Tommy Flanagan - Smooth as the Wind
HTML-код
- Опубликовано: 30 сен 2024
- Tommy Flanaga, a compact, easy-going and self-effacing man, provoked that kind of interest. His fluent, quick-witted and elegant sound graced innumerable sessions of far bigger stars through the classic records of the late 1950s and the 1960s. He was the sideman who consistently stopped you from going to make the tea when the main attraction wasn't playing.
His shrewd and fast-moving phrasing counterbalanced Sonny Rollins' abrasive and fragmented tenor-sax lines on the celebrated Saxophone Colossus session of 1957; it sensed and reflected the mood of a bop-driven music that was relaxed and intense on the late Wes Montgomery's Incredible Jazz Guitar album of 1960; it kept up with the hurtling John Jazz Video Guy Recommends
Audioengine A2+ Wireless Speakers
amzn.to/3GVZrTJ
John Coltrane - His Life and Music
amzn.to/3vTG72Z
Michael Brecker - Ode to a Tenor Titan
amzn.to/3CDQ5JK
Saxophone Colossus - The Life and Music of Sonny Rollins
amzn.to/3CDQ5JK on Giant Steps; and constantly - and most famously - it curled around the jubilant vocal lines of Ella Fitzgerald, whose musical director Flanagan eventually became.
Working with Fitzgerald was his most prestigious and demanding job. He kept up with a hectic touring schedule as her regular partner in two stretches, between 1962 and 1965, and for a decade from 1968, until a heart attack occasioned a reassessment.
Flanagan was one of a group of formidable jazz pianists to emerge from the postwar Detroit scene. Elvin Jones' pianist brother, Hank, was one, Roland Hanna and Barry Harris were significant others - and, with Flanagan, they shared an enthusiasm for a number of late-swing and early-bop keyboard artists, including Teddy Wilson, Nat "King" Cole, Errol Garner and Bud Powell. The wit, lyricism and accessible song-patterns of 1930s jazz thus cohabit in their work with the more irrregular and arrhythmic phrasing of bop.
Flanagan was born on the north-east side of Detroit, the youngest of five boys and a girl. His father was a postman, his mother - who had taught herself to play piano and guided Tommy and his older brother, Jay, on the instrument - was in the garment business.
Flanagan first took up the clarinet, then the piano from the age of 11 - listening to Fats Waller and Art Tatum, and later to his contemporary, Hank Jones, to Bud Powell and the graceful Nat Cole. Jay helped Tommy gain a foothold, and he became a regular member of the house band at Detroit's Blue Bird Inn. He was playing his first club gigs while still in high school, carrying on his homework between sets.
The young Flanagan frequently worked in local bands with the other Jones brothers - drummer Elvin and trumpeter Thad - and vibraharpist Milt Jackson. But in 1956, increasingly fascinated by bebop, he left for New York, where he quickly won attention from the idiom's most acclaimed practitioners - including Bud Powell himself, for whom Flanagan was sometimes to deputise at the Birdland club.
Like many bop-oriented players, he often seemed to phrase in the shapes of saxophone lines. But, like Sonny Rollins, he never allowed the improvisational possibilities of that approach to distract him totally from the original theme, which would fitfully resurface in varying forms. He liked unfolding a melody in chords, suspending the thematic momentum before a solo with a gleeful, single-line prevarication, then sweeping into a series of choruses full of glossy, tumbling arpeggios, his most explicit references to the inspiration of Tatum. Whatever Flanagan did, it always fitted the moment, and the dispositions of the players around him.
He first accompanied Ella Fitzgerald at the 1956 Newport jazz festival. He also worked for Tony Bennett, and on classic recordings by Dexter Gordon, Coleman Hawkins and many others.
Following the 1978 heart attack, Flanagan opted to develop the solo career he had always self-deprecatingly concluded he had insufficient technique for. The result was a series of highly regarded trio albums - featuring powerful partners like bassist George Mraz and drummer Elvin Jones - displaying his affectionate insights into standard material, the legacy of bebop as refracted by Bud Powell and Thelonious Monk, and drawing on an encyclo- paedic knowledge of fine songs, from evergreens to the overlooked.
Generous and open-minded, Flanagan appreciated many younger pianists. For his contribution to many varieties of jazz, he was awarded the prestigious Danish Jazzpar Prize in 1993. He played extended seasons at New York's Village Vanguard, and his diary was full for gigs in 2002.
He leaves his wife, Diane, a son, two daughters and six grandchildren.
Tommy Flanagan, pianist, born March 16 1930; died November 16 2001
Thank you, JazzVideoGuy for posting this. Tommy is my grandfather and when I'm really missing him I can easily access a video of him. It is so nice to know that his music was loved and enjoyed. Cheers.
I knew your Grandfather, I'm a fellow Detroiter, i use to hang with him whenever he played at Bradley's in the 70's, he was one of the best Jazz pianist in the world . I miss him and Bradley's in Greenwich Village dearly. I hope you plan to inherit his talent and keep his legacy alive. The music world sure could use another Tommy Flanagan, I'm guessing you refer to Kenny Burrell as "Uncle Kenny"
Tommy was a very elegant, very talented player. One of the very best...
Tommy Flanagan = elegance
I love Tommy Flanagan's music! I had the wonderful opportunity to sit just two feet away from him when he performed with his trio at The Green Mill Lounge in Chicago in the late 1990s. It was an evening I'll not forget.
Tommy was an extraordinary musician. I will never forget listening to George Mraz and him rehearsing. At one point Tommy went off on a tangent just playing with chord progressions that went to the strangest places. George followed (and led) every step of the way. It was one of the most inspiring things I'd ever witnessed. Beautiful folks. Both of'em!
Who on god's green earth would down vote this?
Answer: A classless, tasteless, unrefined, ignorant, uncultured, hopeless, complete MORON.
the most un heard and somewhat underated jazz pianis of his time in the days.......he worked with Ella for years.....
"The most unheard" ...No the most unheard pianists are people you haven't heard of. Tommy *is* famous...
Absolutely the best piece of solo piano I have ever heard, and I have heard them all. Tommy Flanagan is on top of my list of piano players.
Wow, thank you!
His improvising is always so melodic !
Thanks so much for posting this! These clips are amazing. Educational and enjoyable! Do you have (or know where I can buy) the videos of the Jazz Counterpoint shows?
Again - thanks for posting - you've done an amazing service to all jazz lovers worldwide! Greetings from Australia.
Thanks for sharing- humility, beauty, and such a gentle spirit. Very underrated but influenced so many players....his playing can't be ignored. Thanks again.
What a revelation to hear him recorded well for a change, on a tuned piano... all those old recordings are so bad. Lesson to me: never underrate the sideman!
What a cool left hand this guy has!!!!!!
I have only heard of this fine Jazz pianist in his time, but never actually heard him playing. Very underrated pianist, it is a nice tribute.
That is some of the prettiest piano playing I have ever seen or heard. Happy Birthday Tommy!!!
What a pretty Composition
greatest taste, playing, musicality. A genious.
@somaking77 I wish those shows were available for purchase, but they're not so we've posted them here. Glad you enjoy!
Thanks for posting this. I'm glad I was able to see him live. He and Art Tatum played the most beautiful jazz piano I've ever heard.
cool like bill evans voicings
@pianojazztooo
Vova47 is right. Tommy Flanagan is much more than another of the quatillion bazillion jazz pianists out there whose harmonic approach begins at Evans and ends at Evans+Herbie+Keith.
@senikle or some kind who just didn't know any better
Sublime
absolutely
I am so glad I got to hear Tommy on several occasions. His interpretation of this lesser-known Dameron melody, along with many elements Tadd’s
Great Musician!! Here you can hear what Jazz is - variation and improvisation at its best!!!
Stunning and marvelous playing, thanks for posting!
Grazie grande maestro. Da te ho imparato molte cose. Grazie ancora!
Another marvelous clip of Tommy. What utter mastery of the art of solo jazz piano. Wow...
Powerful.
so true
Oh this is beautiful.
Toucher cristallin, divin sens de l'harmonie, un des plus grands pianistes !
The one dislake is racist. Thats not cool bro
wonderful pianist
Heartwarming music and wonderful, respectful description reflecting one's life. Thank you.
Good morning grateful Tommy
damn
that about sums it up
A pianist's pianist, much admired by many great musicians. It's easy to hear why.
Mr."Giant Steps" himself minus Coltrane..
Nice, extra nice. One phrase suggests another; just let your brain tell your fingers what to do.
Arrangement is precious, and I recommend folks to look up the original, if they are not familiar with it. Look for the Blue Mitchell version, which Tadd arranged.
응애 아기 플러겐
.... i think that`s the time in a musical school to substitute Mozart stuff with a Music like that :)
Andrey Gubenko Yes, and get rid of Bach, Beethoven and Chopin while you're at it........
lol)) No, only Mozart
I guess I should say is. Nice to have a lasting legacy.
thanks to video and wonderfull
A lesson in upper structure harmony .
Good morning grateful Tommy
so good! simply wonderfull!
Master
Beautiful music ❤
I personally think Tommy Flanagan and Dr. Billy Taylor for that matter are very underrated when it comes to their vast knowledge of harmony and counterpoint! Taking nothing away from the great Bill Evans as a pianist, but it seems some people tend to think that jazz was devoid of intricate chord structures until Bill came along! That is the furthest thing from the truth! Albeit, his contributions are noteworthy and documented as one of the greats, again he is ONE (1) of the greats! I am immensely enjoying Tommy Flanagan whose work with Ella Fitzgerald as well John Coltrane indicates his great ability to adjust to just about any style of the genre!
Soft spoken Tommy Flanagan was a Musical Master who could play anything with anybody,.
another great DETROIT PIANIST
Bellissimo,grazie
Such beautiful playing. And they're very much alike in their style of playing.
Two legends.
Maravilloso!!!
sigh, sigh, sigh...
En el paraiso
Nice!
WOW!
A decent keyboardist it seems. Salutes in peace. Peace is Victory.
Decent?
I reflect so and so forth about him. What you are ? Salutes.
Great video! Do you have the date of when this was filmed? Thanks!
Rachel Bronstein Early 80s.
Jazz Video Guy I found some record that Billy Taylor interviewed Tommy Flanagan on "Sunday Morning" in 1995. Is that what this is from?
Rachel Bronstein No, this is from a series that Billy Taylor did on Bravo, the cable channel, before they focused on reality TV, when it was an arts channel. He did a series of programs with other pianists, including John Lewis, Dick Hyman and Monty Alexander, where they discussed music and played together.
Music starts at 1:30