The Raney Legacy

Following up from my previous post Bill Evans Explained, I’d like to continue with my next subsection:

Personality/Identity

For me one simple measure of artistic personality is quick recognition without prior knowledge of the artist or recording being listened to. Use Ben Webster as a reference point. There’s no mistaking him. The piano is a more difficult instrument to establish an identity than a saxophone in part because of the nature of the instrument. There is less direct contact and control of the means of sound production. So if you can establish pianistic identity, it’s an important measure of achievement. Even great pianists can sometimes only be deduced rather than directly identified based on how they’ve decided to express themselves. This can happen in more traditional players who build on similar language lines that do not use any particular signature licks, mannerisms or have striking feel differences that stand out, for example, players like Tommy Flanagan or Hank Jones. There are some, but it is more nuanced than let’s say some of the players below like Garland, Peterson or Kelly.

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Following up on my previous post, The Bill Evans Question, I will discuss the aspects of Bill’s playing that raises him above nearly all of his contemporaries. I will also discuss some of the criticisms leveled against him.
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Although generally held in high regard by most, Evans has had his detractors even when he was considered the “it guy.” And recently, let’s say in the last 10-15 years, I’m finding less support for his contributions generally, more bashing on the latest jazz water cooler, jazz message boards, and (for some reason) belittling from certain geographies. …Continue Reading

A while back I had written about Ronnie Singer. For those of you who don’t know, he is sort of a gap in the jazz continuum that might’ve altered how jazz guitar developed had he lived. Because his sound is similar (he is using the same guitar as Jimmy, the Gibson ES 150 and he uses similar slurring techniques), you might at first mistake him for Jimmy when you listen to him. But his approach is a bit more direct and active and, unlike almost any other jazz guitarists at the time (save Jimmy), much more fluent in the “real deal” vocabulary of bebop and its proper execution. For example, to my ears, he and Dad were the only jazz guitarists at that point making frequent use of the alternate tritone progression (bVI-bII7). You notice it right out of the box on Tea for Two (in tape key of Ab?) when he plays on an E-7 lick over Eb7 (aka altered dominant).

He was active on the jazz scene first in Chicago in the 40s and then New York in the late 40′s and 50s. He and Dad knew each other during that time. My father held him in highest esteem. It’s actually too bad I didn’t speak with him in depth about their relationship but I may do a follow up after I speak with my brother, Doug who may have heard some more stories.

Recently thru the internet I’ve come into contact with Ronnie’s sister, Joyce Glantz who has made the rounds on my site and some others on the subject of Ronnie. She also (re)pointed me to a prior email contact of mine, guitarist Axel Hagen. Hagen, although not so well known here, is established on the scene in the Netherlands and Germany and is a fine guitarist. He has a new website and a whole page tab devoted to Ronnie Singer AND has the additional lost cuts of Ronnie Singer. Originally there were only 3 available on the net thru guitarist Felix Lemerle. Axel’s site has 7. There are pictures that have never been seen from Ronnie Singer’s childhood. He also has some interesting stories to tell on the search for Ronnie Singer. In 1993, the year of Jimmy’s stroke he managed to spend an entire afternoon discussing music with Jimmy, and the subject of Ronnie Singer came up. Axel had been there to to talk with his idol Jimmy and he had previously never heard of Ronnie. Dad referred to the tape he had received from a friend that had Ronnie on it (which he let me listen to in 1985 when I was staying with him in Louisville), but he could not locate the tape for Axel. At the point my father’s house was in chaos, so I have no doubt it would’ve been hard to find. This was the starting point of Axel’s quest for the lost Ronnie Singer music.

Here is the link to Axel’s Ronnie Singer page. The actual recordings of Ronnie can be heard on the recordings subtab. If you don’t know already these are the only known recordings of Ronnie and the quality is poor. Nevertheless they are a wonderful document. Axel has posted his transcription of Ronnie’s Solo to “All the Things You Are” on the site as well.

So thanks to Axel, Joyce for continuing to keep the legend of Ronnie going. Hopefully more info will surface in the future.

My brother Doug was born Aug 29, 1956. I was on a bus tour of Canada this week and was unable to make the entry on Wednesday.

But let us take today to appreciate my brother’s contribution to the art of jazz guitar. He is still one of the finest that have ever played, displaying the hallmarks of any great jazz artist – timing, feel, sound and authentic jazz feeling. These are somewhat rare commodities these days.

We should also be celebrating his recent comeback to the jazz scene and the great reviews he has been receiving. Long overdue. Welcome back, Doug!

At left is a picture of Doug when he was beginning his journey into the jazz scene at around age 19.

(photo by Raymond Ross)

Today Aug 20, 2012 Jimmy would’ve been 85.

It’s hard to believe that it’s been 17 years since his passing. Every year I have to pinch myself that I was so lucky to have someone so brilliant in my life, whose work has touched and inspired not only me and my brother Doug but many, many musicians both young and old. I continue to marvel at his genius and hope that more and more people begin to appreciate this under-appreciated, soft-spoken man who just was able to cut through all the bullshit and deliver the truth, whether from his words or his guitar.

Those of you who know me and the significance of this date in time, review all the tabs on this website. You will find some changes and surprises.

All the best

Jon

Scott was a great musician, guitarist and friend. Haven’t seen him for some time and I learned the distressing news that he had multiple cancers,  that he elected to not treat it in the end and to just continue with end of life care. Many people, including me had no idea about what was going on with him aside from some personal difficulties he was experiencing in the latter stages of his life.

He is the guitarist featured in the 1993 Louisville clinic videos I have on my youtube page . He is also interviewed in Glen Hodges’ Jimmy Raney thesis work.

When I was woodshedding in Louisvlle in 1985 we frequently hung out and jammed and were on a few gigs together. We also played on Dad’s memorial. He and Dad did many duet gigs together and often subbed for each other.

He will be missed by all. So tragic to die so young.He was 53.  Scott Henderson  Obituary

FYI- He should not to be confused with the jazz fusion guitarist, Scott Henderson who is still living.

Below is an excerpt from a Louisville weekend section article from 1985.

A Tale of two guitarists: Jimmy Raney and Scott Henderson

Bach’s “Goldberg’s Variations” poured from the stereo speakers in jazz
guitarist Jimmy Raney’s East End apartment.

Sitting on a couch between the speakers was guitarist Scott Henderson,
shaking his head and marveling at the music’s intricate patterns.
“Scott’s about the only young jazz guitarist I know who likes to come over
here and listen to classical music with me.” Raney said.

But Raney and Henderson have a lot more in common than their love of
classical music.

Henderson, 27, has been an ardent fan of Raney’s music ever since
Henderson’s family moved to Louisville during the early 1970s. Back then, he
sought out the world famous guitarist and became one of his pupils. Last
week, Henderson and Raney began playing together as a guitar duo on Sundays
at the Phoenix Hill Tavern, 644 Baxter Ave.

Henderson, who graduated from Westport High School in 1976, has come a long
way since the days when he was so enamored by Raney’s playing he transcribed
an entire book of his recorded solos.

In recent years Henderson has traveled all over the United States and Europe
playing and teaching jazz – but Raney is still his favorite guitar player.

“I’ve always wanted to make my guitar sound clean and precise like a
trumpet. I think Raney was the first jazz guitarist to get that kind of
sound and feel,” Henderson said.

Raney, who is a Louisville native, patterned his revolutionary guitar style
after the bebop lines of alto saxophonist Charlie Parker. Raney’s
“horn-like” improvisations on recordings with jazz greats like Stan Getz,
and Red Norvo during the late 1940s and early 1950s were an important part
of the evolution of the jazz guitar.

Henderson said that Raney’s style is very compatible with his own.

“I’ve studied a lot of Jimmy’s music over the year’s,” Henderson said.
So, I’m very familiar with his technique. One of my friends said the other
day that when we play together we almost sound like one guitar.
That’s really the effect we’re shooting for.”

Raney added, “It’s a traditional thing for two guitars to play together.
I even made an album in Jamey Aebersold’s play-along series called “Play
Duets with Jimmy Raney,” for guitar players who live out in the boondocks
and don’t have another guitar player to play with.

“The guitar is a ‘complete’ instrument like the piano. But it doesn’t have a
piano’s overbearing tonal qualities. Two guitars blend well together,” he
said.

The music Henderson and Raney create can be compared to classical chamber
music, Henderson said. “We play a lot of standards like ‘There Will Never Be
Another You’ and ‘Our Shining Hour,’ plus a few originals.
But it’s different from a lot of jazz you hear. We play many lines in
counterpoint. And the volume is down real low.”

Henderson just returned from New York City, where he led a trio with another
Louisvillian, drummer Mark Plank. “Since I’ve been back in town, I’ve been
playing all the Broadway Series shows. I get a lot of calls for those jobs
because I read music well and can fit right in,” he said.

But Henderson never intends to become just another everyday studio musician:

“I know if I got involved with that studio nonsense it would hurt my
playing. I think that it’s important that there are people around like me
determined to play jazz. Jazz is the most significant art form of the 20th
century, and someone has to keep it alive,” he said.

In the near future Henderson hopes to go back to New York City and record a
jazz album with an all-star rhythm section.

Raney said he was very happy to see his former pupil doing so well.
“He’s really come through the process perfectly. He has good phrasing and
ideas, plus originality,” he said.
Henderson, who has eclectic musical loves, has composed a ballet; his tastes
in classical music range from Bach to Charles Ives. He said that jazz is an
international language.

“Last year when I was teaching jazz in Europe with Jamey Aebersold, some of
the musicians I encountered couldn’t speak English well, but they knew all
these jazz tunes. We couldn’t communicate verbally, but as soon as we
started playing, bang! They were right on it. They were familiar with the
jazz style, the stock endings, everything.”

Danny O’Bryan
The Louisville Times “SCENE Magazine
Sept 7, 1985

Teddy Charles was a frequent collaborator and ardent supporter of Jimmy Raney in the 50s and early 60s.  They also did work together with Bob Brookmeyer who also recently just past away.  And all of them were part of the jazz loft scene in NYC.. Teddy was among the innovative thinker/composers during the day along with Mingus and Miles that  paved the way for compositional styles to come, which involved long expositional sections and interwoven improvisations.  His style I find echoed in the later work of the late Gary MacFarland. Teddy never made it big and along with many jazz players in the sixties, faded from view. He changed careers and became a ship captain but he still played local gigs . Although he didn’t know this, it was a stated wish of mine to interview him about his experiences with Dad before he passed. Now unfortunately I have to live with that regret and never having met him personally.  Teddy will be missed by all. There was a retrospective on WKCR the other morning. For more information on Teddy see this article on npr site.

I was late to discover this unfortunately. Bob died of cardiopulmonary arrest just short of his 82nd birthday on Dec 16th, 2011 in New Hampshire. He was quite active at the end and I interviewed him earlier this year about Dad and life. I kind of picked up on a personal dichotomy; on the one hand he described to me having finally arrived at marital bliss with Janet and a beautiful home in NH and a new record in the works, he nevertheless had political concerns about this country and I thought I picked up on a certain amount of general restlessness. He has made a home in many places both here and abroad. Perhaps some of that is a given in this case. I never got his approval on the final transcript but I intend to release it posthumously with any incriminating names or references made removed (he had strong opinions:)).

Obviously his connection to my father was primary. His closest friends/colleagues in no particular order were Stan Getz, Bob Brookmeyer, Jim Hall, Attila Zoller, Red Mitchell, Teddy Kotick, Hall Overton and Howie Collins.

Below is the NPR broadcast about him:

Bob Brookmeyer/NPR broadcast

Bob was an exceptional trombonist, arranger, pianist and composer and he will be missed.

Mariah sings beautiful on this very short duet with Tony Bennett. I also love the sections where she rounds out Tony’s tone in the upper register when they sing together. Yes there is the R&B flavoring but so what. Good singing is good singing!

Mariah surprised me as well as a few other pop vocalists on Duets II album. The real standout on the album was Amy Winehouse’s Body and Soul though. She was channeling Dinah and Billie on this. Given it was her very last recording, very poignant as well.