Midnight on Cloud 69: Difference between revisions
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Shearing later wrote in 2004:<ref name=":0" /> |
Shearing later wrote in 2004:<ref name=":0" /> |
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{{Blockquote|text=Although it was a complete session of jazz titles—it contained hardly any standards—and because we played mostly originals, there was nothing for the listening public to catch on to and to understand that this was a new sound, a new approach to playing melodies. The sound was there in embryo, in fact the Quintet format was pretty well developed, but it was going to take something else for it really to catch on.}}He later stated that the album's title is a [[euphemism]] referring to the [[69 (sex position)|69 sex position]].<ref>{{Cite news |last=Chamberlain |first=Adrian |date=29 June 1996 |title=Let's quit squabbling and help the Belfry |url=https://www.proquest.com/docview/345619722 |url-access=subscription |access-date= |work=[[Times Colonist]] |location=Victoria, B.C., Canada |pages=1 |id={{ProQuest|345619722}} |quote="Bailey summoned up |
{{Blockquote|text=Although it was a complete session of jazz titles—it contained hardly any standards—and because we played mostly originals, there was nothing for the listening public to catch on to and to understand that this was a new sound, a new approach to playing melodies. The sound was there in embryo, in fact the Quintet format was pretty well developed, but it was going to take something else for it really to catch on.}}He later stated that the album's title is a [[euphemism]] referring to the [[69 (sex position)|69 sex position]].<ref>{{Cite news |last=Chamberlain |first=Adrian |date=29 June 1996 |title=Let's quit squabbling and help the Belfry |url=https://www.proquest.com/docview/345619722 |url-access=subscription |access-date= |work=[[Times Colonist]] |location=Victoria, B.C., Canada |pages=1 |id={{ProQuest|345619722}} |quote="Bailey summoned up the courage to ask whether the title had any, ah, sexual connotations. 'It certainly does,' declared Shearing. 'That's why it's there.{{' "}}}}</ref><ref name=":0" /> |
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== Reception == |
== Reception == |
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A review on 27 May 1957 in ''[[Billboard (magazine)|Billboard]]'' wrote that the album's tracks "have [a] life and swing that [the] commercial success of 'quintet sound' has since watered down [...] [the] Norvo tracks are a matter of delightful empathy; [[Charles Mingus|Mingus]] and [[Tal Farlow|Farlow]] enmesh well with leader, and all play solos of great rhythmic and melodic interest."<ref>{{Cite magazine |date=27 May 1957 |title=Packaged Records: Reviews and Ratings of New Albums - Jazz |url=https://www.proquest.com/docview/1040121570 |url-access=subscription |access-date= |magazine=[[Billboard (magazine)|Billboard]] |page=31 |volume=69 |issue=22|id={{ProQuest|1040121570}} }}</ref> Critic [[John S. Wilson (music critic)|John S. Wilson]], in 1959, called the Trio's playing "relatively fuzzy", as compared to their |
A review on 27 May 1957 in ''[[Billboard (magazine)|Billboard]]'' wrote that the album's tracks "have [a] life and swing that [the] commercial success of 'quintet sound' has since watered down [...] [the] Norvo tracks are a matter of delightful empathy; [[Charles Mingus|Mingus]] and [[Tal Farlow|Farlow]] enmesh well with leader, and all play solos of great rhythmic and melodic interest."<ref>{{Cite magazine |date=27 May 1957 |title=Packaged Records: Reviews and Ratings of New Albums - Jazz |url=https://www.proquest.com/docview/1040121570 |url-access=subscription |access-date= |magazine=[[Billboard (magazine)|Billboard]] |page=31 |volume=69 |issue=22|id={{ProQuest|1040121570}} }}</ref> Critic [[John S. Wilson (music critic)|John S. Wilson]], in 1959, called the Trio's playing "relatively fuzzy", as compared to their 1950 album ''Move!''<ref>{{Cite book |last=Wilson |first=John S. |author-link=John S. Wilson (music critic) |url=http://archive.org/details/collectorsjazzmo007898mbp |title=The Collector's Jazz: Modern |date=1959 |publisher=J B Lippincott Company |page=[https://archive.org/details/collectorsjazzmo007898mbp/page/n220/mode/1up 217] |oclc=191888 |access-date=}}</ref> |
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Geoff Chapman summarised Shearing's contributions on the album in 1993: "His timeless easy-on-the-ear has the delicacy of a combination of [[Teddy Wilson]] and [[Maurice Ravel]] and there's rare accompaniment in the form of vibist [[Margie Hyams|Marjorie Hyams]] and guitarist [[Chuck Wayne]]. There's Shearing originals among the eight tracks but his best work is reserved for 'Cherokee' and 'I'm Yours'."<ref>{{Cite news |last=Chapman |first=Geoff |date=19 June 1993 |title=Styles from traditionalists to lunatic fringe |url=https://www.proquest.com/docview/436843931/ |url-access=subscription |access-date= |work=[[Toronto Star]] |location=Toronto, Canada |page=8 |via= |issn= |
Geoff Chapman summarised Shearing's contributions on the album in 1993: "His timeless easy-on-the-ear has the delicacy of a combination of [[Teddy Wilson]] and [[Maurice Ravel]] and there's rare accompaniment in the form of vibist [[Margie Hyams|Marjorie Hyams]] and guitarist [[Chuck Wayne]]. There's Shearing originals among the eight tracks but his best work is reserved for 'Cherokee' and 'I'm Yours'."<ref>{{Cite news |last=Chapman |first=Geoff |date=19 June 1993 |title=Styles from traditionalists to lunatic fringe |url=https://www.proquest.com/docview/436843931/ |url-access=subscription |access-date= |work=[[Toronto Star]] |location=Toronto, Canada |page=8 |via= |issn=0319-0781 |id={{ProQuest|436843931}}}}</ref> |
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Richard Cook wrote in 1998 that the album sets Shearing "alongside two different groups, one with Hyams, Wayne, [[John Levy (musician)|Levy]] and [[Denzil Best|Best]], playing in the manner that brought him hits such as '[[Lullaby of Birdland]]', the other in the more demanding company of Norvo, Farlow and Mingus, although it's hardly a [[cutting contest]]. Titles such as 'Cotton Top', 'Be Bop's Fables' and 'Night and Day' still sound cooly pleasant."<ref>{{Cite book |last1=Cook |first1=Richard |url=https://archive.org/details/penguinguidetoja00cook_3 |title=The Penguin guide to jazz on compact disc |last2=Morton |first2=Brian |date=1998 |publisher=Penguin Books |edition=4th |location=London |page=1362 |chapter=George Shearing |isbn=978-0-14-051383-7 |oclc=1150979985 |access-date= |chapter-url=https://archive.org/details/penguinguidetoja00cook_3/page/1362/mode/1up |url-access=registration}}</ref> |
Richard Cook wrote in 1998 that the album sets Shearing "alongside two different groups, one with Hyams, Wayne, [[John Levy (musician)|Levy]] and [[Denzil Best|Best]], playing in the manner that brought him hits such as '[[Lullaby of Birdland]]', the other in the more demanding company of Norvo, Farlow and Mingus, although it's hardly a [[cutting contest]]. Titles such as 'Cotton Top', 'Be Bop's Fables' and 'Night and Day' still sound cooly pleasant."<ref>{{Cite book |last1=Cook |first1=Richard |url=https://archive.org/details/penguinguidetoja00cook_3 |title=The Penguin guide to jazz on compact disc |last2=Morton |first2=Brian |date=1998 |publisher=Penguin Books |edition=4th |location=London |page=1362 |chapter=George Shearing |isbn=978-0-14-051383-7 |oclc=1150979985 |access-date= |chapter-url=https://archive.org/details/penguinguidetoja00cook_3/page/1362/mode/1up |url-access=registration}}</ref> |
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| extra4 = George Shearing Quintet |
| extra4 = George Shearing Quintet |
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| title5 = [[Little White Lies (1930 song)|Little White Lies]] |
| title5 = [[Little White Lies (1930 song)|Little White Lies]] |
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| writer5 = [[Walter Donaldson]] |
| writer5 = [[Walter Donaldson (songwriter)|Walter Donaldson]] |
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| length5 = 3:50 |
| length5 = 3:50 |
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| extra5 = Red Norvo Trio |
| extra5 = Red Norvo Trio |
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| headline = Side B |
| headline = Side B |
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| title7 = [[Moon Over Miami (song)|Moon Over Miami]] |
| title7 = [[Moon Over Miami (song)|Moon Over Miami]] |
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| writer7 = [[Joe Burke]], [[Edgar Leslie]] |
| writer7 = [[Joe Burke (composer)|Joe Burke]], [[Edgar Leslie]] |
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| length7 = 3:13 |
| length7 = 3:13 |
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| extra7 = George Shearing Quintet |
| extra7 = George Shearing Quintet |
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* [[George Shearing]] – piano (1–4, 7, 9), accordion (8, 10)<ref name=":2">{{Cite journal |last=Reny |first=Bob |year=2014 |title=Good To The Last Bop |url=https://www.proquest.com/docview/1657419894 |journal=IAJRC Journal |volume=47 |issue=2 |pages=66–67 |issn=0098-9487 |url-access=subscription |access-date=|id={{ProQuest|1657419894}} }}</ref> |
* [[George Shearing]] – piano (1–4, 7, 9), accordion (8, 10)<ref name=":2">{{Cite journal |last=Reny |first=Bob |year=2014 |title=Good To The Last Bop |url=https://www.proquest.com/docview/1657419894 |journal=IAJRC Journal |volume=47 |issue=2 |pages=66–67 |issn=0098-9487 |url-access=subscription |access-date=|id={{ProQuest|1657419894}} }}</ref> |
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* [[Margie Hyams]] – vibraphone (1–4, 7, 9), piano (8, 10)<ref name=":2" /> |
* [[Margie Hyams]] – vibraphone (1–4, 7, 9), piano (8, 10)<ref name=":2" /> |
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* [[ |
* [[Chuck Wayne]] – guitar (1–4, 7–10) |
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* [[John Levy (musician)|John Levy]] – bass (1–4, 7–10) |
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* [[Denzil Best]] – drums (1–4, 7–10) |
* [[Denzil Best]] – drums (1–4, 7–10) |
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* [[Tal Farlow]] – guitar (5, 6, 11, 12) |
* [[Tal Farlow]] – guitar (5, 6, 11, 12) |
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[[Category:Red Norvo albums]] |
[[Category:Red Norvo albums]] |
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[[Category:Savoy Records albums]] |
[[Category:Savoy Records albums]] |
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[[Category: |
[[Category:1950s instrumental albums]] |
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Latest revision as of 05:02, 21 July 2024
| Midnight on Cloud 69 | ||||
|---|---|---|---|---|
 | ||||
| Studio album by George Shearing Quintet, Red Norvo Trio | ||||
| Released | 1956 | |||
| Recorded | 31 January 1949 (1–4, 7–10) May 1950 (11, 12) 13 April 1951 (5, 6) | |||
| Genre | Jazz | |||
| Length | 38:44 | |||
| Label | Savoy Records (MG 12093)[1] | |||
| George Shearing Quintet, Red Norvo Trio chronology | ||||
| ||||
| Review scores | |
|---|---|
| Source | Rating |
| AllMusic |   [2] |
| John Swenson |  [3] |
Midnight on Cloud 69 is a 1956 studio album by the George Shearing Quintet and the Red Norvo Trio.
Recording
[edit]The tracks by the George Shearing Quintet (numbers 1–4, 7–10) were recorded on 31 January 1949 for Discovery Records, following the formation of the quintet that year.[4][5] The Red Norvo Trio tracks were recorded in May 1950 (11, 12) and on 13 April 1951 (5, 6).[5] The Quintet tracks were originally released as an LP by Discovery (DL3002) in 1950.[6][7]
Shearing later wrote in 2004:[4]
Although it was a complete session of jazz titles—it contained hardly any standards—and because we played mostly originals, there was nothing for the listening public to catch on to and to understand that this was a new sound, a new approach to playing melodies. The sound was there in embryo, in fact the Quintet format was pretty well developed, but it was going to take something else for it really to catch on.
He later stated that the album's title is a euphemism referring to the 69 sex position.[8][4]
Reception
[edit]A review on 27 May 1957 in Billboard wrote that the album's tracks "have [a] life and swing that [the] commercial success of 'quintet sound' has since watered down [...] [the] Norvo tracks are a matter of delightful empathy; Mingus and Farlow enmesh well with leader, and all play solos of great rhythmic and melodic interest."[9] Critic John S. Wilson, in 1959, called the Trio's playing "relatively fuzzy", as compared to their 1950 album Move![10]
Geoff Chapman summarised Shearing's contributions on the album in 1993: "His timeless easy-on-the-ear has the delicacy of a combination of Teddy Wilson and Maurice Ravel and there's rare accompaniment in the form of vibist Marjorie Hyams and guitarist Chuck Wayne. There's Shearing originals among the eight tracks but his best work is reserved for 'Cherokee' and 'I'm Yours'."[11]
Richard Cook wrote in 1998 that the album sets Shearing "alongside two different groups, one with Hyams, Wayne, Levy and Best, playing in the manner that brought him hits such as 'Lullaby of Birdland', the other in the more demanding company of Norvo, Farlow and Mingus, although it's hardly a cutting contest. Titles such as 'Cotton Top', 'Be Bop's Fables' and 'Night and Day' still sound cooly pleasant."[12]
Shearing's piano solo on the title track has been said to have codified his "block-chord solo style" (sometimes called "Shearing voicing"), a number of years before Lennie Tristano's use of the style (exemplified on his 1956 album Lennie Tristano).[13]
Track listing
[edit]| No. | Title | Writer(s) | Performed by | Length |
|---|---|---|---|---|
| 1. | "Sorry Wrong Rhumba" | Leonard Feather[4] | George Shearing Quintet | 3:21 |
| 2. | "Cotton Top" | Chuck Wayne[5] | George Shearing Quintet | 2:50 |
| 3. | "Be Bop's Fables" | Leonard Feather[4] | George Shearing Quintet | 3:04 |
| 4. | "Midnight On Cloud 69" | Leonard Feather[4] | George Shearing Quintet | 3:10 |
| 5. | "Little White Lies" | Walter Donaldson | Red Norvo Trio | 3:50 |
| 6. | "I'm Yours" | Johnny Green, Yip Harburg | Red Norvo Trio | 4:11 |
| Total length: | 20:26 | |||
| No. | Title | Writer(s) | Performed by | Length |
|---|---|---|---|---|
| 7. | "Moon Over Miami" | Joe Burke, Edgar Leslie | George Shearing Quintet | 3:13 |
| 8. | "Cherokee" | Ray Noble | George Shearing Quintet | 2:44 |
| 9. | "Life With Feather" | Leonard Feather[4] | George Shearing Quintet | 3:11 |
| 10. | "Four Bars Short" | George Shearing[4] | George Shearing Quintet | 2:24 |
| 11. | "Time and Tide" | Red Norvo[5] | Red Norvo Trio | 2:37 |
| 12. | "Night and Day" | Cole Porter | Red Norvo Trio | 4:09 |
| Total length: | 18:18 | |||
Personnel
[edit]- George Shearing – piano (1–4, 7, 9), accordion (8, 10)[14]
- Margie Hyams – vibraphone (1–4, 7, 9), piano (8, 10)[14]
- Chuck Wayne – guitar (1–4, 7–10)
- John Levy – bass (1–4, 7–10)
- Denzil Best – drums (1–4, 7–10)
- Tal Farlow – guitar (5, 6, 11, 12)
- Charles Mingus – bass (5, 6, 11, 12)
- Red Norvo – vibraphone (5, 6, 11, 12)[5]
References
[edit]- ^ "Savoy Records Catalog: 12000 series - album index". www.jazzdisco.org. Retrieved 14 May 2024.
- ^ Midnight on Cloud 69 — AllMusic Accessed 15 May, 2024
- ^ Swenson, John (1999). Swenson, John (ed.). The Rolling Stone Jazz & Blues Album Guide. New York : Random House. p. 609. ISBN 978-0-679-76873-9. OCLC 39936528.
- ^ a b c d e f g h Shearing, George; Shipton, Alyn (2004). Lullaby of Birdland. New York: Continuum International Publishing Group. pp. 111–113. ISBN 978-0-8264-6015-8. OCLC 54079927.
- ^ a b c d e Midnight On Cloud 69 (Savoy Jazz MS 20bit Master Transfer Collection Limited Edition) (CY-18065) (Media notes). 1998. Archived from the original on 14 May 2024.
- ^ George Shearing Quintet — George Shearing Quintet (DL3002) (Media notes). Discovery Records. 1950. Archived from the original on 15 May 2024.
- ^ "George Shearing Quintet — George Shearing Quintet". Discogs.
- ^ Chamberlain, Adrian (29 June 1996). "Let's quit squabbling and help the Belfry". Times Colonist. Victoria, B.C., Canada. p. 1. ProQuest 345619722.
Bailey summoned up the courage to ask whether the title had any, ah, sexual connotations. 'It certainly does,' declared Shearing. 'That's why it's there.'
- ^ "Packaged Records: Reviews and Ratings of New Albums - Jazz". Billboard. Vol. 69, no. 22. 27 May 1957. p. 31. ProQuest 1040121570.
- ^ Wilson, John S. (1959). The Collector's Jazz: Modern. J B Lippincott Company. p. 217. OCLC 191888.
- ^ Chapman, Geoff (19 June 1993). "Styles from traditionalists to lunatic fringe". Toronto Star. Toronto, Canada. p. 8. ISSN 0319-0781. ProQuest 436843931.
- ^ Cook, Richard; Morton, Brian (1998). "George Shearing". The Penguin guide to jazz on compact disc (4th ed.). London: Penguin Books. p. 1362. ISBN 978-0-14-051383-7. OCLC 1150979985.
- ^ Aldridge, James (2 January 2018). "Tristano's Reichian Theory of Improvisation: Jazz of the Unconscious Mind". Jazz Perspectives. 11 (1): 17–18. doi:10.1080/17494060.2018.1528995. ISSN 1749-4060.
- ^ a b Reny, Bob (2014). "Good To The Last Bop". IAJRC Journal. 47 (2): 66–67. ISSN 0098-9487. ProQuest 1657419894.
