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Jazz From Lincoln Center Highland Soul by Joseph Hooper © and (p) 2000 Jazz From
Lincoln Center, all rights reserved 1) Music: Bernie's Tune (5:02) second choice: Sophisticated Lady (Ellington) (4:10) (P385) (edit sugg: anything in 2:55 to 3:55 range.)
2) Vox: Joe Temperley (JT int. 4/10/00 at 4:00) "I grew up in the country in Scotland. I didn't grow up in a big city. I grew up in a coal mining town about 20 miles northeast of Edinborough. // I more or less learned how to play by myself. // My father was a bus driver, my mother was a housewife. // None of my family had any connections with music at all so I must be something of a freak or something. I don't know.
Wynton Marsalis (WM intro to "Sophisticated Lady" from P385 concert from Temperley music log at 0:00) "Now we have up with us what has to be the most soulful thing to ever come up out of Scotland. And also, in addition to being the most soulful, in possession of the biggest, most sonorous, vibratin', warm and just overall round tone. (note: skip forward about :30) Mr. Joe Temperley on the baritone saxophone."
3) Bradley: AS A LEADING JAZZ SAXOPHONIST, JOE TEMPERLEY HAS THREE STRIKES AGAINST HIM. HE'S A BIG-BAND SPECIALIST IN AN ERA DEFINED BY SMALL COMBOS. HE PLAYS THE BARITONE SAXOPHONE WHICH HAS ALWAYS TAKEN A BACK SEAT TO THE TENOR AND THE ALTO HORNS. TO TOP IT ALL OFF, IN A JAZZ WORLD DOMINATED BY AMERICANS, HE'S SCOTTISH. 4) Bradley: (cont.) BUT JOE TEMPERLEY HAS MADE HIMSELF HEARD. FOR MORE THAN A DECADE, HIS RICH, DEEP BARITONE SOUND HAS ANCHORED THE REED SECTION OF THE LINCOLN CENTER JAZZ ORCHESTRA. JOE TEMPERLEY AND THE LINCOLN CENTER JAZZ ORCHESTRA VISIT THE MUSIC OF GERRY MULLIGAN, DUKE ELLINGTON AND A LITTLE NEW ORLEANS JAZZ. "HIGHLAND SOUL" IS THIS EDITION OF "JAZZ FROM LINCOLN CENTER." I'M ED BRADLEY.
5) Vox: Joe Temperley (JT int. 4/10/00 at 12:50) "I really got enamored with the sound of the baritone."
6) Bradley: JOE TEMPERLEY
7) Vox: Joe Temperley (JT int. 4/10/00 at 12:55) //"The baritone is so versatile, it has such an extensive range. // You can play it in the high register, you can play it in the low register or inbetween. // For me anyway, the baritone seems to be the whole extent on the saxophone."
8) Bradley: JOE TEMPERLEY GIVES A TOUR OF THE BARITONE RANGE ON THE DUKE ELLINGTON COMPOSITION, "THE TELECASTERS."
9) Music: The Telecasters (Ellington) (3:34) (M143)
10) Bradley: THE LINCOLN CENTER JAZZ ORCHESTRA WITH "THE TELECASTERS," PART OF DUKE ELLINGTON AND BILLY STRAYHORN'S 1956 "SUCH SWEET THUNDER." JOE TEMPERLEY PLAYED BARITONE SAX, RONALD WESTRAY AND WYCLIFFE GORDON WERE ON TROMBONE. GROWING UP IN THE TOWN OF FIFE IN SCOTLAND IN THE 1930'S, JOE TEMPERLEY WASN'T EXACTLY IN THE MIDST OF A VIBRANT JAZZ SCENE. BUT HE QUICKLY LEARNED TO FOLLOW HIS EAR.
11) Vox: Joe Temperley (JT int. 4/10/00 at 3:00) " I had to sort of seek it out. // I started out getting interested in music when I was a kid, listening to all the dance bands on the radio. And I used to run home every day from school to hear Henry Hull. I mean it wasn't a jazz band, it was a dance band but it was on the radio every day at five o'clock and it happened to be a pretty good band at that time."
12) Bradley: FROM THE BEGINNING, TEMPERLEY WAS IN A HURRY TO GO WHERE HIS MUSICAL ABILITY WOULD TAKE HIM. IN HIS TEENS, HE PLAYED SAX IN LOCAL BANDS IN FIFE AND THEN IN GLASGOW. AT 20, HE HIT LONDON. AMONG THE MANY JAZZ MUSICIANS HE FOUND A SURPRISING NUMBER OF SCOTSMAN. 13) Vox: Joe Temperley (JT int. 4/10/00 at 8:10) I guess it was because of the folk music, the Scottish folk music, the pipe bands.//(note: skip forward maybe a min.) Because it has a lilt and a swing to it. It definitely has a swing to it."
14) Bradley: IN THE LATE '50'S, TEMPERLEY BEGAN A STINT WITH ONE OF BRITAIN'S TOP JAZZ BANDS LED BY TRUMPETER HUMPHREY LYTTELTON. THERE TEMPERLEY CUT HIS TEETH ON THE TRADITIONAL AMERICAN JAZZ THE 30'S -THE MUSIC OF LOUIS ARMSTRONG, SYDNEY BECHET, AND THE EARLY WORK OF DUKE ELLINGTON.
15) Vox: Joe Temperley (JT int. 4/10/00 at 51:30) "I love the music from that period. // I saw Sydney Bechet in London one time. Long time ago. // He actually played with Humphrey's band one night. // That was before I was in the band. I was in the audience. // He just played a couple of tunes. Of course the people went crazy when they heard him play."
16) Bradley: AT ALICE TULLY HALL, TEMPERLEY PUTS DOWN HIS BARITONE TO SUMMON THE SPIRIT OF THOSE EARLY YEARS. ON THE FIRST TUNE, ELLINGTON’S "DUCKY WUCKY," HE PLAYS SOPRANO SAX AND ON THE NEXT TUNE, PICKS UP THE TENOR SAXOPHONE FOR A HIGH-SPEED ROMP THROUGH SIDNEY BECHET'S "POLKA DOT RAG." FIRST, HERE’S THE 1935, "DUCKY WUCKY."
17) Music: Ducky Wucky (Ellington) (4:32)
Polka Dot Rag (Bechet) (2:42) (M231)
18) Bradley: SYDNEY BECHET’S "POLKA DOT RAG," WITH JOE TEMPERLEY ON TENOR SAXOPHONE, BOB WILBER ON SOPRANO AND MICHAEL WHITE ON CLARINET. BEFORE THAT WE HEARD "DUCKY WUCKY" WITH TEMPERLEY ON SOPRANO SAX AND THE LINCOLN CENTER JAZZ ORCHESTRA. NEW ORLEANS JAZZ DOESN’T TRADITIONALLY FEATURE THE BARITONE SAXOPHONE. ITS REAL HOME IS IN THE BIG BAND. AND WHILE WE’RE HEARING A LOT OF BARITONE FEATURES IN THIS PROGRAM, THE INSTRUMENT IS OFTEN RELEGATED TO THE BACKGROUND TO PROVIDE DEPTH WITHIN THE SAXOPHONE SECTION. JOE TEMPERLEY LEARNED ABOUT THE MAJESTY OF THE BIG HORN IN BOTH FEATURE AND ENSEMBLE WORK FROM HARRY CARNEY, DUKE ELLINGTON'S BARITONIST FOR 45 YEARS.
19) Vox: Joe Temperley (JT int. 4/10/00 at 18:10) "Harry Carney was Mr. Baritone. // He just played the living daylights out of the baritone. He had a beautiful sound and he had complete control of it, from the absolute lowests depths of the baritone to the highest register. // Of course, he had the platform. He had someone writing for him all the time that made him sound so wonderful." 20) Music: "Ko-Ko" (Ellington-Carney version)
21) Bradley: CARNEY'S OPENING NOTES ON THE 1939 DUKE CLASSIC, "KO-KO" ARE PROBABLY THE MOST FAMOUS BARITONE SAX INTRO IN THE HISTORY OF JAZZ.
22) Vox: Joe Temperley (JT int. 4/10/00 at38:10) "It starts off with baritone.// Just that particular low note that starts it off.// It's a wonderful piece, of course it's a tremendous arrangement. It's a few minutes of absolute delight."
23) Bradley: FROM ALICE TULLY HALL, HERE IS JOE TEMPERLEY AND THE LINCOLN CENTER JAZZ ORCHESTRA WITH THEIR VERSION OF "KO-KO." 24) Music: "Ko-Ko" Ellington 25) Bradley: GUEST CONDUCTOR JOHN LEWIS LEADING THE LINCOLN CENTER JAZZ ORCHESTRA AND BARITONE SAXOPHONIST JOE TEMPERLEY THROUGH DUKE ELLINGTON'S "KO-KO." RYAN KISOR WAS THE LEAD TRUMPETER, WYCLIFFE GORDON LEAD TROMBONE. JOE TEMPERLEY AND HARRY CARNEY HAD BECOME FRIENDS IN THE ‘50'S WHEN ELLINGTON’S ORCHESTRA TOURED ENGLAND. THAT RELATIONSHIP CONTINUED UNTIL 1974, THE YEAR THAT BOTH CARNEY AND ELLINGTON DIED.
26) Bradley: (cont.) WHEN TEMPERLEY ATTENDED CARNEY’S FUNERAL, HE MET DUKE’S SON, MERCER, WHO WAS THEN LEADING THE BAND. AT THE SERVICE, TEMPERLEY WAS ASKED TO PLAY THE DUKE STANDARD MOST CLOSELY ASSOCIATED WITH HARRY CARNEY.
27) Vox: Joe Temperley (JT int. 4/10/00 at 19:30) "//I played "Sophisticated Lady" at Harry's funeral. I was standing there with my knees knocking but that's how I came to be in the band. Of course Mercer was there and we started talking later and before I knew it, I was in the band."
28) Bradley: HERE IS JOE TEMPERLEY'S READING OF "SOPHISTICATED LADY." 29) Music: "Sophisticated Lady" (Ellington) (4:10) (P385)
29) Outro (over applause): Wynton Marsalis: "//Joe Temperley on the baritone saxophone. Joe Temperley. Joe Temperley." 30) Bradley: DUKE ELLINGTON'S 1933 CLASSIC, "SOPHISTICATED LADY," PERFORMED BY THE LINCOLN CENTER JAZZ ORCHESTRA. JOE TEMPERLEY WAS ON BARITONE SAXOPHONE, WITH ERIC REED ON PIANO. 31) Vox: (JT int. #184 on 6/17/97 at 10:40) "That was the great thing about Ellington." 32) Bradley: JOE TEMPERLEY
33) Vox: (JT int. #184 on 6/17/97 at 10:45) "He could write for the baritone saxophone in the high register. It has a beautiful sound in the high register. Most people who just write for the baritone have it grunting in the corner.//"
34) Bradley: ON A SECTION FROM ELLINGTON'S 1947 COMPOSITION, "THE LIBERIAN SUITE," TEMPERLEY'S LOW-REGISTER INTRO HELPS SET A RHYTHMICALLY AGGRESSIVE MOOD. HIS MELODIC PLAYING IN THE HIGHER REGISTER COMES AS A SWEET SURPRISE. HERE IS "DANCE #5" FROM "THE LIBERIAN SUITE."
35) Music: "Dance #5 from the Liberian Suite" (Ellington) (5:10) (International Duke concert)
36) Bradley: FROM THE "LIBERIAN SUITE" THE LINCOLN CENTER JAZZ ORCHESTRA AND ELLINGTON'S "DANCE #5." JOE TEMPERLEY WAS ON BARITONE SAX; TROMBONIST WYCLIFFE GORDON ON TROMBONE, AND RYAN KISOR ON TRUMPET. 37) Bradley: (cont.) TRADITIONAL NEW ORLEANS JAZZ, BIG BAND SWING MUSIC, ELLINGTON’S MIDDLE EASTERN TINGED PIECES - JOE TEMPERLEY BLOWS THROUGH THEM ALL. HE’S ALWAYS HAD A FLEXIBLE AND GENEROUS APPROACH TO MUSICAL STYLES.
38) Vox: Joe Temperley (JT int. 4/10/00 at 11:45) "I've never ever actually classified myself. I just always just try to play music and never ever thought about what style I was playing in. I still don't know what style I'm playing in. I just play."
39) Bradley: THIS MIGHT EXPLAIN HOW A LAD FROM THE COAL COUNTRY OF SCOTLAND CAN SOUND PERSUASIVE EVEN ON AN AFRO-CUBAN JAZZ TUNE.
40) Vox: Joe Temperley (JT int. 4/10/00 at 49:45) "//It's something we don't think of, you know. How important the clave beat is and how all the rhythmic relate to each other// and fit the melodic parts into it. So it's quite fascinating to do that."
41) Bradley: HERE ARE BARITONE SAXOPHONIST JOE TEMPERLEY AND THE LINCOLN CENTER JAZZ ORCHESTRA WITH AN EXCERPT FROM "MAMBO INN."
42) Music: Mambo Inn (Machito) (12:32) (M260) (edit note: cut at 4:02 after JT's solo and applause.)
43) Bradley: THE LINCOLN CENTER JAZZ ORCHESTRA WITH AN EXCERPT OF "MAMBO INN," WRITTEN BY THE CUBAN PERCUSSIONIST AND BANDLEADER, MACHITO.
44) Midbreak Music: Mambo Inn 45) Bradley: SUPPORT FOR JAZZ FROM LINCOLN CENTER COMES FROM THE LILA WALLACE-READER'S DIGEST FUND, SEEKING TO ENRICH COMMUNITY LIFE THROUGH SUPPORT OF EDUCATION, THE ARTS AND CULTURE. ADDITIONAL SUPPORT COME FROM N-P-R STATIONS AND THE NATIONAL ENDOWMENT FOR THE ARTS. TO SEE THE SCRIPT OF THIS PROGRAM OR HEAR MORE OF JOE TEMPERLEY AND THE LINCOLN CENTER JAZZ ORCHESTRA, CHECK OUR WEBSITE AT WWW.JAZZRADIO.ORG. WE’D LOVE TO HEAR YOUR COMMENTS TOO, WRITE TO RADIO@JAZZATLINCOLNCENTER.ORG , OR SEND US A POSTCARD TO JAZZ AT LINCOLN CENTER, NEW YORK CITY 10023. THIS IS JAZZ FROM LINCOLN CENTER. I’M ED BRADLEY. [Midbreak @ tk -- (incl. :10 as bed for local stations ID's)] [music fades to actuality] 46) Music underscore--Mulligan 47) Vox: Joe Temperley JT interview 2:30 "I teach at the Manhattan school of Music, and there when you mention to one of the kids that you’d like them to play a ballad on the baritone, // it’s sort of like a penance to those kids. It takes a lot of dedication to play the baritone. Because the baritone has a different sound than the other saxophones. // You’re not dealing with speed, you’re dealing with sound and tone. It’s a majestic kind of instrument." 48) Bradley: JOE TEMPERLEY HAS EARNED HIMSELF A SPOT ON THE FAIRLY SHORT ROSTER OF IMPORTANT BARITONE PLAYERS. THIS INCLUDES HARRY CARNEY, HENRY ROLLINS, CECIL PAYNE, AND GERRY MULLIGAN - ALL HAVE TAMED THIS DIFFICULT INSTRUMENT, AND MADE IT SING. IN 1965, JOE TEMPERLEY LEFT LONDON AND FOLLOWED THE MUSIC TO ITS SOURCE, TO NEW YORK CITY. THERE HE PLAYED WITH THE BIG BANDS OF WOODY HERMAN, JOE HENDERSON, THAD JONES AND MEL LEWIS. IN THE '80'S TEMPERLEY BECAME FRIENDS WITH THE MAN MOST RESPONSIBLE FOR BRINGING THE BARITONE INTO THE MODERN ERA, GERRY MULLIGAN. MULLIGAN HAD BEEN ONE OF THE LEADERS OF SO-CALLED "COOL" OR "WEST COAST" JAZZ.
49) Bradley: (cont.) THE "COOL" SCHOOL DEVELOPED IN THE 50'S AS A RESPONSE TO BEBOP’S RAPID-FIRE BURSTS OF COMPLEX MELODIES. "COOL" JAZZ OFTEN USED SOME OF BEBOP’S MELODIES BUT WITH A SUBDUED MORE CEREBRAL SOUND. ITS CRISP MUSICAL LINES WERE SOMETIMES PLAYED IN COUNTERPOINT -- TWO OR MORE DIFFERENT MELODIES AT THE SAME TIME. YOU CAN HEAR THAT IN ONE OF GERRY MULLIGAN’S MOST FAMOUS COMPOSITIONS. AT ALICE TULLY HALL, JOE TEMPERLEY AND THE LATE TRUMPETER ART FARMER PERFORM "LINE FOR LYONS."
50) Music: "Line for Lyons" (Mulligan) (4:37) (M175)
51) outro by Wynton Marsalis: "Art Farmer, Joe Temperley, Andy Farber, Wycliffe Gordon."
52) Bradley: JAZZ AT LINCOLN CENTER. GERRY MULLIGAN'S "LINE FOR LYONS," PERFORMED BY BARITONE SAXOPHONIST JOE TEMPERLEY AND THE TRUMPETER ART FARMER WHO PLAYED IN MULLIGAN'S QUARTET IN THE LATE '50'S. 53) Bradley: (cont.) TEMPERLEY AND MULLIGAN HAD PLANS TO PLAY A DOUBLE-BARITONE CONCERT AT JAZZ AT LINCOLN CENTER. SADLY, MULLIGAN DIED IN THE WINTER OF 1996 -- AND INSTEAD THE CONCERT BECAME A CHANCE TO REMEMBER HIS WORK.
54) Vox: Joe Temperley (JT int. 4/10/00 at 17:20) "Gerry was a unique kind of baritone player.// He played more like a composer // than strictly a baritone player.// (note: optional close) He composed on the baritone//."
55) Bradley: HERE ARE TWO ORIGINAL MULLIGAN COMPOSITIONS. BERNIE’S TUNE CALLS TO MIND THE AGILITY OF THE GERRY MULLIGAN/CHET BAKER "COOL" QUARTET OF THE EARLY 50'S. IT’S PRECEDED BY A BEAUTIFUL BALLAD THAT FEATURES THE BARITONE - "I HEARD THE SHADOWS DANCING." JOE TEMPERLEY REMEMBERS WHAT INSPIRED MULLIGAN TO WRITE IT.
56) Vox: Joe Temperley (JT int. 4/10/00 at 39:13) "// Gerry came // on this fairground and in the fairground there was a ballroom so he went in the ballroom and of course the ballroom was deserted and it still had the glass reflecting ball up on the ceiling and he was imaging people dancing and the thing reflecting and he wrote this song, I Heard The Shadows Dancing."
57) Music: I Heard the Shadows Dancing (Mulligan) (2:38) (M175) Bernie's Tune (tk) (5:02) (M175) 58) Bradley: JAZZ AT LINCOLN CENTER. "BERNIE'S TUNE," FEATURING BARITONE SAXOPHONIST JOE TEMPERLEY, TRUMPETER WYNTON MARSALIS, BASSIST RODNEY WHITTAKER AND HERLIN RILEY ON DRUMS. BEFORE THAT, "I HEARD THE SHADOWS DANCING," WITH TED ROSENTHAL AT THE PIANO - BOTH TUNES BY GERRY MULLIGAN. THROUGHOUT THE YEARS, MULLIGAN WAS CONSTANTLY DRAWN TO BIG BANDS. ON THIS NEXT MULLIGAN COMPOSITION WE’LL HEAR JOE TEMPERLEY BACK IN FAMILIAR LARGE ENSEMBLE TERRITORY. ITS STRUCTURE IS BASED ON A THEME AND VARIATION TECHNIQUE FROM CLASSICAL MUSIC. THE THEME IS STATED REPEATEDLY THROUGH DIFFERENT INSTRUMENTS, VARYING HARMONIES AND RHYTHM AND CULMINATES IN A TRUMPET AND A BARITONE SOLO. IT’S AN INVENTIVE AND DRAMATIC APPROACH TO ENSEMBLE WRITING AND TO JAZZ. "OVER THE HILL AND OUT OF THE WOODS." 59) Music: "Over the Hill and Out of the Woods" (Mulligan) (8:05) (M175) 60) Bradley: GERRY MULLIGAN'S "OVER THE HILL AND OUT OF THE WOODS," PERFORMED BY THE LINCOLN CENTER JAZZ ORCHESTRA WITH JOE TEMPERLEY ON BARITONE SAX, RYAN KISOR ON TRUMPET AND TED ROSENTHAL AT THE PIANO. 61) Vox: Joe Temperley (JT int. 4/10/00 at 53:50) "To me, playing an instrument // is a very vocal thing. And I love to listen to really great singers. //One singer in particular I love to listen to is Joan Sutherland, and // of course Pavarotti and // apply it to playing an instrument, you know. It's all about vocal qualilty. // (optional close, skip forward about a min.) That's the whole thing about an playing instrument, to just to have a sound, to personalize it, to make it sound like it's you."
62) Bradley: SOMETIMES A SCOTTISH BARITONE CAN BE AS MOVING AS AN ITALIAN TENOR. JOE TEMPERLEY’S SINGING HORN CLOSES OUT OUR PROGRAM WITH A TUNE DUKE ELLINGTON AND BILLY STRAYHORN WROTE FOR THE GREAT BARITONE SAXOPHONIST HARRY CARNEY. FROM "THE FAR EAST SUITE," THIS IS "AGRA." 63) Music: Agra (Ellington and Strayhorn) (2:45) (International Ellington) 64) outro (over applause) Wynton Marsalis: "Joe Temperley." 65) Bradley: "AGRA," THE ELLINGTON / STRAYHORN COMPOSITION PERFORMED BY THE LINCOLN CENTER JAZZ ORCHESTRA WITH JOE TEMPERLEY ON BARITONE SAX - BRINGING "HIGHLAND SOUL" TO THE BIG BAND.
66) Music: My Love is Like a Red, Red Rose (Scottish trad.) (from Nightingale album, @ 0:00)
67) Bradley: (Credits) JAZZ FROM LINCOLN CENTER IS PRODUCED BY JAZZ AT LINCOLN CENTER AND MURRAY STREET ENTERPRISE NEW YORK. THIS PROGRAM WAS WRITTEN BY JOSEPH HOOPER AND EDITED BY LAUREN KRENZEL. OUR SENIOR PRODUCER IS STEVE RATHE. THE RECORDINGS WERE MIXED BY SAUNDRA PALMER-GRASSI, MARK WILDER, AND DAVID ROBINSON WITH REMOTE FACILITIES PROVIDED BY EFFANEL MUSIC AND RECORD PLANT REMOTE. DIGITAL POST PRODUCTION BY DAVID GOREN AT STEVEN ERICKSON'S. OUR ASSOCIATE PRODUCERS ARE AVE CARRILLO AND JOSHUA JACKSON. THE PRODUCTION TEAM INCLUDES GWENDOLYN DEAN, JEN HALBERT, TRACEY SCHUTTY, AND PETER ZANGER.. THANKS TO CHRISTA TETER, SUSAN RADIN, AND THE RADIO FOUNDATION.
69) Bradley: (cont.) THE EXECUTIVE PRODUCER AND DIRECTOR OF JAZZ AT LINCOLN CENTER IS ROB GIBSON. THE ARTISTIC DIRECTOR IS WYNTON MARSALIS. I'M ED BRADLEY. THIS IS N-P-R, NATIONAL PUBLIC RADIO.
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