Charlie Parker: I've Got You Under My Skin

On April 4, 1952, an article appeared in Downbeat with the stark headline: "Granz Wouldn't Let Me Record With Parker, Says Roy Haynes." Looking back, there's no denying that during Roy's tenures with Lester Young (1947-'49) and Parker (1949-'53), producer Norman Granz typically chose Buddy Rich to record on his releases, even though Haynes was considered to be the "regular" drummer in both groups during the above-mentioned years. Thankfully, there are multiple alternatives to check out the interaction between Parker and Haynes, most notably on live recordings and this final Parker studio date.

This track begins with a rhythm-section vamp in which Haynes plays his classic hi-hat/snare-drum Latin groove recorded on hundreds of occasions (check out "Reflection" from his 1958 album We Three for the ultimate example). Upon Parker's entrance, Haynes delivers a classic performance of his trademark propulsive, polyrhythmic hi-hat, snare drum, and bass drum comping. As Bird begins improvising, Roy moves to the ride but plays less, allowing Parker to establish his solo within a deeper groove. After a few polyrhythmic runs throughout the melody's restatement, the track ends where it began, with the straight-eighths (but still swingin') Latin groove.

March 01, 2009 · 0 comments


Warne Marsh: I've Got You Under My Skin

After a 1948 stint with Buddy Rich's big band, Warne Marsh immersed himself in all things Lennie Tristano, performing almost exclusively with either the famed pianist and/or fellow Tristano protégé Lee Konitz. In the mid- to late-'50s, Marsh began recording as a leader more often, influenced still by his mentor's methods yet incorporating new musicians and an expanded repertoire. Two of the finest recordings from this stage include a 1958 trio date with Paul Chambers and Paul Motian (see, for example, "Yardbird Suite") and this massive set of standards captured live on the West Coast in October 1957. Of the 18 standards on this double-disc release, "I've Got You Under My Skin" is among the highlights. The prime Marsh is when he's in both soulful and playful moods simultaneously, diving deep into a tune's melody to deliver a seamless yet unanticipated improvised line that manages to reveal the essence of any given tune. This tune, as with much of this set, finds Marsh in just that mood.

November 05, 2008 · 0 comments


Diana Krall: I've Got You Under My Skin (live in Paris)

What extraordinary patience and care Krall puts into her vocals. She never strains for effect, never gets caught up in superficialities. She just digs deeper and deeper into the emotional heart of a song. You may have heard this Cole Porter standard a thousand times before, yet Krall will make you believe that you are experiencing its feeling state for the first time. She lets this exquisite performance float by at the tempo of a heartbeat for a full 7 minutes. This is what jazz singing sounds like when you get beyond the notes and into the soul of the composition. Highly recommended.

December 08, 2007 · 2 comments


Diana Krall: I've Got You Under My Skin

When the 1960s bossa nova craze finally expired, some of us—weary of off-key, ungrammatical Ipanema girls who "looked straight ahead not at he"—breathed a sigh of relief. We figured bossa nova was a passing fad, not a lasting form. Little did we know. Diana Krall, unborn during the tall and tan and young and lovely summer of '64 when Getz & Gilberto's “The Girl From Ipanema” lolled in the Top 10, gives such a literate reading of Cole Porter's timeless love song as to justify Paul Desmond's witty prediction of Bossa Antigua—no longer nova, but still glowing.

October 30, 2007 · 0 comments


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