Daily Dose Of Jazz…

Herbert Joos was born on March 21, 1940 in Karlsruhe, Germany. He learned trumpet first by self-study and then by a private teacher. He studied double bass from 1958, but then turned to flugelhorn, baritone horn, mellophone, and alphorn.

Since the mid-1960s, he has been a member of Modern Jazz Quintet Karlsruhe, from which the group Fourmenonly was created with Wilfried Eichhorn and Rudolf Theilmann. Afterward, he was a member of various modern and free jazz formations with Bernd Konrad, Hans Koller, Adelhard Roidinger and Jürgen Wuchner among others. He played at festivals and in the Free Jazz Meeting Baden-Baden of the SWF at a flugelhorn workshop with Kenny Wheeler, Ian Carr, Harry Beckett and Ack van Rooyen and made a name for himself with his solo recording, The Philosophy of the Flugelhorn in 1973.

He led his own wind trio, quartet and orchestra. He achieved more recognition in the 1980s as a member of the Vienna Art Orchestra, which he influenced. Since the 1990s he has participated in the SüdPool project. He has appeared as a duo with Frank Kuruc as well as in Patrick Bebelaar’s groups, for Michel Godard, Wolfgang Puschnig, Clemens Salesny and Peter Schindler. He also played with the Orchestre National de France.

In 2017, he was awarded the Jazzpreis Baden-Württemberg for his life’s work. Instead of a speech after the laudations, he thanked in a short phrase, and played a concert with a sixteen piece orchestra.

Herbert Joos, who produced drawings, book illustrations and paintings, died on December 7, 2019 after surgery in a Baden-Baden, Germany hospital.

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Jazz Poems

COLTRANE, SYEEDA’S SONG FLUTE

When I came across it on the 

piano it reminded me of her, 

because it sounded like a 

happy, child’s song.

COLTRANE

To Marilyn, to Peter,

playing, making things : the walls, the stairs,

the attics, bright nests in nests;

the slow, light, grave unstitching of lies,

opening, stinking, letting in air

you bear yourselves in, become your own mother

and father,

you own child.

You lying closer.

You going along. Days.

The strobe-lit wheel stops dead

once, twice in a life: old fashioned rays:

and then all the rest of the time pulls blur,

only you remember it more, playing.

great things of us all, I think wwe will all, Coltrane,

meet speechless and easy in Heaven,our names

known and forgotten, all dearest, all come

giant-stepping

out into some wide, light, merciful mind..

Coltrane, 40, gone

right through the floorboards,

up to the shins, up to the eyes,

closed over,

Syeeda’s happy child’s song

left up here, playing.

JEAN VALENTINE

from Jazz Poems ~ Selected and Edited by Kevin Young

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Daily Dose Of Jazz…

Karel Velebný was born March 17, 1931 in Prague, Czechoslovakia and at seven years old, he played piano and at fifteen was a modern jazz enthusiast who taught himself to play alto saxophone. He graduated from Gymnasium then studied drumming at the Prague Conservatory, making his first public performance as a student, and became a full-time professional as soon as he graduated.

From 1955 to 1958 he played with Czech jazzman Karel Krautgartner’s orchestra, then joined contrabassist Luděk Hulan to co-found Studio 5, which became the key ensemble of modern Czech jazz. He continued to work with Krautgartner until the latter emigrated in 1968.

In 1960, the Studio 5 ensemble was absorbed by the Dance Orchestra of Czechoslovakia Radio, but Velebný and the original Studio 5 members soon quit. In 1961, he and flautist Jan Konopásek co-founded SHQ, initially part of the Spejbl and Hurvínek Theatre thus Spejbl and Huvínek Quintet, but later began taking independent performances.

SHQ became one of the most important bands in Czech jazz history. He was its leader, composer, arranger, played as a multi-instrumentalist and taught the younger band members. SHQ’s instrumental line-up and membership changed frequently. Karel played with various Czech jazz ensembles, including Kamil Hála’s orchestra, the Linha Singers ensemble and with other regular collaborators.

As a composer, Velebný concentrated solely on jazz, in compositional styles and arrangements reminiscent of Gerry Mulligan, Chick Corea, Gary Burton and Benny Golson. He wrote mainly for his own ensembles notably Studio 5 and SHQ but also for the Kamil Hála Orchestra, the Karel Vlach Orchestra and others.

In 1978 he was invited to the Berklee College of Music, where he studied jazz teaching and the different approaches of European and American jazz. He organized and led the Summer Jazz Workshop in Frýdlant, Czech Republic until his death. As a teacher, he emphasized knowledge of techniques which could be broadly applied on jazz standards. He also wrote the specialist jazz textbook The Jazz Practical.

Diagnosed with a serious heart disease he was forced to quit as a saxophonist and vibraphonist and was restricted to piano. On March 7, 1989 vibraphonist, pianist and saxophonist Karel Velebný,who was also a composer, arranger, actor, writer and music pedagogue and one of the founders of modern Czech jazz in the second half of the 20th century, died in Prague.

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Daily Dose Of Jazz…

Keith Rowe was born March 16, 1940 in Plymouth, England. He began his career playing jazz in the early 1960s with Mike Westbrook and Lou Gare. His early influences were guitarists Wes Montgomery, Charlie Christian, and Barney Kessel. Growing tired of what he considered the genre’s limitations he began experimenting, stopped tuning his guitar and began playing free jazz and free improvisation.

Rowe developed prepared guitar techniques: placing the guitar flat on a table and manipulating the strings, body, and pick-ups in unorthodox ways. He has used needles, electric motors, violin bows, iron bars, a library card, rubber eraser, springs, hand-held electric fans, alligator clips, and common office supplies in playing the guitar.

Rowe has worked with Oren Ambarchi, Burkhard Beins, Cornelius Cardew, Christian Fennesz, Kurt Liedwart, Jeffrey Morgan, Toshimaru Nakamura, Evan Parker, Michael Pisaro, Peter Rehberg, Sachiko M, Howard Skempton, Taku Sugimoto, David Sylvian, John Tilbury, Christian Wolff, and Otomo Yoshihide.

Guitarist Keith Rowe, who was a founding member of both AMM in the mid-1960s, M.I.M.E.O. and is seen as a godfather of EAI electroacoustic improvisation, continues to compose, record and tour.

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JAZZ POEMS

ONE O’CLOCK JUMP

Still tingling with Basie’s hard cooking

between two sets I stood at the bar

when the man next to me ordered

scotch and milk. I looked to see who had

this stray taste and almost swooned

when I saw it was the master.

Basie knocked his shot back,

then, when he saw me gaping,

raised his milk to my peachy face

and rolled out his complete smile

before going off with friends

to leave me in that state of grace.

A year later I was renting rooms

from a woman named Tillie who wanted

no jazz in her dank, unhallowed house.

Objecting even to lowest volume of solo piano,

she’d puff upstairs to bang on my door.

I grew opaque, unwell,

slouched to other apartments,

begging to play records.

Duked, dePrezed, and unBased, l

onging for Billy, Monk, Brute, or Zoot,

I lived in silence through

that whole lost summer.

Still, aware of divine flavor, I bided time

and waited for the day of reckoning.

My last night in Tillie’s godless house,

late—when I knew she was hard asleep—

I gave her the full One O’Clock Jump,

having Basie ride his horse of perfect time

like an avenging angel over top volume,

hoisting his scotch and milk as he galloped

into Tillie’s ear, headlong down her throat

to roar all night in her sulphurous organs.

PAUL ZIMMER | 1934

American Society of Journalists and Authors Open Book Award

from Jazz Poems ~ Selected and Edited by Kevin Young

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