Jazz Pianist Billy Mays Part Two

Bill Mays Part Two (S5 | E251)

We are more than fortunate this week to have a consummate pro in the recording booth. Bill Mays has made his name for more than 65 years as a jazz band leader, sideman, studio musician, composer and literaary figure. This is part two of a two-part series.

Studio & TV Music – Meets Jazz

Bill Mays is a highly versatile and respected American jazz pianist, composer, and arranger. Born in Sacramento, California, on February 5, 1944, he came from a musical family and was exposed to gospel music at a young age. His career began in the 1950s, and he spent a significant part of it as a studio session musician in Los Angeles. During this time, he worked with a wide range of artists, including vocalists such as Frank Sinatra, Sarah Vaughan, Peggy Lee, and Dionne Warwick. He also played with jazz legends like Shelly Manne, Art Pepper, and Bud Shank.

His proficiency on the piano and his excellent sight-reading skills made him an in-demand musician for film and television soundtracks.

In 1984, Mays relocated to New York City to focus more on his work as a bandleader and composer. Since the move, he has released over three dozen albums as a leader and has continued to be a sought-after sideman, performing at renowned venues such as the Village Vanguard and Carnegie Hall. He has collaborated with artists like Gerry Mulligan, Phil Woods, and Ron Carter. Mays is also an accomplished composer, with works written for big bands and orchestras. He has received numerous accolades, including a Grammy nomination for his work on Mark Murphy’s album “Bop for Kerouac.”

TO THE SONGS!!!!…..

Bill Mays’s rendition of “It Might as Well Be Spring” is featured on the 1982 album Telepathy, a duo recording with trumpeter Bobby Shew. This album is particularly notable for the exceptional musical rapport between Mays and Shew, who showcase their improvisational skills and deep empathy on this and other jazz standards. Originally recorded in 1978, the album has been reissued over the years and is considered a prime example of a compelling horn-piano collaboration

“California Message” is the title track from a 1981 album by legendary tenor saxophonist Benny Golson. On this album, Bill Mays is featured as the pianist. The recording also includes other notable jazz artists such as trombonist Curtis Fuller, trumpet player Oscar Brashear, and drummer Roy McCurdy. The song, and the album as a whole, showcases a modern jazz sound of the era, and Bill Mays’s piano work contributes to the album’s overall feel.

“Body and Soul” by The Manhattan Transfer. The song is particularly notable for its unique vocalese lyrics, which were written to a famous instrumental solo. The lyrics for “Body and Soul” are based on the legendary saxophone solo by Coleman Hawkins from his 1939 recording of the song. The Manhattan Transfer’s version is also a tribute to Eddie Jefferson, a pioneer of vocalese who had also written and performed a set of lyrics to Hawkins’s solo. This track showcases the group’s incredible harmony, precision, and deep respect for the history of jazz.

The Hi-Lo’s song “The Lady in Red” is featured on their 1958 album, The Hi-Lo’s and All That Jazz. The album, which is a jazz close-harmony vocal album, also includes tracks such as “Fascinatin’ Rhythm,” “Love Locked Out,” and “Moon-Faced, Starry Eyed.”

“Then I’ll Be Tired of You” by The Hi-Lo’s is a song from their 1957 album, The Hi-Lo’s I Presume. The group, composed of Gene Puerling, Bob Morse, Clark Burroughs, and Don Shelton, delivers a smooth and sophisticated vocal arrangement of this timeless standard.

“Autumn Serenade” is a popular song from 1950, with music by Peter DeRose and lyrics by Mitchell Parish. The song has been recorded by many artists, including Nat King Cole and Jo Stafford, who released a well-known version of the tune. Bill Mays released a full album titled Autumn Serenade in 2023 on Sunnyside Records. The album features Mays on piano, alongside bassist Dean Johnson and drummer Ron Vincent. This recording is a celebration of the contemplative and romantic feelings of the autumn season, and it features Mays’ masterful interpretations of tunes related to the theme, including the title track.

“Smile (live)” is a track from the Bill Mays Trio’s 2005 album, Live at Jazz Standard. The album, recorded over three nights in December 2004, features Mays on piano, Martin Wind on bass, and Matt Wilson on drums. This rendition of the classic Charlie Chaplin tune closes the album, showcasing the trio’s deep musical connection and Mays’ ability to convey profound emotion through his playing.

“Let’s Call This (Live at the Jazz Standard)” is a track from the 2005 album Live at Jazz Standard by the Bill Mays Trio. The album features a live recording of Mays on piano, alongside bassist Martin Wind and drummer Matt Wilson. This track showcases the trio’s telepathic interplay and Mays’ masterful improvisational skills in a dynamic, live setting.

“The Shadow of Your Smile” is a popular song from 1965 with music by Johnny Mandel and lyrics by Paul Francis Webster. The song was introduced in the film The Sandpiper and has been recorded by numerous artists, including Tony Bennett, Frank Sinatra, and Barbra Streisand. Bill Mays, the accomplished jazz pianist, has a rich discography that includes numerous recordings as both a leader and a sideman. While he has not recorded a standalone album titled “The Shadow of Your Smile,” the song has appeared on various albums featuring Mays. One such recording is with the Bud Shank Sextet on the album Silver Storm (2000). The track features Mays on piano alongside musicians such as Bud Shank on saxophone, Conte Candoli on trumpet, Bill Perkins on saxophone, and Gary Hobbs on drums. Mays is known for his versatile style and elegant touch, which he brings to this performance of the classic standard.