Master Class with Hank Jones: Student Performances
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- เผยแพร่เมื่อ 3 ต.ค. 2024
- In this clip from www.artistshousemusic.org - On Sunday, December 12, 2004, Hank Jones gave a master class produced by John Snyder of Artists House Foundation and David Schroeder of the NYU jazz department. This was one performance filled with vitality. Hank now in his eighties, is still touring (recently returning from Japan) arrived bursting with energy and after a long day, was still going strong as he chatted with the jazz students which he had performed and instructed that day. Hank Jones, brother of Elvin Jones (the drummer) and Thad (the cornetist), was born 1918 in Mississippi and raised in Michigan. He was influenced by performers Fat Waller, Earl Hines and Art Tatum and is known for his distinctive swinging style. Hank's first gig was with Hot Lips Page band in 1944, a job Lucky Thompson (the saxophonist) got him. Hank worked as a freelancer with artists such as Artie Shaw, Milt Jackson, Benny Goodman and Julian Cannonball Adderley. Later Hank joined CBS working as a studio musician for 17 years, working on such programs as The Ed Sullivan Show. Jones also was a member of his brother's co-led orchestra with Mel Lewis beginning in 1966. Because of Jones unique and versatile style, he can be found on many recordings. He has also played piano duos with such greats as Tommy Flanagan, George Shearing and John Lewis.
Who knew doing this thing called music could be a vehicle for expression that could take one around the world. It is possible yet it takes dedication. Even when it seems no one is listening. Some are fortunate to have this opportunity. Others have to dig deep inside themselves when all others seem comfortable in their doubt as to ones ability to rise above adversity. I love Aaron in this setting. When I first met him in person during the celebration of the music of Ahmad Jamal it was in Dizzies Club in New York aka ‘the City’. I walked up to him and complimented him on his sound and he was always very kind and courteous. many can take a page out of Aaron’s book on how to carry one’s self. It does not matter what on e can play if one’s character is not a reflection of the deeper existence of one’s being. Beautiful to watch Hank Jones give such live-changing gems of wisdom with love and compassion. Such an amazing human in Hank Jones and the family of Jones talents out of Pontiac, Michigan. Give thanks.
I'm not a musician, but I had the pleasure of seeing Hank Jones at the Iridium in NYC sometime around '98 or '99. I even got to chat with him briefly afterwards and even met Theodosia, his wife (there were only maybe four other tables of people so it was easy to approach them). He was such an old-school gentleman: very affable and friendly and very humble despite being one of the world's great musicians.
What a master was Hank Jones. I wish I was his student.
i wish i WERE his student
Mr Hank Jones' face after he comments on the ensemble performance is priceless. That smile. I'm in hysterics !
Aaron Diehl is the first pianist and there is a great amount of "Americana" and tradition in his playing…He is also an aviation pilot..
I thought I recognised him.
Le jazz est une approche de la musique qui, somme toute, frise la supercherie ! Un brin de virtuosité fondu dans un océan de prestidigitations.
Jazz is an approach to music which, all in all, borders on deception! A bit of virtuosity melted into an ocean of conjuring tricks.
RIP Hank Jones
wow..I'm just now listening 2 d first keys player.. he is fantastic
Amazing
The first pianist is A GREAT VIRTUOSO!!!!!
+Playthell Benjamin The first one is a brillant virtuoso indeed. He plays very well written music. The second one is much better at jazz. He has a colorful and vivid sense of improvisation and a strong presence
The first one has tremendous technique, but no originality was displayed here. I was reminded of a pianola roll of Tatum. The second one played jazz - and played it well. Hank makes a very telling comment at 38'16".
I believe Aaron only played Elegy to demonstrate his virtuosity. No one seem to mention how well he played, "I Cover The Waterfront" that included some nice ideas. Aaron has gone on and established a nice jazz career for himself.
Oh yes... thanks !!
Hank Jones
Hank Jones was and IS a legend .his solo was fantastic
Students fine .i early liked the. .saxophonist
What is his name ?
Aaron Also so talented Nd other pianist I wish the. solos had more space
This is the real thing children
great saxofonist!
Really who was that first pianist. I would really like to check out his music. Please give us the name.
thank you very much, very appreciated
Who is the first student???
cool
What hank was doing at 42:22 ? That was insane 😩
Comping?
@@yahyamhirsi yes of course 😂 but I want to know the changes 😅
@@kabalayouri419 sounded like chromatic substitutions(here just tritone subbing the V7 chord) - you can just go down chromatically to substitute 2-5’s…ie instead of Dm-G7-Cm-F7, you can do Dm-Dbalt-Cm-Balt. but might have been doing something different
MONK
Trumpet and bass players held it down on Rhythm-a-Ning but they should've came correct when Jones asked them if they knew it
These are graduate students in jazz studies and none of them know the tune Rhythm-a-Ning?!?! For shame.
Right!? I’ll chalk it up to nerves but no horn player should be having that tough of a time reading a head
Better to learn a few tunes really well than try to learn 'em all.
@@kencory2476 Disagree. I get what you're saying but as a jazz musician you have to know more than just a few tunes.
What's the name of the 2nd pianist? Way better than the 1st one artistically speaking.
6:50 Rhapsody in blue.
5:40 and a little before that is Art Tatum's Elegy. Interesting that he doesn't really improvise as much on it, this is pretty close to Tatum's version.
holygroove2 There's a BBC show from the seventies (currently posted on TH-cam in separate segments) with Andre Previn interviewing (and playing with) Oscar Peterson in which both have disparaging things to say about this practice--and by "this practice" I mean performing transcriptions specifically of Tatum. In one sense, Jones is right; it's comparable to performing a classical piece, but I suspect Jones is mostly just trying to be agreeable because in another sense performing Tatum transcriptions is faking. I remember reading in the New York Times once about a jazz competition in which a pianist who tried something like this was disqualified.
Herbert Wells - I understand the decision to disqualify that pianist, especially if he or she didn't attempt to create their own variation.
+holygroove2 It's incredible that the young man had the courage to take on a such an intimidating piece by a most intimidating pianist (Tatum), let alone execute it to a very respectable degree.
Not really. Younger students are actually quite bold. Imitation is the first step. Plus, whatever Hank Jones says, I would listen and follow.
@Itravail, he did sounds kinda bad at 5:58 and 6:05, he doesn't have the precision and speed as Art Tatum and it basically sounds like an inferior version of Art.
drummer's real flashy haha
5:40 dude screwed up the arpeggio and he knew it.
Anyone know who the second pianist is?
43:30
Whats the first pianists name?
Aaron Diehl
Thanks:)
What is with the technical obsession
that bass player is play too behind in that "Confirmation"
One should never take a chorus unless he played the theme properly. As Jones said, it's even a good idea to stay close to the theme in the first chorus. But first, it's quite surprising they don't know Rhythm a ning. But then, ok, they don't know it, but please how can you throw a good improvisation on a theme you don't know and you didn't play in the first place. Improvising is not only about throwing thousand times repeated patterns out of your instrument. Improvising is "answering", responding to the theme, the band, the moment, to the lyrics... What do i want to say about/through/on/from this song right now ? What does it inspire me ?
They could have improvise a tasteful accompaniment, violin kind, with much humility.
Mr Jones is being very polite during the whole masterclass. I love the man and the musician, but that is definitely not a very instructive masterclass. He doesn't give much advices. More a kind of lively tribute. And he's being too nice to them.
I see where you are coming from, but I don't think he is being nice at all. He told them they are out of tune, and then exposed that they could not even play rhythm changes. The lesson is get your sh*t together. That was embarrassing for them and I bet they practiced their butts off after that.
matter of fact, I'm practicing rhythm changes now! gotta go.
Love your first paragraph
Yeah it was shamefull nit to know that tune. I could understand if they didnt know the name but the sound. But they really had no Idea whatsoever. Thats fucked up.
@33:00 First tip: Always tune.
Oof, yikes. That is pretty embarrassing to hear as a critique from a jazz legend.