{"id":3554,"date":"2024-11-24T22:35:04","date_gmt":"2024-11-24T13:35:04","guid":{"rendered":"http:\/\/jazzclub-overseas.com\/oshirase\/?p=3554"},"modified":"2024-12-04T11:44:14","modified_gmt":"2024-12-04T02:44:14","slug":"the-tunes-cherished-by-t-flanagan-the-45th-tribute-to-tommy-flanagan-program-notes","status":"publish","type":"post","link":"https:\/\/jazzclub-overseas.com\/oshirase\/blog\/2024\/11\/24\/the-tunes-cherished-by-t-flanagan-the-45th-tribute-to-tommy-flanagan-program-notes\/","title":{"rendered":"The Tunes Cherished by T. Flanagan: The 45th Tribute to Tommy Flanagan Program Notes"},"content":{"rendered":"
\n
\"\"
The 45th Tribute Concert io November 16, the anniversary of Flanagan’s death<\/figcaption><\/figure>\n<\/div>\n\n\n

\u3000Pianist and Jazz Club OverSeas owner Hisayuki Terai<\/strong> has honored his mentor, piano giant Tommy Flanagan (1930-2001), by performing special concerts exclusively featuring Flanagan\u2019s iconic repertoire each year in the months of his birth and passing since his death. It is 45th tribute to Flanagan.<\/em><\/p>\n\n\n\n

\uff0a\u65e5\u672c\u8a9e\u7248\u306f\u3053\u3061\u3089\u3067\u3059\u3002<\/a><\/p>\n\n\n\n

\n
\n
\"\u5bfa\u4e95\u5c1a\u4e4b(p)\u3001\u5bae\u672c\u5728\u6d69(b)\"
Hisayuki TERAI on piano, Zaiko MIYAMOTO on bass<\/strong><\/figcaption><\/figure>\n<\/div>\n\n\n\n
\n
\"\"<\/figure>\n<\/div>\n<\/div>\n\n\n\n

<\/p>\n\n\n\n

The Tunes<\/h2>\n\n\n\n

<1st>
1. Bitty Ditty (Thad Jones)<\/strong><\/p>\n\n\n

\n
\"Thad
Thad Jones (1923-86)<\/figcaption><\/figure>\n<\/div>\n\n\n

\u3000A playful piece composed by Thad Jones, many of whose works Tommy Flanagan cherished throughout his life. Despite its seemingly simple melody, the piece has a challenging structure, with irregular measures and frequent key changes\u2014a playfully ironic contrast to its title. This clever naming reflects both the musical genius of Jones and the defining characteristics of Detroit hard bop.<\/p>\n\n\n\n

\u3000<\/p>\n\n\n

\n
\"\u300eBeyond<\/figure>\n<\/div>\n\n\n

2. Beyond the Blue Bird (Tommy Flanagan)<\/strong>
\u3000Flanagan wrote the piece in 1990 with nostalgia for the legendary jazz club in Detroit\u2019s black community, the Blue Bird Inn<\/em>, and the tune became the title track of his album, featuring fellow Detroiter guitar master Kenny Burrell. Prior to the album\u2019s release, Flanagan had Terai transcribe this music in New York City. With subtle and rapid key changes, it embodies typical Flanagan music, exuding elegance and depth.<\/p>\n\n\n\n

3. Rachel\u2019s Rondo (Tommy Flanagan)\u3000<\/strong>\u3000<\/p>\n\n\n

\n
\"\u300eSuper<\/figure>\n<\/div>\n\n\n

Flanagan\u2019s vibrant original, Rachel\u2019s Rondo<\/em>, is dedicated to his elder daughter, Rachel. Although Flanagan\u2019s recording of the piece can only be found on the album Super Session<\/em> (Enja, 1980), featuring Red Mitchell (bass) and Elvin Jones (drums), the piece remains a favorite among our patrons at OverSeas.<\/p>\n\n\n\n

4. Medley\uff1a Embraceable You(Ira& George Gershwin)
\u3000\u3000\u3000\uff5eQuasimodo(Charlie Parker)<\/strong>\u3000<\/p>\n\n\n

\n
\"Bird\"
Charlie Parker (1920-55)<\/figcaption><\/figure>\n<\/div>\n\n\n

Flanagan\u2019s style cannot be discussed without considering his medleys. Charlie Parker wrote a bop tune based on the chord changes of the famous Gershwin song Embraceable You<\/em> and named it Quasimodo<\/em> after the hideous character from The Hunchback of Notre-Dame<\/em>. The medley, which ingeniously connects the original piece with Parker’s bop tune through exquisite key changes, expresses his message that true “beauty” lies not in appearance, but within one\u2019s soul. Among Flanagan\u2019s numerous medleys, this one stands as a legendary signature piece, though unfortunately, no recording with his regular trio exists.<\/p>\n\n\n\n

5. Lament (J. J. Johnson)<\/strong>\u3000<\/p>\n\n\n

\n
\"\"
J. J. Johnson (1924~2001)<\/figcaption><\/figure>\n<\/div>\n\n\n

One of the masterpieces composed by trombone virtuoso J.J. Johnson, with whom Flanagan performed regularly, leaving behind many albums such as Dial J.J. 5<\/em> (Columbia \u201957). Flanagan favored the elegance and nobility of the song and frequently performed it live, so much so that for many seasoned jazz club goers, hearing Lament<\/em> brings to mind the legendary Bradley\u2019s jazz club in University Place, NYC, where Flanagan often played. Flanagan\u2019s only recording under his own name is Jazz Poet<\/em> (Timeless \u201989), but even after that, he continued to perform it, with the arrangement evolving over time. The second riff used by Terai in this concert is a new version that followed the one on the album.<\/p>\n\n\n\n

6. Elusive (Thad Jones)<\/strong>\u3000<\/p>\n\n\n

\n
\"Thad
Thad Jones and T.Flanagan<\/figcaption><\/figure>\n<\/div>\n\n\n

A Thad Jones composition, filled with a devilish thrill. In 1950s Detroit, a young Flanagan in his twenties played this challenging piece with Jones at the Blue Bird Inn, effortlessly navigating its complexities.
<\/p>\n\n\n\n

<\/p>\n\n\n\n

<\/p>\n\n\n\n

7. Dalarna (Tommy Flanagan)<\/strong><\/p>\n\n\n

\n
\"Overseas<\/figure>\n<\/div>\n\n\n

\u3000Flanagan\u2019s early composition, Dalarna<\/em>, was first recorded on Overseas<\/em> (Metronome\/Prestige), an album produced during an extensive 1957 tour of Sweden with the J.J. Johnson Quintet. They performed concerts across various locations in the country. It\u2019s easy to imagine that Flanagan was inspired by the beauty of Dalarna region.
Although Flanagan didn\u2019t revisit the tune for many years, he was inspired anew by Terai\u2019s 1995 CD Dalarna<\/em>, which prompted him to re-record it for Sea Changes<\/em> (1996, Alfa), using Terai\u2019s arrangement. Immediately after the recording, Flanagan excitedly called Terai to announce, \u201cI\u2019ve recorded Dalarna<\/em>!\u201d His lively voice still resonates in Terai\u2019s heart to this day.<\/p>\n\n\n

\n
\"Dalarna,
Darlana <\/figcaption><\/figure>\n<\/div>\n\n\n


8. Tin Tin Deo (Chano Pozo, Gill Fuller Dizzy Gillespie)<\/strong><\/p>\n\n\n

\n
\"Chano
Chano Pozo and Dizzy Gillespie<\/figcaption><\/figure>\n<\/div>\n\n\n

The first set closes with an Afro-Cuban jazz classic, pioneered by Dizzy Gillespie. Flanagan created an exquisite piano trio version, preserving the vitality of the earthy Cuban rhythms and the wistful melody. It\u2019s characteristic of Flanagan\u2019s style to reinterpret big band repertoire with a compact piano trio, delivering a more dynamic performance.<\/p>\n\n\n

\n
\"\"
Offerings to Flanagan and the photo sent by Swedish bass master, Hans Backenroth<\/figcaption><\/figure>\n<\/div>\n\n\n

<2nd>
1. That Tired Routine Called Love (Matt Dennis)<\/strong>\u3000<\/p>\n\n\n

\n
\"\u30de\u30c3\u30c8\u30fb\u30c7\u30cb\u30b9\"<\/figure>\n<\/div>\n\n\n

\u3000A witty love song written by Matt Dennis, a singer-pianist and composer-arranger best known for penning numerous hits for Frank Sinatra. His compositions, though pleasant to the ear, are often tricky to play, making them favorites among jazz musicians. This particular tune, with its frequent modulations, presents a challenge to jazz players.
Trombone virtuoso J.J. Johnson recorded it with Flanagan for the album First Place<\/em> (Columbia, \u201957). Over 30 years later, Flanagan revisited the tune on his own album Jazz Poet<\/em> (Timeless, \u201989), with the arrangement continuing to evolve in subsequent performances. Terai performs this evolved version of the arrangement.

2. Smooth As the Wind (Tadd Dameron)<\/strong><\/p>\n\n\n

\n
\"Smooth<\/figure>\n<\/div>\n\n\n

\u3000This composition, which encapsulates the essence of bebop aesthetics, was penned by Tadd Dameron, another of Flanagan\u2019s favorite composers in his piano trio years. Its robust yet gracefully elegant texture and the way its harmonies unfold\u2014much like magnificent roses blooming one after another\u2014are truly breathtaking.<\/p>\n\n\n\n

Dameron wrote this piece during his time in a federal prison hospital in Lexington, Kentucky, for trumpeter Blue Mitchell\u2019s eponymous album, Smooth as the Wind<\/em> (Riverside, 1960), in which Flanagan also participated. The song unfolds like a poetic narrative, and the artistry in its arrangement reflects the enduring legacy of Tommy Flanagan.<\/p>\n\n\n\n

3. Medley: Thelonica (Tommy Flanagan)\uff5eMinor Mishap (Tommy Flanagan)<\/strong> <\/p>\n\n\n

\n
\"\u5bfa\u4e95\u5c1a\u4e4b\"
HIsayuki Terai<\/figcaption><\/figure>\n<\/div>\n\n\n

A medley of two original compositions by Tommy Flanagan.
Thelonica<\/em> <\/strong>is a tribute to the rare and remarkable friendship between Thelonious Monk and Baroness Pannonica. It serves as the title track of the album Flanagan recorded in 1982 with his trio featuring George Mraz and Arthur Taylor.
Minor Mishap<\/strong><\/em> was first recorded on Flanagan\u2019s debut album as a leader, Cats<\/em> (New Jazz, 1957), which features John Coltrane and Kenny Burrell and remains popular to this day. The tune\u2019s name reflects the musical circumstances of the recording session. It became one of Flanagan\u2019s most frequently performed pieces throughout his career.<\/p>\n\n\n\n

4. If You Could See Me Now (Tadd Dameron)<\/strong>\u3000<\/p>\n\n\n

\n
\"Sara<\/figure>\n<\/div>\n\n\n

\u3000One of Dameron\u2019s classic ballads, composed for the then-rising star Sarah Vaughan in 1946. Flanagan often praised Dameron\u2019s works, saying, \u201cIt\u2019s really easy to play because his music has a built-in orchestra.\u201d
Flanagan\u2019s rendition incorporates the second riff featured in Vaughan\u2019s 1981 recording with the Count Basie Orchestra, masterfully capturing the orchestral essence embedded in the piece.

5. Eclypso (Tommy Flanagan)<\/strong><\/p>\n\n\n

\n
\"Eclypso\"
Eclypso (Enja 1975)<\/figcaption><\/figure>\n<\/div>\n\n\n

\u3000One of Flanagan\u2019s renowned uplifting originals, Eclypso<\/em> holds a special place in pianist Terai\u2019s memories. During Terai\u2019s first visit to New York at Flanagan\u2019s invitation, Flanagan performed this piece on the final night of the unforgettable trip at the Village Vanguard, dedicating it to his prot\u00e9g\u00e9 with a heartfelt announcement to the audience.<\/p>\n\n\n\n

<\/p>\n\n\n\n

6. But Beautiful (Jimmy Van Heusen)<\/strong><\/p>\n\n\n

\n
\"\"<\/figure>\n<\/div>\n\n\n

Flanagan frequently performed this beautiful ballad in the 1990s, inspired by Terai\u2019s remarks. One afternoon, while relaxing with Terai at OverSeas, a track from Frank Wess Quartet\u2019s Moodsville 8<\/em> (Prestige, 1960), featuring Flanagan on piano, began playing in the background. Terai passionately commented on the rendition, saying, \u201cYour intro here is the greatest in jazz history! Because\u2026\u201d Flanagan responded with a nonchalant “hmm,” flaring his nostrils. Yet not long after, he delivered a memorable performance of the piece during the Jazzpar Prize celebration concert Flanagan\u2019s Shenanigans<\/em> in Copenhagen, Denmark, in 1993.<\/p>\n\n\n\n


7. Our Delight (Tadd Dameron)<\/strong>\u3000<\/p>\n\n\n

\n
\"\"
Tadd Dameron (1917-65)<\/figcaption><\/figure>\n<\/div>\n\n\n

Flanagan often closed his shows with this Tadd Dameron composition, showcasing his ability to infuse the dynamism of big band music into a piano trio setting. He had a customary introduction for the piece: \u201cBebop is the music before the Beatles and after!\u201d The more enthusiastic the audience’s applause in agreement, the more magnificent his performance would become. In this concert\u2019s duo setting, Terai and Miyamoto delivered a performance that was every bit as dynamic.<\/p>\n\n\n\n

Encore:
 With Malice Toward None (Tom McIntosh)<\/strong> <\/p>\n\n\n

\n
\"\"
Tom McIntosh (1927-2017)<\/figcaption><\/figure>\n<\/div>\n\n\n

Flanagan\u2019s cherished spiritual masterpiece, recorded with George Mraz on Ballads & Blues,<\/em> holds a special place in the heart of this club. The composer, trombonist Tom McIntosh, was not only a close friend but also a neighbor of Flanagan, who witnessed the song\u2019s creative process firsthand. Flanagan\u2019s ideas were intricately woven into the piece. Its title is drawn from a famous quote in Abraham Lincoln\u2019s post-Civil War speech, while its melody is based on the hymn Jesus Loves Me.<\/em> This deeply moving song has, on occasion, brought patrons to tears.<\/p>\n\n\n\n

Ellingtonia<\/strong><\/p>\n\n\n

\n
\"\"
Duke Ellington (1899-1974)<\/figcaption><\/figure>\n<\/div>\n\n\n

Flanagan\u2019s first concert at OverSeas took place in December 1984, marking the trio\u2019s very first appearance at a jazz club in Japan.
The extended Duke Ellington medley performed that night became a profound and lasting inspiration for Terai.<\/em><\/p>\n\n\n

\n
\"\"
Tommy Flanagan at OverSeas Club 1984<\/figcaption><\/figure>\n<\/div>\n\n\n

Chelsea Bridge (Billy Strayhorn)<\/strong><\/p>\n\n\n

\n
\"Overseas\"<\/figure>\n<\/div>\n\n\n

A composition by Ellington\u2019s collaborator, Billy Strayhorn. In 1957, Flanagan, who deeply admired Strayhorn, happened to encounter him on the streets of New York. Flanagan introduced himself, saying, \u201cI\u2019ll soon be touring Sweden with J.J. Johnson and plan to record some of your pieces with my trio.\u201d Strayhorn, moved by the young pianist\u2019s enthusiasm, took him to his music publishing office and generously gave him as many scores of his compositions as he could. Among them was Chelsea Bridge,<\/em> which Flanagan recorded with heartfelt intensity on his early masterpiece album, Overseas.<\/em> That unforgettable performance continues to captivate us to this day.<\/p>\n\n\n\n

 Passion Flower (Billy Strayhorn)<\/strong><\/p>\n\n\n

\n
\"Mraz\u306e\u8a18\u5ff5\u7891\"
George Mraz memorial plate ceremony in Prague
The white bouquet sent by Terai<\/figcaption><\/figure>\n<\/div>\n\n\n

\u3000A regular feature of the Flanagan Trio\u2019s performances during the time bassist George Mraz was part of the group, showcasing his masterful bow technique. In this tribute, bassist Zaiko MIYAMOTO\u2019s rendition of the piece is exceptional. Mraz continued to perform this song after he struck out as a leader, including it on his own album, My Foolish Heart<\/em> (1995). Mraz, who was like an older brother to Terai, sadly passed away three years ago, and this year, a monument was finally erected in his honor in his hometown of Prague, Czech Republic.

 Black & Tan Fantasy (Duke Ellington)<\/strong>\u3000<\/p>\n\n\n

\n
\"Black<\/figure>\n<\/div>\n\n\n

\u3000The finale is a signature piece from Flanagan’s last years during Flanagan returning to his musical roots. Originally a hit from the early Duke Ellington Orchestra nearly 100 years ago, this piece became a memorable moment during Flanagan\u2019s final visit to OverSeas Club. When Terai performed it, Flanagan offered rare praise, making the moment even more unforgettable.<\/p>\n\n\n

\n
\"Tommy<\/figure>\n<\/div>\n\n\n

Hisayuki Terai first sought to become a disciple of Tommy Flanagan in 1975, but it wasn\u2019t until nine years later, in 1984, that he was recognized as his student. After that, Terai continued to send Flanagan performance tapes, and in 1989, he was ordered by Flanagan to come to New York. Flanagan took Terai under his wing, accompanying him to various musical events, introducing him to numerous jazz giants, providing performance opportunities, and giving him plenty of chances to closely listen to his own playing. From then until Flanagan\u2019s passing, he taught Terai everything he could. Now, at 72 years old, Terai has surpassed Flanagan\u2019s age at the time of his passing, but perhaps his passion for passing on his mentor\u2019s music has never been stronger than it is now.<\/em><\/p>\n\n\n\n

The next Tommy Flanagan Tribute will be held on Saturday, March 15th, next year.<\/strong><\/p>\n\n\n\n

Text by Tamae Terai<\/p>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

\u3000Pianist and Jazz Club OverSeas owner Hisayuki Terai has honored his mentor, piano giant Tommy Flanagan (1930- … “The Tunes Cherished by T. Flanagan: The 45th Tribute to Tommy Flanagan Program Notes” \u306e<\/span>\u7d9a\u304d\u3092\u8aad\u3080<\/a><\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[48,28,13,2],"tags":[32,33],"class_list":["post-3554","post","type-post","status-publish","format-standard","hentry","category-english-edition","category-tommy-flanagan-tribute","category-13","category-2","tag-hisayukiterai","tag-zaikomiyamoto"],"_links":{"self":[{"href":"https:\/\/jazzclub-overseas.com\/oshirase\/wp-json\/wp\/v2\/posts\/3554","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/jazzclub-overseas.com\/oshirase\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/jazzclub-overseas.com\/oshirase\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/jazzclub-overseas.com\/oshirase\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/jazzclub-overseas.com\/oshirase\/wp-json\/wp\/v2\/comments?post=3554"}],"version-history":[{"count":27,"href":"https:\/\/jazzclub-overseas.com\/oshirase\/wp-json\/wp\/v2\/posts\/3554\/revisions"}],"predecessor-version":[{"id":3602,"href":"https:\/\/jazzclub-overseas.com\/oshirase\/wp-json\/wp\/v2\/posts\/3554\/revisions\/3602"}],"wp:attachment":[{"href":"https:\/\/jazzclub-overseas.com\/oshirase\/wp-json\/wp\/v2\/media?parent=3554"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/jazzclub-overseas.com\/oshirase\/wp-json\/wp\/v2\/categories?post=3554"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/jazzclub-overseas.com\/oshirase\/wp-json\/wp\/v2\/tags?post=3554"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}