SidneyBechet_JazzClassics_Vol_1_BLueNote_aThere’s not much I can tell you about the most influential of all jazz labels which hasn’t been said already by all those experts.

Anyway, today is the very day when Mr. Alfred Lion, “Blue Note’s” imaginative founder (together with photographer & initial financier Max Margulis), produced the very first recording session for *thee* jazz label among all jazz labels:

Albert Ammons & Meade “Lux” Lewis (p) – NYC, January 6, 1939.

Since I’m not a big fan of boogie woogie, I will post two tracks from a later, an equally legendary session, which resulted in a minor hit.

Hear now the fabulous Sidney Bechet Quintet from June 8, 1939, and their dreamy version of “Summertime”. — Sidney Bechet (ss) Meade “Lux” Lewis (p) Teddy Bunn (g) Johnny Williams (b) Big “Sid” Catlett (d) — NYC, June 8, 1939.SidneyBechet_JazzClassics_Vol_1_BLueNote_label_a

– We will have another anniversary later this year, also connected to “Blue Note”:

On December 29 in 1944, Sidney Bechet’s Blue Note Jazzmen waxed this similarly timeless number:

“Blue Horizon”. — Sidney DeParis (tp) Vic Dickenson (tb) Sidney Bechet (ss, cl) Art Hodes (p) Pops Foster (b) Manzie Johnson (d) — WOR Studios, NYC, December 20, 1944.

Both tracks – fortunately not yet remastered by Rudy Van Gelder! – can be found on the same 10″-LP whose cover & label I have posted above. And they got exclusively featured in one of my favorite films: Hart’s War (2002).

P.S. — Here’s the all-time greatest “Blue Note” hit, star-trumpeter Lee Morgan’s “The Sidewinder” from 1963. — Its suggestive rhythm made such an impact that Lee had to include such kinda sound in each of his subsequent albums for the label; alas, none of those items became as famous and sold as well as this groovy number which reflected perfectly Mr. Lion’s famous motto:

“It must schwing!” …or, as Miles Davis has put it (on Cannonball Adderley’s legendary album “Somethin’ Else” (Blue Note, 1958):

“Is that what you wanted, Alfred?”


Posted in Anniversary, Blogging is swell!, Blue Note (label), Blues, Dedication, George Gershwin, Jazz History Lecture, Jazz Stories & Tales, Invented Truths & Actual Happenings, Sidney Bechet | Tagged , , , , , , , ,


Blog owner’s note: It’s recommended a) to watch this directly at JazzTube and b) to increase the volume of your speakers;)

“WHIRLYBIRD” (Neal Hefti) – Count Basie & His Orchestra (1965)

Eddie “Lockjaw” Davis (ts) & Rufus “Speedy” Jones (d).

And now, fasten your seat belts!

Here’s a terrific P.S. by “The Real Group”, who did a Basie Medley (“Whirlybird” is the last tune) ‘Live’ in Stockholm in 2006:

Posted in Jazz Stories & Tales, Invented Truths & Actual Happenings

Brewfred Litchcock says: HAPPY NEW YEAR 2013 !!!

Posted in Jazz Stories & Tales, Invented Truths & Actual Happenings

KLATSCHEN – AUF WIEDERSEHN 2013 !!! — KLACT-OVEEDERS-TENE to 2013 !!! — We’ll see, err, *read* us again next year ;)

BrewLites4SwinginMonks_1– PREFACE –

BREW LITE’s 4 SWINGIN’ MONKS @Billiard Café and their bizarre versions of “Klact-Oveereds-Tene” & “Friday The 13th” …

…extra composed for this occasion by Thelonious Sphere Monk, on Thursday, the 12th of December 2013.

Important note: Yes! — The history of jazz needs to be rewritten in large part.
Jaaa, jaaa!!!

BIRD SAYS: “No! It’s ‘Klact-oveeders-tene’!”



…but only for the die-hard, mostly humorless, or fanatic Bird addicts, and followers:

This little essay is of course all in fun. Nevertheless could further reading damage your (narrow-minded) conception of (Bird’s) world.

Charlie Parker, and his life were not all tragic, nor was he a bebop desperado, or an uptight intellectual; no, he was a human being who loved to laugh, and to live, and to love.

You can study some of the more easily explainable reasons for his choice of titles at Marc Myers’ JazzWax once again, namely at the thread where jazz critic, and “ornithologist” Ira Gitler successfully has verified the origins of Bird’s often rather cryptic, and mysterious, sometimes just very comic titles.

Feel free to click on HERE

And so, we’ll all be fit to go on further now:

Main Theme – Part ‘A-1′

As a German, and big Charlie Parker fan, I’m fully informed about the true meaning, and origin of one of Bird’s most beautiful compositions, commonly known as “Klact-Oveeseds-Tene” (misprinted on earlier releases as ‘Klact-Oveedseds-Tene’):

It is Charlie Parker’s onomatopoetic way of saying — and now, sisters & brothers, hold your hats: ‘Klatschen – Auf Wiederseh’n!’ — Which is indeed “a sound”:

Clapping – See you! —> Klatschen (Klact) Auf (o) Wie (wee) dersehn (seds-tene).

Here’s an excerpt from the liners to Vol. 5, “Bird On Dial” (SPOTLITE-LP 105). Please click to enlarge:

(Side-note: Ross Russell’s book is very subjective and filled with inaccuracies, as Dizzy stated himself in a German TV show, when he was asked about “Bird Lives” by Mr. George Gruntz, the famous Swiss jazz orchestra leader: “That book is full of lies! – It’s all lies in this book!” — He was obviously very angry.

Diz abruptly started to warm up a second later, and wasn’t available for any questions anymore. Hank Jones played the piano then, and yours truly had watched the whole show live (in real time!) on TV.

“Dizzy Gillespie in concert” — Moderation: George Gruntz — Stadthalle Leonberg, 1987″ — ZDF Jazz Club.

It’s unfortunate that Clint Eastwood’s film Bird (1988) was founded almost solely on Mr. Russell’s book.)

Main Theme – Part ‘A-2′

Ken Vail is mentioning the theory of “Klact’s” highly probable origin in “Bird’s Diary” on page 33:

“Bird rarely bothered to name his compositions, but when Ross Russell later pressed for titles for this session Bird came up with an unexplained title for the second number which he wrote out on the back of a Three Deuces $2 minimum charge card – Klact-oveeseds-tene. Red Rodney maintains that Bird was dabbling with German. Klatschen – clap, applause; Auf wiederseh’n – goodbye.”

But there is more to that story:

Main Theme – Part ‘B’

If you compare Bird’s handwritten title (and it’s a proven fact that he himself has written this with his own hand), if you compare this title and the letter “s” with his “r’s” on another handwritten document (a letter to Ross Russell) you will notice that the letter, of which generations of fans, and critics, and scientists have believed it would be an “s”, is in fact an “r”.

So, let’s take the “Klact” like in “Klatsch(en)” as a given truth, and concentrate on the remaining syllables “oveereds-tene”:

Auf Wieder… —> o-veered… — …seh’n —> …s-tene.

Now, speak it out loudly, and a bit diffidently: “KLACT-OVEEREDS-TENE”, and you will hear the same what Charlie Parker heard when a German was clapping his hands, and said ‘see you’:

“Klatsch(en) – Auf Wiedersehen!”

Main Theme – Part ‘A-3′

Since some Anglo-American native speakers occasionally tend to scramble letters in German words:

“Oveered” would become “oveeder” which would so retransform to a completely logical “Auf Wieder…”

(Side-note: How often was my last name involved in this, and I had to read Mr. Liecht, instead of the correct “Leicht”?)


Both of Bird’s handwritten documents I am referring to can be compared here:

Miles Ahead: Klact-oveeseds-tene vs. Klact-oveereds-tene

The only recorded takes of Klact-oveereds-tene (a.k.a. Klact-oveeseds-tene) can be heard here:

Klact-oveereds-tene x 2

Personnel, location & date: Miles Davis (tp) Charlie Parker (as) Duke Jordan (p) Tommy Potter (b) Max Roach (d) – WOR Studios, NYC, November 4, 1947

P.S. — If you would enlarge the screenshot of Bird’s handwritten title, you could possibly see that he overwrote the last type (which was originally a small “n”) with a small “e”; also typical for English speaking to say rather “Auf Widdersenn”, and not like we Germans “Auf Wiedersehn“, the first and the last syllable spoken out longer.

Posted in Jazz Stories & Tales, Invented Truths & Actual Happenings | 1 Comment


max1314607194-front-coverSince I’ve heard Bill Evans’ “Waltz For Debby” for the very first time (’round 1981, when I was in love with a certain Katinka Zemlinski) I can’t get enough of it.

For finishing 2013 in a peacefully swinging way, I’ve collected the most interesting renditions of this beautiful gem for your listening and watching pleasure.

Now, here they are (a load of thanks to JazzTube!), all those waltzes for little Debby, instrumentally performed by Bill Evans; then with English & Swedish lyrics, interpreted by Johnny Hartman, Monica Zetterlund, Tony Bennett, The (really wonderful!) Real Group, and Eliane Elias who provides the latest rendition of “Waltz For Debby”.

Blog owner’s note: Feel free to click on the links, they will lead you to LP’s/ CD’s, or to the discographies/ websites of some of the performers.


Yours truly,

Bill Evans (solo), “New Jazz Conceptions”, September 27, 1956:

Bill Evans (p) Scott LaFaro (b) Paul Motian (d), Village Vanguard, NYC, 1961:

Johnny Hartman (voc) Hank Jones (p) Richard Davis (b) Osie Johnson (d) Willie Rodriguez (perc) – September 22 & 24, 1964 ->>>—–> Important note: The video itself has a weird picture, but the sound is much better than at the other, featuring the album cover; so, please click on the cover… it will open in a new browser window. ;) :


Bill Evans (p) Chuck Israels (b) Larry Bunker (d) – BBC Studios, London, March 19, 1965:


TV broadcast with Monica Zetterlund & The Bill Evans Trio, 1965; plus some comments by the older Monica:

– Swedish lyrics by Beppe Wolgers:

Enkel, vacker, öm
Är min vals melodi
min vals fantasi
En sång i en dröm.
Sakta morgon ljus
strömmar över vårt fönster, ritar ett mönster på alla hus
Just den dag, den vackra dag jag lärde mig säga vi
kom den till världen min vals melodi
Enkel, Vacker, öm
Och den påminner mig om hundratals dar som jag varit med dig
Både vinter och vår och i höst och igår
Våra dagar är bara för korta, plötsligen ringer min klocka
Upp med dig klockan är åtta
Väldig, vänlig, stark
Kommer solen med dagen den vackra staden badar i ljus
Väldig, vänlig, stark har du visat mig världen
för mig så är den vacker och ljus
På oss två väntar miljoner dagar
Åh här är vi och världen sjunger min vals melodi
Enkel, vacker, öm
valsen påminner mig om hundratals dar som jag varit med dig
Både vinter och vår, och i höst och igår
Och alla dagar som kommer, Nu är det sommar i tusen år.

Monica Zetterlund (voc)  Bill Evans (p)  Eddie Gomez (b)  Alex Riel (d) – Rehearsal, Copenhagen, October 1966:

Tony Bennett & Bill Evans, 1975:

– English lyrics by Gene Lees:

In her own sweet world
Populated by dolls and clowns
and a prince and a big purple bear.

Lives my favorite girl,
unaware of the worried frowns
that we weary grown ups all wear.

In the sun she dances to silent music,
songs that are spun of gold
somewhere in her own little head.

One day all too soon
she’ll grow up and she’ll leave her dolls
and her prince and her silly old bear.

When she goes they will cry
as they whisper “Good-bye.”
They will miss her I fear
but then so will I.

The Real Group, Stockholm 2006:

Eliane Elias (p, voc) Marc Johnson (b) Adam Nussbaum (d) — 2008:

Erroll Garner_Plays MistyFor an equally marvelous P.S., here’s “The Real Group” again (singing with themselves), and their masterful, very emotional interpretation of Erroll Garner’s timeless “Misty”:

2nd P.S. — Erroll Garner should have the very last word, don’t you agree? — Listen to his original “Misty”:

Posted in Jazz Stories & Tales, Invented Truths & Actual Happenings | 1 Comment

John Coltrane – GREENSLEEVES – 1961

Blog owner’s recommendation: Click on the YouTube-logo for a better sound ;)

John Coltrane — soprano and tenor saxophone
Pat Patrick — baritone saxophone
Freddie Hubbard, Booker Little — trumpet
Julian Priester, Charles Greenlee — euphonium
Bill Barber — tuba
Garvin Bushell — piccolo, woodwinds
Julius Watkins, Jim Buffington, Bob Northern, Donald Corrado, Robert Swisshelm — French horn
Eric Dolphy — alto saxophone, bass clarinet, flute & arranger
McCoy Tyner — piano & arranger
Reggie Workman — bass
Elvin Jones — drums

Recorded May 23, 1961

This wonderful track can be found on the fabulous Impulse album “Africa/Brass”


JohnColtrane_AfricaBrass_Vol_2– Here’s the alternate take:

Posted in Jazz Stories & Tales, Invented Truths & Actual Happenings


And, as a little contemporary P.S. our this year’s version of “Winter Wonderland”, as played by “Brew Lite’s 4 Swingin’ Monks” at a private Christmas party in the “Billiard Café” in Cologne’s beautiful, but not yet too winterly Bay-In-Valley:

Posted in Jazz Stories & Tales, Invented Truths & Actual Happenings