Bill Mays Part One (S5 | E250)
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 one of a two-part series.
Jazz Piano Master Bill Mays
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.”
Here’s our track-by-track breakdown for this week’s show:
I’m Just A Lucky So And So – This track is from Bill Mays’ album “Saturday Afternoon Jazz,” originally recorded in 1978 and released in 1982. It’s a wonderful example of his work as a leader and showcases his lyrical and swinging piano style.
On Thinking It Over – A beautiful vocal performance by the legendary Sarah Vaughan, this track features Bill Mays in a supporting role. His tasteful and elegant piano accompaniment complements Vaughan’s rich, powerful voice, demonstrating his skill as a sensitive sideman.
Feel Like Making Love – Marlena Shaw’s iconic rendition of this soul-jazz standard features Bill Mays’ keyboard work. His contributions to the album “Who Is This Bitch, Anyway?” show his versatility across different genres, from straight-ahead jazz to more funk and R&B-influenced sounds.
Simply Eloquent – As the title track, this song is a perfect showcase for Morgana King’s distinct vocal style, with Bill Mays providing a sophisticated and intricate piano backdrop. It is a fantastic example of a vocalist and pianist in a symbiotic duo, each elevating the other’s performance.
Tease For Two – A duet between Bill Mays on piano and Ray Drummond on bass, this track is from their collaborative album “One to One.” The recording highlights the remarkable synergy and interplay between the two musicians, demonstrating their deep musical connection.
The Gentle Rain – This classic tune is a duo recording between Bill Mays and trumpeter Bobby Shew, from their 1982 album “Telepathy.” The song’s intimate and serene atmosphere is perfectly captured by Mays’ sensitive piano accompaniment and Shew’s melodic flugelhorn.
Born To Be Blue – Featuring the trio of bassist Martin Wind, pianist Bill Mays, and drummer Keith Copeland, this track is from the album “Gone With The Wind.” It showcases the trio’s cohesive and swinging rhythm section, with Mays delivering a bluesy and soulful performance.
Marilyn Monroe – Part of a live recording from Shelly Manne’s Double Piano Jazz Quartet, this track features Bill Mays alongside Alan Broadbent on a second piano. The arrangement allows for a unique, interwoven texture as the two pianists play off one another, creating a rich and complex sound.
Black Jack – Another selection from the album “Gone With The Wind,” this track highlights the trio’s ability to navigate a more modern and adventurous harmonic landscape. Mays’ solo work is particularly notable, displaying his virtuosic technique and creative improvisational ideas.
Red Door – A final duo track on your playlist, this time with the late great alto saxophonist Bud Shank, from the album “Beyond the Red Door.” The piece showcases the timeless chemistry between the two veterans, with Mays providing a warm and intelligent harmonic foundation for Shank’s lyrical lines.
More music forthcoming – nearly always for Bill Mays – keep track of his progress at his website: billmays.net. Photo credit: Judy Kirtley
| Track Name | Album Name | Artist Name(s) | Release Date | Record Label |
|---|---|---|---|---|
| I’m Just A Lucky So And So | Saturday Afternoon Jazz (Reissue) | Bill Mays | 1/1/00 | Concord Records |
| On Thinking It Over | A Time In My Life | Sarah Vaughan | 5/1/91 | Mainstream Records |
| Feel Like Making Love | Who Is This Bitch Anyway? | Marlena Shaw | 1/1/74 | CM BLUE NOTE (A92) |
| Simply Eloquent | Simply Eloquent | Morgana King | 1986 | Muse Records |
| Tease For Two | One To One | Bill Mays,Ray Drummond | 1990 | DMP |
| The Gentle Rain | Telepathy | Billy Mays,Bobby Shew | 11/8/19 | Fresh Sound Records |
| Born To Be Blue | Gone With The Wind | Martin Wind,Bill Mays,Keith Copeland | 1/1/93 | September |
| Marilyn Monroe | Double Piano Jazz Quartet: In Concert at Carmelo’s | Shelly Manne Double Piano Jazz Quartet | 1981 | Trend Records |
| Black Jack | Gone With The Wind | Martin Wind,Bill Mays,Keith Copeland | 1/1/93 | September |
| Red Door | Beyond The Red Door | Bud Shank,Bill Mays | 8/1/07 | Jazzed Media |
