Jazz for aficionados

Apropos of absolutely nothin'...
but might be of interest to some...
A documentary about Eric Dolphy, "Last Date" (1991)

https://www.youtube.com/watch?v=ueHqxKEbQd4

Orpheus - glad you took a look at the documentary.   I was in the same boat.  Knew the Eric Dolphy name, knew he was highly regarded, but little else.  By the way, I haven't made it through the entirety yet.  Watched about 2/3rds last night.  Will finish it this evening.  I hear what you are saying about ED's death though it comes across a little a harsh to me.  Not sure what the state of "health awareness" was back then.  Maybe some amount of ignorance contributed.  Personally, the circumstances around a musician's death don't affect how I, personally, view their music.  There is a bitter irony that ED (who idolized Charlie Parker) was suspected of being "a junkie" when in fact he was reportedly a straight arrow, clean and sober.  Regardless, the documentary is great for the insight it provides about the jazz profession a few decades back...not to mention little snapshots of personal relationships; e.g., Charles Mingus' reaction after ED quit his band.  

BTW - "Beauty is in the eye of the beholder, and I got 20/20 vision." is fantastic.  That yours? or are you quoting someone??  Regardless, a great one-liner.  

"None of us can comprehend how important a jazz musicians music is to him; everything else is secondary."

"I think Eric sounds best as sideman; that’s because a concentrated dose of Eric is more than I can handle."

To the above: WELL SAID.

Dolphy’s dedication to his craft came out so clearly in that documentary. I admire his almost "monastic" commitment.

Spent some time today with his "Out to Lunch"; also a release called, "In the Blues". Dolphy front and center on both and I confess not getting through all of them. BUT, I feel like there is something "there" for me and if I listen long enough I just might "get it". So do a little at a time. Go back repeatedly. Hopefully something starts to stick and things begin to unfold. I love the tone of his bass clarinet. What a great, under-utilized instrument for jazz. Prefer it over sax (baritone sax a distant second) but for me as a complete novice, his flute playing is more accessible.

Somehow Dolphy reminds me of Stravinsky/Schoenberg/Webern...very angular compositions; "post-romantic" if be-bop can be considered "romantic".  I’ll defer to the truly educated "musicologists", of course.

You are welcome on the documentary. Very pleased someone else benefited from it.

Orpheus - YES...Eric Dolphy's death was certainly "unfortunate and tragic".  Finished the documentary today.  I had no idea the circumstances around it.  We can add "unnecessary" to the words describing it. While Eric certainly bore some personal responsibility for how he cared for himself, the greater share of blame has to be on the doctor(s) who, because of stereotypes about black jazz musicians, misinterpreted and mistreated the diabetic coma that he had fallen into.    

Appreciated Frogman's comments.  Will have to see if I can find Out There.  Thanks too to acman for the You Tube clips.  

O - agree with you that Eric was treating himself and incorrectly. He needed insulin to help his body utilize what sugar was already present. I’ll have to disagree with you on blaming the medicos. "Blame" (not pejoratively but objectively) since, because of a stereotype, they didn’t investigate more thoroughly what was really going on with their patient. BTW - in my opinion, stereotypes exist for reason, they aren’t made out of "whole cloth". What’s bad about them is when they are applied inappropriately...when they prevent us truly seeing the individual OR are used to drive public policy.

Orpheus - Thanks for your gracious response but, honestly, from my perspective, we are simply sharing a discussion. "Writing clarifies thought." not sure who said that, but it’s definitely true for me.

Rok - I fully expect your comment about Germans and black jazz players was made facetiously. Be that as it may, it does offer opportunity to note that in the Last Exit documentary a good bit of time is spent on recollections by several German musicians Dolphy had been playing with. They certainly respected him and in a couple of cases, at least, there was great affection for him.

What is it about Europe that has made it so welcoming for American jazz musicians? Seems to me (from Eastwood’s movie "Bird") I recall Charlie Parker had been an expat in France.

Interesting discussion at the link here:

http://www.nytimes.com/1986/10/12/movies/the-blues-of-expatriate-paris-recalling-america-s-jazz-exiles.html?pagewanted=all

Orpheus - speaking of "lost members", anyone heard from Schumann recently?  I realized some weeks ago I'd not seen a post from him in some time.  Hope all is well with him.

O - your comments about Miles re AJ have roused my curiosity.  I know nothing about him...other than have heard the name.

More often than not, "less is more" seems better to me too.   Have been spending some time with Tony Williams Lifetime - The Collection.  Liner notes are interesting.  Miles had high praise for TW.  

The first two albums (Believe It; Million Dollar Legs) by this second iteration of TW Lifetime are covered in "The Collection".   This group includes Allan Holdsworth on guitar:   Virtuoso without a doubt.  Solos made up of incredbly fast, complex runs...but after a while, "YEESH"!  I need a break.  Alan Pasqua's keyboards provide a nice contrast to all those notes (not that he can't rip it up too).  TW and Tony Newton on bass, round out the personnel.  

Orpheus - YES...Schubert. Sorry about that. Horrible with names. Hope he’s OK.

I will go and check out your links. Haven’t yet. I am listening to Ahmad Jamal right now. "The Awakening". He is really good. (no one needs me to tell them that I suppose). Maybe not the best place to start. If you have something earlier to recommend...let me know. I like what I’m hearing very much (only into track 3) but the piano solos don’t seem to be exactly poster children for fewer notes...don’t get me wrong, he’s got the right notes! :-) On "I Love Music" he sure plays a lot of chords (we like chords) but there’s also great melodicism. I don’t know enough to say whether these tracks are "standards" or his own compositions. Assuming they are his, I like his "ear" very much. On "Patterns" now. Thanks for prompting me to listen to him. I’ll get back with comments (for what they’re worth) on your links . Ciao.

I like this track (Fred, from TW Lifetime) quite a bit.  Much good stuff on those albums, I think.

https://www.youtube.com/watch?v=GCaixOPkgaQ

O- I really like the Ahmad Jamal tracks you linked to.  I also finished all of The Awarkening and liked that from start to finish.  Might be buying that one.  I don't know enough to talk about how his renditions would compare to another jazz pianist's version of those.  I can say, to my ear, there's an economy at work and a very nice sense of clarity and balance in his playing.  Also a lot of heft to it...even when he's playing a fast run in upper octaves, it has weight and is authoritative even in piano sections.  Not sure why that is but do like his style.

What was up with the "lack of interest comments"?  AJ not considered "orthodox" jazz by some?  

I enjoyed reading the various quotes.  The one from Cannonball Adderly, especially, about AJ always giving the impression he had something in reserve.  

So much of jazz is new to me. This was a nice intro to AJ...one of those, why was I not told about this sooner moments.  THANKS 

Frogman, I think your last paragraph is "spot on" and captures my reaction to Jamal perfectly...much better than I could say it.  

Just listened to that 1958, Poinciana track from the Pershing recordings. Can clearly hear his use of "space" in that one.  Much more obvious than in the later and somewhat busier album, The Awakening that I started with this evening.  

O - I’ll be interested to see what comments you get about The Awakening. It is a 1970 recording so it does jump ahead a good bit from the late 50s time frame you were in.  Doesn't matter to me.  You can really hear his "classical chops" all through the tracks of that album. I also think his sidemen are really, really good. Things are nice and tight. Need to look at credits and see who he was working with. I’m not a jazz aficionado like some of you (more from a blues/rock listening background) and admittedly very ignorant about jazz so take this with a huge pile of salt - but at this point in time, I listened to 10 seconds of Ahmad Jamal in The Awakening and was hooked. I try to listen to Keith Jarrett for 10 seconds and I’m bored to death in 5. Apologies to the KJ fans. I know he is considered a major talent. Maybe I shouldn’t even be talking about Jamal and Jarrett in the same sentence. Regardless, for me, AJ’s got something and KJ doesn’t. You can chalk it up to ignorance.

I single out KJ though that's probably not fair...there're others that would fit the bill AND I recognize he is highly regarded by many...including people I respect (e.g., a bro-in-law who is a gifted musician himself). Never the less, I single out Mr. Jarrett because to me, based on my limited exposure, he seems to exemplify this cerebral sort of jazz musician that just loses me on an emotional level. I find AJ a lot more visceral and conveying more emotional content on a frequency I receive.  So - that's my O-pinion and you know what they say about those.  I like to add to that one..."I have several".  

We are indeed, "enjoying the music".      

O- almost left a PS about Stolen Moments last night but figured I was overstaying my welcome ("So, why you back, dude?"). I don’t know that tune at all...just what I heard on AJ’s The Awakening. What struck me is you get to around 30 seconds before the end right at 6:03 of 6:32 total. It seems like he’s going to play a final resolving chord and end it but NO...instead he goes into this interesting (practically solo) chord progression and then with cymbals sizzling behind him, finally brings it to a conclusion. When I heard that...really HEARD it - I wanted to jump up and shout "YEAH"!

Glad to see Rok is back...didn’t want you all lonesome, knowing I could never fill his shoes in this thread! :-)

Frogman - I’ll comment here briefly on a couple of things from your latest posts. Will get back afterwards on the new links you included.

1) Pleased to read we share great esteem for arrangers. In the statement from me that you quote, might be more appropriate had I said, "the ROLE of the arranger...." since, as you know, it’s not always a separate individual but sometimes the actual composer, one of the musicians or the producer (George Martin comes to mind). Regardless, the arrangement can certainly make or break a piece or take it over the top in a good way.

Gil Evans on Sketches of Spain is a GREAT example. Someone on A’gon a (year?) ago posted notes that were written at the time of the SoS session(s). Some studio employee - an eye witness - documented at least one of the sessions in great detail...what people were wearing, the personnel, who played what, interactions between Miles, Evans and others. It’s a great read. I’ll look around for it but you do too. It is well worth it. A nice word picture of that time.

2) re Black Light Syndrome. Agree with you for the most part: an inconsistent effort by some talented musicians. Rocker Steve is over the top in a not so good way - esp. on track 1 and the closer. This brings up the matter of "taste" and artistry, I think - factors that derive from both objective and subjective elements but, to me, constitute a 3rd area of evaluation. See my 9/22 9:19PM post (unless bored with the topic!).

Honestly, while the sonics of BLS are very good, there are only a few tracks I listen to repeatedly for the the sake of the music: 3) Duende & 6) Book of Hours. Both display some flamenco influence. To a much lesser extent, I revisit 4) title track & 5) Falling in Circles. If the entire recording were up to the quality of 3 & 6, it would be a stellar album.

Situation Dangerous, the second by this trio, is also inconsistent from my perspective. I don’t think the sonics are quite as good, either. Seems little less airy and spacious.

By the way, not that I'm that big a Bozzio fan but I will say I think he is the real deal:

https://www.youtube.com/watch?v=QcerKvzcyvQ&ab_channel=CalVid

Comments on the FZ composition performed above (The Black Page) in this mini-bio of another great drummer
http://www.lastudiomusicians.info/vinniecolaiuta.htm

I will check out those links you posted next. Good chatting.

Greetings aficionados. Hope everyone is surviving this warm summer. Appears to be a little break in the thread action here so I wanted to use it to call some attention to what is for me a wonderful recording. Thanks to my friend (and fellow A’gon member) Pokey77 for pointing me to it. The album is Invisible Cinema by Aaron Parks. Great instrumental jazz ensemble playing. Hope you will give a listen. For me it’s been something I didn’t quite get the first time around, but it drew me back. Got a little better with each subsequent listen. It certainly bears repeated listening (leastways for me). In addition to Parks’ tasteful and melodic piano, the guitar work by Mike Moreno is superb. Not a heavy handed phrase in any of it...in my O-pinion, of course.   If the link below works, you should be able to listen to the entire album.  YouTube sound quality seems pretty good.

https://www.youtube.com/playlist?list=PLsA1b9NWuaC_Ki28M02qmg6_20xkchHpj

Hello Orpheus -
Pleased you are giving Invisible Cinema a listen. Yes, I’ve heard Shadowfax but it’s been a while. Will have to go refresh my memory on them. I thought I heard shades of 80s Pat Metheny Group.  Your "pleasant sounds" and "needs a little more drama" are perhaps tactfully delivered criticisms but duly noted and worth considering. I think there’s a bit more drama to come as you listen past the first couple of tracks. Compared to some of that Windham Hill stuff, I’d say it’s got a bit more "heft" and depth but does tread close to "pretty" at times. Still, for me, it’s got a nice balance of accessibility and complexity. The musicianship is first rate, regardless. After posting, I was going to hedge my bet on calling it "jazz" but jazz ensemble playing seems appropriate. The compositions seem conventionally song-based and, obviously, not hearing too much improvisation - though I could well imagine improv aplenty in a live presentation. I’ll be interested whether it becomes something on regular rotation in your listening.

A PS for O...
For something that’s a bracing counter to Invisible Cinema, check out Alan Pasqua’s "The Antisocial Club". I only learned recently that AP had played in the 2nd version of Tony Williams' Lifetime. The Antisocial Club is a more challenging listen than Cinema but not too far out there. Pretty sure it qualifies as "fusion".  Once again great musicianship and very good sound quality.

Here’s a link to track 1. Sucked me right in on the first notes of that bass.
https://www.youtube.com/watch?v=DFa7FZm9wMQ

I expect everyone already knows about the recent death of Rudy Van Gelder at 91 years of age. Here is a link to the NY Times piece on him.

http://www.nytimes.com/2016/08/26/arts/music/rudy-van-gelder-audio-engineer-who-helped-define-sound-of-jazz-on-record-dies-at-91.html?_r=0  

If you do the slow and tedious copy and paste of the you tube link into a new browser window does that work? or not even then??  I use a Mac Air and didn’t open Frogman’s Abbey Lincoln stuff. The Alan Pasqua link Rok re-sent works fine for me right in the A’gon text box.

O - I think what you hear from The Antisocial Club makes sense given Pasqua's time with Tony Williams and TW's time with Miles before that.  Continuity, sort of.  

I'll make a prelim guess and then try to confirm in the next couple of days but it wouldn't surprise me if Pasqua plays a Fender Rhodes electric piano.

No worries "about not the best listening mode".  When it hits you, share something you find dramatic.  A picture's worth a thousand words.  

O - Did you get all the way through Invisible Cinema?  I'm thinking there's plenty of drama all through it starting with Track 3.  Check out Track 6 "Karma", for example.  More elsewhere too if by "drama" you mean a sort of tension that builds through a given composition and energizes the performance.  At the same time, if it's not working for you in that regard...so be it.  Different tastes.  However (and this is not meant as any kind of challenge) I'm curious about what you hear as drama.  If not too much of a nuisance, point me to something you regard as a good example of such.  It'll help me better understand what we are talking about!  Thanks.    

O - thanks for the links.  Seems like we are coming at "drama" with different expectations.  I listened to the Sonny Clark.  The playing is great - John C. just can't help himself being Coltrane ! can he??  :-) and there is something about trombone that just works so well in a jazz setting... thank you Curtis Fuller but that particular piece didn't hook me.  Much prefer the Lee Morgan "Search....".  It has a moody quality to it and draws me in.  Pretty certain you have mentioned this recording before.  Is the LM/SFTNL dramatic to me?  Yeah, maybe, I think so...more than the Sonny Clark but I still feel like I'm stretching to hear what you hear w/r to "drama".  That's not a shot at your examples.  How we hear is at least partly (maybe a big "partly")  dependent on our histories.  I gotta keep listening and when I find something that hits the spot, drama-wise I'll share.

Frogman - I found your comments about Invisible Cinema spot on.  We are hearing similar things in that recording (even to the extent I thought there was something not quite right about how the bass part was in the first and second tracks...maybe it's the drums that were bugging me!).  Gratified you spent time checking it out.  Aaron Parks was a "child phenom" and just coming into his own now.  Some helpful interviews and bio info on the web  Funny on your ECM comment.  Cinema was a Blue Note recording but his (latest?) Arborescence is on ECM.  Especially loved your point contrasting Metheny.  All in all, well articulated as were your  comments about Pasqua/Antisocial Club.

For me, both these recordings are getting a lot of listening time AND the artists have led me to other new music they are associated with.  Thank you both for your time, energy and helpful comments.      

Hello Gents. I thought Frogman had a good suggestion with respect to the "drama" issue....find examples of the same tune, with and without it.
AND I’m not trying to be a provocateur on that point whatsoever. I think Orpheus brought up a meaningful issue such that whatever word you use for the performance characteristic he "hears" and is calling "drama" it might be a distinguisher for great vs mediocre performances. I’m very interested to hear more on the topic.

I watched the clip Frogman posted of that Coltrance Quartet doing Impressions. I tend to agree with O that there’s late work by JC that I do not care for (though the Impressions performance did not qualify as that for me). I also suspect Frogman might be right about that work being a logical progression in JC’s development. I’d say we can sometimes confuse personal preference and taste with Objective Truth and need to avoid this. On the other hand, if JC’s development took his music to a technically valid place but left behind emotion, I think that IS an objective reason for parting company. As O once wrote, "Beauty is in the eye of the beholder, and I’ve got 20/20 vision." THAT is a GREAT quote.

By the way, I readily admit I have so much to be exposed to and learn about jazz...certainly don’t consider myself an "aficionado" so, off topic, but I will comment McCoy Tyner is killer in that Impression performance. Thanks Frogman.

O - I still do fully intend to check out those clips you posted after the Sonny Clark/Speak Low and the Lee Morgan/Search.

"...it is more honest and fair to the artist in question, and productive for the growth of our own musical awareness, to keep the door just slightly open to the possibility that it is we who don't understand the message; not that the message is no good."

@frogman  - I am in absolute agreement with this.  Well said.  

I'm also very willing to consider your premise that JC's development led him to a place of expressing pure emotion.  I would counter, however, with a couple of questions as in...
Or did it lead him to develop a new language for expressing emotion.  
Or did lead to expressing a new "kind" of emotion; almost like a painter "inventing" a new color (and sub-question: Is it then a "human emotion"?).

We can get all kinds of philosophical on these points but they certainly touch on what is the meaning and purpose of art.  Is it primarily a form of self-expression, a means of (emotional) communication, a mix of both?  what % of each??  Believe me when i say, I'm suspicious of how superficial my questions are...but they're the best I got at the moment.  

OR (another 'or') is it just about the entertainment value and answering the age old question, "Can you dance to it?".  If there's a burden of communicative responsibility on the artist, is the artist then to be limited by the "language skills" of his audience? I certainly don't think so.  Art history says, "NO!"  [BTW - one can make a case here for the good that critics can do acting as "translators" and "guides" for those of us willing to "keep that door open".]  

I realize I muddled things up in my earlier post by talking objective with a capital O and then reusing 'objective' in reference to Orpheus (and me) not liking some of Coltrane's later stuff.  Instead of "objective reason for parting company" I should have written, "valid reason for parting company" since I think it is absolutely okay to make a negative subjective assessment based on answering "Does it communicate anything worthwhile to me?" [Worthwhile?! - what the heck is THAT!)
As you urge, however, I do recognize this judgement might only be temporary pending further "growth of our own musical awareness".  

Thanks for your comments and ideas.  I enjoy this discussion very much.

O - you sure don’t owe me any justification for your music preferences. I’ve been reading this thread long enough to know YOU KNOW (and that goes for some of the other regulars here too). Yeah, maybe there’s a preference for the traditional here...but that stuff has stood the test of time. While it is always a joy to share something that others get off on too, I have no problem with a difference of opinion respectfully stated AND am always interested in the why or why not of a someone’s like or dislike. I hope I never get done learning. This thread you started has been like a Jazz 101 for me. BTW - you might not be all that much older than me!

Hello, O - Was Frogman provided the Toots links, not me.

Do appreciate your comments about JC and music for the angels. You are making my point with the caveat that some day some of us might well be able to understand "music meant for the angels".

acman - Good comments about working hard and the reward of persistence, but who calls "Crap!" ? I tend to "assume merit" but recognize time is often the best judge.

The sonics on that Haden/Hall recording are really good...especially for something that is from a live performance.

"Just like a tuner, your mind has to be on the right frequency in order to receive the music."

O- I get your point very well.  It certainly applies to the music at the link here.  Another Haden collaboration.  Not sure it will be your "cuppa" but, at least, no applause to break the mood.  Good sonics too.  It strikes me as something that would also benefit from listening in a dark room.  A beautiful Haden composition, "Silence", starts at 22:17.  FWIW - I do have this on vinyl.    

https://www.youtube.com/watch?v=LHq2b93gjK4

Glad you like Gismonti, O.  He is a remarkable talent.  Classically trained and a true "world music" composer.   I do have Sol Do Meio Dia and a few others by him including Folk Songs which is the 2nd by this same Haden, Garbarek, Gismonti trio as did Magico.  

Rok -
Sorry. I was unaware Louis Armstrong had said anything like that. Truth be known, I was thinking back to Dick Clark’s American Bandstand and what some of the TV audience used to say in evaluating a new song heard on the show..."I like it. You can dance to it." or words to that effect. Don’t think they were quoting LA either.


Just saw what Acman wrote...that seems exactly like where I was coming from.  

O - Thanks for the Baden Powell recommendation.  Found Three Originals on Spotify (best $10 a month I ever spent) and have saved it.  Sonics are, again, VERY good...lots of air & space (not to mention virtuoso musicianship).  Thank you.

Returning the favor, I hope...
Track 1 from Carles Benavent's "Quartet".
  
https://www.youtube.com/watch?v=jAc-Zug06bA

Other tracks available on YouTube as well.

Have to say, I think Frogman is making a good point about the significance of those '2 minutes' from JC's career.  Though I think you phrased it that way only to stress there's more that unites about him than divides.  

On the other hand, too much mention already of my "Can you dance to it?".  That was a tongue in cheek effort to dumb things down and put another light on the music.  Is it "real"...is it "visceral"?   

Hello Rok - I wasn't challenging your statement about LA linking jazz and dance...was simply clarifying where my own idea about that had come from.  

O - Yup, the Carles Benavent "Quartet", though heavily flamenco-influenced, relates more to the Baden Powell music you shared than typical Blue Note jazz.  There are other tracks from Quartet on You Tube as you find time to listen.  It took me some time to work my way through the whole recording but I think it is worth the effort.   

Hello O - Pleased you spent some time with Benavent's Quartet.  Disappointed it did not work for you, never the less, NO PROBLEM.  Glad you gave it a try.  

Funny, I have a little different take on the "would you buy it" question.  There's plenty I don't feel compelled to buy but still enjoy listening to on Spotify (or YouTube).  The buy decision is about the must haves - things I feel are excellent all the way through (not just an isolated track) and keep coming back to; though that's not to say I haven't bought some dogs that a few months later I'm wondering what the heck I thought I was hearing!  :-).  The Benavent was a buy for me.  

You are absolutely right though, way too much great accessible music out there to spend time flagellating.  

A busy day, Gents.  Just sitting down now with some music and catching up on the latest posts here.  I will give a listen to the various links.  Tough to keep up with them all!

BTW - The first 2 Mal Waldron links in Alex's post were blocked for me but I could access the Paco di Lucia.  Thank you, Alex.  

Thanks, all.

PS - okay...
Mal Waldron - The Seagulls of Kristiansund
Herbie Hancock - Takin' Off
Kenny Wheeler - Songs for Quintet
Paco de Lucia Sextet - Live

And that's not even EVERYTHING that got posted just today!  I don't see how you all do it.  That's a good couple evenings of listening...at least.

Thank you, though.  None of it music I would have found on my own.


 

Hey Frogman - Thanks for those links.  What record are you referring to?  I did find "Swiss Movement (Montreaux 30th Anniversary)" a 2004 release.  It's live McCann & Harris with Compared to What.  Sound quality seems excellent.  The album includes:  Cold Duck Time, Kathleen's Theme, You Got It In Your Soulness, The Generation Gap, Kaftan.  If you would, let me know.  Thanks.

Found it this AM on Spotify, Frogman. I sampled it briefly. Liked what I heard and think it’s worth further listening. Jazz philistine that I am, however, I could really do without the singing (hopefully only on the one track). I wish I could describe/define what it is about some jazz music (not only jazz but all sorts of music) that hooks and engages me as opposed to other well-regarded stuff that is painfully boring.

O - Thanks for the reminiscences.  It ain't all gone and nobody can take it away if you carry it around in your soul.  

I thought the Wikipedia entry about Les was interesting.
https://en.wikipedia.org/wiki/Les_McCann

I like his piano work on Swiss Movement better than playing by the other soloists but what makes it for me is the rhythm section...the foundation and mortar (as usual).  

BTW - I think you are spot on regarding the significance of Cold Duck.  I remember it...
https://en.wikipedia.org/wiki/Cold_Duck

The Generation Gap reminded me of this:
https://www.youtube.com/watch?v=5vu2tyk8cvc

Hello Alex and Thank You for the Les McCann links.  Of what you provided I like what I'm hearing from the "On Time" recording.  As Orpheus said, you got to be on the right wavelength on a given evening for the music to reach you.  That other stuff might have a time (certainly the Pacific Jazz recording of Pretty Lady) but On Time is getting through to me tonight...so thanks for it.  I'm going to listen to other tracks from it that I see on YouTube.  

In some of the other listening I've been doing, am still discovering Ahmad Jamal.  He is just amazing to me (not that I'm any expert on jazz piano).  Here are a few.  Hope you and others enjoy them.

From 1959
https://www.youtube.com/watch?v=kySENf1P2Uo 

From 1999 (a full concert in Germany)...worth sampling but the whole thing is worth hearing.  
https://www.youtube.com/watch?v=I6ZKJfV4hTw&spfreload=10

And from 2014!...the man still has it.
https://www.youtube.com/watch?v=RaivdOxCiLE
Wish the piano was louder.  The percussionists, though good, are a little over the top volume-wise but be patient and listen at least to hear Jamal at 2:02 and again almost exactly 2 minutes later.  

Hope y'all enjoy him. 

Frogman - as is often the case, very instructive comments from you.  I don't have the training to articulate as you have but your descriptions seem entirely apt and in harmony with my own impressions (e.g., expectations for LM vs playing/style on Pretty Lady; elements reminiscent of AJ).  I too also liked LM's work with Joe Pass on On Time a LOT.  That might be the one I'll try to get.  Pretty Lady another candidate.  Thanks again to Alex.  

I'm way late to the Ahmad Jamal celebration, I know, but talk about God-gifted.  He just kills me.  He had it 1959.  He still has it now.  The other thing I like about the 1999 and 2014 videos, he really seems to be enjoying playing with his various ensembles.  That ain't a smile for the camera.  A good tonic for these barbarous times.  


  

"I'm glad you're enjoying our thread."

O - Thanks (to all) for being a tolerant and gracious host!  Like I said before, Jazz 101 for me.  I like this thread because people actually TALK to one another in it rather than it being the record of a bunch of monologues!

That '59 footage is really fun to watch.  Ahmad looks SO serious. Working on that beard too.  I love the white dude with the pipe!   Would be interesting to know more about who set this up.  How it was shot.  Who the people gathered round the piano are, etc., etc.  

My bro-in-law (musician) said the same thing about illustrating progression of styles.  He's the one actually sent me the '59 and '99 clips. There's a '71 performance too.   I found the 2014 video.  Got a little unwieldy to explain all that so I dint.  

Ordered the Les McCann (Les McCann Ltd.) On Time from Amazon.  They have the Pretty Lady too.  On CD but only from Japan so a little bit pricey.  Not crazy $ though.    

Ciao.  Later.

Thanks, Acman. Chestnut’s another name new to me.

Frogman - good reminder about John Scofield. I have not followed or listened to him in a while. Have A Go Go from 1998 but that’s about it. He’s definitely a superb guitarist though not always enamored of his style (or sound - as trademark as that is) - sorry. This ’94 Hand Jive seems a little more energetic than A Go Go which I always thought sounded like somebody took a big shot of Novocaine. Enjoying the organ work on Golden Daze. Reminds me of John Medeski.

Back atcha (MMW are just so tight).
https://www.youtube.com/watch?v=XRTJLIKvvH8

The piano intro and solo break by JM are insanely good...
https://www.youtube.com/watch?v=zdj9kdpghEQ

Hahaha...didn’t realize Sham Time was an Eddie Harris tune. The original ain’t too bad either!

https://www.youtube.com/watch?v=73g2Vw_gpkQ

Hello Orpheus.  
At the risk of putting a strain on our "lovey dovey"  :-) [they ain't really jazz] I'm going to double down on your beautiful and recommend these links:

https://www.youtube.com/watch?v=FWLuBRObYbA
You can blame Frogman for putting me onto Scofield/MMW today.

https://www.youtube.com/watch?v=BbAA4_B8k0I
In my opinion, this is thee most beautiful  2 minutes and 24 seconds of pop music, EVER.  

"Have you ever listened to music on the general music forum that others are raving over? And after listening, you wonder, how could anyone like that?"

O - Absolutely. Happens frequently and in this thread as well! If everybody loved the exact same stuff, it would get kind of boring pretty quick. When things I like and share click for several other readers/listeners or even just one other, that tends to make my day - really (so how pathetic a life is that!? :-) Anyway, I’ll keep throwing stuff out and hoping someone else’s receiver is tuned to the same wavelength. AND I’ll keep trying some of the things posted here (no way to keep up with everything) e.g., Frogman’s latest 5 music links.

Quick note to @alexatpos - Got my copy of On Time. Enjoying this music quite a bit. The FRESH SOUND CD I purchased also has 3 "bonus" tracks by Bumble Bee Slim: Direct South, Driftin’ Blues (heard this previously on a Paul Butterfield album), and Midnight Special (didn’t realize Dylan had incorporated lyrics from this in "If You Ever Go To Houston" from Together Through Life).

O - Yes, "Scarborough Fair" is good music. But lo these many years after I first heard it, it no longer has the same emotional impact. The Brian Wilson on the other hand, almost as old to me, still packs an emotional wallop. Dunno why one do and one don’t. I don’t associate LGAFA with a specific person or situation. And by contrast, that Eddie Harris "Theme in Search of a Movie" might be a good composition but I just did not connect with it. Nothing there for me. Not meaning to be offensive but subjectively, that’s just the way it is.

I’m happy to read discussions here that encompass personal responses as well as objective critiques of compositions and performances. It’s always good to have a mentor with more highly developed taste and/or greater technical skills than my own.

Funny thing about Rok’s Billy Ocean selection. I always thought that song was called "Caribou Queen". Something about Icelanders and reindeer maybe. Never liked it, regardless. One of those nasty ear worm vectors.

"You got bad taste Ghosthouse...".

Oh, I definitely got questionable taste from time to time and I could give you examples but won't!  But that's the whole point about hanging out with people that know more and have better taste.  Maybe some of that good stuff rubs off.  

(But the kicker is, you got to have enough brains and good taste to figure out who they are in the first place!)

There is no relationship between ’knowledge’ and ’taste’.

Music is neither good or bad, until it reaches the ear/brain system.

Rok - You sincerely believe those statements as absolutes? Or are you being your (sometimes) trademark-provocative-and-truculent-bad-self?

Taste is definitely something that can be informed by knowledge and cultivated.
AND, while there’s certainly a lot of mental processing that critics and peers will bring to bear while listening to a given composition or performance, there are also objective elements in judging the same that are rooted in music theory and the musical score.  These stand independent of the internal responses of the audience.

Thanks for the recognition, Frogman.

"Writing clarifies thought." Not sure who first said that but Lord knows I need lots of clarifying.

More than trying to win a debate, I really am interested in where Rok is coming from with his statements. I expect he’s got some valid points though maybe overstated as originally written.

I’m a little more favorably disposed towards Scofield after further listening to his collaboration with MMW as on Juice. Seems like they were made for one another. A Go Go, even though another with MMW, just didn’t sound that great to me. Did not realize he had been guitarist for Miles. That’s a big endorsement. I have to go back and see what recordings he was on. Miles along with John Mayall and Alexis Korner...it’s like these guys were running incubators for musical talent - so many now-well-known names got their starts in their bands.

Interesting background...

https://en.wikipedia.org/wiki/Bachianas_Brasileiras

Something to wake up all the stodgy Blue Note types...

Sao Paulo Ska Jazz - Track 7 from their 2009 self-titled release...

https://www.youtube.com/watch?v=Qc3TzkCDiNc

Can't recall who on another A'gon thread turned me on to these guys.  

Bet they would be fun to see live.