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Short filmTranscript
00:00:00Applause.
00:00:20Applause.
00:00:24Good evening and welcome to this wonderful venue where we're doing a program of compositions
00:00:36by piano players.
00:00:38Now you may have noticed we haven't got a piano player, but that's the nature of jazz.
00:00:42This music is very flexible and it's actually, I didn't plan it this way, I did a CD with
00:00:50this group of things that I'd written for it and when I looked at it I found that all
00:00:55the tunes that weren't by me were by piano players.
00:00:58So we start off with one by Phineas Newborn Jr. who is a huge virtuoso piano player, mainly
00:01:06active in the 50s.
00:01:09There's a very good film of Phineas Newborn Jr. from a television show and one of the
00:01:13most spectacular bits is he plays a blues with his left hand, which only makes sense
00:01:18if you can see it, he plays the whole thing with his left hand.
00:01:21And this is a tune he wrote dedicated to the boxer, Sugar Ray, and it's called Sugar Ray,
00:01:25Sugar Ray Robinson, so it goes like this.
00:03:18Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray,
00:03:42Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray,
00:04:10Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray
00:04:40Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray
00:05:10Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray, Sugar Ray
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00:07:38This band is called the Andy Panay Quartet, and it dates back 30 years.
00:07:46I mentioned this to Joe, who's filling in for our regular drummer, and he said I wasn't
00:07:50born then.
00:07:51Which is a frightening thought, but yes, so I think we put the band together, Andy put
00:07:57the band together for a week as a support actor at Ronnie's, and we worked regularly
00:08:01there for many years, and have continued to do occasional gigs ever since.
00:08:06It started out based around the Gerry Mulligan Quartet, which used the baritone, the big
00:08:11one there, and the trombone, but gradually evolved as we all started contributing different
00:08:16things to the repertoire, and Andy brought in the different horns.
00:08:21And here we are, 30 years.
00:08:23This next one is by a piano player called Ronnie Ball, who was part of the Tristano
00:08:31scene, which is something that I was interested in, as my first teacher was involved in that.
00:08:36And he's English, but he moved out there, and he recorded this tune.
00:08:41It's on a pretty obscure record, and it was almost impossible to work out the title, because
00:08:45it seemed to be mixed up with two different tunes.
00:08:47But because it's based on the sequence of a tune called Limehouse Blues, I eventually
00:08:54figured out that the title must be the one where it read Citrus Season.
00:09:01Yeah, that's right, yeah, you learn a lot when you come to Sands.
00:09:06And it goes something like this.
00:09:11No bass cello on this, yeah?
00:09:16No bass cello, yeah?
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00:19:17bass solo
00:19:20bass solo
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00:22:23bass solo
00:22:26Louie Toodle-loo
00:22:37lead solo
00:22:56Ž
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00:28:33Whoo!
00:28:35Ž
00:28:43Ž
00:28:46Yeah.
00:28:49I should say that Joe is the only drummer I've come across
00:28:52who can play great bebop
00:28:54and play the more traditional styles so authentically.
00:28:57Great drumming, Joe, Joe Desai.
00:28:59Ž
00:29:04This is by another favourite of mine, Ray Bryant,
00:29:08who played with just about everybody,
00:29:12did a lot of work with singers.
00:29:14He's on things like Carmen McRae used to.
00:29:18He's also on a lot of the earlier Aretha Franklin records
00:29:21before she became a soul singer.
00:29:22Great tunes, lots of great tunes.
00:29:24And this is one of the best known.
00:29:26It's called Cubano Chant.
00:29:40Ž
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00:36:24You didn't like that one then.
00:36:26Ž
00:36:28Do you like the suit?
00:36:30Yeah.
00:36:32I bought this years ago in a Romanian charity shop
00:36:36and I used to work with a saxophone player
00:36:38Pat Crumley who was pretty quick off the mark
00:36:41and he said, that's a nice suit Simon, where did you get it?
00:36:44I said, he said, ah, he said, a wolf in cheap clothing.
00:36:47Ž
00:36:51This is by my favorite piano player of all time, Jimmy Rolls.
00:36:55I absolutely love Jimmy Rolls playing
00:36:57and he didn't write a huge number of tunes.
00:37:00The best known is called The Peacocks.
00:37:03But there are a lot and this is called The Persian
00:37:06and I suspect it's about a cat.
00:37:23Ž
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00:43:39I'm not going to look at this.
00:43:41Ž
00:43:43This is a tune, they get two piano players in this tune
00:43:47because it's written by a piano player called Gerald Wiggins
00:43:51who was a busy studio and jazz player on the West Coast.
00:43:55Again, I think he accompanied Ella for a while
00:43:59and turned up on loads of records.
00:44:02But it's recorded again by Ray Bryant.
00:44:04It's off a Ray Bryant record that I really liked.
00:44:08And it's called Sonar.
00:44:11Don't ask me why.
00:44:13Ž
00:44:17For some reason I've got it written in the wrong key
00:44:20halfway through, but that doesn't matter.
00:44:23Ž
00:44:26Okay, yeah.
00:44:29Ž
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00:49:55I was going to miss that one out,
00:49:57but Andy said, oh, it's my favourite.
00:49:59So we did it.
00:50:01It's a very nice tune.
00:50:03This is why I've got two music stands.
00:50:05Four pages.
00:50:07And of course on the double bass,
00:50:09you can't turn over,
00:50:11because you're using both hands all the time.
00:50:13Excuses, always excuses.
00:50:17Can't hear you.
00:50:20How many hands do we use?
00:50:23Um...
00:50:25I'm cheating a bit on this, because this is by me.
00:50:28But I do play the piano, so I thought I could...
00:50:31I could get away with that one.
00:50:34This is, um...
00:50:36I took lessons around the same time, actually,
00:50:38that we started working with this group,
00:50:40or just before.
00:50:42I took lessons from a bass player called Michael Moore,
00:50:44who was always a favourite of mine,
00:50:46and by an odd coincidence settled in London
00:50:48for a couple of years.
00:50:50And he was a fantastic player.
00:50:52He was a really good teacher.
00:50:54He was one of those people that could cut things down
00:50:56to basic principles, you know,
00:50:58rather than waffling on.
00:51:00And I remember I said to him,
00:51:03how do you play solos on fast tempos on the bass?
00:51:06And he said, well, have you noticed
00:51:09that it's actually easier if you're playing over a samba
00:51:12beat than if you're playing over a 4-4 beat?
00:51:15Because what happens is you don't play so many notes,
00:51:17you phrase across it,
00:51:19rather than trying to play lots of eighth notes.
00:51:21And one of the things that I used to do,
00:51:24and I think he probably suggested it,
00:51:26is that when you've got an idea like that,
00:51:28you would cement it by writing a tune.
00:51:30Now, the tune that everybody plays very, very fast
00:51:33is a tune called Cherokee,
00:51:35which is by an English writer called Ray Noble.
00:51:38And so I took the chord sequence of Cherokee
00:51:41and I wrote a samba on it,
00:51:43and I thought, what am I going to call it?
00:51:46And I asked a guy I was working with
00:51:48who was into Brazilian music,
00:51:50and I said, can you suggest the name
00:51:52of a Brazilian indigenous tribe?
00:51:55Now, he gave me the name Jingu,
00:51:57which I think is actually an area,
00:51:59but it's a good title, so we stick with this.
00:52:01So it's a long introduction to a tune
00:52:03that is called Jingu and goes like this.
00:52:07It goes like this.
00:52:09♪
00:52:19♪
00:52:29♪
00:52:39♪
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00:57:57♪
00:57:59♪
00:58:09Anyone know what time it is?
00:58:12Okay.
00:58:15That's fine, yeah.
00:58:19Right, back to the proper piano players.
00:58:21This is by Harold Mayburn, who used to come over,
00:58:27used to see him regularly at Ronnie's.
00:58:29He just passed away, what do you reckon,
00:58:31about a year ago or something, very recently.
00:58:33But I remember seeing him not that long ago playing.
00:58:36An enormous guy, incredibly powerful player.
00:58:39And he didn't write a lot of tunes,
00:58:41but this one popped into my radar.
00:58:43It's called Raking and Scraping.
00:58:45And he said, that was something his dad used to say.
00:58:49He said, what have you been doing,
00:58:51what have you been doing today?
00:58:52Dad said, yeah, raking and scraping,
00:58:54trying to get something together.
00:58:56And it goes like this.
00:59:07♪
00:59:16♪
00:59:26♪
00:59:36♪
00:59:46♪
00:59:56♪
01:00:06♪
01:00:16♪
01:00:26♪
01:00:36♪
01:00:46♪
01:00:56♪
01:01:06♪
01:01:16♪
01:01:26♪
01:01:36♪
01:01:46♪
01:01:56♪
01:02:06♪
01:02:16♪
01:02:26♪
01:02:36♪
01:02:46♪
01:02:56♪
01:03:06♪
01:03:16♪
01:03:26♪
01:03:36♪
01:03:45♪
01:03:55♪
01:04:05♪
01:04:15♪
01:04:25♪
01:04:35♪
01:04:45♪
01:04:55♪
01:05:05♪
01:05:15♪
01:05:25♪
01:05:35♪
01:05:45♪
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01:06:05Oops, dropped one.
01:06:08That's a great riff isn't it, it's great.
01:06:10I think we've got time for one more.
01:06:14Unless you shout very loudly at the end.
01:06:17This one was written for a special occasion,
01:06:20but I won't tell you what it was
01:06:22because you'll find out by the end of the tune.
01:06:26You will guess at the end.
01:06:27Let me do the...
01:06:29Now, very unusual, mostly I bring CDs
01:06:31that have nothing to do with the gig I'm playing,
01:06:33but actually this one has got
01:06:35most of the tunes we played on here.
01:06:38And that's at the door.
01:06:43I have to charge you 10 pounds for that one
01:06:45because I haven't got many left.
01:06:46This one...
01:06:47Two for 20 isn't it?
01:06:48Yeah, that's right.
01:06:49This one is in a box
01:06:52and this one is just pay what you like.
01:06:55I've got loads of them.
01:06:56This one features, it's by Harry Allen.
01:06:58I think some of you got it from last time.
01:07:00It also, the cover is by an old friend
01:07:03and a really wonderful photographer
01:07:04who I think is with us tonight.
01:07:06Are you here?
01:07:07Rado Klos did this.
01:07:09Check out the rest of them.
01:07:10He did a whole series around London
01:07:14which it will explain itself
01:07:16if you look at the things online.
01:07:18So there we are.
01:07:19That's the end of the commercial.
01:07:23I've got a couple more of these this year.
01:07:25There's one in September
01:07:28which is going to do tunes by bass players
01:07:32and then towards the end of the year
01:07:34we're doing one with tunes by guitar players
01:07:38and there are plenty more possibilities
01:07:40if we extend beyond that.
01:07:42Anyway, great to see you all here
01:07:44and here we go.
01:07:46This one is called HBSB
01:07:50and it goes like this.
01:07:53Here we go.
01:08:23♪
01:08:50♪
01:09:20♪
01:09:40♪
01:10:10♪
01:10:23♪
01:10:53♪
01:11:13♪
01:11:43♪
01:11:59♪
01:12:29You've obviously had enough.
01:12:30We'll go now.
01:12:35Let me just thank again.
01:12:37This is the first time
01:12:38Joe's played any of these charts.
01:12:39Fantastic.
01:12:40Performs great drama.
01:12:41Joe Desau.
01:12:47And one of the truly great trombone players
01:12:49anywhere in the world
01:12:51is Mark Nightingale.
01:12:59And one of the most amazing improvisers
01:13:01I've ever worked with, Andy Panay.
01:13:08And my name's Simon Wolfe.
01:13:15I keep dropping that.
01:13:19So I wrote that last one
01:13:20as you probably gathered
01:13:21because it was,
01:13:22I imagine you recognized the tune at the end.
01:13:26It was our regular drummer's birthday
01:13:28so we wrote that for him.
01:13:31We only ever played it that once.
01:13:33I'm not doing very well with this, am I?
01:13:37Maybe I can remember it.
01:13:39Here we go.
01:13:40This is what we need.
01:13:44Well really no program
01:13:46of jazz piano players' compositions
01:13:48would be complete
01:13:49without something by Thelonious Monk.
01:13:51And this is one of his,
01:13:53one of the few piano players
01:13:55whose compositions have become
01:13:57jazz standards.
01:13:58They're often called
01:13:59just as buskers on gigs.
01:14:02And this is one of the better known ones.
01:14:05This is a blues called Blue Monk.
01:14:10We do, oh it's actually, yeah.
01:14:24This is a blues called Blue Monk.
01:14:54This is a blues called Blue Monk.
01:15:24This is a blues called Blue Monk.
01:15:54This is a blues called Blue Monk.
01:16:24This is a blues called Blue Monk.
01:16:54This is a blues called Blue Monk.
01:17:24This is a blues called Blue Monk.
01:18:05This is a blues called Blue Monk.
01:18:35This is a blues called Blue Monk.
01:19:05This is a blues called Blue Monk.
01:19:35This is a blues called Blue Monk.
01:19:57That's it.
01:20:25That's all we know.