Jazz for aficionados
One of the greatest Bluesmen: https://www.youtube.com/watch?v=OpKB6OZ_B4c Does the above sound familiar: https://www.youtube.com/watch?v=y-5o2f9wzmw |
Here is one of 109 comments from the Roy Buchanan "Sweet Dreams" song I posted. "This song by Roy Buchanan is the most soulful thing I’ve ever heard. It sends chills up my Spine! Roy played guitar like he came from a higher plain." Roy showing off his chops at Carnegie Hall: https://www.youtube.com/watch?v=6aXW7-HjrUU As far as finger speed in both hands, IMHO, Roy is as good as any of the greatest there ever was in jazz and blues although Roy mainly stuck to blues. |
A question for guitar aficionados like myself. What do Roy Buchanan, Al Cooper, Danny Gatton, and Albert Collins have in common? https://www.youtube.com/watch?v=ClRHx5FJ9yA https://www.youtube.com/watch?v=OVq6F2dMhXU https://www.youtube.com/watch?v=N_jmeU505GI https://www.youtube.com/watch?v=cz6LbWWqX-g |
Oh I totally understand "why should I listen to that when I can listen to this" as a reason to never buy any "jazz" album after 1969. But all I am saying is there are plenty of "real jazz musicians" currently touring and recording "real jazz" rooted in the blues. More examples since you brought up Grant Green who I think is awesome - my Grant Green collection of him as a leader is over 30 now - with over 30 as a sideman, just listen to this current "real jazz" guitarist: https://www.youtube.com/watch?v=yuTWraoBYNs https://www.youtube.com/watch?v=BMoxOqtjOlY https://www.youtube.com/watch?v=Rf64LcCFM9I And its as simple as that: (pun intended) https://www.youtube.com/watch?v=grNQcjMOf5U |
They may have shopped at the piggly wiggly as well but all 4 predominately played the one and only original sounding Fender Telecaster. https://en.wikipedia.org/wiki/Fender_Telecaster As a matter of fact Albert Collins was dubbed the "Master of the Telecaster" but Buchanan was in a league of his own. If you had been listening to Roy Buchanan since the 70’s, like I have and still do, until he took his own life in 1988, you would hear chords and notes coming from his guitar that are simply unbelievable. He would sometimes sound like 2 guitarists were playing instead of one. He was the master of "pitch bending." And yes, I will admit it, Roy did like his polyester clothing, including bell bottoms and corduroy pants that look like he bought them at Woolworths. Al Kooper talking about Michael Bloomfield, another great Telecaster player: "Why not do an entire jam album together?" Kooper remembered in 1998, writing the booklet notes for the Bloomfield anthology Don’t Say That I Ain’t Your Man: Essential Blues, 1964–1969. "At the time, most jazz albums were made using this modus operandi: pick a leader or two co-leaders, hire appropriate sidemen, pick some tunes, make some up and record an entire album on the fly in one or two days. Why not try and legitimize rock by adhering to these standards? In addition, as a fan, I was dissatisfied with Bloomfield’s recorded studio output up until then. It seemed that his studio work was inhibited and reined in, compared to his incendiary live performances. Could I put him in a studio setting where he could feel free to just burn like he did in live performances?" |
Here is Albert Collins and Roy Buchanan on the same stage. Look at how long Albert's fingers are! and he does not use a pick! https://www.youtube.com/watch?v=yIeZSUevSuc |
acman3 Pat Martino is one of my favorites and I have seen him live numerous times. I know he is still recording and touring. However, since he got his start in the early 60's, exclusively with one of my favorite tenor sax men, Willis "Gator tail" Jackson, I don't think we could count him as a "new" jazz guitarist. BTW, I have Willis Jackson and Pat Martino's complete output - every recording session they did - terrific music! https://www.youtube.com/watch?v=ZuJaxQ9SCq4 https://www.youtube.com/watch?v=wTWS_4Pq3gg https://www.youtube.com/watch?v=mI9u3G1bPc0 |
alex as far as Jimmy Page is concerned I think his playing is good not great. 4 stars not 5. Led Zeppelin covered a lot of old blues songs with their own "twist" put into it like Willie Dixon and Kansas Joe McCoy and Memphis Minnie. Kansas Joe McCoy and wife Minnie: https://www.youtube.com/watch?v=W5VmVvsjyKw Led Zeppelin: https://www.youtube.com/watch?v=fOEQTJV_3-w I could go on and on as to my thoughts on Page and Led Zeppelin but this is a jazz aficionado thread. Suffice to say "my" 2 favorites are Jimi Hendrix and Jeff Beck and there are many reasons I feel this way. Pretentious "classical/progressive" guitarists like Yngwie Malmsteen I detest. |
orpheus10 I know this is a jazz aficionado thread but I just cant keep from posting the following regarding the rock group Led Zeppelin and how they stole so many of their signature licks from the greatest African American blues masters of the 1920 - 1950 era. I hope its ok with you. Here it is Led Plagiarism: Blatant Thieves! Seriously in this song alone, ironically entitled because they stole 4xs for this 1 song "How Many More Times" they were successfully sued by Chester Burnett aka Howlin Wolf for his "How Many More Years" & for "Killin Floor " which is the beginning of Led Plagiarism’s "The Lemon Song" & of course, the ending is Robert Johnson’s, "Travelling Riverside Blues". Who Blatantly Steals from the man who made Muddy Waters & was the impetus for The Rolling MFG Stones 3xs? Willie "I AM The Blues" Dixon 1. "I Cant Quit You Babe" 2. "You Shook Me" 3. "You Need Love" Dixon & Muddy Waters = "Whole Lotta Love" Again, successfully sued in out of court (admission of guilt) settlement. . . AGAIN! Little Richard’s, "Keep A Knockin" is blatant plagiarized in the opening drum solo in "Rock & Roll" Eddy Cochrans "Nervous Breakdown" stolen by Led Zep "Communication Breakdown." Bert Jansch’s "White Waterside" blatantly plagiarized by Zep’s "Black Mountain Side" as well as "The Waggoner’s Lad" Zep STOLE & renamed it, "Boogie With Stu". Hell Page even stole from Bob Dylan. "Jesus Gonna Make Up My Dyin Bed" (originally from Sonny Boy Williamson originally published "Jesus Gonna Make Up My Dyin’ Bed" Dylan held the copywright when Led Plagiarism did "In My Dyin Day". Christ Page, all u had to do was ASK! Seriously though Dylan wrote 200 + songs & Hendrix asked him for, "All Along the Watchtower" Robert Johnson yet again (the man is to the guitar as Bernard "Buddy" Rich became to the drums. Keith Richards and Jimmi Hendrix BOTH asked HOW many people were playing the guitar when they 1st heard Robert Johnson...Just 1. "Terraplane Blues" (a terraplane was a race car or duece & heavily inspired "Trampled Underfoot". Moby Grape’s "Never" ("workin from 11 to 7 kinda makes life a drag" ... plagiarized by Zep "Since I’ve Been Lovin You" ("workin from 7 to 11 kinda makes life a drag") Of course, not to mention "Dazed and Confused" which was originally that guy who wrote the "Army jingle be all that you can be" & others. Blind Boy Fulller’s "Drop Dowm Mama" stolen to be "Custard Pie" for Zep. Sonny Boy Williamson "When The levee Breaks" same as Zep’s version of the same name. His playing of a violin bow on an electric guitar...done b4. Imagine that? Same with Spirit’s "Taurus" B4 they were the Mighty Led Plagiarism...oops, I meant, Zeppelin...they traded music with Spirit. The opening riff is descending chords in A minor, so is "Taurus". Its so disgusting. I wish I NEVER was a fan bc the more I learned, the more unoriginal and mediocre Page became to me. He’s not even a Top 10 Guitarist Of All Time personally bc he was NOT original. At least "Kashmir" is theirs ... as far as we know. Then when Tool redid Led Zep’s "No Quarter" ... holy s--t Maynard & the boys knocked it out of the ballpark! 40xs better. That’s some Karma for you Jimmy, Robert. The unwritten hero is John Paul Jones. He made Page spund good. Roy "The Lemon Song " is an EXACT replica to the gr8 Robert Johnson’s "Travelling Riverside Blues " if you think it’s OKAY to steal blatantly plagiarize from Robert Johnson, you need schoolin’ in the Mississippi Delta black bluesman’s influence on the classic rock genre ... at the end of Robert Johnson’s "Travelling Riverside Blues", you’ll hear Robert croon the exact same lyrics. ... about "squeeze me baby til the juice runs down my leg. Word for word. My my my I bet Robert Johnson, Willie Dixon, Howlin Wolf & Muddy Waters are rolling over in their graves. Disregard or complete lack thereof, for the music that made this genre. Lax copywrite laws does NOT mean you can steal. By the way I would not like to follow Led Zeppelin's footsteps and blatantly plagiarize - the above was not written by me even though I have know about Zeppelins plagiarism since the 80's. But the author of the above sure gets it right! Full link (source) for the above here: https://www.songfacts.com/lyrics/led-zeppelin/how-many-more-times |
Great song orpheus10 Albert King is another of my favorite blues guitar men. And here is one from a man BB King greatly respected and they even jammed together on numerous occasions including the 1969 Newport Jazz Festival: Blues: https://www.youtube.com/watch?v=OnApmuGOD1k Boogie Woogie: (awesome rendition of a Bob Dylan song) https://www.youtube.com/watch?v=I8dzp8SFF_k Johnny and BB jamming: https://www.youtube.com/watch?v=-GJWWPpFqRU Great interview with BB and Johnny Winter: https://www.guitarplayer.com/players/bb-king-and-johnny-winter-jam-together-on-tv-circa-1982 |
acman3 definitely Frank Zappa! Cant believe I forgot about him owning at least 50 Zappa discs. Zappa was highly influenced by jazz. He even wrote a song about Eric Dolphy. 2 of Zappa's most "jazzy" albums https://www.youtube.com/watch?v=BRBR_SPPXKQ https://www.youtube.com/watch?v=x-Qk8VxUwuM And then there is this live masterpiece: https://www.youtube.com/watch?v=qr6mTloYJJs |
acman3 great Parliament Funk! Its like we have the same taste in music. I have all of the relevant Parliament Funkadelic and Clinton's other incarnation, just plain "Funkadelic" Eddie Hazel was a very underrated guitarist. Funkadelic with Hazel on guitar: https://www.youtube.com/watch?v=oVHrvx-Ua68 |
alex I know what you are talking about Jeff Beck comes the closest as far as rock which Jeff played. Jeff also played jazz/rock fusion. Another would be John McLaughlin although he never put out a pure "rock" album just jazz/rock fusion. There are others alex like Alvin Lee who crossed over rock - jazz/rock fusion. Al De Miola is another fine example. |
Gene Ammons! "JUG" https://www.youtube.com/watch?v=If77_P8v7iE Gene Ammons, IMHO, one of the top 25 tenor sax players of all time. Gene with another top 25, Dexter Gordon. https://www.youtube.com/watch?v=uFxeimS0GGc |
Settle down rok I may veer off course sometimes but I know jazz - real jazz as our OP puts it. The other day I noticed on page one of this thread after orpheus10's OP Count Basie was name just once I believe. Blasphemy!!!!!! https://www.youtube.com/watch?v=PzqatX0Miu8&list=PLowQCq3Ss89iYxpwOM3L0hC_1zbBE8LhT https://www.youtube.com/watch?v=88bZ8fbS3bk https://www.youtube.com/watch?v=isNG4ZaDzRg |
acman3 I have Sonny Sharrock's 3 (most popular??) albums - Ask The Ages, Seize The Rainbow, and Black Woman. Awesome guitarist and also underrated. Again I say we like a lot of the same music. And yes, I think it was Rok who posted Count Basie on page one of this thread. I believe he was the only one. |
orpheus10 I was more confused that the mayor liked "Salt Song" better then the live album which was originally released by CTI as a double LP in 1973 and reissued as volumes one and two on CD numerous times. I have both live sets(on 2 Japanese RM - RE) releases and I think the music is fantastic. Here is the personnel on the recordings. Freddie Hubbard trumpet Stanley Turrentine tenor sax Herbie Hancock piano Eric Gale guitar Ron Carter bass Eric De Johnette drums You have already listed the personnel on Salt Song which is very extensive compered to the 6 man lineup on the live set. Here are reviews I found for both the live album and Salt Song: Live Album: Scott Yanow of Allmusic stated "This LP pairs trumpeter Freddie Hubbard and tenor-saxophonist Stanley Turrentine, two very individual players who always brought out the best in each other. They stretch out on long versions of "Povo" and "Gibraltar" that clock in around 19 minutes apiece. The backup rhythm section (guitarist Eric Gale, keyboardist Herbie Hancock, bassist Ron Carter, and drummer Jack DeJohnette) is a major asset and inspires the two horns to play reasonably creative solos." Syd Fablo of Rock Salted wrote "A really, really good — if strangely overlooked — live jazz fusion album, comparable to Cannonball Adderley‘s The Black Messiah and Donald Byrd‘s Ethiopian Knights, which is to say this is not formally or stylistically innovative but everybody involved delivers superb performances with a focus on warmth and heart. There also is an equally good Volume Two, on which Herbie Hancock shares top billing — strangely, because he plays on both volumes, but also not so strangely given the commonalities this music shares with his own Mwandishi group. As fusion was starting to drift into bland mediocrity, this is something else entirely, a vibrant, energetic and likable rock-inflected electric jazz performance that sidesteps the sort of pandering that usually goes hand-in-hand with fusion from this point onward. There are overt signs of structure, and efforts to make the performances sound proper and professional, but there is always a hint of something unruly and dangerous lurking behind every note. It is that sense of double meaning that makes this more than just a funky good time (which it also is)."[3] Salt Song: The Allmusic review by Steve Huey awarded the album 4 stars and states "it’s another fine, eclectic outing that falls squarely into the signature CTI fusion sound: smooth but not slick, accessible but not simplistic... All in all, Salt Song has dated well, partly because the arrangements don’t overemphasize electric piano, but mostly on the strength of Turrentine’s always-soulful playing".[2] I agree with the two reviews of the live album, because owning it, I have listened to it to many times to count. "Salt Song" gets 4 stars but I do not have that album so I cannot compliment on it. Suffice to say if Orpheus10 says its a good album I will listen to all of the songs on it via You Tube and decide for myself. BTW, I am a big fan of Turrentine and own 24 of his recording sessions on CD including "Sugar" which I believe Creed Taylor (CTI) put together. "Sugar" is definitely a 5 star session, IMHO. |
Wow page 339 went by fast. I missed a lot of posts. mary jo Frank Zappa is not for everyone. Mingus' music, as well as Zappa's also requires an "acquired taste" I'm happy you like Gene Ammons' "Angel Eyes" Beautiful song and album. nsp Don't be so harsh on Jimmy Page! Hell is a little harsh. I would say musicians purgatory. |
Stanley Turrentine’s 1961 live album, "Up At Mintons," which I also have is better then the 1973 live album. 5 stars IMHO. https://www.youtube.com/watch?v=DDonxQFq4Wc&list=PL0q2VleZJVEkbfxJPz_ZDfXTBoyfxOgnO I have both volumes of this as well. Grant Green really shines on them. |
Stanley Turrentine's "Sugar" live: https://www.youtube.com/watch?v=NmTGxdNTxIo And "Cherry" https://www.youtube.com/watch?v=dHGrCCYIkck |
frogman I agree with your assessment of Creed Taylor's (CTI) overly produced/engineered and tinkered with recording methods. While "Salt Song", in which I have listened to a few tracks now, is not something I would add to my collection I do not regard it as elevator music either. That term should be reserved for the likes of Kenny G and other "smooth jazz" artists. The Turrentine albums "Sugar" and "Cherry" were also produced and engineered by Creed Taylor (CTI) and both of those are in my collection. "sugar", IMHO, is a masterpiece at 5 stars while "Cherry", although not as good as "Sugar" I still consider it a very good album and I would give it 4 stars. |
mayor, Definitely check out "Up At Mintons" By Turrentine. Grant Green is outstanding on guitar throughout. Here is a couple off the album: https://www.youtube.com/watch?v=DDonxQFq4Wc&list=PL0q2VleZJVEkbfxJPz_ZDfXTBoyfxOgnO |
mayor, There are a few of us who regularly post on this thread who like Zappa as well. I just wanted the opinion of orpheus10 because some of his jazz "likes" that he has posted cross over into other genres besides jazz. Did you listen to the Stanley Turrentine "Cherry" and "Sugar" songs I posted. If so what are your thoughts? If you don't like them check the Blue Note recording sessions by Turrentine. There are some gems to be found. |
orpheus10 I don't know if you like Frank Zappa or not but if you have the time listen to this 16:55 version of "The Gumbo Variations". This particular song, as well as many other Zappa songs, are borderline "jazzy" music. Frank loved jazz and often times had a 12 piece brass section on recordings and in live concerts. Just want to know your honest opinion on it. If you dislike it I'll understand - Zappa is not for everyone. Sometimes it can be overly "cerebral" This song, however is not And look at the first comment on You Tube and I quote: "like Coltrane, from a different planet" https://www.youtube.com/watch?v=4CyIj96Rpwc |
Welcome hce1 I bought the 16 disc limited edition boxset from The Art Ensemble of Chicago last year. I think its great. James "Blood" Ulmer is awesome! Gary Bartz is great as well. I met him backstage at a Lou Donaldson show about 5 years ago. Great person as well. Charles Lloyd is very "cerebral" music at times and depending on the album but I think he is a first class sax player and composer/arranger. Check out this James Carter cut with James "Blood" Ulmer: https://www.youtube.com/watch?v=oOnv71uS0q8 |
Stanley Turrentine "Impressions" 3rd song on the "Cherry" album. One of the few albums Creed Taylor got right. https://www.youtube.com/watch?v=OYeEuC9iDAM And one of my favorite Turrentine songs: https://www.youtube.com/watch?v=8vJ2VuKb1fQ |
mary jo I believe what you are trying to say is "Its all good"..... And I think it is... Some like it some don't....some will and some won't …..some do and some don't.... Anyway there are great jazz songs where you find them. They do not need a pretty pedigree ala Coltrane, Mingus, or Davis. All it needs is for your ears to like it or not. And some of us may like what some of us don't . So What! https://www.youtube.com/watch?v=zqNTltOGh5c |
nsp, Alvin Lee made a many recordings without the TYA band behind him.(Leo Lyons bass, Chick Churchill, piano/organ, Rick Lee drums). This is from the album "Alvin Lee and Company" live at the Academy Of Music, NY - 1975. These song definitely highlight Alvin’s affection for jazz as well blues: https://www.youtube.com/watch?v=eMSwCWIV-2c https://www.youtube.com/watch?v=a7VMefe_y1c This song is from an album simply titled "1994" when TYA got together again to record it in 1994. It has become one of my favorite blues songs: https://www.youtube.com/watch?v=3lz3px4dTU8 When Alvin died unexpectedly during a routine medical procedure in 2013 It brought back memories of me carrying Ten Years After LP’s under my arm to my fiends place on the next block for a listening session complete with a marijuana joint to share. It was 1980 and I was 16. |
Hey rok that United We Swing album is pretty interesting. Thanks for the links. I like Wynton with Eric Clapton. The disc gets a fair share of playing time here. https://www.youtube.com/watch?v=cWw9SW_TNwY |
nsp, Alvin Lee will forever be summed up with "I’m Going Home" at Woodstock 1969 when he blew everyone away with that song and Alvin’s blistering pace at the start and finish of the song using "Big Red" with the peace sign and marijuana leaf stickers Us TYA fans know about all of the other great recordings they released over the years. Speed is over rated. I believe Lee usually used 5 to 6 pick ups on his guitars over the years including the famous peace sign stickered Gibson E -S 335TDC Guitar which Alvin affectionately named "Big Red" |
More on Alvin Lee's "Big Red" Rock Stars Guitars are proud to announce that they are acting as exclusive agents in the sale of Alvin Lee’s Circa 1961 Gibson ES-335TDC guitar, which he used with Ten Years After and named “Big Red”, most famously played at the 1969 Woodstock Festival, and used also throughout his later solo career. This historically important guitar became possibly the most visible and enduring icon of both Woodstock and the counter-culture movement of the late 1960s, due to its association with the peace symbol, youth, and flat-out rock and roll. If ever a guitar was to be properly described as a “museum piece” this would be it. The Woodstock documentary movie was a culture-changer. Alvin Lee with Ten Years After was the exciting centrepiece of the film, and this guitar was right in the eye of the storm. Alvin’s Gibson guitar was bought by him in 1964, in Nottingham, England (presumably second hand as it was only £45.00!) and was Alvin’s main stage guitar (mostly his only stage guitar) throughout the 1960s and into the 1970s, when he eventually acquired another 300 series Gibson. He continued to use “Big Red” right through into the 2000s, when he retired it, as it had become “too valuable” in his own words. Full article and photo's here: https://www.rockstarsguitars.com/products/ten-years-after/alvin-lee/alvin-lees-gibson-es-335/ |
Lester Young or Coleman Hawkins? In his autobiography, Basie related how Hawkins went on the bandstand “and he started calling for all of those hard keys, like E-flat and B-natural. That took care of quite a few local characters right away.” Basie did not recall Mary Lou Williams’s presence, but he conceded that he left early and she might have come later. (She did.) But the very fact that he went home to go to sleep, he emphasized, suggested that no real battle was taking place: “I don’t know anything about anybody challenging Hawkins in the Cherry Blossom that night,” he reiterated. Basie acknowledged how subjective such undertakings could be when he mused, “Maybe that is what some of those guys up there had on their minds,” adding, “but the way I remember it, Hawk just went on up there and played around with them for a while, and then when he got warmed up, he started calling for them bad keys.” He concluded, “That’s the main thing I remember.” Williams’s version of the story is neater and more dramatic than Basie’s, and perhaps closer to what Kansas Citians wanted to believe. But as Basie pointed out, sometimes it was a matter of opinion as to who won a cutting contest. There is another problem with the accepted version of the tale: Young also told it differently, without making any mention of a cutting contest. He explained that he and Herschel Evans and others were standing outside a Kansas City club one night, listening to the Henderson band: “I hadn’t any loot, so I stayed outside listening. Herschel was out there, too.” Coleman Hawkins had not shown up for the date, so Henderson approached the crowd of hangers-on and, according to Young’s account, challenged them, asking (in Young’s words, which were not necessarily Henderson’s own), “Don’t you have no tenor players here in Kansas City? Can’t none of you motherfuckers play?” Since Evans could not read music, Young accepted the challenge at the urging of his friends. Young recalled how he had always heard “how great (Hawkins was)�grabbed his saxophone, and played the motherfucker, and read the music, and read his clarinet part and everything” Then he hurried off to play his own gig at the Paseo Club, where a mere thirteen people made up the audience. Young nonetheless savored the memory of his triumph, observing, “I don’t think he (Hawkins) showed at all.” By Young’s account, his success that night was highly symbolic, given that Hawkins was not even present. After all, with no rehearsal, he sat in the great saxophonist’s chair and played his part, reading the music on sight “and everything.” The basic point of the Williams and Young versions is the same: the new stylist with a local following defeated or matched the champion tenor player from the premier New York City jazz orchestra. Williams’s retelling of Young’s triumph sought to legitimize a new tenor stylist; the detail about Hawkins’ ruining his new car was very likely an embellishment designed to enhance the taste of victory by stripping the loser of a prized possession. Mary Lou Williams’s account served to validate not only Young himself but also what would become known as the Kansas City style or school. It made the tenor saxophonist’s subsequent attainment of the Hawkins chair in Henderson’s band more meaningful, since this particular jam session was said to have convinced the orchestra leader that he needed to hire Kansas City men such as Young. However, the reputation that Young had earned with King Oliver and his sidemen may have played just as great a role in Henderson’s recruitment of him as the famous story of Young’s defeating Hawkins. King Oliver, Snake Whyte, trumpet player Herman “Red” Elkins, and others spread word of Young’s impressive abilities among fellow musicians. Some time later, for example, Elkins ran into Red Allen and asked him, after he had heard Young play, “What did you think of Lester?” “Oh, he was all right, but he wasn’t no Hawk,” Allen said. Elkins responded to the lukewarm statement by exclaiming, “I know he’s no Hawk. Prez will set Hawk down in a jam session and blow him clear out the room!” Full article here:https://jerryjazzmusician.com/2004/03/great-encounters-3-the-lester-young-and-coleman-hawkins-kansas... |
The Hawk with Tommy Flanagan recorded live at the London House in Chicago by WBBM complete with the MC running his mouth. I have this disc the sonics are not that great but I love it anyway. A great archive of our great music. https://www.youtube.com/watch?v=gD3kW1v4H2k https://www.youtube.com/watch?v=zt8lR-ScJFA https://www.youtube.com/watch?v=zjNIE6hWy9U |
And orpheus10 and rok2id stick around awhile. The threads just not as good without you two: https://www.youtube.com/watch?v=njs0FsvFVY0 |
Last but not least, my favorite "currently on the scene" saxophone player, Mr. James Carter, just released his first album in 8 years entitled "James Carter Organ Trio - Live From Newport Jazz" https://www.amazon.com/gp/product/B07TKJBK1T/ref=ppx_yo_dt_b_asin_title_o00_s00?ie=UTF8&psc=1 I have seen him live 7 times now but still enjoy listening to all his live recordings (I have them all). https://www.youtube.com/watch?v=BI6KEeiMakw&t=124s |
Harold Land... We were discussing him a couple weeks ago before you two guys started posting daily again. I have All of his sessions as a leader and much to much to count as a sideman. I highly recommend the two disc set "The Harold Land And Carmell Jones Quintets - Complete Studio Recordings" Here are a couple songs from it: https://www.youtube.com/watch?v=G17dRW7b9i4&list=PLaGvvHiI_6lTQ37cjDSMkUnKPw9tFFJXr |
nsp, I know you play piano and it seems to me that playing the piano is the best way to learn chords, melodies, and structures. It is also the best way to teach other aspiring musicians no matter what instrument they are playing. https://www.youtube.com/watch?v=F8JJncSUdUU Minor theories and major theories are discussed. |
"Since I fell for you" has had many great renditions over the years . Johnny Mathis (my mom had a lot of his 8 tracks) https://www.youtube.com/watch?v=N-jVrZFxu3E One of my favorite versions: https://www.youtube.com/watch?v=kXDC4WfnGdM |
