Who's to bless and who's to blame when it comes to the chronicling the frontiersman of music. Blessings go to Wayne Henderson and Herb Wong both of whom we lost recently as cats who played and wrote their asses off when it came to melodic invention.Much of the hoopla surrounding dance music in the 40 and 50 was being done in ballrooms. Duke Ellington and Count Basie leading crusades of young rabbits into urban theaters like Trenton where my guest is from.He learned under the tutelage of his father who was himself a big band leader just like The Skipper Henry Franklins father. Charles Anthony Williams had rehearsals at his house where his son could learn up close the strength of individual sound, knowing your role, knowing when to step outside that role, be a contributor an accompanist with Denny Zeitlin and The Crusaders, filling in for Ray Brown or showing up with Joe Farrell, Dakota Staton and Jon Lucien.His musical legacy is unquantifiable. Over the past 50+ years he has been expanding the musical palettes of both his comrades like Herbie Hancock and stretching the ears of active audiences from Dubai to Europe to The It Club.He has gone bop to be-bop, post bop to free music, soul funk to blues to driving gulf coast pocket magic. He is a mind reader...in that once he locks in - there is no time, everything around him is still there but with just a little light in contrast with the bombs my guest drops.He shows no signs of slowing down, more active than ever before. Buster Williams welcome to the JFS
Perugia 1986: Kenny Barron e Buster Williams (seconda parte)
Jazz in un giorno d'estate
Ancora in attività (76 anni), Kenny Barron si è formato con il ..linguaggio pianistico del bebop emerso negli anni quaranta, e si è poi ..affermato come un pianista che rappresenta un po’ il canone del pianismo ..mainstream di matrice bop; tra i momenti più alti della sua carriera, ..memorabile la sua collaborazione con l’ultimo Stan Getz. Buster Williams ..è della stessa generazione di Barron: nei primi anni settanta ha fatto ..parte dei gruppi di Herbie Hancock, poi con Barron è stato uno dei ..componenti del quartetto Sphere che ha fatto epoca rivisitando il ..repertorio di Thelonious Monk. Imperniato sull’interpretazione di ..standard, il duo di Barron e Williams è un modello di affiatamento, ..intesa, eleganza.
Perugia 1986: Kenny Barron e Buster Williams (prima parte)
Jazz in un giorno d'estate
La storia del duo piano/contrabbasso nel jazz rimonta al ’39-40, quando .Duke Ellington e il giovane Jimmy Blanton, strordinario talento mancato .purtroppo a soli 23 anni, registrano dei duetti rimasti celebri. Una .storia dunque lunga: la formula tuttavia per diversi decenni non ha .avuto una gran diffusione. Più spesso invece è stata utilizzata nel jazz .di decenni più recenti. Basti ricordare i numerosi duo realizzati da un .contrabbassista della statura di Charlie Haden con pianisti di varie .generazioni e vari stili: solo per citarne qualcuno Keith Jarrett, Hank .Jones, Gonzalo Rubalcaba, Hampton Hawes, Brad Mehldau, e non ultimo – in .un album realizzato negli anni novanta – Kenny Barron, che ascoltiamo in .un dialogo di primissimo ordine con il contrabbassista Buster Williams. .Il duo fu registrato nel corso di Umbria Jazz in una estemporanea .session notturna organizzata in un hotel di Perugia dopo il concerto del .quartetto Sphere di cui entrambi i musicisti facevano parte, ed è .documentato su disco da un album pubblicato dalla Red Records col .significativo titolo Two As One.
For nearly 6 decades, master bassist Buster Williams has been one of the few iconic mainstays of the jazz heritage with his unmistakable sound. A prolific artist and composer whose music knows no limits, his services have been requested by such jazz giants as Miles Davis, Art Blakey, Benny Golson, and Herbie Hancock to Sarah Vaughan, Nancy Wilson, and Count Basie along with so many other it would take the whole podcast just to name them all! Buster and I have played and recorded together for over 25 years including Buster’s most recent release, “Audacity”. While on the road this summer, we talked about how we’ve gotten to this point musically and where to go from here.
Episode 20 of the Burning Ambulance podcast features an interview with bassist Buster Williams. Buster Williams is a jazz MVP like very few others. He got his start in the late Fifties; his first studio dates were in 1961, with Gene Ammons and Sonny Stitt, and he’s appeared on literally hundreds of records since. When I was researching this interview, I was going through his catalog on Discogs, and as you’ll hear, there are a whole bunch of albums he did in the Sixties that they don’t even have listed. He’s played with Miles Davis, Art Blakey, Herbie Hancock, the Jazz Crusaders, and a bunch of different singers. He’s played bass on so many records, he’s even on some where a different bassist is the leader – he’s made a couple of albums with Ron Carter. He doesn’t record very often as a leader, but when he does the music is always fantastic. The reason he stays in the back is, he really views his role as a supportive member of the ensemble to be crucial. He’s trying to provide a bottom end, and feed harmonies to the horns and the piano, and especially a singer. What he has to say about working with singers in this interview really fascinated me, and I hope you’ll find it as interesting as I did. I’m gonna be honest, I really feel like I learned a tremendous amount about how jazz works by talking to Buster Williams. I can’t read music, I can’t really play any instruments, but I found what he had to say about how a group should work together, and what his role is, extremely enlightening, and it’s probably going to change the way I listen going forward. I’m thrilled I had the opportunity to have this conversation with him, and I hope you'll enjoy listening to it.