Jazz is not a single dish, it's a banquet, and I'm going to give you a sampling of some other treats in this same time frame, and genre. Although everyone knows "Stan Getz", not everyone knows all the facets of Mr. Getz. "Focus" is his most unique album in my opinion. It just flows from one cut to the next. That continuity gives the complete album a certain "unity" as opposed to an album consisting of separate cuts. This is my favorite album by Mr. Getz, and I give you "I'm late, I'm late" from "Focus" http://www.youtube.com/watch?v=qAyrdlUcZIwWhile Mr. Yusef Lateef could play "stereotypical" jazz on the tenor sax as well as any man alive, his personal musical tastes were not at all "stereotypical"; he always gave jazz a different twist. Although Lateef's main instruments are the tenor saxophone and flute, he also plays oboe and bassoon, both rare in jazz, and also uses a number of world music instruments, notably the bamboo flute, shanai, shofar, Xun, arghul, sarewa, and koto. He is known for his innovative blending of jazz with "Eastern" music. This is from one of my favorite albums by Yusef Lateef, "The Blue Yusef Lateef". http://www.youtube.com/watch?v=McZsu4riOm8Next is "Ahmad Jamal", he influenced Miles; I don't think you can get a recommendation higher than that. Miles liked his use of space, he was never in a hurry. I liked the way he did standards, regardless how many times you heard one of these tunes, it always sounded new and fresh when Ahmad Jamal did it. First I give you "Moonlight in Vermont" followed by "Ahmads Blues". http://www.youtube.com/watch?v=P3Y0mUGp-bM http://www.youtube.com/watch?v=l7RIDZulyHAI hope you've enjoyed my presentations, and I'm looking forward to yours. Enjoy the music. |
Frogman, A professional jazz musician lived in my apartment for 3 months and he never practiced. I wont mention his name because every time it's mentioned, some clown pops out of the woodwork with garbage. In regard to,"If I don't practice for a day, I know it. If I don't practice for two days, the critics know it. And if I don't practice for three days, the audience knows it".
For an entire summer, I chauffeured him and his lady friend to gigs at least 3 times a week. We were only at the apartment long enough to take care of the necessities of life, the rest of the time we were on a set, or digin a set. What astounded me more than anything, was when we arrived an hour before show time, and he was introduced to musicians he had never played with before. They would talk this musical gibberish, that meant absolutely nothing to me, "All right Mac, when I come in on the... and hit a chord on the piano, point to the drummer who seemed to know what he was talking about and go "Wham bang". They would do this for an hour, while I watched in fear of every thing turning out lousy.
When they played as if they had been together for years, I was all ways truly astonished. Those performances never failed to mesmerize yours truly. Each performance was uniquely different from the last one. I had surgery that summer, and he entertained me during my recuperation time, with stories about his life as a professional jazz musician; that was an unforgettable summer.
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"Trio Tre Bien", this is a group that I just re-discovered. Although I heard this group some time ago, they slipped through the cracks of my memory and got lost. Now they're on my top play list. This CD "Coming Together" by the Trio Tre Bien is flawless, and I've only given this high praise to one other album. Every cut on this CD is tops. The musicians are: Jeter Thompson on keyboards, Harold Thompson, bass; Howard Thompson, drums. While none of the names are well known, the music is world class.
For me, this music is like the breath of fresh air I so desperately needed. Although my collection consists of the best of the best in jazz, hearing the same music for the umpteenth time can get old. The music on "Coming Together" flowed from one cut to the next in a manner that never lost my attention, and the sonics were spectacular. Recently, although the music is fine, "sonics" are sadly lacking on my new acquisitions of old music. This music is on par with my old music, but it's not old music, that explains the spectacular sonics; I'll describe them.
Vibes were ringing out of the center channel, with drums thumping on the left, while a solid bass pounded on the right; and all the while there was a holographic integrity to the music as a whole, this was all the way live. "Sonics", plus the music I love, is so rare. It went from wildly exotic and exhilarating, to deeply personal and introspective. That's when it connected to some long ago forgotten corner of my mind.
Rok has often mentioned gospel's connection to jazz; whether or not you have ever heard a gospel record in your life, or even know what Gospel is, you can feel it's presence in some of this music; it has a very moving emotional impact. These musicians, through their music, communicate who they are.
As much as I listen to music, and as much music as I've listened to, it's not easy for a group of musicians to keep me entertained for 73 minutes without losing my attention. That's how long this CD was and I truly enjoyed every last minute. The music on this CD is so far above anything I found on "You tube" by them in the past, I decided not to post a "You tube". This CD is Trio Tres Bien, "Coming Together".
Enjoy the music.
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Rok, this is the "umpteenth" time we have gotten confused in regard to CD's, and it's not our fault; there are just too many CD's with the same name, by the same artist even. I have a 2 CD set by "Rhino",
Artist: Nina Simone
Title Of Album: Anthology: The Colpix Years
Year Of Release: 1996
Label: Rhino Records / R2 72567
Country: United States
Genre: Jazz, Soul, Blues, Vocal Jazz
Total Time: 2:30:45
Tracklist:
Disc 1
01. Blue Prelude
02. That's Him over There
03. Theme from "Middle of the Night"
04. Willow Weep for Me
05. Solitaire
06. Black Is the Color of My True Love's Hair
07. Exactly Like You
08. The Other Woman
09. You Can Have Him
10. Cottom Eyed Joe
11. Fine and Mellow
12. Nobody Knows You When You're Down and Out
13. Trouble in Mind
14. Porgy
15. Li'l Liza Jane
16. Rags and Old Iron
17. No Good Man
18. Gin House Blues
19. Work Song
20. Forbidden Fruit
21. Come on Back, Jack
Disc 2
01. He Was Too Good to Me
02. House of the Rising Sun
03. Brown Baby
04. Children Go Where I Send You
05. Do Nothin' Till You Hear from Me
06. I Got It Bad (And That Ain't Good)
07. Hey, Buddy Bolden
08. Solitude
09. The Gal from Joe's
10. Blackbird
11. If You Knew
12. The Twelfth of Never
13. When I Was a Young Girl
14. Erets Zavat Chalav
15. The Young Knight
16. Spring Is Here
17. Falling in Love Again
18. That's All
19. Porgy, I Is Your Woman (Bess, You Is My Woman)
All jazz "aficionado's" think Branford is the better Jazz musician.
Enjoy the music.
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Rok, I repeated the test. This time I gave the bargain CD all the advantages. The CD was in my listening room and the LP was in the basement. After synchronizing the two, I listened in the basement for awhile before going back to the listening room. This time the results were even worse; it sounded like the bass tone controls (which I don't have) were turned up on the bass, and it was "boomy".
There is a possibility my love, affection and familiarity with this music could give me the ability to detect a deviation that others wouldn't sense.
Enjoy the music.
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Rok, on my original post I stated, " I wont review any record that's not on CD, nor will I review any record if the CD is markedly inferior. Fortunately, I only found 1 case where the CD was markedly inferior to the record." The reason I didn't mention that CD is because I felt it was lacking in "nuance". This CD contains some of the very best jazz in my collection. Since we disagreed on The Three sounds, there is a good possibility we'll disagree on this one as well, and that's why I'm going to reveal this CD. Atlantic Jazz 7 81951-2, Ray Charles & Milt Jackson; Soul Brothers/Soul Meeting, is a 2 disc CD that is as good as it gets. Brother Ray even blows a mean sax. While the music is 5 star jazz, the sonics on this CD are inferior to the LP, which is why I didn't review it. Now I realize that for people who never heard the LP, that might not matter. I give you my favorite tune on the album "Blue Funk" http://www.youtube.com/watch?v=NHold6ylvEMEnjoy the music. |
"BTW, you just destoryed my rep as a 'reviewer'. Thanks!
Rok2id "
Rok, I really appreciate your playlist, it helps me to decide on new CD's.
This is a "jazz" music forum, and the music Rok recommended is some fantastic jazz.
While Rok and I disagreed on the sonic qualities of the music in that bargain set, we absolutely did not disagree on the absolute qualities of the music. This music belongs in anyone's jazz collection who considers himself an "aficionado". I have, and I will continue to pay an exorbitant price for this music. If this set meets your sonic requirements, then you have received "manna from heaven". Here is a very small sample from "you tube".
http://www.youtube.com/watch?v=2u_lv_Q3VPM
I may have destroyed your rep as an "audiophile", but since you never claimed one, I don't think that's an issue. Nowhere in any of my posts did I question your legitimacy as a music reviewer. I just thought I would set the record straight.
Enjoy the music.
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Frogman, "The present is best appreciated in the future". I say this because of your statement about me seeing Coltrane live. At that time, I was disappointed because he had gone into his "exploratory" mode as opposed to playing what I had heard on records.
Today, I heard "Invitation" that you submitted by Trane, and I was swept away by the awesome greatness of the man, and his ability to "improvise". When I saw Trane, he had properly deduced, "That if you wanted to hear what he had recorded on records, you could have stayed home and played the record". Trane was blowing what he felt at that moment.
Enjoy the music.
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Charles1dad, All of the artists you mentioned are well represented in my collection. Harold Land is special to me because he appears on one of my favorite LP's. Clifford Brown & Max Roach; this features Harold, tenor sax; Richie Powell, piano, and George Morrow, bass. My favorite cut on that LP is Delilah, and here she is.. http://www.youtube.com/watch?v=3OGfCBlJ8y4Here is Lands end. http://www.youtube.com/watch?v=UNgXdzFQeYkEnjoy the music. |
Has anybody taken the time to listen to "Ike Quebec"? |
Some jazz artists I've known personally, were gifted, as opposed to talented, or practiced hard. They could improvise on their chosen musical instruments and mesmerize a crowd on any given night. I decided not to name them, because I'm going to give you the reasons they didn't become rich and famous. One word, drugs!
I can say with confidence, there was absolutely no linkage between the drugs and jazz; they would have been drug addicts whether they were musicians or not. From what I could ascertain in these particular cases, there was some "unspeakable" psychological pain they had endured, and drugs was their only means of escape. This also applied to Billy Holiday if you read about the psychological trauma she endured as child.
Miles Davis would not have become rich and so famous, had he not kicked his drug habit. He was a copycat drug user, he did it because he thought it was hip. There was no "unspeakable" psychological event that ever occurred in his life, and that's why he was able to kick the habit.
The musicians who I watched shoot themselves, didn't know how I sufferd when they did it. Since we had become close friends, I could also imagine being part of their "guaranteed" wealth and fame. No matter how gifted an artist is, if he can't get up and go to work, there is no way he can be successful. No, drugs did not help them play better, as a matter of fact, they just wouldn't show up on a gig if they were wasted. When I asked them why, they simply looked off into space.
None of the current crop of musicians can remotely compare to the musicians I knew personally. You'll have to take my word for this, or not take my word; but the linkage between rich and famous, as opposed to relatively unknown is not necessarily how good of a jazz musician the individual is.
Enjoy the music.
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Rok, this would have to be placed into a category I don't even have; "feel good music", although I could sure use it about now.
I saw the musical "Ain't Misbehavin" performed locally, and I left all smiles. It's for sure Fats Waller's music had that ability to make one smile and feel better. In these times that are trying men's souls, I'm sure we could all use a mood changer, I know I could.
When you mix Louis, and Fat's, that's got to be a mood changer, it's on order, and I'm looking forward to feeling better.
Enjoy the music.
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Rok, I've been listening to a CD that I don't even know how it got into my collection, but I like it. Nowhere do I even remember purchasing "Mardra & Reggie Thomas"; but now, her soothing vocals take me places, and even her selection of songs are the one's I like best.
Mardra's vocals are not "seductive", like Nancy Wilson's, or sexy, like Carmen McRae's, or jazzy like Ella Fitzgerald's; her voice is soothing, like one I've heard before, like the girl next door who understood me, and she's singing to me for me. The more I hear Mardra, the more I like her.
Now that this CD has gotten my highest recommendation for a new vocalist, (new to me) it's time for the master reviewer to give it a listen, they have it on Amazon. Tell me what you think.
Enjoy the music.
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When I first heard Wynton Marsalis, "We've got a new worlds best trumpet player" are the thoughts that ran through my mind. Wynton was playing with Blakey at that time.
After he went on his own, I bought every album as soon as it hit the record store. I had acquired 5 of his albums before realizing, I didn't really like them. Although I couldn't put my finger on exactly why I didn't like them, why bother? I sold 4 of them at a good price and I still have one. It's been so long since I heard it, that I've forgotten what it sounds like.
When you sit in your listening spot, you're the king, and it should not matter what I think.
Enjoy the music.
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Rok, dynamic range and tension are perfect descriptions for me, and I know exactly what you mean; those two terms are also technical aspects of the recording. Since that's an old recording, it's difficult to separate the technical aspects of "dynamic range", from the musical aspects which create the tension.
On "Moonlight in Vermont", I read the comments in regard to Houston Person, and they all spoke for me.
Enjoy the music.
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I've got a DVD "Garth Fagan, Griot New York" , that has music composed and arranged by Wynton Marsalis. Since I had seen Garth Fagan's dancers, there was no doubt in my mind, this was going to be spectacular. The music killed it. For confirmation I stuck it in the player, and it still sucks.
Youse guys found You tubes of Wynton playing someone else's music, and it was fantastic; but nobody said Wynton couldn't play the trumpet, all of Wynton's critics said he could play the trumpet very well. I even stated that he might be the worlds best trumpet player, especially since he plays classical and jazz; but classical is not his own music. It's just when he composes and arranges that the music totally sucks. That is something that can not be debated because beauty is in the eye of the beholder, and that music is one ugly duckling to this beholder.
Enjoy the music.
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Learsfool, I want you to know that I respect your comments as a classical musician. There was an event that made me think about classical music and high end equipment.
When I went to sell my son's sax, the music store owner told me he would pay a lot more if I took it to an instrument repair shop and got a clean bill of health for the horn.
Although there was only one person in front of me, the clerk took a long time explaining what was wrong with their horn. While waiting, I noticed photographs all over the walls; they were taken in this very same shop with the owner, famous musicians with recognizable faces. There were jazz musicians, classical musicians, popular musicians, blues musicians, and local musicians that I knew personally. He certainly had the right recommendations.
Classical music emanating from high end horn speakers made the wait a pleasant one. Normally I don't like classical music, but not only did I like this, I wanted to know everything about it. I suspect the equipment that was generating the music had something to do with this. Since no electronics were visible, I had to rely on my "audiophile sensibilities" to make a determination; old tube high end with a "golden glow" similar to CJ, but possibly older, was my conclusion.
It was a really large room, and all the workers were out in the open at their work stations repairing brass and reed horns of every description. There was a serene expression on their faces as if there was no place else they would rather be, and nothing else they would rather do; it was a very relaxed atmosphere. They actually played music on each horn after a repair; this indicated they were musicians as well as repair people.
On the right equipment, classical music sounds very good. I suppose that's why classical musicians are always into the high end. When the clerk beckoned that my horn was ready, I almost wasn't ready to leave.
It's absolutely amazing how your description of a one night club gig, fit the description of my friend's gigs, and what I didn't know. I saw them talking "musical gibberish" and making sounds less than an hour before a performance. There's no way this can come out right, is what I thought; but they always sounded like they had been playing together for years.
Enjoy the music.
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Frogman, and Learsfool, although I've enjoyed music since I could hear, I never learned so much about it as now. I also realize that as much as you both know about music, my friend was beyond belief. I feel like the kid in one of those old science fiction movies, "But I saw them, I tell you I saw them!". Whatever it is, when it's beyond belief, nobody believes it.
He looked hip, he walked hip, he talked hip, he dressed hip, and he did this everyday from the time he got up until the time he went to bed, and he didn't even know it.
He was "practicing" on those gigs he played when he was living with me.. Although I was a young man then, and I'm an old man now, I just discovered this. When I was trying to prove to a local musician that I mentioned in a previous post, how good he was, I bought every recorded note I could find, but nothing even came close to the music I heard.
Some people have a photographic memory, I have a phonographic memory. Every note I hear gets recorded. The way he mesmerized the crowds at those gigs was truly astounding, and I always felt like just another fan; his performances were like snowflakes, no two were alike. No two grown men can live together for 3 months with out having arguments, and living with him was like living with a tornado; that's the way creative genius's are. When I was seated at a table in the club, they were all forgotten and I was just another mesmerized fan. That word is the only one that describes a state of being totally spellbound, "I hear it, but I don't believe it".
We heard and saw him "practicing". He was trying this new music out on us, that's why it's not recorded anywhere. He died before recording this music, that's why I can't find it and don't have it.
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For me, a person, and a person's music, are two entirely different things; at this time, it's necessary for us to make that distinction because I would like for us to get into current jazz, while at the same time we discuss past masters. If it's necessary to bring up an "incendiary" name for the sake of comparison of his music with other current or past jazz musicians, we must restrict that conversation to the music in isolation, because that's the way I see all music. When we want to talk about a person that's one thing, if we want to talk about that persons music, that's another. Is this possible? If not, let's just forget it. Barbara Dennerlein is a new interesting artist who I've not heard before now, I think her group has the "dynamism" that Rok's referred to. I like her energy and style, I see a diamond in the rough. http://www.youtube.com/watch?v=fa-nKS89ATIEnjoy the music. |
Hey you guys, Rok, Frogman, and Leersfool, I've just discovered something that's absolutely fantastic, It's called HD Downloads. It's been fantastic for me anyway, and that's because I only use it for records I already have; that way I'm sure of the music. There is no better way to replace scratched vinyl.
I posted a thread on the Analog forum titled HD Down Load compared to Analog that pretty much covers everything. I got absolutely unbelievable results from "Soul Brothers" by Ray Charles and Milt Jackson. That HD Download had the "nuance" I mentioned on this thread that was lacking on the CD. Check it out.
Enjoy the music.
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Rok, I didn't even know Billy Bang was dead. That makes me wonder how many other jazz musicians who have contributed so much to this music are no longer with us, that I think are still around. http://www.youtube.com/watch?v=5_ZzX-8wBZ8This is from [Vietnam: Reflections] 2005, I'll have to get that. Enjoy the music. |
Although I heard strains of Spain, Mexico, and Cuba in the music, I find it interesting how many people like to lump them under "Latin" music, I don't. While the music originated in Spain, it took on it's own unique identity once it reached this hemisphere. There are too many distinct types of African music for me to identify, but it's just as well because from what I've heard, it's best blended with music from other lands, although African drumming can be quite compelling; especially when utilized by Diz or Blakey. Afro Cuban has achieved that just right blend of the two for me. Here's that compelling drumming as utilized by Blakey, this makes you want to go native. http://www.youtube.com/watch?v=pnaD9gU9N80 |
"Aficionados", you're conflating "RAP" with social commentary. "The Last Poets" was social commentary, Gil Scott-Heron would turn over in his grave if you called him a "Rapper". Is poetry "RAP"? Not all words spoken in rhyme and rythm are "RAP".
It's the intellectual content of the "Rap" that distinguishes one rap from another. "RAP" is almost exclusively about bitches, ho's and the low life style of pimps and thugs in as vulgar a language as possible.
Get real, we're talking gang life culture that's exploited for what it's worth, that's "RAP"; however, when we blame the people caught up in that culture, we're blaming the victim for the crime.
Once upon a time, there were people called "sociologist" who worked hard to explain, and prevent thug culture from spreading; but it was much cheaper not to hire people who worked to remedy the cause of the problem, and let the people deal with it as best they could.
Although this culture is closely related to poverty, the culture remains even after the artists have become millionaires, as we have witnessed; but to understand how people caught up in that culture are the victims as opposed to the criminals is beyond current thinking in this society. "Rap" goes far beyond music or social commentary.
Now you see how easy it is to "just enjoy the music".
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What a coincident, I was listening to Nancy in the car on my way home; yes, she's very sensual. You and Leersfool have given me a new perspective on the same music I've been listening to for all of my life. Take "On Green Dolphin Street" for example; I never gave any thought as to who composed it, now I'm listening to solo piano by Bronislaw Kaper, the composer of this beautiful tune. When played by him, the music takes on a lighter than air quality, the notes just float. While this music tells a story that I'm unaware of, that's just as well because it allows me to invent my story for the music. One thing is certain, I get a glorious feeling when I'm "On Green Dolphin Street". Now I'm going to give you Miles Davis's "On Green Dolphin Street". First, we have the lush beautiful intro by Bill Evans on piano, followed by Miles trumpet, and Trane's improvisation. All of these musicians show great respect for the composer. That lets me know the depth of their musical knowledge. Once again, I get that glorious feeling from being "On Green Dolphin Street". http://www.youtube.com/watch?v=IrVnm66joQkEnjoy the music. |
Although I got into this because it was impossible not to, the music was hypnotic, I don't think it would be on my playlist. I would love to have been on that set. That's the difference between live and recorded, when you're on the set, it's out of sight, but not so hot recorded in your listening room.
I saw Miles live when he was into his "fringed vest" attire in the late 60's, at the time he was in his "Bitches Brew" thing, before he had recorded it, and to be honest; although I was a Miles fan, when he came out with this music, I said "What the hell......?"
This reminds me of the contrast between Coltrane live and recorded; you heard the recorded, but the live was different music, almost similar to this when he was playing that straight soprano sax.
Enjoy the music.
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leersfool, as a jazz aficionado, it's only natural that I think jazz musicians are the best; I said "musicians", and not music, because that's too subjective. The best music is whatever the listener likes best.
However, there is another type of musician that deserves equal or higher status depending on how you rank musicians; and that is the "pit musician". I had the unusual, and unique opportunity of seeing one in action. They only appear at the best full production plays, as far as I know, and even then they're down in a sunken pit right in front of the stage; consequently the audience looks over and past them, they're out of sight.
My seat was up front and far left of the stage where I could look down into the pit. I saw these musicians seated in a row, side by side. Each musician had several instruments, of whatever type he played, in a rack; plus his sheet of music, in front of him. I was closest to "the reed man", he had every reed horn you can think of, including that strange one called a basoon in a rack in front of him.
Although it was a fantastic play (I had read the book), my attention was focused on "the reed man". His eyes never left the the sheet of music in front of him as he slid one horn out of the rack, and another in. While the music was spectacular, this was a dramatic play, and not a musical. The music flowed seamlessly with the action on stage, while the pit musicians were constantly changing instruments and sheets of music.
When what sounded like improvised jazz was called for, I watched the reed man blow like "Trane", and his eyes never left the music in front of him. If I closed my eyes, I would have sworn that I was hearing a jazz musician, maybe even "Trane"; but I could see the reed man blowing what was on the piece of paper in front of him. That told me that what sounds like "improvised jazz" can be written on a sheet of paper, I didn't know that.
Now that you and Frogman know what I saw, maybe you could further enlighten us.
Enjoy the music.
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I was listening to June Christy "Something Cool", and it hit me just how sad that song was; but before you can realize this, you must first picture the setting. It was at a time when people didn't have A/C at home, and the only places to cool off were at a lounge, or movie theater. This attractive young lady just casually left home to pop into a lounge and cool off. She sat next to a young man who bought her a drink, as was the custom then; that's when she began running down her life story in order to impress him. http://www.youtube.com/watch?v=jn8EtaxGJP0Something Cool Lyrics Something cool, Something cool, Something cool, I'd like to order something cool! Something cool, (something cool) I'd like to order something cool, (something cool) It's so warm here in town, And the heat gets me down, Yes, I'd like something cool! (something cool) My! It's nice to simply sit and rest awhile, Now I know it's a shame, I can't think of your name, I remember your smile! I don't ordinarily drink with strangers, I most usually drink alone. You were so awfully nice to me, And I'm so terribly far from home. Like my dress? I must confess it's terribly old, But it's simple and neat, It's just right for the heat, Save my furs for the cold! A cigarette? Well I don't smoke them as a rule, but I'll have one, It might be fun With something cool! I'll bet you couldn't imagine That I one time had a house With so many rooms I couldn't count them all! I'll bet you couldn't imagine I had fifteen different beaus Who would beg and beg to take me to a ball. I'll bet you couldn't picture me The time I went to Paris in the Fall, And who would think the man I loved was quite so handsome, Quite so tall? Well it's true, (something cool) It's just a memory I have, (something cool) One I almost forgot 'Cause the weather's so hot! And I'm feeling so bad (something cool) About a date, Oh wait! I'm such a fool! He's just a guy Who's stopped to buy Me something cool! It's really a beautiful song until it get's to the end, that's when you realize how sad it is. Next is another lady I like late at night, "Chris Conners". Her version's of "All About Ronnie" is my favorite. http://www.youtube.com/watch?v=13T2SiP6qRAEnjoy the music. |
Rok, this is a diamond in the rough. It illustrates how fast Mingus learned because it's a long way from the polished diamond which is "Mingus Ah Um". He quickly discovered that he needed tailor made musicians, those are the ones who could hear and play his music which was so radically different at that time. He tailor made Dannie Richmond's drums to fit his music, because a traditional time keeping drummer couldn't work with such radically quick shifting times. Now, I'm going to get back in another groove with one of my favorite female vocalist, Miriam Makeba. When she was young, like here, her voice just exhilarated me. I definitely don't have enough Miriam Makeba. http://www.youtube.com/watch?v=oztzZu5zPzs http://www.youtube.com/watch?v=F4dT7l7sWVgThis was when all the best female vocalists were in fine form, including the sexy Brazilians, and Miriam Makeba still stood out; she was "electrifying", and my body resonated in harmonic sympathy with the sound of her voice. Enjoy the music. |
I decided to put this CD "Bird With Strings" on before waging war; but the most beautiful alto sax riff I've ever heard, or ever will hear on "Just Friends" took me out of the fightin mode. Bird is somewhere riffing on a cloud as I'm listening to his most beautiful music.
"Summertime" just took my breath away, I could feel the intense heat of a cotton field; "Bet you don't know nothing about that". How he can riff and still maintain the beautiful melodies of these standards is one of the wonders of the music world.
"Laura", hauntingly beautiful Laura; was a lady so fascinating that men fell madly in love with her portrait. Only "Bird" could capture the mystique of her beauty in his music.
Although I've heard the lyrics to these standards many times, no one can capture the romance that is the essence of this music like Bird; his music can tell the stories behind this music better than any words ever could. This music never gets old "Long live the Bird".
Enjoy the music.
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Rok, that "Summertime" was so awesome I played it twice, and I'm still sweating, no AC at that time. "Song For My Father" is one of my favorites by Horace. In regard to the east, here's something that leaves no doubt. "Calcutta Cutie" http://www.youtube.com/watch?v=4LM9opF6kOwEnjoy the music. |
Rok, although Carmen is one of my most favorite female vocalists, the years were not as kind to her voice, as they were to Ella's. If you could find a song at the time when Carmen looked as seductive as she sounded, I can chime in. Just as athletes peak, so it is with female vocalists, and what you've chosen is past her "peak".
When you find a song where she looks as seductive as she sounded, I will chime in.
Enjoy the music.
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Although I'm not a religious person, I can feel the sadness, and the faith in this young lady's voice when she took the problem without a solution to "Jesus". Once she told Jesus, she knew everything was going to be all right. Every time I hear her sing, "I told Jesus, he said everything was going to be all right now"; I can feel her heavy heart, and her faith in Jesus at the same time. http://www.youtube.com/watch?v=jSkqfm73HxQ"Salt Song" is the title of the album, and there's a picture of Stanley, facing the ocean in front of huge breaking waves. This is a fast paced number that captures the intensity of those waves breaking on the shore. http://www.youtube.com/watch?v=oVlGVZQFAEQ"Gibralter" has a fascinating rhythm that floats my boat; Eric Gale's guitar never sounded better, and Stan is blowing his ass off. http://www.youtube.com/watch?v=JTBRiyB4KpUWithout a doubt, this is one of my favorite albums. Enjoy the music. |
The best way to listen is in total darkness, and not even know who you're hearing. When the program list is running the music, I have to identify everything by the sound and my knowledge of the music.
When I heard this trumpet that stood out from all other trumpets, it attracted my attention; as I became drawn into the music, each instrument seemed to be the best I'd heard. Normally you have an idea of what you're going to hear before the first note hits your ear, and since you have the CD or LP in hand, you also know who the artists are; but listening in total darkness without this information, means you have to identify everything by ear.
I identified the music as "Stolen Moments" from Oliver Nelson's "Blues And The Abstract Truth". Although this music has been in my collection for ages, I couldn't identify the artists by name from the sound of their instruments, as impressive as each individual artist was. I can tell you this, I was in for a surprise when I identified the artists. Although every note they played was spectacular on this tune, none of them was my favorite artist, even though they were all well known.
The sum total meaning of all of this is; every well known jazz artist has recorded a spectacular solo, you just have to find it. The artists were: Oliver Nelson, tenor sax; Paul Chambers, Bass; Eric Dolphy, flute; Bill Evans, piano; Roy Haynes, drums; Freddie Hubbard, trumpet; and George Barrow, baritone sax.
Enjoy the music.
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Frogman, here's an outstanding artist you should be familiar with who no one has mentioned. "Desert Lady" is the CD I've chosen to illustrate his talents. The Lew Tabackin quartet on this CD features: Hank Jones, piano; Dave Holland, bass; and Victor Lewis, drums. While I like the entire CD, "Pyramid" is one of the cuts that's special to me. Lew Tabackin's haunting flute opens this number with an oriental mood that evokes far away places with strange sounding names. The cuts on this CD alternate between "laid back", and really cookin with a high "jump factor". Between the "laid back" cuts, and those with a high "jump factor" is where me and Rok differ, I prefer the former, while he's more in tune to the latter; but this CD has enough for the both of us. Unfortunately, I couldn't find that particular CD on "Youtube", but this one which features Lew and Toshiko Akiyoshi is reminiscent of that CD; fortunately, I have both. Here's Lew's fantasic flute, on "Desert Lady/ Fantasy"; you can't go wrong with both CD's. I would like your professional opinion in regard to "Lew Tabackin", who I feel is an under rated artist. http://www.youtube.com/watch?v=_JvUQeelTwcEnjoy the music. |
Rok, I don't know if anyone can appreciate Monk anytime and every time. I recall going to an all night grill between midnight and daylight where we spiked our coffee, and they had a lot of Monk on the juke box; for whatever reason, me and everyone else seemed to be in tune with Monk at that odd hour. The background chatter on this CD reminded me of that grill.
I was referring to the CD "Desert Lady" which is not the same as "Desert Lady/ Fantasy"; consequently, I had to listen to the latter in order to refresh the sound in my mind, and it was quite a treat.
There are so many saxophones on this CD, I couldn't tell who was playing what, but since they were all good....... Bass Trombone was certainly impressive; that was Tim Newman from the way I read the CD.
In regard to really hearing, and listening to this CD, it was the first time for the both of us. Since this is Toshiko's Jazz Orchestra, it's quite different from Lew Tabackin's "Desert Lady". This is not Part I, and Part II, but two entirely different CD's; consequently, if you ain't got "Desert Lady", you got to git it.
Enjoy the music.
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John Handy is an artist I don't think we've mentioned. Consistency is not his dominant trait; I'm not referring to whether or not he was good this time and bad the next, but his choice of what music to play seemed to be all over the map. Here are some of his works in my collection that get a lot of play. http://www.youtube.com/watch?v=MeQv3cWJnxAHere's a spiritual tune by John; although not as in the gospel sense, it's spiritual still. The title "if Only We Knew" convey's the intention of this music. It's best listened to in the middle of the night after waking up and trying to go back to sleep. It's long and deep, in that eastern spiritual sense; too long for the Gon. http://www.youtube.com/watch?v=lJhp43v-yd8As far as where he ranked as a reed man, we'll leave that to the Frogman. Enjoy the music. |
"SolDo Meio Dia" is an album I acquired after watching a Brazilian film festival that included capoeira, which always includes the berimbau; that's the instrument Nana plays. This album is quite beautiful at times, boring at others. It's like winding up in a Brazilian wonderland with Alice, strolling down a path through the jungle; you never know what's going to happen next, but with this unusual aggregation of musicians, you know it's going to be different. While I have Nana Vasconcelos, Jan Gabarek, Ralph Towner, and Collin Walcott on different albums in my collection, all of them go in completely different directions; I guess that's what gives this album such a unique quality. Here's some music reminiscent of the film festival. http://www.youtube.com/watch?v=hpP5poqFq4E&list=RD02jAxjdYDBK4cEnjoy the music. |
Rok, I hate to get into that "audiophile thingy", but Gene Harris is probably the most subtle and nuanced jazz pianist I can think of, which is why the crazy people pay so much for some of his records, especially with the Three Sounds. You can get around that "very expensive" audiophile thingy with HD downloads, but here you must follow precise rules in order to get what you want. I have WAV and that's not working out so good. This is the reason we had the disagreement about the "Three Sounds" CD's. I only mention this because I know how much you like Gene Harris.
Enjoy the music.
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"Desmond Blue" is one cool tune. Leo Cheers, a jazz DJ in St. Louis, used it for his theme song. When I heard it, around midnight, I knew to look forward to the best jazz on radio. I recall seeing Dave Brubeck at a free concert he gave at "Our Lady Of The Snows shrine". It was on the most picture perfect fall day I can recall, red, green, and yellow leaves dotted the scenery, while the weather was sunny and just right for a sport coat. He came up a winding road in a limousine and he still looked good for his age. I don't recall him saying anything as he sat down at the piano on stage. Modern dancers in colorful pastel flowing gowns began moving to the music as he played. I was spell bound and in awe of the man; especially since everybody he had played with and all of his contemporaries were dead, I don't even remember the music, but I'm certain it wasn't anything I'd heard before. While I spotted some "old boppers", many of the people there just happened to be at the shrine on that day. In regard to your statement about the audience, this wasn't that kind of jazz, it was more "cerebral", the kind of music you contemplate as opposed to reacting to; and that's how it affected me. http://www.youtube.com/watch?v=tBa2zKHe9Ig Enjoy the music. |
Hank Crawford is a tenor sax man you can instantly recognize, that's because his sound is so uniquely different from all the other tenor sax men; they also like his unique and pleasing sound. The first time I heard him, thoughts of Ray Charles came to mind, and I didn't know why; he was Ray Charles musical director from 1959 until 1963. "Angel Eyes" has been one of my favorite tunes for ages, but when I heard Hank's version, I realized this was the first time I'd heard Angel Eyes. It seems to have a deep melancholy sadness, and longing for the lost love of "Angel Eyes"; this song has come to life in the guise of a captivating women with angel eyes whose spell can not be broken, and it leaves all her lovers to long for the hypnotic gaze of her very special "angel eyes". His versions of other standards have a uniqueness I can't quite define; consequently I'm left with a new word, "Crawfordesque", there is no other way to describe the sound he gives to standards. I have here a package of my favorite tunes by Hank that I found on "you tube" http://www.youtube.com/watch?v=bHdrtdqKkeM http://www.youtube.com/watch?v=1dMcpgEt0AA http://www.youtube.com/watch?v=RSHMRyY5Drk http://www.youtube.com/watch?v=o0Cx8Tk4MiwEnjoy the music. |
Leersfool, although I liked all three, it was apparent that Jim Varner was the baddest, he blows and handles that horn like some of the best jazz tenor sax players. I sincerely appreciate your input, it's helping me to get a feel for the French horn, or do musicians just say "The horn" and everyone knows they're referring to "the French horn"? This is the first thing that caught my ear after midnight, it's James Moody's, "Last Train From Overbrook". Have a HAPPY NEW YEAR! https://www.youtube.com/watch?v=028UoUkO7zcEnjoy the music. |
Frogman, this is from the movie, compare it to Voodoo around the world, including New Orleans to this on "You tube", and notice the similarities. http://www.youtube.com/watch?v=Js0CAjUXv58 Canonical story[edit]Eurydice was the wife of Orpheus, who loved her dearly; on their wedding day, he played joyful songs as his bride danced through the meadow. One day, a satyr saw and pursued Eurydice, who stepped on a viper, dying instantly. Distraught, Orpheus played and sang so mournfully that all the nymphs and deities wept and told him to travel to the Underworld to retrieve her, which he gladly did. After his music softened the hearts of Pluto and Persephone, his singing so sweet that even the Erinyes wept, he was allowed to take her back to the world of the living. In another version, Orpheus played his lyre to put Cerberus, the guardian of Hades, to sleep, after which Eurydice was allowed to return with Orpheus to the world of the living. Either way, the condition was attached that he must walk in front of her and not look back until both had reached the upper world. Soon he began to doubt that she was there, and that Hades had deceived him. Just as he reached the portals of Hades and daylight, he turned around to gaze on her face, and because Eurydice had not yet crossed the threshold, she vanished back into the Underworld. When Orpheus later was killed by the Maenads at the orders of Dionysus, his soul ended up in the Underworld where he was reunited with Eurydice. Enjoy the music. |
Rok, I just got a book every jazz aficionado should have, it has photos of all the musicians we've discussed, and then some. This book includes the intimate thoughts and wishes of all the greats.
The title of this book is "Three Wishes"; compiled and photographed by Pannonica De Koenigswarter, in it she asks the jazz greats if they could have three wishes fulfilled, what would the be? There is a beautiful photograph of a young Lee Morgan, sitting up sound asleep. The baby fuzz on his smooth face, and jet black hair tell his age. His three wishes were:
1. "To be held in high esteem by my fellow jazzmen, as well as the audiences-I mean jazz public."
2. "To make oodles of money, and use it wisely."
3. "To make a wonderful husband and father."
It's for certain his first wish was fulfilled, he's still my favorite on trumpet; but his life was cut too short for the last two wishes.
Miles Davis is madder than a march hare; his photos are the most outrageous in the book, and his one wish was "To be white". Ironically his life fulfilled most of the other musicians wishes, which were fame and fortune. Although there is no photo of "Bird", all of his colleagues are well represented. As I said, this is a must have for serious aficionados.
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Acman3, you really tied it together. Trane was on a spiritual journey that he was beginning to express through his music. I believe Alice Coltrane, his wife, exemplified the destination Trane was trying to reach. Her music is filled with Trane's spirituality just before he died. Here we can hear it: http://www.youtube.com/watch?v=L2HwbFLh5j0 Since leaving the music we've been into, and going to Alice Coltrane is like stepping out of hot water, and then getting into cold; you have to listen to more music in that groove in order to absorb it. http://www.youtube.com/watch?v=smisXZ7KVpoLike it or not Rok, this is where Trane was headed, he took some way out trips on live sets; that's where he played music that was totally unfamiliar to fans of the "old Trane", that music was a preview of things to come. Enjoy the music. |
Rok, I've got three books by and about "Nica". "Three Wishes" is the only one worth the freight. From a story book point of view, her life was far more interesting before she became "The Jazz Baroness".
The rumors that she was intimate with "black" jazz musicians constantly swirled around her; especially after Bird died in her apartment, and she never attempted to stop any of them; with so many musician friends, it would have been pointless.
In regard to her intimacies, including with Bird, no one has evidence of "any". Everyone who knew, including Bird, said their relationship was purely platonic. The alleged musicians, beside Monk of course, said they wished the rumors were true.
Stop and think about it, she was a 42 year old Baroness with 5 kids when Bird died in her apartment. While it's not uncommon for people of different races to become intimate, "Class" is another matter. Once people get past their animalistic youth, they take a great deal more consideration into "intimacies". A 42 year old Baroness would have instilled requirements in regard to someone she chose to become intimate with. It's my opinion, and I stress that fact without one iota of evidence, that none of the musicians, black or white met her instilled requirements for intimacy.
Musicians put it differently, they said that after having 5 kids, she wasn't interested in such things. Now you can scratch the other two books off your list.
Enjoy the music.
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Rok, there was one odd pea in the patch in that compilation we got, and his name is "Django Reinhardt". The book says 'Nuages' reflects his interest in bebop; I can't hear it. While I like Django's music, it's certainly vastly different from the rest of the 99 tunes. “The Quintet of the Hot Club of France” was a jazz group founded in France in 1934 by guitarist Django Reinhardt and violinist Stéphane Grappelli, and active in one form or another until 1948. One of the earliest and most significant continental jazz groups in Europe, the Quintette was described by critic Thom Jurek[1] as "one of the most original bands in the history of recorded jazz." Their most famous lineup featured Reinhardt, Grappelli, bassist Louis Vola, and rhythm guitarists Roger Chaput and Joseph Reinhardt (Django's brother) who filled out the ensemble's sound and added occasional percussive effects. Maybe Frogman and Leersfool can chime in on "Django". While I could listen to his music all night, it's different from "American jazz", that's my only point. http://www.youtube.com/watch?v=DY0FF4iR9Cw http://www.youtube.com/watch?v=sCJ5E8AnlWkEnjoy the music. |
