Newport Jazz Festival July 17, 1955 Bobby Hackett, trumpet MY ONE AND ONLY LOVE Bud Shank LOVER MAN Ben Webster SOMEONE TO WATCH OVER ME Billy Taylor, piano Wyett Reuther, bass Jo Jones, drums
Thanks, Gis…changed it. Saw Tony K. for the first in years recently, and I remembered when you guys had that apartment near me in Riverdale…lots of memories. Hope you’re well!
Bobby Hackett according to Jazz Lives on the internernet: "If I hear a song, I know how I want it to play. I kind of make it a rule that if it’s by a good composer, I’ll aim for a faithful interpretation, not change too much ‘cos he knew more about writing it than I ever will. So a soloist to me is an interpreter. How did the writer wish the song to sound? That’s the way I try to make it sound. If I’m playing a Cole Porter tune I don’t want it to sound like Birdland - that would be a misinterpretation, and I won’t do it. And the better the song is, the harder it is to play. Say you’re Porter or Gershwin, Berlin, Ellington - and there’s no better example - well, you did all that thinking before putting the song down on paper. So we had better play it the way you conceived it, unless we’re sure we can improve it. I’m not capable of improving on Duke Ellington, and any guys who think they are, well, they must be very vain people."
My one & only love is the first ballad . ❤
Thanks, Gis…changed it. Saw Tony K. for the first in years recently, and I remembered when you guys had that apartment near me in Riverdale…lots of memories. Hope you’re well!
Bobby Hackett according to Jazz Lives on the internernet:
"If I hear a song, I know how I want it to play. I kind of make it a rule that if it’s by a good composer, I’ll aim for a faithful interpretation, not change too much ‘cos he knew more about writing it than I ever will. So a soloist to me is an interpreter. How did the writer wish the song to sound? That’s the way I try to make it sound. If I’m playing a Cole Porter tune I don’t want it to sound like Birdland - that would be a misinterpretation, and I won’t do it. And the better the song is, the harder it is to play. Say you’re Porter or Gershwin, Berlin, Ellington - and there’s no better example - well, you did all that thinking before putting the song down on paper. So we had better play it the way you conceived it, unless we’re sure we can improve it. I’m not capable of improving on Duke Ellington, and any guys who think they are, well, they must be very vain people."