Larry Elgart (1922-2017)

Larry Elgart, an alto saxophonist and enterprising and tireless big-band leader whose major success began at the very moment when nearly all other swing orchestras were arthritic relics and the word "band" typically referred to four guys with long hair playing electric instruments and a drum set, died on August 29. He was 95.

In the 1950s and '60s, Elgart frequently teamed with his trumpet-playing brother, Les, on albums and in concert, drawing deserved comparisons to other Swing-era siblings including Tommy and Jimmy Dorsey, Benny and Harry Goodman, Bob and Bing Crosby, and Fletcher and Horace Henderson.

Despite Elgart's rise at the tail end of the 1950s and into the '60s and beyond, he created a signature sound that distinguished his commissioned arrangements and performances. Just as the best big bands of the 1940s had their own orchestral personalities—Glenn Miller with the clarinet in the top-note position in the reed section or Count Basie's relentless stomp style on piano—Elgart arranged his reeds in a tippy-toe staccato. The result made the band sound spry, like someone sneaking upstairs, shoes in hand, after being out late.

Larry's brother, Les, also created a special sound for his own band, which combined society reeds with power trumpets and a broad, meaty trombone section. In the case of both bands, what made the arrangements so appealing was the tight dialogue between the sections. Solos were often brief and typically belonged to the brothers. When they united on albums, one heard the best of both Elgart worlds—tap-dancing reeds with a thick swing driven by the trombones and pecks by the trumpets.

Both brothers had to earn a living, so their albums together and apart could vary from captivating finger-snappers to easy listening and middle-of-the road recordings seasoned liberally with schmaltz. But when the Elgarts were on point, especially Larry, the music was positively addictive (Les died in 1995). The last time I posted on Larry Elgart was in May 2017 here.

To honor Larry Elgart, here are 10 clips illustrating his gift for engaging recordings and performances:

Here's the Les and Larry Elgart band in 1965, with the peppery reeds and languid wide-bodied brass section playing Skyliner, Cherokee, It's De-Lovely and Begin the Beguine on Chicago's WGN-TV...

Here's Larry Elgart in 1995 playing Bye Bye Blues. Dig how tight the band is arranged, especially the reeds...

Here's Honeysuckle Rose...

Here's Larry Elgart's After You've Gone...

Here's Let's Turn It Off...

Here's Let My People Swing...

Here's Let's Turn It Off...

Here's This Heart of Mine...

Here's The Lady Is a Tramp, with a vocal by Carol Sloane! (known then as Carol Morvan)...

And here's one of my favorites, Frim Fram Sauce...

Bonus: Here's a WNEW-NY jingle arranged in the style of Les and Larry Elgart...

      

Related Stories

• Larry Elgart in the Early '60s
• More Bands on WGN-TV in '65

 

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OSHA Issues Proposed Rule to Extend Compliance Deadline for Crane Operator Certification Requirements

August 30, 2017 Contact:  Office of Communications Phone: 202-693-1999

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5 Benefits of Cold Showers

Content originally published and Shared from http://perfectbath.com

Showering is an essential part of a healthy routine, but depending on the temperature, your time spent under the water can offer different benefits for your skin and some bodily functions too. Learn about the surprising health benefits of a taking a cold shower in this article.

Image Source: Flickr

Increase Alertness
Taking a cold shower in the morning, and feeling cold water pour down over our body seems more horrifying than soothing. However, the deep breathing in response to our body’s shock helps us keep warm, as it’s increases our overall oxygen intake. Thus, our heart rate will also increase, releasing a rush of blood through our entire body. This gives us a natural dose of energy for the day. Source: MedicalDaily

Stimulate Weight Loss
Another way cold showers will make you look better, is by promoting fat loss.

Most people don’t know this, but there are two types of fat in your body. Brown fat & white fat. White fat is bad. It’s the body fat that we all hate so much. Brown fat is good. It’s function is to generate heat and keep your body warm.

When you take a cold shower, brown fat is activated, resulting in an increase in energy and calories burned to keep your body warm. So much so that according to this study, cold temperatures can increase brown fat by 15X the normal amount, which can result in 9 pounds of weight loss per year. Source: Menprovement

Refine Hair and Skin
If you’d like to reduce the appearance of acne, cold showers could do the job. Hot water dries out your skin, while cold water tightens your cuticles and pores, preventing them from getting clogged. You can also use cold showers for shinier, more attractive hair that your partner can’t resist playing with. Cold water will close your cuticle, making it less likely dirt can accumulate in your scalp. Source: Lifehack

Build Strong Will Power
The next day was more of the same, but I noticed I had more apprehension this time around before hopping in the shower. This trend continued throughout the following mornings as well. If I knew how great it made me feel, then why didn’t I eagerly throw myself underneath the icy spray? The experience reminded me of a famous old saying, one that has been attributed to a bunch of authors: “I don’t enjoy writing. I enjoy having written.” I don’t like taking cold showers, I just like the way they make me feel after I’ve already dried off.

The week has been a success, and I’ve assured myself that I will keep taking cold showers in the mornings. However, it won’t be easy. I mean, have you taken a hot shower? It’s the best.  Source: Prevention

Strengthen Immunity
According to a study done in 1993 by the Thrombosis Research Institute in England, individuals who took daily cold showers saw an increase in the number of virus fighting white blood cells compared to individuals who took hot showers. Researchers believe that the increased metabolic rate, which results from the body’s attempt to warm itself up, activates the immune system and releases more white blood cells in response. Source: Artofmanliness

 

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Perfect Bath
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Calgary, Alberta
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3 Window Treatment Ideas for Tall Windows

Beautiful large windows have huge advantages including lots of natural light and the ability to admire inspiring views from the comfort of your sofa. However, you might be wondering how you going to furnish these gorgeous windows.  Check out these 3 window treatment ideas for tall windows:

Image Source: Flickr

Drapery
Drapery, the most traditional choice for tall windows, makes your room feel dramatic and regal.

When choosing drapery, keep in mind the scale of the room. A 2-inch diameter curtain rod will become lost on top of a 15-foot-tall window, so use bigger drapery hardware and larger pleats for your drapes so you can see the grand effect.

Personalize the drapery to match your home style by using tiebacks, patterns or valances.

Layer different materials to add interest and dimension to your drapery. You can also include different colors to match your home decor. Source: Angieslist

Roman Shades
If you need multiple roman shades to fill a wide wall of windows, make sure you choose a pattern that allows you to stack each shade next to each other so it feels like one long shade. When there are no breaks in between each shade, your window looks streamlined.

Tip: Don’t forget to hang them higher than the windows if your windows are low. When measuring the height you need for the shades, be sure to include the extra material to cover the gap between ceiling and top of the window. Source: Houzz

Top down / Bottom up Cellular
Cellular shades are a clean and modern look to consider as a tall window treatment idea.  Their energy efficiency is perfect when the midday sun is streaming through your tall windows, keeping you cool inside.  What is most amazing about cellular shades is that they are available in a top down/bottom up feature.  The top and bottom of your shade move independently, giving you precise command of how much light is flowing into your home, preserving privacy without sacrificing natural light. Source: BlindsGalore

 

Contact:
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601 – 1550 W. 10th Ave
Vancouver, V6J 1Z9
Canada
Phone: (604) 559-1988

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Jazz Goes Mod, 1961

Many Americans born in the 1950s like to think of London in 1961 as a set from My Fair Lady. Lots of rosy-cheeked Julie Andrews types, coal fireplaces, and men rushing about in forest-green tweed. Also in these same imaginations, teenage guys look like the brooding Beatles during their Hamburg, Germany, period while teenage girls are bubbly and confident, and look like Helen Shapiro or Shirley Bassey.

In truth, there was a thriving jazz scene at the clubs and coffee bars in the city's Soho section. Which brings us to another myth: that much of the jazz in London in the early 1960s was traditional Dixieland. There certainly was plenty of "trad" to go around, but a majority of jazz artists were modernists influenced by the New York hard bop scene. Great London jazz musicians included Joe Harriott, Dick Morrissey, Harold McNair, Wilton Gaynair, Don Rendell, Shake Keane, Harry South, Tubby Hayes, Ronnie Scott, Alex Welsh among others.

Most of these British jazz musicians aren't household names here today because most didn't tour in the States nor were their recordings released widely in the U.S. But they were every bit as innovative and skilled as their American idols, as evidenced on R&B Records latest set available in the U.S.: Soho Scene '61: Jazz Goes Mod.

Last time I wrote about the Jazz Goes Mod series from the U.K.'s R&B Records was back in October 2016, when the label released Soho Scene '62 (go here). Like the last set, the new one is packed with accomplished British jazz artists and groups. The set also comes with a 24-page booklet of notes by Paul "Smiler" Anderson, and it's packed with glossy color and black-and-whtie photos.

Once again, the first CD in the set features British jazz artists while the second CD features influential jazz and soul-jazz recordings by American artists. This group includes the Montgomery Brothers, Grant Green, King Curtis, Sal Nistico, Freddie Hubbard, Red Holt and others. The juxtaposition is fascinating, since the second CD provides audio references for the uptempo, harmony-rich jazz you hear on the first. Some of the tracks on the American-artist CD may even be new to you, including Harold Corbin's Soul Sister, Red Holt's Little Liza Jane, Chirs Connor's Opportunity and Jimmy Drew's Baby Lou.

Among the high points on the British-artist CD are the Harold McNair Quartet's Harry Flicks, the Bill McGuffie Quartet's Out of Cigarettes, the Tubby Hayes Quartet's R.T.H., the Joe Harriott Quintet's Tonal, the Harry South Big Band's Southern Horizons, the Shake Keane Quintet's Fidel, the Dick Morrissey Quartet's St. Thomas and the Ronnie Scott/Jimmy Deuchar Quintet's Haunted Jazzclub.

There's no harm in imagining Cockney flower girls, London Music Hall comics and Ian Fleming (above) shopping at Floris in London of 1961. Just understand that before Swinging London, London was already swinging with a modern jazz groove.

JazzWax tracks: You'll find Soho Scene '61: Jazz Goes Mod here.

Also, remember the Harry South Songbook box I posted about in July (go here)? It's now available in the States as a four-CD set (go here).

JazzWax clips: Here's the Bill McGuffie Quartet, with McGuffie on piano, playing Out of Cigarettes...

Out of Cigarettes

Here's the Harold McNair Quartet, with McNair on flute, playing Harry Flicks...

Harry Flicks

And here's arranger-trumpeter Jimmy Deuchar and his group playing Heather Mist...

Heather Mist

       

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Sonny Stitt: Tune-Up!

Back in 1971, when I began to listen steadily to jazz, I was nuts about an album that had come out that year by Sonny Stitt and Gene Ammons called You Talk That Talk. I was a freshman in high school and had taken up the tenor saxophone, an instrument that was much cooler to tote around in its case in school hallways than to stand alone in a room and practice scales. Back then, Stitt was for me. He made the saxophone sound like a Corvette. Even worse, he made it sound easy when in fact the instrument was a bear. Though my drive to become a saxophonist waned quickly as other interests kicked in, I was still a devoted Stitt fan.

One Saturday in late 1972, I was at Sam Goody's record store on Third Ave. in Manhattan. The chain's weekly ad in the Sunday New York Times Arts & Leisure section had announced the previous Sunday that Joe Fields's Cobblestone label would be on sale that week. My purchase that Saturday afternoon were two Stitt albums produced by Don Schlitten—Tune-Up! and Constellation, which were new.

When I arrived home, I put on Tune-Up! first. From the first track, I was astonished. Stitt played the title track on alto saxophone with a ferocity and clarity that was jaw-dropping. Backed by pianist Barry Harris, bassist Sam Jones and drummer Alan Dawson, Stitt sailed through the song flawlessly. It was a happy horn, a flying instrument that soared and swooped with determination. The ballad I Can't Get Started followed and was richly soulful with Stitt playing long, spring-loaded lines filling every bit of space. The rest of the album was equally determined and filled with bop surprises, On the last tune, I Got Rhythm, Stitt played alto and overdubbed his chorus on tenor.

Constellation featured the same rhythm section, with drummer Roy Brooks replacing Alan Dawson. The bop song choices were fabulous sleepers. The title track was a rarely heard song by Charlie Parker based on the chord changes to I Got Rhythm. After the standard ballad I Don't Stand a Ghost of a Chance With You, Stitt played Bud Powell's Webb City, Stitt's own By Accident, Ray Brown and Gil Fuller's Ray's Idea, Tadd Dameron's Casbah, the standard It's Magic and Topsy by Edgar Battle and Eddie Durham.

These albums featured Stitt at his neo-bop best. Many of his recordings from the early 1970s have been long overlooked. As I listened to my initial jazz vinyl purchases yesterday, I found myself nostalgically exploring several other Stitt albums from the period that were purchased when they went on sale—Goin' Down Slow, Black Vibrations, Giants of Jazz, So Doggone Good, The Champ, Mr. Bojangles, Satan and Tornado. Listening to Stitt still makes me want to wet a reed, slip my head through the black strap and watch myself play the tenor in a mirror. Another time, another place.

JazzWax tracks: You'll find Tune-Up! and Constellation issued on one CD by the 32 Jazz label in 1997 here.

JazzWax clips: Here's Tune-Up from Tune-Up!...

And here's Casbah from Constellation...

      

Related Stories

• Al Cohn and Dexter Gordon
• Thelonious Monk: Movie Music
• Jazz Cultural Theatre Lives!

 

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Ahmad Jamal: Greasepaint Roar

When Leslie Bricusse and Anthony Newley's musical The Roar of the Greasepaint — the Smell of the Crowd hit Broadway in 1965, it was a followup to their collaboration on Stop the World — I Want to Get Off (1962). The earlier musical gave us two massive pop standards: Once in a Lifetime and What Kind of Fool Am I, with two lesser hits: Someone Nice Like You and Gonna Build a Mountain. A year later, the massive jazz standards that came out of Greasepaint were Who Can I Turn To, A Wonderful Day Like Today and Feeling Good, with a minor hit in The Joker. Who Can I Turn To would be covered by dozens of pop singers and jazz instrumentalists.

Greasepaint opened in London in August 1964 and then at Broadway's Shubert Theatre in May 1965. Two artists who devoted albums to jazz interpretations of the entire show were Ahmad Jamal and Herbie Mann. Interestingly, the former recorded his in February 1965 and Herbie Mann's was recorded in March. Both were done before the show even opened in New York.

That's because of a brilliant marketing campaign. Though the English production never made it to London's West End, American producer David Merrick saw the show in Liverpool and decided it was cost-efficient enough to bring to the States. He not only started out with a pre-Broadway tour of the U.S. with Anthony Newley in the lead role but also convinced every record label he could reach to record versions of the show's songs, particularly Who Can I Turn To. Tony Bennett's signature version came out in November 1964, months before the musical opened on Broadway.

Ahmad Jamal's album, The Roar of the Greasepaint—The Smell of the Crowd, was recorded for the Argo label and was produced by Esmond Edwards, with liner notes by Nat Hentoff. Jamal was joined by Jamil Nasser on bass and Chuck Lampkin on drums. The songs weren't organized on the album in which they appear in the show, adding a randomness to them.

Each song is treated to Jamal's elegant keyboard approach, leaving lots of space in his right hand. This Dream is a good example of Jamal's style. The same goes for Who Can I Turn To, which features an unusual bossa nova beat. And on A Wonderful Day Like Today, Jamal intermingles block chords, a robust left hand and runwaway lines in the right high up on the keyboard.

There's little interaction between jazz and Broadway these days. Part of the reason for their separation, I suppose, is that Broadway musical numbers no longer carry the commercial punch they once did. In the old days, singers like Tony, Andy Williams, Nancy Wilson and Sammy Davis Jr. could record Broadway songs in advance of the musical's opening, turning them into standards ad drive audiences to the theater. Today, too few musicals feature songs with such lyricism. For example, I don't believe a single jazz artist has taken on Hamilton's score. And maybe for good reason. As successful as the show has been, I'm not sure anyone walks around trying to shake the show's songs from their head.

JazzWax tracks: Sadly, Greasepaint by Ahmad Jamal never made it into the digital format and is today woefully out of print. Herbie Mann's Greasepaint is available (here), but it isn't nearly as good.

JazzWax tracks: Here's This Dream...

This Dream

And here's Who Can I Turn To...

Who Can I Turn To

A special thanks to Doug Paterson and David Langner.

      

Related Stories

• Ben Webster + Ahmad Jamal
• Nat Hentoff (1925-2017)
• Young People's Concerts: Jazz

 

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