|
|
You can hire a skywriting plane and paint it across the heavens, and I still won't like "Big Bands"
|
|
|
I owned that exact same kind of suit you see Grant wearing on the cover of the album "Feeling The Spirit". I can tell by the lapel as well as the fact that it's a "black on black stripe", made by Kuppenheimer. I bought mine in 62, that album was recorded in 62. We might have bought our suits from the same store.
I only noticed this fairly recently; he even has the tip of a silk pocket square, which was the style at that time. I knew I was one sharp dude when I wore that suit.
As for the music, I rate it even higher than the suit; out of 5 stars, I give it 5 1/2.
|
East is East, West is West, and never the twain shall meet.
|
You proved my point Frog, now delete that.
|
Keegiam, stay true to your inner soul; I knew Grant personally, I saw him every weekend in a small bistro in St. Louis before he had recorded with anyone.
I have almost everything he recorded. That compilation was not released until 97, after both Sonny and Grant's death. While both Sonny and Grant are two of my favorite jazz artists. I sold that compilation shortly after acquiring it.
|
|
PJW, I had a conversation with Grant during intermission on the sidewalk in front of the establishment where he was performing.
Someone came up to me during intermission and said Grant wanted to speak to me out front.
I have to tell another story in order to put that conversation into context.
My cousin was my best friend, he lived a charmed life; although he had his faults.
On his lunch hour, he would come into my front door, out the back door, over the fence, into the back door of the ladies house next door.
When it was time to go back to work; out her back door, over the fence, into my back door, out my front door, and back to work; he called this "His nooner"
After he died, after the funereal, after everyone had left, I was sitting on one end of the couch, and his bereaved wife was sitting on the other end. She turned to me and asked, "Did my husband have any other women."
With the straightest and most sincere face I could muster, I said, "Not to my knowledge".
She seemed so relieved, a serene look came over her face.
My reason for telling you all of this is that you got to know when to lie, and when to tell the truth.
Grant asked me a question about a person, I told him the truth. He reacted, "You're lying", turned and walked away.
There I was, left with tears. But long after, when I absorbed what had taken place, I realized, that when he was alone, Grant cried because of what I had told him.
|
I just received the LP "The Phantom" by Duke Pearson, and it's absolutely fantastic. Before I go on, I want to say that I'm not one of those "Digital vs Analog People". Good analog costs thousands of dollars more than digital, and is ten times more trouble; if it sounds better, it should. I'm sure the CD sounds very good as well. https://www.youtube.com/watch?v=vO0-mfey2BM https://www.youtube.com/watch?v=k-BZNzLmS88Just got this, and already I think it's one of the best albums in my collection. |
"Has it ever struck you that life is all memory, except for the one present moment that goes by you so quick you hardly catch it going?” Ghosthouse, the song that makes me most aware of time is "Speak Low". Speak low when you speak, love Our summer day withers away too soon, too soon Speak low when you speak, love Our moment is swift, like ships adrift, we´re swept apart, too soon Speak low, darling, speak low Love is a spark, lost in the dark too soon, too soon I feel wherever I go that tomorrow is Near, tomorrow is here and always too soon Time is so old and love so brief Love is pure gold and time… More I relate many songs to my personal experiences, maybe this song more than most. "Time is so old and love so brief Love is pure gold and time a thief" Does anyone think of that fact when their young? We´re late, darling, we´re late The curtain descends, everything ends too soon, too soon. My one regret is the fact that I was not more aware of all of those things. https://www.youtube.com/watch?v=mxB2hZ8tB8M https://www.youtube.com/watch?v=0iWHd1n1s8EThese ladies were aware of those facts. |
Keegiam, there is no way I would ever want you to have another "letdown"; I know how painful that can be; consequently, I can not risk another post.
|
Now that you put things into perspective, I’ll see what I can do, but as you noted, after that cut, it won’t be easy Keegiam.
|
"Jazz At The Pawnshop" is not in my collection; either I'm not a "Connoisseur of modern jazz", or that album has been given more credit than it deserves.
|
|
It sounds good, I don't have that one.
|
After one becomes a "Connoisseur" the pursuit of music becomes quite serious and methodical; it is no longer casual. To give you an example, it has been determined by consensus that "The Phantom" is one heck of a jam; therefore we dissect it and pursue all of the reasons why this is so. All compositions by Duke Pearson except as indicated "The Phantom" - 10:21 "Blues for Alvina" (Willie Wilson) - 3:09 "Bunda Amerela (Little Yellow Streetcar)" - 5:46 "Los Ojos Alegres (The Happy Eyes)" - 6:17 "Say You're Mine" - 5:40 "The Moana Surf" (Jerry Dodgion) - 7:23 Personnel Duke Pearson - piano Jerry Dodgion - flute, alto flute Bobby Hutcherson - vibes Sam Brown, Al Gafa - guitar Bob Cranshaw - bass Mickey Roker - drums Victor Pantoja - congas Carlos 'Patato' Valdés - conga, güiro The best known sideman by me is "Bobby Hutcherson". While I know nothing of "Jerry Dodgion", he made an outstanding contribution. Our next step in this endeavor is to audition the remaining cuts that we didn't hear the first time. https://www.youtube.com/watch?v=ovxZ9UhdbfM https://www.youtube.com/watch?v=hJ0eMapONMA https://www.youtube.com/watch?v=9DbBULytpe4 https://www.youtube.com/watch?v=MyPUMNV8tMAI would like for those who are following me in this endeavor to give their evaluation of those four cuts before I go to the next step. |
Alex, you identified "Skeeter Best’s" important role on that Ray Charles, Milt Jackson album. I’m trying to find more of his music that rises to that high level, maybe you can help?
Skeeter Best, a jazz guitarist who played in Earl Hines’s orchestra and recorded with Ray Charles and Milt Jackson, died Tuesday at Jacobi Hospital in the Bronx after a long illness. He was 70 years old and lived in the Bronx.
Mr. Best, whose given name was Clifton, was born in Kinston, North Carolina, on Nov. 20, 1914, and played in Philadelphia for five years before joining Mr. Hines in 1940. After World War II he made tours of Japan and Korea with the bassist Oscar Pettiford and later led his own trio, accompanied the singer Nellie Lutcher and freelanced in recording studios. For many years he taught at Manna House on East 106 Street.
He is survived by three sons, Clifford J. of Boston and Wheatley Heights, L.I., Gregory of San Francisco and Gerald of Memphis; a sister, Regina Best Lombard of Kansas City, and eight grandchildren. A funeral service will be held on Monday at 7:30 P.M. at St. Peter’s Church, Lexington Avenue at 54th Street.
The Modern Jazz Sextet Featuring Dizzy Gillespie, Sonny Stitt, John Lewis (2), Skeeter Best, Percy Heath & Charlie Persip - The Modern Jazz Sextet
14 versions Verve Records 1958
As side man
Aretha Franklin, Aretha (Columbia, 1961)
Bennie Green & Paul Quinichette, Blow Your Horn (Decca, 1956)
Lionel Hampton, Silver Vibes (Columbia, 1960)
Erskine Hawkins, 1938/1940 (EPM Musique, 1991)
Earl Hines & Marva Josie, Jazz Is His Old Lady... and My Old Man (Catalyst, 1977)
Mahalia Jackson, Gospels, Spirituals & Hymns (Columbia, 1991)
Milt Jackson, Ballads & Blues (Atlantic, 1956)
Milt Jackson & Ray Charles, Soul Brothers (Atlantic, 1958)
Etta Jones, The Jones Girl.... Etta... Sings, Sings, Sings (King, 1958)
Etta Jones, Don’t Go to Strangers (Prestige, 1960)
Frankie Laine & Buck Clayton, Jazz Spectacular (Columbia, 1956)
Ellis Larkins, Blue and Sentimental (Decca, 1956)
Howard McGhee, Maggie (Savoy, 1977)
The Modern Jazz Sextet, The Modern Jazz Sextet (Norgran, 1956)
Mel Powell, Out On a Limb (Vanguard, 1955)
Ike Quebec, The Complete Blue Note 45 Sessions (Mosaic, 1987)
Freddie Roach, The Freddie Roach Soul Book (Prestige, 1967)
Jimmy Rushing, Rushing Lullabies (Columbia, 1959)
Jimmy Rushing, The Jazz Odyssey of James Rushing Esq. (Columbia, 1957)
Jimmy Rushing, Mr. Five by Five (Columbia, 1980)
Charles Thompson, Sir Charles Thompson Trio (Vanguard, 1958)
Charles Thompson, Rockin’ Rhythm (Columbia, 1961)
Lucky Thompson, Lucky Thompson Featuring Oscar Pettiford Vol. 1 (ABC-Paramount, 1956)
Lucky Thompson, Vol. II (ABC-Paramount, 1957)
Cootie Williams, Cootie Williams in Hi-Fi (RCA Victor, 1958)
References
|
A connoisseur of jazz is someone who has excellent taste in jazz. An aficionado is someone that is passionate (that's it). ... Passion like beauty is in the eyes of the beholder but a connoisseur is something very different. A connoisseur is an expert judge in matters of taste. There is a difference between having passion (aficionado) and being an expert judge (connoisseur).
After many many years as a dedicated aficionado of jazz, one finally becomes a "Connoisseur" of jazz. That is the title I have bestowed on myself, but it's not quite that simple. Only after years of selecting what I consider to be the best jazz, and having confirmation of this from many other sources, do I feel comfortable with the title of "Connoisseur".
This connoisseur has a symbiosis with the musicians who have created the very best jazz; we were raised in the same environment; we have resonance. "Modern jazz" came from our once great cities. The artist might have been born in a cotton field, but at a very early age, his family migrated to the city.
While it is stated that modern jazz is a "Black creation", I maintain that it's a sociological creation that happens to be predominately Black. Two of the artists that prove my point are Zoot Sims and Pepper Adams. Of course there are others, but those two came to mind.
Pepper Adams was born in 1930, that seems to be the general time period for many of the best "modern jazz" artists. More important is where he was raised, "Detroit Michigan" one of the great cities in this country that has fallen on hard times. I was fortunate to spend time in that city when it was one of the greatest. At the time I was there, it seemed that everyone owned a brand new car, dressed elegantly, and lived in a nice home; not to mention that you could be entertained every night by live music of a different genre.
Back to my stated title of "Connoisseur of modern jazz", it is one that requires confirmation from other aficionados, without that confirmation, the title is not legitimate.
Enjoy the music.
|
My mistake Keegiam, it was Rok who liked "Say you're Mine" the best while you liked "Blues For Alvina" the best. Never the less, let us continue our pursuit of jazz fit for a connoisseur.
|
The fact that I'm not a big band fan does not mean that I can't appreciate good big band music, I just don't pursue big bands, but I liked what you posted.
I'm still pursuing Jerry Dodgion in a similar mood as in "Phantom".
|
On the album "The Phantom" it shows Jerry Dodgion on flute and alto flute, (no sax).
|
We're in "sync" Keegiam, "Say you're mine" was my favorite as well.
I have some nice tunes by "Spyro Gyra" on my play list.
From here we've got three avenues of pursuit; we can track the unknown "Jerry Dodgion" and see where that takes us, plus we know we're going to hit more pay dirt with "Bobby Hutcherson", and of course we're going to find more of "Duke Pearson". Our objective is to find something as good as "Phantom". I've been listening to this music a long time, and I can tell you, that won't be easy.
Happy hunting.
|
Frogman, what did you think of Jerry Dodgion on "Phantom".?
|
|
|
(Btw, sometime later you yourself posted “Forrest Flower” claiming it was Buddy Collette on tenor; but that’s a different story).
What you posted that I said is stupid beyond words. Why would I say something that moronic. What you posted is not even worthy of discussion.
|
Frogman, I consider you to be a JAM.
|
Frogman, since you mentioned the fact that Jerry was unknown to me because I'm not a fan of big bands, in my effort to be cordial (big mistake) I looked for him on the list that you provided and discovered he was on a record in my collection.
So I decided to give it a listen, not a collectors item, but not bad either. Mind you this is all in my effort to be cordial. That gave you an opportunity to tear down a record that you were responsible for being brought up in the first place.
Then Rok chimes in. After that Pjw chimes in even worse, he couldn't listen to the record for 30 seconds.
So I decided to put up a better record for your and Pjw's evaluation: I'm still waiting for the evaluation of that post. 03-07-2021 8:38pm
|
I didn't know Dexter Gordon personally, but I knew people who did know him personally, and they told me that in the movie "Round Midnight", that all Dexter had to do for his role as "Dale Turner", was to step in front of the camera and be himself.
|
This was in 64, she was the love of my life, and "Forest Flower" was our song. We played it every time we went to this dimly lit Bistro where it was on the jukebox. We broke up in 65 and "The Sun Died". https://www.youtube.com/watch?v=OpR8UrMQvnUAfter that, my new song was; https://www.youtube.com/watch?v=RWXimvRssmQSoftly as in a morning sunrise The light of love comes stealing Into a newborn day Flaming with all the glow of sunrise A burning kiss is sealing A vow that all betray For the passions that thrill love And take you high to heaven Are the passions that kill love And let it fall to hell So ends the story Softly as in a morning sunrise The light that gave you glory Will take it all away Softly as in a morning sunrise The light of love comes stealing Into a newborn day Flaming with all the glow of sunrise A burning kiss is sealing A vow that all betray For the passions that thrill love And take you high to heaven Are the passions that kill love And let it fall to hell So ends the story Softly as in a morning sunrise The light that gave you glory Will take it all away Softly as it fades away Softly as it fades away Softly as it fades away Softly as it fades away |
|
Inna, we're in harmony, I thought the first one was quite different as well. I have very old recordings of didgeridoo that were made out in the "bush" by an anthropological society. They are complete with the sounds of insects in the background. These recordings were of the first Australians tuning up for a "Carroboree"; https://en.wikipedia.org/wiki/Corroboree |
|
|
Rok, music is a reflection of the society from which it comes.
|
There were some very good local jazz bands in St. Louis in the 60's and 70's especially, but I can't find many recordings, and those I found aren't worth squat, even though the live music I listened to quite often was out of sight, makes me wish I was a "recording engineer".
The future of jazz is so bleak I don't even think about it. The bottom line is the fact that there is no place to "grow jazz musicians". You grow corn in a cornfield, You grow jazz musicians in "bistros" in the city. Where are the Bistros? Where are the cities?
|
Inna, all we can do is enjoy our music and forget about the rest.
Did you check those CD's I posted? I know you're into LP's, but when you like exotic music, you can't always find the LP's. "Dead Can Dance" is about as exotic as I have on LP. If you have more exotic on LP, let me know?
|
|
We all have a lot of good music in our collections, and we acquired it based on reviews or recommendations. Now, for me, since new jazz is a complete waste of time, I have to find "old jazz" that I don't already have, and consider to be as good as what I have.
Pjw, you have a lot of Chico Hamilton, do you have anything with him and Ray Nance on violin?
|
|
I bought this album when I was still in high school; "Jazz Lab" Donald Byrd and Gigi Gryce. https://www.youtube.com/watch?v=E7IHRHHnjl8 https://www.youtube.com/watch?v=I7JzbFwtONE "Speculation" (Horace Silver) - 3:38 "Over the Rainbow" (Harold Arlen, Yip Harburg) - 8:21 "Nica's Tempo" - 5:27 "Blue Concept" - 5:03 "Little Niles" (Randy Weston) - 7:04 "Sans Souci" - 7:17 "I Remember Clifford" (Benny Golson) - 4:57 Gigi Gryce - alto saxophone Donald Byrd - trumpet Jimmy Cleveland (tracks 5 & 7), Benny Powell (tracks 1 & 3) - trombone Julius Watkins - French horn (tracks 1, 3, 5 & 7) Don Butterfield - tuba (tracks 1, 3, 5 & 7) Sahib Shihab - baritone saxophone (tracks 1, 3, 5 & 7) Tommy Flanagan (tracks 1-3 & 6), Wade Legge (tracks 4, 5 & 7) - piano Wendell Marshall - bass Art Taylor - drums |
|
I'm closer to Grant Green's music, than I am to any other musicians music. There is no better sound than the sound of an old valued friends voice, that's the sound of Grant Green's music to me.
He asked me a question, I answered his question; he told me I was lying, turned and walked away.
Naturally I was deeply hurt, but later, I realized my answer caused him much pain, and whenever he was alone, he cried, because he knew the answer was true.
Pjw, what if, in my story about "The Back Door Man", as you called it; I had told his wife when she asked me if he had any other women, "The only one I knew about was "The nooner".
|
I kind of figured that, and now I know. |
|
Pjw, it has been my experience that the music that wasn't released on time is not as good as the music that was, and my statement has nothing to do with sonics, but some compilations are compressed on CD.
My selling Grant Green and Sonny Clark had nothing to do with sonics. I didn't like it because Grant didn't sound right to me. Maybe he was experimenting, whatever, I didn't like it.
I'm sure that you already have the best of "Jazz Lab"
|
I was at the "Y", and who should I see in the hot tub but "Oliver Sain". Oliver Sain is a celebrity musician in St. Louis. I introduced myself and took a seat in the hot tub. There is no better place for relaxing conversation than a "hot tub". https://en.wikipedia.org/wiki/Oliver_SainI had been seeing him at small club in the St. Louis, Metro East area since 62 and I believe this was in about 1990, that's quite a few years. I told him some of the places I had seen him, and he remembered me. That's when he began to talk about his career. The highlight was when he was on a world tour with "Fontella Bass". He was living on "The Bluff" during that time. There is a high bluff in Illinois that gives you a view of the St. Louis skyline, where the rich people live, and that's where Oliver Sain resided for awhile. Talking to Oliver Sain was like talking to your next door neighbor, the conversation was just that smooth and easy; we reminisced about things that happened at some of the clubs where he was playing. (stuff happened at some clubs in St. Louis, and it was good to have reflexes fast enough to duck a bottle) That was in the R & B clubs, but not in the jazz clubs. Miles father forbid him to play in the blues clubs. He told me where he was appearing at the time, and to pay him a visit that evening. https://www.youtube.com/watch?v=G1pCE440wIM |
