Jazz and the Philharmonic: Real Jazz on PBS

For many ardent listeners, the words “jazz” and “philharmonic” have heavy significance when used in close proximity. It automatically summons images of the all-star concerts and recording sessions the legendary Norman Granz produced in concert halls around the country. This is not a Granz production. The philharmonic reference is more in keeping with the classical tradition. However, the jazz is still for real in Jazz and the Philharmonic (promo here), a concert featuring alumni of the National YoungArts Foundation, the Henry Mancini Institute Orchestra, and some of the top names in jazz, which airs on most PBS stations this Friday (yes, real honest-to-gosh jazz on PBS).

Of course, jazz and classical crossover fusions are nothing new. That is exactly what Third Stream Jazz was all about. While many of the program selections feature jazz soloists playing with the Mancini Orchestra (whose namesake would surely have approved of the program, especially the theme from Charade), there are several straight-up solo, duo, or trio jazz performances, which is obviously not a bad thing.

In fact, it is a very good thing when Chick Corea, Dave Grusin, and Bobby McFerrin open the concert with an elegant but persistently swinging “Autumn Leaves” for voice and two pianos. Corea fans really get their money’s worth throughout the concert, with the NEA Jazz Master performing in a variety of settings, mostly notably joining the Mancini Orchestra on his “Spanish Suite,” a composition perfectly suited to the evening. His duet with McFerrin, “Armando’s Rhumba” is not as distinctive, but they clearly enjoy making music together, which is part of the fun of a show like this.

In addition to “Spanish Suite,” Terence Blanchard also has feature spots on “Fugue in C Minor” and “Solfeggietto,” probably the two most overtly swinging-the-classics numbers of the evening. However, he is probably best showcased fronting the orchestra for a rendition of “Charade,” a wonderfully lush arrangement that brings to mind his classic Jazz in Film CD. Yet, perhaps the most effective jazz and classical dialogue comes when Elizabeth Joy Roe and Shelly Berg tackle “The Man I Love” as a lyrical but muscular piano duet, from the classical and jazz sides, respectively.

Nevertheless, the surprise peak of the concert integrates the sounds of deep roots Americana as well as jazz and classical when violinist Mark O’Connor joins pianist Dave Grusin on a sensitive and soulful version of “Simple Gifts,” the Shaker standard subsequently incorporated into Copeland’s Appalachian Spring. Rather fittingly, Grusin’s “Mountain Dance” follows. Purists might dismiss it as too “smooth,” but man, is it ever a pretty melody, sounding almost tailor made for the full orchestral treatment. It also provides a nice launching pad for O’Connor. In fact, Grusin takes two rather impressive solos as well: one fleet and swinging and the second surprisingly adventurous—so take that jazz snobs.

Aside from a weird choice for a closer (Also sprach Zarathustra from 2001, really?), Jazz and the Philharmonic is an extremely welcome dose of jazz on primetime PBS. It ranges from pleasantly entertaining to downright revelatory. It should motivate viewer-listeners to keep an eye out for a talented newcomer like Roe and catch up with the work of accomplished veterans like O’Connor and Blanchard. Naturally, it always sounds great from a technical perspective, thanks to the late, great engineer Phil Ramone, in whose memory it is dedicated. Highly recommended, Jazz and the Philharmonic airs on hip PBS outlets this Friday night (2/28).

Making Record-Making Records

Making Records: The Scenes Behind the Music
By Phil Ramone with Charles Granata
Hyperion Books

Here is Phil Ramone’s list of producing and engineering credits at Allmusic.com, representing artists from jazz, rock, pop, and Broadway. One can definitely see a book in there. Ramone, who worked with the likes of John Coltrane, Frank Sinatra, Luciano Pavoratti, and Billy Joel, collects a number of anecdotes from his recording career in Making Records, a conversational memoir co-written with Charles Granata.

While Ramone’s greatest commercial success came through his work with mega-pop stars, jazz plays a surprisingly large role in his story. Ramone was actually cutting a demo as a jazz violinist (with charts written for him by the great Ralph Burns) when he was recruited into his first studio gig. He would win his first Grammy (of fourteen) for engineering a jazz album, Getz Gilberto. Throughout his successful production career, Ramone frequently brought in major jazz artists to add a certain élan to his sessions. One thing that comes through clearly in Records is Ramone’s passion for a wide variety of music, certainly including jazz.

Along the way, Ramone produced and witnessed quite a bit of musical history. It was actually Ramone who did the sound for Pres. Kennedy’s birthday gala, which featured Marilyn Monroe’s famous serenade, with Hank Jones accompanying her on piano. Ramone recollects: “It was pretty imposing to be on stage with Marilyn Monroe, Hank Jones, and a nine-foot grand piano!” (p. 206) I’m sure he was really checking out that piano.

Records provides laymen with a basic introduction to craft of producing records, but it is not meant to be a primer for sound engineers. Ramone is more interested in illustrating the process of collaborating with creative talent. His stories suggest there are often times when producers need to smooth egos over. For instance, he was able to diplomatically explain to Billy Joel’s saxophonist, Richie Cannata, why he wanted to bring in bop alto legend Phil Woods for a session, so that the regular band-member would not object. He quotes Cannata explaining:

“All of us (Michael Brecker, David Sanborn, and I) looked up to Phil Woods; he was the Charlie Parker of our era. If Phil (Ramone) had asked Michael Brecker or David Sanborn to play on ‘Just the Way You Are,’ I would have felt hurt. But it was a real honor to have Phil Woods play on our record.” (p. 50)

In recent years, Ramone has made a specialty of songbook duet sessions, including Sinatra’s Duets, Tony Bennett’s Duets, and Ray Charles’ Genius Loves Company. All three figure significantly in Records, with the final Ray Charles sessions making a fitting conclusion. However, Billy Joel and Paul Simon probably have the greatest prominence in Ramone’s book, not surprisingly given their success. Ramone evidently even named his sons after them.

To his credit, Ramone shows little interest in passing off gossip or scandal. However, a little sense of conflict would have given the book greater dramatic urgency. Surely, there is someone out there Ramone would not care to work with again. In Records though, it seems Ramone is able to overcome every pitfall with a little creative engineering. More power to him. In any event, Records is a breezy read, that provides some fresh insights into the artists Ramone worked with, and audiophiles will dig his explanations of his various techniques and improvisations in the studio.