Jazz Variations On Gershwin's Rhapsody In BlueJAZZ HALL OF FAME
SERIES LRP-3071
CALVIN JACKSON, Péanist, ana His Orchestra LIBERTY
Jazz Variations on Gershwin’s RHAPSODY IN BLUE
To re-analyze a major work in any light other than that which
focuses on the tradi-
tionally accepted treatment is to invite ridicule, risk censure,
incite the faithful to an
examination of hempen cord and strong oak with the avowed intention
of stretching
the neck of the offender. Thus by giving this “fresh” attention to
the enormously popular
George Gershwin work, the Rhapsody in Blue, I automatically
qualified as a leading
candidate for the indignities the purists will undoubtedly heap
upon my head.
Was I fully aware of the aforestated drawbacks? Sure . . . I only
hesitated long
enough to take a deep breath and ask for a copy of the original
score when LIBERTY
proposed my undertaking this project . . . re-orchestrate Gershwin?
? ? up-date the
sounds? ? ? create a contemporary concept!!! ... these phrases and
more assailed my
thinking. Stating it simply — it was a challenge I could not
ignore.
Musicians and critics alike have in the main conceded the fact that
Gershwin was
ahead of his time. He composed in a legible jazz idiom that
unfortunately was beyond the
ken of his interpreters. So few of the true jazz figures of his era
were capable of “read-
ing” the notes that he had to depend on a pseudo-type hybrid that
fell loosely between
the categories of society dance band musician and second-rate
legitimate artist. True, the
SIDE ONE
original Whiteman rendition was literally and figuratively
speaking, a milestone in
American jazz history . .. to say such was not the case would be
bordering on heresy,
but I do maintain, and other students of Gershwin will bear me out,
that here was a
composer far ahead of the tools at hand. It is a monumental tribute
to the vision of Paul
Whiteman that he even undertook the giant step at all...
We have heard symphony soloists and groups undertake a longhair
interpretation
of the work, and frankly, if you love jazz and Gershwin as do I,
you must have felt as
though here was an enormously interesting and vital Huckleberry
Finn being stifled in
a boiled collar and tails...
As you will perceive on examination of our version, we have stayed
fairly religiously
within the confines of the original melodic line... it is only the
1927 vintaged adorn-
ments that we tampered with and brought up to present-day standards
of advanced
harmonics and listenability ... we would like to feel that George
Gershwin would be as
exhilarated by this reading of himself in a jazz idiom as we were
in the attempt...
— CALVIN JACKSON
SIDE TWO
CALVIN JACKSON, Pianist,
17:15
MORE JAZZ VARIATIONS ON GERSHWIN THE CALVIN JACKSON QUARTET Calvin
Jackson, Piano; Al Viola, Guitar; Buddy Woodson, Bass; Mel
Lewis, Drums.
SOMEONE TO WATCH OVER ME 5:06
LADY BE GOOD 3:30 (George and Ira Gershwin) * New World Music Corp.
* ASCAP
(George Gershwin) * Harms, Inc. * ASCAP
OF THEE | SING 2:35 FASCINATIN’ RHYTHM 2:00
(George Gershwin) * New World Music Corp. * ASCAP (George and Ira
Gershwin) * Harms, Inc. * ASCAP
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f JAZZ HALL OF FAME SERIES CALVIN JACKSON, PIANIST
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RHAPSODY IN BLUE (George Gershwin)
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JAZZ HALL OF FAME SERIES MORE JAZZ VARIATIONS ON GERSHWIN
THE CALVIN JACKSON QUARTET Calvin Jackson, Piano; Al Viola, Guitar;
Buddy Woodson, Bass; Mel Lewis, Drums
priory wep ta, . yey) THE ULT a aot as ‘ge HU A 3
1. LADY BE GOOD (George Gershwin) 3:30
2. OF THEE | SING (George Gershwin) 2:35
vc 29) 0 an (George and Ira Gershwin) 2:45
4. SOMEONE TO WATCH OVER ME (George and Ira Gershwin) 5:06
reg Wa a (George and Ira Gershwin) 2:00
