an impromptu concert on the roofof the London building where theywere recording. The group wasaugmented that day with the brilliantand irrepressible keyboardistBill Preston. Their performance ascaptured on film amply demonstratesthat, even at the end oftheir run, The Beatles were aswere as good a rock band as everplayed, whether on record or onstage.— Editor]44April 2007 JerseyJazz
April 2007 JerseyJazz 45
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Jazzfest facts, hot off the press. - New Jersey Jazz Society

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