Prom 27 - 4.08.17: Ella and Dizzy: A Centenary Tribute

[Eine Alpensinfonie]

19:30 Friday 4 August 2017 ON TV
Royal Albert Hall

Gershwin: Manhattan Rhapsody
Gershwin: A Foggy Day
Noble: Cherokee
Monk: Round Midnight
Gershwin: Embraceable You
Ellington: Harlem
Lecuona: Jungle Drums
Gershwin: Fascinating Rhythm
Gillespie/Pozo/Fuller: Manteca
Ellington/Tizol: Caravan
Reeves: Tango du Jour
Gillespie: A Night in Tunisia
Shearing: Lullaby of Birdland

Dianne Reeves (singer), James Morrison (trumpet)
Victor Sangiorgio (piano)
BBC Concert Orchestra
John Mauceri, conductor

Described by The New York Times as 'the most admired jazz diva since the heyday of Sarah Vaughan, Ella Fitzgerald and Billie Holiday', Dianne Reeves is joined by virtuoso trumpeter James Morrison to pay a double tribute to Ella Fitzgerald and Dizzy Gillespie in the centenary year of their births.
Conducted by Broadway musical and Hollywood movie-score legend John Mauceri, the celebrations contrast the Great American Songbook, which played a key role in Fitzgerald's live and recording career, with the bebop and Afro-Latin sounds in which Gillespie excelled.

[johnn10]

Far too much talk. Also, why don't the artists supply details of their life stories for publication in the written programme rather than waffle on about it before each item?

[bluestateprommer]

Not the best musical start to this 'crossover' Prom, with a somewhat heavy-handed reworking of the Second Rhapsody into the 'Manhattan Rhapsody', and not the "swingiest" pacing of the work. For me, things picked up a lot with James Morrison and his take on 'Cherokee'. If JM takes the 'Dizzy' solo on 'A Night in Tunisia', that could be a lot of fun.

Per johnn10's comment, the standard bios in the concert programs are just that, standard bios, so in their chat from the RAH stage, each of them is sharing more personal stories connected to EF and DG rather than their own personal bios as such.

PS: The interval feature is actually very enjoyable to hear, with selected Ella recordings.

[johnn10]

Not the best musical start to this 'crossover' Prom, with a somewhat heavy-handed reworking of the Second Rhapsody into the 'Manhattan Rhapsody', and not the "swingiest" pacing of the work. For me, things picked up a lot with James Morrison and his take on 'Cherokee'. If JM takes the 'Dizzy' solo on 'A Night in Tunisia', that could be a lot of fun.

Per johnn10's comment, the standard bios in the concert programs are just that, standard bios, so in their chat from the RAH stage, each of them is sharing more personal stories connected to EF and DG rather than their own personal bios as such.

That maybe the case, but why do the artists think that anyone is particularly interested? Most of the several thousand audience members in the hall will have some connection with the musical items -why should there be an assumption that those of the performers are somehow more valid and interesting than those of anyone else?

[Braunschlag]

Not the best musical start to this 'crossover' Prom, with a somewhat heavy-handed reworking of the Second Rhapsody into the 'Manhattan Rhapsody', and not the "swingiest" pacing of the work. For me, things picked up a lot with James Morrison and his take on 'Cherokee'. If JM takes the 'Dizzy' solo on 'A Night in Tunisia', that could be a lot of fun.

Per johnn10's comment, the standard bios in the concert programs are just that, standard bios, so in their chat from the RAH stage, each of them is sharing more personal stories connected to EF and DG rather than their own personal bios as such.

PS: The interval feature is actually very enjoyable to hear, with selected Ella recordings.

Agreed on the Rhapsody, but isn't it the same basic piece which exists under at least three names - Manhattan, Second and Rivet? It's had a few different emasculation over the years. Clunk pianist though, I think he had rivet guns in mind.
Things perked up immediately as soon as Morrison opened his set, the main reason I'm watching it, even Frau Braunschlag came in from the kitchen wondering what the hell was going on! Not that impressed by the Ellington piece though, a rather rambling thing. And once you hear the real thing in the interval it makes you realise that no-one can imitate that.
Looking forward to JM going Latin in part two!

[Old Grumpy]

Looking forward to JM going Latin in part two!

Agree - much enjoying the Afro-Cuban influence



OG

[Braunschlag]

Yup, the Latin set certainly pepped things up. Morrison stole the show for me, but that was almost a forgone conclusion. He really does have astonishing stamina - an excellent example of circular breathing in Tunisia, golly gosh

[Old Grumpy]

Yep, must say I enjoyed his contribution the most. There is a no doubt Dianne Reeves has a great voice, but I could never see the attraction in scat singing - I'd rather hear the real thing. I suspect the BBCCO were having a ball!

[Lat-Literal]

Was going to watch this one tonight on the television and then I discovered it was broadcast on Friday night.

Suppose I can watch it on the I-Player but it isn't nearly as comfortable.

Do I not like the television scheduling of the Proms.

Would much prefer them all to be the on same nights every week rather than all over the place.

[CGR]

I did not enjoy it. It was bland and characterless. A concert for those who don't really know what modern jazz is or simply don't like it.

[LHC]

Was going to watch this one tonight on the television and then I discovered it was broadcast on Friday night.

Suppose I can watch it on the I-Player but it isn't nearly as comfortable.

Do I not like the television scheduling of the Proms.

Would much prefer them all to be the on same nights every week rather than all over the place.

The televised proms are on the same nights every week; there is a prom on BBC4 every Friday and Sunday.

[cloughie]

Yep, must say I enjoyed his contribution the most. There is a no doubt Dianne Reeves has a great voice, but I could never see the attraction in scat singing - I'd rather hear the real thing. I suspect the BBCCO were having a ball!

The string sound in Embraceable You was superb, but Dianne Reeves, whose albums I really rate, milked the vocals a little too much. Her recording of EY, on an album which is a tribute to Sarah Vaughan, is very good, as indeed was Ella's.

[Hornspieler]

I did not enjoy it. It was bland and characterless. A concert for those who don't really know what modern jazz is or simply don't like it.

.

Modern Jazz is the likes of trumpeter Miles Davis - lauded by his fans but quite unable to play more than 4 bars before running out of ideas and saxophonists Dexter Gordon and John Coltrane, who waggle their fingers all over the keys and have no idea of what is coming next.

This prom was highlighting the Swing Band Era - the likes of Benny Goodman, Harry James, Duke Ellington, Woody Herman- vocalists Billy Holliday, Peggy Lee, Sarah Vaughan and, of course, Ella Fitzgerald.; which followed on from whats we call Traditional Jazz, who were originally called Jas bands.

This concert was melodic as opposed to so-called Modern Jazz,: which can only be described as Spasmodic


HS

[doversoul1]

.

Modern Jazz is the likes of trumpeter Miles Davis - lauded by his fans but quite unable to play more than 4 bars before running out of ideas and saxophonists Dexter Gordon and John Coltrane, who waggle their fingers all over the keys and have no idea of what is coming next.

This prom was highlighting the Swing Band Era - the likes of Benny Goodman, Harry James, Duke Ellington, Woody Herman- vocalists Billy Holliday, Peggy Lee, Sarah Vaughan and, of course, Ella Fitzgerald.; which followed on from whats we call Traditional Jazz, who were originally called Jas bands.

This concert was melodic as opposed to so-called Modern Jazz,: which can only be described as Spasmodic


HS

Are you sure you don't want to delete this post?

[cloughie]

I did not enjoy it. It was bland and characterless. A concert for those who don't really know what modern jazz is or simply don't like it.

CGR, just out of interest what is modern jazz? I had an idea of what Modern Jazz was in the 60s, but 50 plus years on, has the definition changed? ...and if it hasn't changed is it really still modern?