KOOP RELEASES GREATEST HITS PACKAGE

Koop is a Swedish production duo consisting of Magnus Zingmark and Oscar Simonsson who incorporate sampling to create light jazz that has a real swing to it.  April 13th will see the release of a greatest hits package entitled “Coup De Grace (1997-2007).”  To date, they have only released three original albums – “Sons Of Koop,” “Waltz For Koop,” and “Koop Islands” – as well as a remix project of “Waltz For Koop.”  The latter has a very laidback club feel to it that maintains its jazzy elements with an electronic house-like backdrop.  The real genius, though, shines through in the original work.

“Summer Sun” from “Waltz For Koop” is a perfect song to get yourself ready for the upcoming warm weather.  It’s fun, bouncy, and has a real charm to it.  Similarly, “Tonight” from the same album deviates into a 5/4 rhythm with a wonderful vocal performance by Mikael Sunoin.

The follow-up album “Koop Islands” was a worthy junior album that took four years to be released after its predecessor.  The formula was much the same with a nod to ’30s and ’40s jazz standards and guest vocalists who were for the most part unknown here in the States but who melded well with the style of the record with their breezy tones.  Singles such as “Come To Me” and “Koop Island Blues” show as much.

The only track you get on the hits package that was from their debut album is “Glomd,” a much more heavy club track of which you can pick out points that showcased where they would eventually go five years later.  It’s not terrible, and is a nice bonus for historical reference, but the real winners come from the following two albums.

“Coup De Grace” is a great sampler of their work that spans nearly fifteen years, although it’s available only as an import.  Here stateside, however, you would be better served (and would be easier on your wallet) to hunt down “Waltz For Koop” and “Koop Islands,” as both are well worth blind buys.  If you’re still unsure, you can hear samples on their MySpace page.

Koop

Vaughan began playing the piano and singing in her church to develop her skills. After winning a competition at the Apollo Theater, she was introduced to Earl Hines, leader of one of the premiere bands at the time. This introduction lead to her being invited to the bands rehearsals, which featured Indianapolis native JJ Johnson and lead to her joining the Earl Hines band, her first big break.

Sarah Vaughan

Vaughan continued to releases albums, over 60 before her death, ranging from jazz standards to pop covers, always with her undeniable and invigorating style. While Vaughan worked with some of the most legendary performers in jazz, Miles Davis, Bud Powell, Kenny Dorham, Art Blakey, Lucky Thompson, Gene Ammons and Dexter Gordon, she did not want to be classified as “just a jazz singer”, as reported in Downbeat magazine.

Vaughan had a somewhat turmoiled personal life but nothing compared to her contemporaries. She received a Grammy Award, a Hollywood Star, a Lifetime Emmy and a Lifetime Grammy Award, NEA Jazz Master Award and was inducted into the American Jazz Hall of Fame.

Her last recording was on Quincy Jones’ album, Back on the Block, a scat duet with Ella Fitzgerald.  This recording adds an ironic twist, as legend has it, when Vaughan won the contest at the Apollo Theater in the spring of 1943, she received $10 dollars and an opening slot for Ella Fitzgerald.

Born into a musical family, the sixth of eight children, she began to play piano at a very early age and originally wanted to be a classical pianist.  Having a religious mother, she took a stage name to avoid her recognition when she played; “Nina” (from “niña”, meaning “little girl” in Spanish) was a nickname a boyfriend had given to her and “Simone” was after the French actress Simone Signoret, whom she had seen in the movie Casque d’or (1)

Nina Simone

A dynamic performer, who showed extreme emotion and personality through her voice and in her performances.  These performances also characterized her own personality and personal life, amplified by bipolar disorder with which she was diagnosed in the mid-1960s, something not revealed until after her death in 2003.(2) According to Nadine Cohodas, Simone’s biographer, Ms. Simone was first diagnosed with multiple personality disorder and later with schizophrenia.⁽³⁾

Simone released over 40 live and stuido albums, with multiple compilations and remixes released after her final studio recording, A Single Woman, in 1993 and after her death.  She lived in multiple places around the world, moving in and out of the U.S. several times and finally settling in the south of France before her death in 2003.

(1)-Brun-Lambert 2006, p. 56

(2) Hampton 2004, pp. 9–13

(3) The soloist: Life of the troubled ‘high priestess of soul’ serves up bountiful detail but skimps on insight

He performed with the Woody Herman Orchestra in 1967, and also with Duke Ellington’s Group. He was a member of the band for the Jim Jerrard TV Show. In 1971, when the late, great Stan Kenton became ill, Sifferlen took over the piano chair with the Kenton Orchestra, which backed vocalists June Christy, Steve Lawrence and Edie Gorme. Sifferlen was a member of the Baron Von Ohlen Quartet formed by John Von Ohlen. He has played with notable jazz artists Buddy Tate, Cleanhead Vinson, Lockjaw Davis and Milt Jackson. In 1970 he formed the Claude Sifferlen Trio with bassist Paul Imm and drummer Greg Corn. He was a member of the Zebra Quartet (playing vibes), which also featured pianists Steve Corn and Steve Allee.* (OA2 Records)

Sifferlen could also be heard playing at The Jazz Kitchen and the Chatterbox, where he performed with Frank Glover, and many others, including Mark Buselli, Ron Brinson-drums, Joe Deal-bass, and the Deep Six Band, formed by Harry Miedema-sax.  He and Frank Glover performed a 1997 Carnegie Hall Recital.  When looking back on this performance, Sifferlen remarked how they performed it just like they would in any tavern, bar or club.  Noting that he learned jazz “from the streets of Indianapolis” and “loved to play taverns, bars and clubs” and “would feel uncomfortable if he didn’t here a cash register or someone yelling, give me a beer”, it only seemed natural for him to use this perspective.

Mark Sheldon Photography

Besides being a gifted musician, Claude was a true gentleman with an incredible sense of wit and always an encouraging word for his fellow musicians.  A musician knew he/she had made it when Claude called you “babe”.  His speech and playing mimicked each other, both unique and done only the way Claude Sifferlen could do.  These character traits truly defined Claude and together with his playing, will leave a legacy not only in the jazz community but the City of Indianapolis.

We gathered a couple of quick stories that show Claude’s great sense of humor and encourage you to also share your favorite Claude moments.  Please join us for the Claude Sifferlen Tribute this Wednesday, March 31, 6:30-10:30pm at The Jazz Kitchen, featuring Frank Glover, Zack Lapidus, Jack Helsley, Dave Scalia, Steve Corn, Greg Corn, Joe Deal, Eugenio Urrutia, Janice Friedman, Steve Allee, Frank Smith, Kenny Phelps & more!

-Julie Houston, an Indianapolis based singer (and massage therapist) was rehersing with Claude one afternoon.  Claude had a herniated disc in his back had been bothering him so they stopped for a break.  While Claude was smoking a cigarette and trying to stretch his back out, Julie stated, “Claude, I am a massage therapist, I can get the kink out of your back for you”.  Claude looked at her straighfaced and said, “babe, my body’s a temple”.

-Claude & Frank Glover’s quartet were playing a Monday night gig at The Jazz Kitchen.  It was near the end of their set, only a handful of people were still in the club and a lady was talking very loudly while the group was playing.  Right in the middle of his solo, without missing a beat, Claude looks to the ceiling and yells, “JUST SHUT UP!”.  The lady didn’t stop talking and Cluade didn’t stop playing!

-When Steve Allee was in the army, Claude used to send him “care packages”, using a monastery as the return address.

Alice Coltrane

Raised in a musical family, Alice was studying under Bud Powell when she meet John Coltrane.  While touring and recording with Terry Gibbs around 1962-1963, she met Coltrane; she married the saxophonist in 1965, and joined his band — replacing McCoy Tyner — one year later. Alice stayed with John’s band until his death in 1967.*  She continued to record albums with her own bands, 19 albums in all, that included notable artists like: Pharoah Sanders, Joe Henderson, Rashied Ali and  Archie Shepp.

A religious woman, Alice changed her name to Swamini Turiyasangitananda and established her own Ashram in Southern California.  Beginning in 1975 she had a long period of only occasionally performing and recording.  She began recording again in 2000 and eventually issued the stellar Translinear Light on the Verve label in 2004. *

*Allmusic.com