Feature Friday Q&A With Gerald Cannon Part II

If you missed our last chat with the remarkable renaissance man Gerald Cannon, be sure to read it here. And today, the conversation continues as we learn more about his early stages as a musician!

JK: I saw online that your first college major was physical education, which makes me wonder, when you were a child, what did you dream of becoming when you grew up?

GC: Well, I played basketball and football in high school and junior high school and I was pretty good at it, I guess, so I had a partial scholarship to the University of Wisconsin LA Crosse. I played basketball and my mother played basketball and my father played basketball. We all play basketball. One of my cousins retired from the Cleveland Cavaliers—who Kathy knows very well—James Jones. He used to babysit me and my brother, so we were a very athletic family. 

JK: Yeah, sounds like it. So, did you want to become an athlete originally?

GC: Originally I was going to be a gym teacher—physical education. And during my time at the University of Wisconsin La Crosse, I started taking upright bass as an elective and I just fell in love with it. I was therr for 1 year then I transferred to the Wisconsin Conservatory of Music. 

JK: So, would you say then that your childhood dream came true?

GC: Yes, definitely. You know, from 9 to 18, I was only allowed to play in church with my father and I could practice with all the local bands but my dad wouldn’t let me join any of them until I was 18. So, I did my first gig when I was 18. We were one of the local bands in Racine, WI.

JK: Was that with a jazz band?

GC: No, that was a R&B funk band.  

JK: And then what brought you to jazz?

GC: I’ve been listening to it my whole life. My parents listened to gospel and jazz. My bother was really the one who—when we were of age to start buying our own records—he was totally into jazz and always buying jazz records. My mother gave me my first jazz record when I was 12 or 13 and it was a John Coltrane record called Africa/Brass and that just blew me away. 

If you’re still eager for more Gerald Cannon, you can listen to him play in the album My Ship, which is available in our store and on all major music platforms today!

Feature Friday Q&A with Gerald Cannon

Feature Friday Q&A with Gerald Cannon

Happy Friday! You made it to the end of the week! Gosh, it sure does feel good, doesn’t it? And the cherry on top is that we have the first installment in a brand-new Feature Friday Q&A series! This time, we’re interviewing the musician, composer, and painter Gerald Cannon.

Jazz bassist Gerald Cannon has performed all over the world with Roy Hargrove’s band, made his debut in the New York City visual art world, and is currently an instructor at the Julliard School and Oberlin College and Conservatory.  

But before all of those accomplishments, he was just a boy growing up in Racine, Wisconsin. Read the interview to learn more about his formative years.

JK: I read online that your initial inspiration was your father Benjamin, who was a guitarist, and bought you your first bass. So, I’m guessing that music was a big part of your household growing up?

GC: Oh yeah, constantly. My father had a gospel quartet when I was a kid—I mean he always had one as far back as I can remember. So, there was always music in our house. We used to rehearse at our house on Wednesday evenings. There were always guitars around the house, and I was never supposed to touch his guitars, but I did every time he left the house. He called me one day, and I though, uh oh, I’m in trouble, and if I hadn’t been able to play anything, I would’ve been in trouble! But I figured out a few notes—actually a few notes that my uncle sang in my father’s gospel quartet. I just played something nice that he sang—he sang bass. So, then my father took me immediately to a music store and bought me my first electric bass. I was nine years old then.

JK: Did you play any instruments before the electric base?

GC: No. Just electric bass.

JK: So, at age 9, did you know that was what you wanted to do with the rest of your life?

GC: Yeah, I kinda did. After that I pretty much spent all my free time on it. I was just really happy to have something that I could call my own. My brother was an actor and, so when I started taking lessons—I was about 9 or 10—my brother started taking voice and acting lessons.

And my mother and father used to dance all the time. I guess that before I was born, they used to win awards for their dancing abilities. And my grandmother was a great gospel pianist in the South. So, it’s kind of always been there.

JK: Was your mother also a musician?

GC: No, she wasn’t. She was just a housewife, but she loved music and could dance. Her and my father used to dance in our living room to Nat King Cole and some records and stuff.

JK: What was your most beloved song during your childhood?

GC: Oh, that’s an interesting question cause, like I said, we listened to music a lot. Let’s see—it would be this record my dad used to play all the time. It’s a Kay Burrell record called Midnight Blue. And I remember hearing “Gee Baby Ain’t I Good To You” all the time when I was a kid. I mean we just had records—I don’t know; I don’t really have a special song. We listened to music all the time in our house. It’s kind of hard to think of just one. It was all good music too—we listened to lots of jazz; my dad played lots of gospel records.

JK: What was the first song that you learned on the electric bass?

GC: Hmm. Probably The Old Rugged Cross. If I remember correctly. That was 50 years ago.

Tune in next time to learn more about Gerald Cannon. And in the meantime, you can listen to him play in the WJ3 All-Stars’ newest album, My Ship.

Feature Friday Q&A with Steve Davis (Part III)

The conversation with trombonist Steve Davis continues! And this week, he’s giving us all the juicy, behind-the-scenes details about the recording of the new album, My Ship!

JK: What was it like recording the album My Ship?

Stevie-D: Like I mentioned about Willie—to work with him is always great. He always puts together all-star groups, dream bands. Everybody on the date is playing on such a high level, and we all go back and have history together. There’s always such a good camaraderie and collaborative spirit working together and it’s just so inspiring to hear everybody soloing on such a high level, playing the ensemble passages. We really got together on some nice arrangements. And Willie asked me to put together some particular arrangements and I was really honored to do that. At the same time, we wanted to keep the approach somewhat streamlined—not too much over arranging and super complex writing because it just wasn’t necessary. And hopefully, it leaves some space for everyone in the band to do their thing and shine and give their full expression and contributions. Hopefully we achieve that and the record’s really wining. Anytime it’s Gerald Cannon and Willie Jones playing bass and drums it’s going to be swinging, big time. Yeah, I’d just say we had a great time doing it. And playing with Jeremy and Wayne Escoffery, they’re both just A1, top shelf tenor sax—you can’t do any better than that. And Isiah is a wonderful young pianist whose got a very strong voice already. We just had a blast—it was fun.

JK: And you did the arranging for the album, correct?

Stevie-D: Now that I’m thinking back on it, yeah, I guess I did do most of it. I guess it could’ve been anyone of us who filled that role, but I guess I did. Everyone helped a great deal to work out any kinks and make the music as smooth and hip and swinging as possible, so I really appreciate everybody’s efforts in that regard, and of course just everyone’s tremendous playing. I can’t wait to really have a good listen.   

JK: Kathy said that a couple of the tracks were beloved songs from her childhood. It all seems very serendipitous—like the album is about accomplishing one’s childhood dreams.

Stevie-D: I’ve been privileged to be on a few of these projects with Kathy and Willie now and it’s always such a pleasure. I really appreciate her spirit for the music and musicians. It’s just really easy and fun to work with her. I would say that when she gives us a theme like this, it does provide us with some really nice inspiration and it’s very genuine. It’s not some kind of manufactured thing; she’s really speaking from her heart when she talks about these songs and gives us an idea of what she’s trying to get to, in an emotional way, through the music. Sometimes when you’ve been playing—just showing up and making records, you can forget about that a little bit. You just kinda play the part, and that’s it. My Ship, though, is personal and I love that. Actually, at this point in my career, I always wanted to be involved in projects that are meaningful like that. I’m happy that this one is what it is and to be on it and be a part of it and that it’s doing well—that people are hearing it and digging it. Kathy’s collaborations with Willie—there’s a solid reputation there now, people know oh man, this record’s going to be swinging! So, it’s a real honor to be a part of that.

JK: So, could you tell me more about the arranging process?

Stevie-D: You get a list of songs. I don’t know that I suggested any of the tunes but they’re all such good pieces that I just, uh, embraced the assignment if you will. And then when you know who’s on the date and who you’re writing for—the instrumentation obviously, but the personality—you have history with the musicians and you can picture everyone’s musical voices, so I kinda start there—who’s going to take the lead on this? What would be a nice way to voice the horns, and then of course Gerald is a good writer and Willie is too, so I always defer to musicians of their caliber and those two in particular, and I ask, what do you hear on this? Do you hear something a little different they might say no that’s cool, or they might say nah this is cool let’s do it like this or they might say, that’s cool but how about right here what about this. I love that—when we collaborate. I never want to overwrite so that everything is so precise that everyone is locked in—it kinda takes the fun and collaborative spirit out of the music, which is the essence of what jazz music is all about. Art Blakey used to say—he’d point to the jazz band and say ladies and gentlemen, “This here is democracy at work,” and that was pretty profound to me, so that’s a good lesson to remember and try to adhere here. So yeah, that’s kinda maybe the bset way to describe it—I try to offer an interpretation on some specific things but always with room for everyone to add their two cents in there or twenty bucks and make the music that much better and that much more personal so that it’s a group sound and I think we achieve that.

JK: What is your favorite song on the album?

Stevie-D: Oh man that’s hard. That’s really hard. I can honestly say there’s something about every one of these tunes that with the arrangement and the way they came together that I was so proud of and really felt great about. It’s hard for me to choose, I mean it. I think “Wave” was not my suggestion, but I wound up playing a little on it and thinking, I don’t know about this—it was toward the end of the session—so that was a pleasant surprise, or moment. But that “Taking a Chance on Love” is pretty swinging—I like that. And “Can’t Buy Me Love”—I’m a Beatles fan, so I love that song, we all do. But “Taking a Chance on Love” might be a sentimental favorite for me.

Q&A Feature Friday with Stevie-D

Q&A Friday Feature with Steve Davis

Born in Worcester, Massachusetts, and raised in Binghamton, New York, trombonist Steve Davis has always had a gift for music, which led him to release twenty albums, gain recognition for his hard-swinging, lyrical style, perform internationally and teach jazz workshops at the Jackie McLean Institute.  

More recently, Davis—nicknamed Stevie-D—has joined with Night Is Alive to arrange the music, and play the trombone in the 2022 album, My Ship, which also features Willie Jones III (drums/bandleader), Jeremy Pelt (trumpet), Wayne Escoffery (tenor sax), Isaiah Thompson (piano), and Gerland Cannon (bass).

And since My Ship is about looking back fondly on your childhood dreams, today we’re going to get to know a bit more about Stevie-D’s childhood, family, and early musical influences!

JK: I read that jazz was played often in your household when you were growing up. Were your parent’s musicians?

Stevie-D: My parents weren’t musicians but they both loved music and my father, in particular, was a record collector—he had a lot of jazz, blues and rock ‘n’ roll albums. Growing up in the 70s and 80s, I had access to his vast record collection and then later CDs. So, there was always good music playing in the house, and just a culture of appreciation of jazz music in particular. And then my grandparents on both sides—my dad’s father, my grandsire, he was also a newspaper journalist like my father was at that time, but a big jazz fan and played the trumpet as a hobby. My dad played the electric bass and did a few gigs in my hometown of Binghamton, NY, but he was mostly just a music fan and played for fun. And my grandsire played the trumpet, and he could belt out “Sweet Georgia Brown” and “When the Saints Go Marching In” and he loved Duke Ellington and Louis Armstrong.

 

And then on my mother’s side, my nana, I called her, she was a great stride pianist. She was the real jazz musician in the family. She was semi-professional and lived in Connecticut. She died when I was 19, but as a kid, I got to hear her play. When I started playing trombone as a teenager, I got to play with her a little bit when we would visit. She didn’t read a note of music, she played by ear—she was a real jazz musician, but being a woman at that time, it just wasn’t so acceptable for her to just do that, so when I look back on it, I think it was relegated more to the parlor entertainment, like “Oh isn’t that nice, you know, she’s playing the piano.” But she played all kind of Gershwin and American songbook standards and Ellington, and I learned a lot from her. She could really play.

JK: That’s an amazing story, but a shame that she wasn’t able to pursue it more.

Stevie-D: Well, she did to some degree. Boy, she would sit down—she had a piano in the house, it’s a Steinway, my parents still have it—and she’d sit down at that thing and just start swinging and play all kinds of things—”Honeysuckle Rose,” “Them There Eyes,” “Undecided”—some of the old swinger tunes, and she’d sing a little bit. She just had it. She knew what to do. So, then I would get my horn out eventually and she would teach me some of these tunes and I did it just naively, and we had fun together. So, I did get to play with her, and looking back all these years, forty years later, I cherish those memories very much. She’s a big influence on me for sure.

JK: Did you have a most beloved song growing up?

Stevie-D: Wow. Um. There’s so many. Well, one of the first songs I learned to play on my trumpet—I started on trumpet then I switched to baritone horn, and they suckered me into the tuba for a while at school, and I would up on trombone at 14, so I was a bit of a latecomer—but one of the first songs I could play on any of those instruments was “When the Saints Go Marching In,” just by ear. I always like that song, but I think everyone loves that song. My nana’s favorite song was “Embraceable You” by George Gershwin, and I played it at her funeral when I was 19 years old and I did it, again, the best I could by myself. I didn’t even appreciate or understand the depth of that moment the way I would now. So, I love that ballad.

There are so many songs I love, and plus as a kid, I was listening to the blues, B.B. King and Muddy Waters, and rock ‘n’ roll, Rolling Stones and the Beatles, Jimi Hendrix. There’s lots of great music but “Embraceable You” was a special one because it was my nana’s favorite, so I think that one’s very close to my heart.

JK: Have you played it since then?

Stevie-D: Here and there. It’s one of those tunes that I, you know some songs are so special to you that you hold it out for the right time. There are some other American Songbook standards that I wanted to play in my 20s when I had become a serious jazz musician and now that I’m 55 years old, I finally feel ready to play them in the way that I was dreaming of as a younger musician. My wife, Abena—her name is Abena Koomson Davis—she’s a great singer and knows a lot about the American Songbook. She loves “Polka Dots and Moonbeams,” so I always play that one for her and I love that song too. There’s so many obviously, that was one of the things that was so fun about the project with Willie and everyone—we always delve into some of the great standards, and I think all of us really appreciate the opportunity to interpret some of the American Songbook classics and put a little bit of a fresh spin on it, but also play the tones hopefully with a great deal of integrity and genuine feeling.

JK: Do you think you’ll record a rendition of “Embraceable You” at some point?

Stevie-D: I’d love to. I look forward to it. I haven’t yet. I’m just holding that one. I appreciate the question. I’m looking forward to it; probably sooner than later.

And the conversation will continue . . . Look for the next installment of the interview next Friday! And in the meantime, if you’re looking for more Stevie-D, check out our album My Ship, which is available in our store and on all major music platforms now. 

Five Songs for the Zoo!

Five Songs for the Zoo!

From Apple Gifting Day to National Whipped Cream Day, it seems that just about every day there is some sort of obscure holiday, and—in case you missed it—July 1st was American Zoo Day! The celebration which marks the opening of the first zoo in the country, the Philadelphia Zoo, to the public in 1874.

What better way to celebrate this little-known holiday and piece of history than by going to the Zoo? You can take your kids, grandkids, nieces, and nephews, or just go with a friend or special someone. Since Night Is Alive is based in Akron, our favorite zoo is definitely the Akron Zoo, which has been recognized for its excellence in diversity and marketing!

No matter who you go with, the truth is that the zoo really never gets old. Regardless of your age, seeing zoo animals will always spark a sense of amazement in you. A lioness prowling around the enclosure, a baboon swinging from branch to branch, an elephant drinking water with its trunk. These are the wonders of the animal kingdom!

So, to get you in the mood for the Zoo, we compiled a few songs for you to listen to during your drive!

The Tokens – The Lion Sleeps Tonight

Did you know that this 1961 doo-wop song was actually an adaptation of a 1939 song written by a South African musician named Solomon Linda? The original, titled “Mbube,” was written in the language of isiZulu, which is spoken by the Zulu people in parts of South Africa.

Solomon Linda – Mbube

Mbube means lion but it also refers to an a cappella style of singing created by the Zulu people and made popular by a group called the Ladysmith Black Mambazo. Vocalists sing in rhythmic unison to produce intricate harmonies and textures—essentially using their voices to take the place of what an instrumental band may do. The part of the Tokens’s song that goes weeheeheehee dee heeheeheehee weeoh aweem away was inspired by mbube style a cappella.

Seven Wild Men & Harry Reser – I’m Just Wild About Animal Crackers

This fun novelty song from the roaring twenties is precisely the song to get you excited to go to the zoo or circus! The swinging style of this 1926 tune evokes carnivals, fairs, elephants being led through hoops and penguins balancing balls on their beaks. It’ll make you want to do a jig all the way to the zoo!

Elvis Presley – Hound Dog

With the new Baz Luhrmann movie about Elvis hitting theaters now, it’s a great time to listen to one of the most instantly recognizable pop songs in history. But did you know that Elvis’s 1956 hit is actually a rendition of Big Mama Thornton’s 1952 R&B song? Since his rendition was so popular, many people often mistake it for an Elvis original.

The WJ3 All-Stars – Can’t Buy Me Love

Even though this song technically doesn’t have anything to do with the zoo or animals, the fast-paced melody will make you smile and look froward to the wonderful day ahead of you. The soft touch of the piano, and the stellar sax solo, also make this brand new 2022 instrumental release one to remember and listen to again and again!

If you’re looking for some more snazzy jazz tunes that’ll evoke the memories and dreams of childhood, please check out our newest album, My Ship, which is available in our store and on all major music platforms today!

This post was written by Digital Marketing Manager, Jacqueline Knirnschild.

What is embouchure? Why is embouchure so important?

Just like its spelling, the concept, and acquisition of embouchure is a bit tricky. Simply put, embouchure refers to the way in which a musician uses his or her mouth to play a brass or wind instrument. Sounds easy enough—you just blow air into the instrument, right? Nope. Think again. In practice, embouchure is much more difficult.

Beginner musicians can spend months, developing an embouchure. That’s because it involves not only precise calculation and manipulation of one’s facial muscles, lips, tongues, teeth and breathing, but also habitual strengthening, training, and setting of all those muscles. To merely produce a steady sound on the oboe—which is the instrument with the most difficult embouchure—can take three months or longer. 

Even when a musician isn’t actively playing, it’s recommended that he or she flex the key muscles in short bursts to build up that habitual muscle memory. Some oboists practice with exercises, and even by holding a pencil in their mouth. Talk about dedication to your art! 

Why, though, is embouchure so gosh darn important? Well, embouchure determines whether an instrument plays in tune, at its full range, and with a clear tone. It’s a very exact process that can result in your instrument making either a beautiful crooning, like a warbler’s song, or a horrid honking, like a dying goose. 

With woodwinds, if you put the mouthpiece too far into your mouth, there will be too much vibration and not enough control. On the flip side, if the mouthpiece is not far enough into the mouth, no sound will be generated at all because the reed will not vibrate. With a brass instrument, the sound is produced when a player buzzes their lips into the mouthpiece. Muscular contraction and lip formation also play a role in changing the pitch of a brass instrument.

Now that you’re more familiar with embouchure, you might be more in awe of jazz musicians, and more appreciative of the countless songs that include woodwinds and brass. As you listen to the following tunes, think about all the diligence, time, and patience that these musicians put into developing their excellent embouchures! 

Gerry and The Pacemakers – Don’t Let the Sun Catch You Crying

Since the oboe has the most difficult embouchure, we wanted to find a popular song that includes the underrated, double reed instrument. Listen carefully to this 1964 tune to see if you can spot the clear, bright, and robust sound of the oboe (I’ll give you a hint—it shows up early on)!

Lorca Hart Trio – Discoveries

This 2020 tune opens with the talented Ralph Moore on the tenor saxophone. As you listen, think about his embouchure. A good saxophone embouchure requires the lower lip to rest against, but not over, the teeth—like when pronouncing the letter “V’—and the corners of the lips must be drawn in. 

If you’re looking for more jazz songs that include woodwinds and brass, check out the albums in our store, and on all major music platforms!

This post was written by Blog Editor, Jacqueline Knirnschild.

What is a ballad? What are the best jazz ballads?

Nowadays, people seem to use the term ‘ballad’ to refer to a slow, maybe sentimental, and romantic, song with beautiful lyrics. But did you know, technically, that’s not what a ballad is?

A ballad is a poem or song that narrates a story in short stanzas, usually set to music. Ballads were originally written to accompany dances, amd their name was derived from the Scottish word ‘ballares’ meaning “to dance.” Traditionally, dancers sang the alternating refrains of the song in time with the dance. 

Usually, ballads consist of 13 lines with an ABABBCBC rhyming form, but there’s also many variations on that pattern. Only in the later 19th century did the term begin to be used to describe a slower form a popular love song. 

So, now that you know what a ballad is, let’s look at some of the best ballads of all time! 

Billy Strayhorn – Lush Life

This 1933 ballad tells the story of a person who used to frequent the best places in town and relax on the “axis of the wheel of life,” that is, until he fell deeply in love and, later, became heartbroken. Now, the narrator is reflecting on that failed romance and the wearisome nightlife he used to indulge in. “Only last year everything seemed so sure,” Strayhorn sings. “Now life is awful again.”

A fun fact about this ballad is that Strayhorn was only a teenager when he began composing this classic! Talk about young talent! 

Elsie Carlisle – Body and Soul

Written in 1930 for the British actress and singer Gertrude Lawrence, who performed it first in London, this standard has become the most recorded ballad in jazz history, with over 2,200 existing versions! 

With its poignant and relatable lyrics about a person who wants to make sure she won’t be devastated after opening her heart to a new lover, it’s no wonder that this ballad became so remarkably popular. The narrator wonders if she will “stand alone at the shore.” She’s got to know—“oh, body and soul”—that her new beloved has no doubt “inside and out.”

John Coltrane – Naima

Inspired by his wife, Juanita Naima Grubbs, Coltrane composed this ballad in 1959, which has since become a jazz standard. “Queen of the ages,” Coltrane sings. “She transcends history’s pages.” 

The story of true love, and the utter awe that comes with it, never does seem to get old, does it? We always seem to find new ways to express our emotions to the ones we love, especially in the form of musical ballads.  

Always On My Mind – Janis Siegel & John Di Martino 

Recorded by everyone from Elvis to Loretta Lynn, and, of course, Willie Nelson, this iconic song, first released in 1972, tells the story of a remorseful narrator who is looking back and wishing that she would’ve told her beloved just how much she cared. In this new 2021 version, the classic is reimagined as a jazz ballad, which serves to highlight the bittersweet theme of regret. 

If you’re looking for more ballads, and modern jazz renditions of country favorites, check out our album Cryin’ In My Whiskey, which is available in our store and on all major music platforms today! 

This post was written by Blog Editor, Jacqueline Knirnschild.

Love Songs to Bring Back the Honeymoon Phase this Valentine’s Day

Let’s face it, even the best relationships can become a bit stale over the years. Instead of chitchatting and cuddling before bed, your partner or spouse might just roll over and start snoring. Maybe you no longer surprise each other with flowers and gifts. Or maybe, you find yourself bickering over the little things, like dishes and laundry. No matter what your issue may be, it doesn’t mean that you don’t love each other anymore. It just means that you’re out of the honeymoon phase and might need some heartfelt intention to bring back the passion, butterflies, and excitement.

And since music is our game at Night Is Alive, we decided that this Valentine’s Day, we would pair four love songs with four pieces of relationship advice that’ll be sure to reinvigorate your long-term relationship. After all, nothing says passion like jazz!

  1. Practice Gratitude – How Sweet It Is To Be In Love by Johnny Hartman

Amid the craziness of daily life—errands, groceries, coordinating schedules—it’s easy to take your sweetheart for granted. It’s easy to forget about all the amazing things your partner does for you, and forget, like Johnny Hartman croons, just how sweet it is to be in love

If you have a journaling practice, add a daily dose of gratitude focused entirely on your partner. Instead of dwelling on the negatives, elevate the positives. Writing affirmations, like, I’m grateful that he cooked dinner tonight, will remind you of all the sweet things your partner does that go unnoticed. 

  1. Compliment Each Other – The Way You Look Tonight by Frank Sinatra

Nothing boosts you up like a compliment from a stranger on the subway, and the same goes for your partner. Those so-called sweet nothings do matter, so take a little time out of your day to remind your loved one how beautiful, smart, or handsome he or she is. And on Valentine’s Day, be sure to pile on the flattery, like Sinatra in his 1964 hit. You’re lovely, with your smile so warm and your cheeks so soft… 

  1. Get Intimate – Let’s Do It (Let’s Fall in Love) by Louis Armstrong

As the cleverly-written lyrics point out—birds do it, bees do it, even educated fleas do it—intimacy is a clear route to deepening the love, passion, and connection in your relationship. Uncork a nice bottle of wine, turn on this song and giggle at the innuendos with your lover, then let the sparks fly …

  1. Reminisce – First Time I Saw Your Face by the WJ3 All Stars 

Valentine’s Day is a great time to reminisce on when you met your sweetheart. Whether it was love at first sight or a game of hard-to-get, your story is sure to bring smiles and laughs! Like the WJ3 All Stars convey so beautifully in this song, the first time you saw your lover’s face was an unforgettable moment, so be sure to cherish it.   

If you’re looking for more romantic songs, or for a gift for your Valentine, check out WJ3 All-Stars’s album Lovers & Love Songs. It’s available in our store and on all major music platforms today. And, for a limited time only, the album is available on vinyl! Included in the vinyl package is a bonus signed CD.

This post was written by Blog Editor, Jacqueline Knirnschild.

5 Jazz Vinyl Albums that You Need on Your Shelf!

Who would’ve thought that vinyl would make such a comeback in the new millennium? Invented in the 1940s, vinyl records are flat discs inscribed with spiral groves that represent the audio waveforms of the original track. As enthusiasts like to point out, vinyl is the purest version of a recording you can get. 

Maybe you know someone who rushed to buy the new vinyl records of Harry Styles, Taylor Swift, and Frank Ocean. This is all fine and dandy, but, in our opinion, if you truly want the bona fide, old-fashioned experience of sitting down and enjoying a vinyl, you might want to listen to some music with a bit more history to it … like jazz! 

We hand-selected five of the best jazz vinyl albums that you need on your shelf today! 

Billie Holiday – Lady in Satin

In our chaotic modern world, we’re accustomed to plugging in our earbuds while we go to the gym or turning on the radio while we run errands. Seldom do we intentionally take time out of our day to sit down and listen to music on a record player. 

Well, with its incredible intensity of emotion, Billie Holiday’s 1958 album is absolutely one that you’re going to want to sit down for. As you probably already know, Holiday battled addiction for most of her life, which is probably what inspired this breathtaking and heartbreaking album. 

Chet Baker – Chet Baker Sings: It Could Happen To You

Coincidentally also released in 1958, this album shows off both Baker’s voice, in a nice selection of jazz standards, and his swinging, melodic trumpet skills, in a few short solos. Baker’s unique vocals, which helped him to rise to fame, are so delicate and elegant that they seem to just float effortlessly from the record player into the air.  

Frank Sinatra – Sinatra at the Sands

Despite his reputation as more of a pop star, Frank Sinatra was indeed a jazz artist. And this 1966 album—recorded live from the Sands Hotel in Las Vegas—captures a compelling portrait of his talents as a jazz musician. The record player’s needle will also bring the album a lovely sense of warmth that’ll make you want to tap your toes! 

Ella Fitzgerald & Louis Armstrong – Ella and Louis

They say that opposites attract, and these two jazz powerhouses are no exception! Fitzgerald has a light and girly voice, while Armstrong’s voice is earthy and deep. Their styles complement one other exquisitely, especially in this 1956 album, which is truly timeless. 

WJ3 All-Stars – Lovers & Love Songs

Like a vinyl record, true love is also ageless, timeless, and enduring. So, what better way to celebrate your love story than with a vinyl record of the newest album from the WJ3 All-Stars. Full of heartwarming melodies and modern renditions of iconic tunes, this album is sure to be remembered as one of the most beloved vinyl records of our era. 

The vinyl record of Lovers & Love Songs, which comes with a bonus signed CD, is available in our store today! 

This post was written by Blog Editor, Jacqueline Knirnschild.

What are the five elements of jazz?

If you didn’t take Music 101 in college and you’ve never played an instrument, then you probably aren’t familiar with the five fundamentals of jazz. Maybe you just love the sound of jazz, the way it makes you feel, and you’ve never quite been able to explain the magic behind it. That is more than okay! You don’t need to be an expert to love something. But, if you are interested in understanding what’s going on behind the scenes, we’ve got explanations of the basics right here in this blog post! Read on…

  1. Rhythm – Freddie Freeloader by Miles Davis

The rhythm is the beat at the heart of any jazz composition. It’s a pattern formed by a series of notes that range in duration and stress, which is what makes you tap your foot along to the tune. Like with most genres, jazz rhythms can be simple or complex, fast, or slow, but there’s always an underlying pulse, and, usually, jazz incorporates a variety of rhythms, which is what gives it such a snappy, swinging feel. 

“Freddie Freeloader” has a basic rhythm of 4/4, which means that there are four beats in every measure, and a quarter note receives one count. As you listen to this tune, count, or clap your hands one, two, three, four, and you’ll see what we’re talking about. 

  1. Harmony – Summertime by George Gershwin

Two or more notes that are played simultaneously creates the harmony, which is also referred to as a chord or change. In jazz, a chord usually consists of four to seven notes that are played at the same time, and the way that the notes are arranged in the chord convey a certain emotion. 

This jazz standard has a simple harmony. Can you hear when there are two or more notes being played at the same time?

  1. Form – Take the A Train by Duke Ellington

The form of jazz refers to the recurring chord progression that creates the structure of a song. Basically, there are multiple sections of a tune, and the way in which the sections are grouped determines the form. If you know anything about literature, forms are a bit like the rhyme schemes of a poem—for example, the first stanza may rhyme with the third and the second may rhyme with the fourth, creating an ABAB structure.

“Take the A Train” is 32 measures long and it’s separated into four sections that are each eight measures long. The first two sections have identical chords, the third is different and the fourth is the same as the first two. This form is called AABA. Listen carefully to see if you can spot the form! 

  1. Improvisation – Swing to Bop by Charlie Christian

Improvisation is exactly what it sounds like—musicians spontaneously compose music right there on the spot! This is probably the most crucial element of jazz, and the most challenging. A musician must not only be well-versed in his or her instrument but he or she must also understand how notes and chords play together, be able to play by ear (without reading sheet music), and be familiar with a wide variety of styles. No easy feat! 

This 1941 song was created through improvisation at a jam session. Listen for the interplay between the electric guitar and drum!

  1. Instruments and Sounds – Discoveries by Lorca Hart Trio

The most common jazz instruments are the saxophone, trumpet, piano, bass, drums, guitar, clarinet, trombone, and flute. All these instruments run the gamut when it comes to their tones and sounds, which the musician must use to develop his or her own personal sound. Jazz is also unique in the way that musicians strive to express emotions, rather than just playing clearly. Jazz artists, for example, can manipulate pitches to “whine,” “growl,” or to play “darkly” or “lightly.”

Pay attention to the opening of “Discoveries” for the tenor saxophone and drum solo. Then as the song goes on, see which other instruments you can identify. Maybe you could even compare the way in which Ralph Moore plays the saxophone to another saxophonist, like Wayne Escoffery, to see how each musician creates a personal sound. 

This post was written by Blog Editor, Jacqueline Knirnschild.