4/14(月)寺井尚之ジャズピアノ&理論教室 Monday, April 14: No live shows on Mondays and Thursdays =piano lessons
4/15(火) 寺井尚之 (p)+橋本洋佑 Y(b) DUO Tuesday, April 15: Hisayuki Terai (p) Duo Live Charge 2200 Music 7pm-/ 8pm- (入替なし/ No table turnover)閉店 / Close9pm
4/16(水) 寺井尚之 (p)+宮本在浩 (b) DUO Wednesday, April 16: Hisayuki Terai(p)+Zaiko Miyamoto(b) Live Charge 2530 Music 7pm-/ 8pm-/ 9pm- (入替なし/No table turnover)
4/17(木)寺井尚之ジャズピアノ教室 Thursday, April 17:No live shows on Mondays and Thursdays =piano lessons
4/18(金)末宗俊郎 (g) Trio / 寺井尚之 (p)、坂田慶治 (b) Friday, April 18th: Toshiro Swemu-neh guitar Trio Live Charge 2530 Music 7pm-/ 8pm-/ 9pm- (入替なし/No table turnover)
4/19(土)寺井尚之/Hisayuki Terai(p)+宮本在浩/Zaiko Miyamoto(b)DUOー“Special Selection” Saturday, April 19th: Hisayuki Terai -piano and Zaiko Miyamoto Duo- “Special Selection” presents a wonderful program to be a seasonal jazz almanac. Live Charge 2970 (入替なし/No table turnover) Music 1st set 7:00-7:45 pm / 2nd set 8:10-8:55 pm- Close 9pm (*7pmまでにご入店ください)
Pianist and Jazz Club OverSeas owner Hisayuki Terai has honored his mentor, piano giant Tommy Flanagan (1930-2001), by performing special concerts exclusively featuring Flanagan’s iconic repertoire every year in the months of his birth and passing since his passing. The 46th tribute to Flanagan took place on March 15, 2025.
Hisayuki Terai and bassist Zaiko Miyamoto at the concert
It has been 24 years since Tommy Flanagan passed. For this concert, Terai has selected tunes from the many pieces Flanagan cherished throughout his musical career, focusing on compositions by Thad Jones. Thad Jones was one of Flanagan’s greatest influences in his early days in Detroit, and in 1993, Flanagan recorded the album “Let’s (Play the Music of Thad Jones)” at his own expense. This concert is performed by Terai and his long-time musical partner, bassist Zaiko Miyamoto. Sharing Flanagan’s music with devoted fans from all over the country is always a joy for us.
1st Set
1. 50-21 (Thad Jones)
Thad Jones(1923-86)
The concert opens with a piece that Thad Jones dedicated to the sacred ground of Detroit Hard Bop—the Blue Bird Inn. The title, “50-21,” refers to the address of this legendary jazz club (5021 Tireman Ave., Detroit). Between 1953 and 1954, Flanagan and Jones collaborated in the house band of the club. During that time, they pioneered the Detroit Hard Bop style, shaping it with Thad Jones’ compositions—many of which Flanagan would continue to play throughout his life—while showcasing advanced technique and distinctive elegance. Incidentally, a couple of long-time regulars at Jazz Club OverSeas have license plates bearing the number “5021.” Flanagan recorded this piece on albums such as Confirmation (Enja, 1977) and Beyond the Blue Bird (Timeless, 1990).
Beyond the Blue Bird (Timeless, ’90)
2. Beyond the Blue Bird (Tommy Flanagan) “Beyond the Blue Bird” was composed by Flanagan in 1990, reflecting his nostalgia for the Blue Bird Inn. The tune became the title track of his album, which featured fellow Blue Bird Inn alumnus and guitar virtuoso, Kenny Burrell as the guest.
Before the album’s release, Flanagan had Terai transcribe the piece in his Upper West Side apartment in New York City. With its subtle yet rapid key changes, the composition embodies Flanagan’s signature style, exuding both elegance and depth.
3. Medley: Embraceable You (George Gershwin) – Quasimodo (Charlie Parker)
Charlie Parker (1920-55)
Flanagan’s style can hardly be discussed without considering his medleys. Charlie Parker composed a bebop tune based on the chord changes of Gershwin’s famous ballad “Embraceable You” and named it “Quasimodo” after the disfigured protagonist of The Hunchback of Notre-Dame.
This medley, which ingeniously connects the original ballad with Parker’s bebop variation through exquisite key changes, seems to convey his message that true beauty lies not in appearance but within one’s soul. Among Flanagan’s many medleys, this stands out as a legendary signature piece. However, unfortunately, no recordings exist of him performing it with his regular trio.
4. Minor Mishap (Tommy Flanagan)
One of Flanagan’s well-known original compositions, recorded on his first album as a leader, Cats (New Jazz, 1957), features John Coltrane and Kenny Burrell. This album remains popular to this day.
The tune’s name was inspired by circumstances during the recording session. Since then, Flanagan performed the tune most frequently throughout his career.
5. Sunset and the Mockingbird (Duke Ellington, Billy Strayhorn)
女王陛下とエリントン
The inspiration for the piece came from a birdcall Duke Ellington heard while driving across Florida with Harry Carney. He composed the tune instantly, and it eventually became part of the “Queen’s Suite,” which Ellington recorded with his orchestra, intending to press only one copy to dedicate to Queen Elizabeth.
Flanagan enjoyed playing the tune since the 1970s, and it later became the title track of his 67th Birthday Concert album (Blue Note, 1997).
6. Beats Up (Tommy Flanagan)
A riff tune based on rhythm changes, Beats Up was originally recorded forOverseas (Metronome/Prestige, 1957) and nearly four decades later, it was re-recorded for Sea Changes (Alfa Jazz, 1996) as well asDalarna. In this performance, Terai and Miyamoto take on the challenge of capturing the trio’s dynamism in a duo format.
7. Dalarna (Tommy Flanagan)
スウェーデン、ダーラナ県
Flanagan’s early composition with a trace of influence of Impressionism from his youth, Dalarna, was initially recorded on “Overseas”, an album produced during an extensive tour in 1957 across Sweden with the J.J. Johnson quintet. Throughout the tour of Sweden, they performed concerts in various locations across the country. It’s easy to imagine Flanagan being inspired by the beauty of Dalarna County. Although Flanagan didn’t revisit the tune for many years, he found renewed inspiration from Terai’s CD titled Dalarna (Flanagania Record, 1995), prompting him to re-record it for Sea Changes (1996, Alfa), using Terai’s arrangement. Immediately after the recording, Flanagan excitedly called Terai to announce, “I’ve recorded Dalarna! His lively voice still resonates in Terai’s heart to this day.
8. Tin Tin Deo (Chano Pozo, Gill Fuller, Dizzy Gillespie)
Chano Pozo and Dizzy
The first set closes with an Afro-Cuban jazz classic, pioneered by Dizzy Gillespie. Flanagan crafted an exquisite piano trio version, preserving the strength of the earthy Cuban rhythms while enhancing the wistful melody. A hallmark of Flanagan’s style, he masterfully condensed big band arrangements into a compact piano trio setting, creating an interpretation that was even more dynamic and compelling.
2nd Set
1.That Tired Routine Called Love (Matt Dennis)
A witty love song written by Matt Dennis, a singer-pianist, composer, and arranger, best known for penning numerous hit songs for Frank Sinatra. His compositions, while pleasant to the ear, are often tricky to play and have been cherished by jazz artists. This particular tune, filled with modulations, stimulates the challenging spirit of jazz musicians. Trombone master J.J. Johnson recorded this piece with Flanagan for the album First Place (Columbia, 1957). Over 30 years later, Flanagan included the song on his own album, Jazz Poet (Timeless, 1989), and the arrangement was updated with subsequent live performances. Terai performs the evolved version of the arrangement.
2. With Malice Towards None (Tom McIntosh)
Tom McIntosh (1927-2017)
A spiritual masterpiece cherished by Flanagan, With Malice Towards None—recorded with George Mraz on Ballads & Blues (Enja, 1975)—holds a special place at this club. Composer Tom McIntosh was not only a friend but also a neighbor of Flanagan, who closely observed the song’s creative process. As it turned out, Flanagan’s ideas were intricately woven into the composition. The title of this song is a message that resonates deeply with us in today’s world.
3.A Sleepin’ Bee (Harold Arlen) A buoyant “spring song,” as Flanagan called it, Sleepin’ Bee was one of his favorites to perform at New York club gigs during the spring season. The tune originates from the Truman Capote-scripted, Harold Arlen-scored musical House of Flowers. Inspired by a Haitian legend, it tells of a girl who holds a sleeping bee in her hand—if the bee neither awakens nor stings her, she will find true love. Flanagan greatly appreciated Terai’s streamlined arrangement of this piece.
4. They Say It’s Spring (Bob Haymes)
Bobby Jaspar & Blossom Dearie
Another spring song,They Say It’s Spring was originally a hit for singer/pianist Blossom Dearie. Dearie, who was married to Flanagan’s bandmate Bobby Jaspar, first introduced the tune to Tommy during one of her live performances. Flanagan later recorded it with George Mraz in 1975 for the album Ballads & Blues.
5. Passion Flower (Billy Strayhorn)
Geoge Mraz at OverSeas Club(’84)
A signature piece for bassist George Mraz during the Tommy Flanagan Trio era, Passion Flower showcased his exceptional bowing at nearly every gig. In this concert, Zaiko Miyamoto’s beautiful bowing took the spotlight. Even after Mraz parted ways with Flanagan, he continued to perform this Strayhorn piece, eventually including it on his own album,My Foolish Heart(Milestone, 1995).
6. Eclypso (Tommy Flanagan)
One of Flanagan’s renowned, uplifting originals, Eclypso appears to be inspired by Bud Powell’s So Sorry Please. Eclypso holds a special place in pianist Terai’s memories. During Terai’s first visit to New York at Flanagan’s invitation, Flanagan performed this piece on the final night of that unforgettable trip at the Village Vanguard, dedicating it to his protégé with a heartfelt announcement to the audience.
7. Easy Living (Ralph Ranger)
Billie Holiday (1915-59)
Since the 1937 recording by Billie Holiday with Teddy Wilson and his Orchestra turned it into a hit, many jazz musicians who admired Lady Day have covered the song, making it a jazz standard. On the night of Flanagan’s passing, Terai poignantly played the song through his tears. Now, 24 years later, the sound of Terai’s piano transcends grief and loss, even conveying the joy of music.
8. Our Delight (Tadd Dameron)
Tadd Dameron (1917-65)
A well-known piece written by Tadd Dameron for the Dizzy Gillespie Orchestra during the height of the bebop era in the mid-1940s, Our Delight highlights Flanagan’s musical style, which seamlessly incorporates the dynamism of big band arrangements into a piano trio. Flanagan had a customary introduction for this piece: “Bebop is the music before the Beatles and after the Beatles!” The more enthusiastic the applause in agreement, the more magnificent the performance became.
Encore:
Thad Jones
1. To You (Thad Jones)
Let”s (Enja, 1993)
A beautiful ballad featured on Flanagan’s Thad Jones songbook album, “Let’s.” The first recording of this piece was on “First Time!,” the only collaborative album between two legendary big bands—Count Basie and Duke Ellington—recorded in 1962. However, considering that all the other pieces on “Let’s” were selections Flanagan had played with Jones at the Blue Bird Inn (1953-54), it is most likely that “To You” also dates back to that period. The shifting phases of sound, reminiscent of the waxing and waning of the moon, along with its distinctive rhythm that makes use of silence, evoke the traditional aesthetics of Japanese ink painting, where every brushstroke is deliberate and essential. With a piano touch inherited from Flanagan, Terai has recently added this piece to his repertoire.
2. Like Old Times (Thad Jones)
Another piece from the Blue Bird Inn era, “Like Old Times” was recorded by Flanagan and Jones on Jones’ Motor City Scene (United Artists, 1959). Over the years, the tune became a staple encore in Flanagan’s performances. Occasionally, he would playfully pull out a small whistle from his pocket and blow it at just the right moment, sparking laughter from the audience. At this concert, Terai carried on the tradition, whistling in the same playful manner—just like old times.
アンコールはTry a Little Tendernessでイギリス人のお客様が満面の笑み。 「優しさ」は、今の世の中にとても必要なものかもしれませんね。
Setlist
=1st Set=
1. The Tadd Walk (Tadd Dameron) 2. Like Someone in Love (Jimmy Van Heusen) 3. I Can’t Give You Anything but Love (Jimmy McHugh) 4. Quiet Sip (Thad Jones) 5. So Beats My Heart for You (Pat Ballard) 6. I’m in the Mood for Love (Jimmy McHugh) 7. Oh, Lady Be Good (George Gershwin)
=2nd Set=
1. Strollin’ (Horace Silver) 2. Grand Street (Sonny Rollins) 3. Strode Rode (Sonny Rollins) 4. You’ve Changed (Carl Fischer) 5. Just Friends (John Klenner) 6. Some Other Spring (Irene Kitchings) 7. Scrapple from the Apple (Charlie Parker)
Encore: Try a Little Tenderness (Jimmy Campbell, Reg Connelly, Harry Woods)
3/25(火) 寺井尚之/Hisayuki Terai(p)+倉橋幸久/Yukihisa Kurahashi(b) Duo Live Charge 2200 Music 7pm-/8pm- /Closed 9pm
3/26(水)寺井尚之/Hisayuki Terai (p)+宮本在浩/Zaiko Miyamoto(b) Duo Live Charge 2530 Music 7pm-/8pm- / 9pm-
3/27(木)寺井尚之ジャズピアノ&理論教室
3/28(金)滝川雅弘/Masahiro Takigawa(cl) トリオ w/寺井尚之/Hisayuki Terai(p)、東ともみ/Tomomi Azuma (b) Live Charge 2530 Music 7pm-/ 8pm-/ 9pm-
3/29(土)寺井尚之/Hisayuki Terai(p)+宮本在浩/Zaiko Miyamoto(b)デュオー“Special Selection” Live Charge 2970 (入替なし/No table turnover) Music 1st set 7:00-7:45 pm / 2nd set 8:10-8:55 pm- Close 9pm (*7pmまでにご入店ください)
トミー・フラナガン没後24年、OverSeasで誕生月と逝去月に開催する46回目のトリビュート・コンサートを3月15日に開催しました。 フラナガンの名演目を選りすぐってお聴きいただくトリビュート・コンサート、今回はフラナガンが生涯愛奏しつづけ、自費で『Let’s (Play the Music of Thad Jones)』という作品集を録音しているサド・ジョーンズの作品にスポットを当てたコンサートになりました。 演奏は、おなじみフラナガン唯一の弟子、寺井尚之(p)と25年来のパートナー、宮本在浩(b)とのデュオ。
オープニングは、フラナガンが大きな影響を受けたコルネット奏者、作編曲家、サド・ジョーンズ(写真左)のオリジナル。デトロイト・ハードバップ誕生の地であるデトロイトの黒人居住地にあったジャズクラブ《ブルーバード・イン》に因んだ曲。50-21はクラブの番地(5021 Tireman Ave. Detroit)だ。フラナガンとジョーンズは、このクラブのハウスバンドとして活動(1953~54年)、その時期に演奏した多くのサド・ジョーンズ作品は、フラナガン終生の愛奏曲になる。コンサートの客席には、愛車ナンバーが“5021”の常連様が2名もおられるのが誇らしい。 フラナガンはアルバム《Comfirmation》 (Enja ’77) 、《Beyond the Blue Bird》 (Timeless, ’90) 、寺井尚之は《Fragrant Times》 (Flanagania ’97)に収録。
2, Beyond the Blue Bird (Tommy Flanagan) ビヨンド・ザ・ブルーバード:フラナガンが《ブルーバード・イン》へのノスタルジーを込めて作った作品で、同じくデトロイトの盟友ギタリスト、ケニー・バレルをゲストに迎えたリーダー作(’90)のタイトル曲とした。 アルバムのリリース前、フラナガンはNYで寺井尚之にこの譜面を写譜させ、彼に演奏することを許した。めまぐるしい転調によって曲に品格と深みを出す典型的なフラナガン・ミュージックだ。
3. Medley: Embraceable You (George Gershwin) – Quasimodo (Charlie Parker)
3.A Sleepin’ Bee (Harold Arlen) スリーピン・ビー:フラナガンが“スプリング・ソング”と呼び、春になると愛奏した演目の一つ。カリブを舞台にしたミュージカル「A House of Flowers」(トルーマン・カポーティ原作、ハロルド・アーレン音楽)の挿入歌。「蜂が手の中で眠ったら、あなたの恋は本物」というハイチの言い伝えを元にしたラブ・ソングだ。フラナガン・ヴァージョンを基に、すっきりと切り詰めた寺井尚之のアレンジをフラナガンは大いに褒めてくれたことがある。
4. They Say It’s Spring (Bob Haymes) ゼイ・セイ・イッツ・スプリング:
ライク・オールド・タイムズ:これもフラナガンとサド・ジョーンズがデトロイト時代に演奏した作品。ジョーンズ名義の『Motor City Scene』 (’59 United Artist)に収録。後年フラナガンはアンコールに愛奏した。彼がご機嫌なときは、ポケットの中から小さなホイッスルをこっそり取り出し、絶妙なタイミングで、ピューッと吹いて会場を多いに湧かせた。この夜も、寺井が隠し技のホイッスルを鳴らすと、フラナガンが元気だった「昔のように」楽しい空気が満ち溢れた。