Frogman, as always, I appreciate your comments. All music is subjective, and jazz is more subjective than most genres of music. I approach music from a purely subjective point of view; while I read history, I listen to music; consequently, when what I read disagrees with what I hear, the book goes in the library, while the music goes in the record collection. Johnny Lytle's "St. Louis Blues" comes on slow and easy, like that St. Louis woman with her diamond ring; and I know a lot about them. I believe Rok stated the case for Johnny Lytle quite eloquently. Charlie Parker and the other giants of jazz that "Nica" supported made a lousy living. Although Wynton makes a fantastic salary, he's an exception. While I'm quite aware of Benny Goodman, Harry James, and Artie Shaw; as close as my music collection will come is Stan Kenton. His big band is well represented in my collection, and his range of music is as wide as the Pacific Ocean. I know Rok remembers when he was in the Columbia Record Club, and we received those records we didn't order, but you could send them back; well Kenton's records didn't go back. http://www.youtube.com/watch?v=x3EkI3ISz28 http://www.youtube.com/watch?v=TN9sp6ApX4oHere are a couple of tunes by Stan, maybe Leersfool could enlighten us on the unusual brass horns. Enjoy the music. |
When I was a child, my aunt had a big diamond in her ring that sparkled all the colors of the rainbow as you turned it under a bright light. Tired of me holding her finger and turning it, she took the ring off when she came home from work. I never tired of watching the brilliant sparkling colors that ring emitted. I just discovered "Rahsaan Roland Kirk" is exactly like that diamond, he sparkles endlessly; old LP's that I've had forever are emitting new colors. Today I was listening to the computer play list when the music really grabbed me. Although I knew it was Rahsaan, I still don't know the name of the tune because unlike CD's, cuts on Lp's aren't listed; therefore, I can only share with you some of his music that might be from that LP. Remember, when listening to Rahsaan it's not just his virtuosity on the unusual instruments he plays, but the totality of his music which is so different from everyone else's. http://www.youtube.com/watch?v=dAyStpDSNzs http://www.youtube.com/watch?v=yWPUKskCv7EEnjoy the music. |
Rok, Frogman, I really appreciate you guys telling me you're leaving, and not leave me waiting for your next post; but without you two, there is no thread.
Frogman, your going away present has been the most consistent tune in my universe. Without a doubt, this has been the most enjoyable thread I've ever participated in, and thanks to you I've learned a lot as well.
Rok, you made this thread every bit as much as me, we made it together with your reviews. "Eliminate the negative, and accentuate the positive", I forgot where that came from, but I'm sure you remember. I've tried to make that a constant theme in my life; for example, what has this thread contributed to my tranquillity and peace of mind? In these stressful times, have I found it to be a pleasant divergence? After you answer those questions, you might discover that this thread means more to you than you think. In a storm, the willow bends while the mighty oak stands firm. After a storm, many times the mighty oak is flat on it's back while the willow tree is still standing.
This thread could be more important to the three of us than we realize. Since the holidays are upon us, and it's time to turn our attention to other things, this is a good time to take a break; but if anyone wants to restart this thread, just post.
Enjoy the music.
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Stereophile magazine interviewed Max in his apartment overlooking Central Park, not long before he died which was in 07, and I recall him mentioning the chair in his living room was one Bird had sat in. Naturally he had a decent rig, but it wasn't "Audiophile". Like I stated before, none of the jazz or blues musicians I've known had audiophile rigs; not that I've known a lot, but think about it, these musicians were always on a live set, why would they have a finicky audiophile system.
John Lee Hooker said he liked a "funky sound", and something easy to work. He wanted to hear music when he pushed the "on button", that's why he had the same kind of "Adcom" in all of his houses.
Since These musicians were interviewed by Stereophile you can look them up, but Branford Marsalis is the only famous jazz musician I can recall with an Audiophile rig, and his wasn't anywhere near the rigs these people have here. What does that say about audiophile rigs, and professional jazz musicians?
Enjoy the music.
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Rok, some of these "100 Best Jazz Tunes of The 1950's" sound better than my recordings, and that includes vinyl, although I'll have to split hairs on the vinyl, and if it's necessary to go back and forth to decide; that means the CD's are better when you take all things into consideration.
Enjoy the music.
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Rok, I had forgoten about Nog, but now I'm going to double up and get a little Grog for the Nog.
I searched long and hard for something I would add to my collection by Wardell, but had no success for one reason or another, none of them to do with Wardell's talents.
Although his sound on swing was really appealing, there wasn't enough of it. While he could Bop with the best, I've got enough of that by Bird and Diz.
He had a special sound that I couldn't get enough of, but the cuts were too short. "Easy Living" was a tune that I liked which exemplified that easy swing sound of his that I liked. If I could find a CD with long cuts, and that "easy swing sound", it would be the match I'm looking for; but that's doubtful because "showmanship", like in "The Chase" by him and Dexter Gordan was popular.
Wardell had a special sound, but nothing I found displayed enough of it. I would be satisfied with a solo album where Wardell played for "Wardell". In my opinion, he never really found himself, or made the decision that "This is who I am", because he had it together, he just didn't know it and take command. Miles is an example of knowing who you are, and taking command of things. When I heard Miles at the time when Clifford was alive, I wasn't too fond of his music, along with a lot of other people, but that didn't faze Miles (not that he asked me) because he knew who he was. Wardell just didn't live long enough to discover that the man in the mirror had all the answers to his musical success.
Enjoy the music.
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Rok, we never even got to the 70's. While I liked what we've been into, this was just the beginning of "modern jazz"; it had to evolve, and so it did. As a matter of fact, when a current jazz artist attempt to resurrect that music, it sounds redundant and unoriginal to me. While jazz evolved in the 70's, it was still jazz. The first of many artists that emerged in this time frame, that I would like to cover is "Gato Barbieri"; his soundtrack for "Last Tango In Paris" received widespread acclaim. This is from an LP I was listening to, I think you'll like it. https://www.youtube.com/watch?v=7UAT_nV9gl0Enjoy the music. |
Rok, you can't teach an old dog new tricks, and since I'm a very old dog, that goes double for me; however, I'm trying to find some old tricks, that may be applicable to the new ones you're trying to teach me. "Carmen" is the very first to come to mind. I recall when I was a preteen, this family with a very beautiful daughter named Carmen, liked to perform this in the park nearby. Although she was a teenager, which made her much older than me, I was in love; consequently, I also fell in love with the opera "Carmen". This family also liked "Bolero", consequently I fell head over heels in love with "Bolero"; here are the both of them. (I was too shy to even speak to Carmen) https://www.youtube.com/watch?v=SPQ2lFUQLrs&feature=c4-overview-vl&list=PL-wyNyb4oUIHMjqwxFAltjklxWrZZZGS4 https://www.youtube.com/watch?v=3KgpEru9lhwEnjoy the music. |
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Frogman, for my entire life I thought this was Latin American in origin. Music to me is what it convey's;
When they begin
the beguine
it brings back the sound
of music so tender
it brings back a night
of tropical splendor
it brings back a memory of green
I'm with you once more
under the stars
and down by the shore
an orchestras playing
and even the palms
seem to be swaying
when they begin
the beguine
to live it again
is past all endeavor
except when that tune
clutches my heart
and there we are swearing to love forever
and promising never
never to part
a moments divine
what rapture serene
to clouds came along
to disperse the joys we had tasted
and now when I hear people curse the chance that was wasted
I know but too well what they mean
so dont let them begin the beguine
let the love that was once a fire
remain an ember
let it sleep like the dead desire I only remember
when they begin the beguine
oh yes let them begin the beguine
make them play
til the stars that were there before
return above you
till you whisper to me
once more darling I love you
and we suddenly know what heaven we're in
when they begin
the beguine
These lyrics, plus the music convey Latin America. According to the creole of the Caribbean, especially in Martinique and Guadeloupe, the term "Beguine" applied to a style of music and dance, and in particular a slow, close couples' dance. This combination of French ballroom dance and Latin folk dance became popular in Paris.
Xavier Cougat's version convey's this better than Artie Shaw's version. Technically, you are right because Artie Shaw popularized it. My point beyond determining who's right or wrong, is to establish what music convey's to individuals; this is why music is always "subjective".
Enjoy the music.
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Well Rok, since you started a conversation about someone who's worthy of a serious conversation, I'll continue. When I bought the LP "Pithecanthropus Erectus", I had no idea what the title meant or anything, other than the fact that it was a "Mingus" album.
At that time, I was working side by side with an anthropologist, we both were employed as aircraft electricians. (he took this temporary job while waiting for a dig). You can google "Pithecanthropus Erectus" if you would like to go into the detail my anthropologist co-worker took me through that afternoon. I mention this to give you an indication of just how deep a thinker Charles Mingus was.
If you want to hear Jackie McLean like you've never heard him before, this album is a must have. Mingus's creativity brings out things in other musicians they didn't even know they had. I bought every album I saw by Mingus, and I was never disappointed; each one was so unique, that they were simply different facets of the diamond we all know as "Charles Mingus".
Enjoy the music.
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Rock, I needed a new "motherboard"; it didn't cost much, but the labor was a "mother". Everything's feminist now days, why couldn't it have been a "Father board".
Regina Carter has really blossomed; I have a CD by her that I'm not too fond of, now she can join every jazz artist who ever lived, but on the serious side, I really like this, I must have the CD.
Although my computer is still being worked on, I can post; replacement is not an option when you become a "PC Audiophile". I know that sounds "snobbish" but so be it.
I'm glad you posted this, now she's back on my A- List, or should I say A+ list; I liked what to me is the "new" Regina Carter, her jazz sensibilities make her sound like an old pro, which she is when I compare what I hear now to that old CD. I gave her 4 and 3/4 stars, no one gets 5, although I enjoyed every last note of each posting.
Enjoy the music. |
I can walk and chew gum at the same time, therefore, I can jump and not jump. If that makes no sense, don't worry about it. Frogman, when I see this, all the answers come to me. Billionaires who have all the wealth and power, enough power to make people in places all over this globe, jump when they say jump, can not experience the exuberance of these dancers. Although money and power gives them the ability to buy anything or anybody they want, they're bored because they can not feel anything, now their only pleasure comes from making as many people as possible, MISERABLE. https://www.youtube.com/watch?v=vZvmx--91G0 https://www.youtube.com/watch?v=ZvbXLDcGe0k Enjoy the music. |
Well fellows, in regard to my dilemma, I've done all I can do, now it's in the hands of a higher power.
Rachell seems to have stirred up a lot of controversy, and that's a good thing. I find it amazing how aficionados can disagree, and at the same time agree.
While Frogman's post was, as usual, very accurate; especially when you compare Rachell to great jazz vocalists of the past; however, I attribute her over the top expressions to originality, and that's a good thing, but she sounded best, "sight unseen".
Rok, nothing has changed in regard to which tunes on that compilation we like best; however, just the other day, I was thinking about how they're better than my original LP's, and I'm eagerly awaiting your post on this latest compilation.
Enjoy the music.
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Learsfool, that was a very thought provoking article. Most people prefer words with their music, we're the ones who are different; however, in the case of jazz, musicians feed off of other musicians, there were many more jazz musicians in the 50's and 60's than now. I'll give you an example; I just picked out two of my favorite albums: Benny Green, "Soul Stirring", consisting of highly prominent sidemen who are stars in their own right: Gene Ammons, Sonny Clark, and Alvin Jones were jazz stars who also led groups. Art Blakey and the Jazz Messengers consisted of so many stars down through the years to even include Wynton Marsalis, that the jazz had to be top quality. The album "Moanin", consisted of Lee Morgan, trumpet; Benny Golson, tenor sax; Bobby Timmons, piano; and of course Art Blakey on drums. When just two LP's are loaded with so many greats, the music couldn't go wrong. Back then, people who were into popular vocal music, had a few jazz LP's because they liked the music. Although these tunes came into my collection without vocals, here are some with vocals on youtube. http://www.youtube.com/watch?v=CA81pRYtEXcHere's the same tune by Andre Previn; http://www.youtube.com/watch?v=EZKzTMr1M5ENow for Horace Silver, "Senor Blues"; http://www.youtube.com/watch?v=iRdlvzIEz-gThis is a vocal version; http://www.youtube.com/watch?v=DpPXgjsjgAwWhile I enjoy both versions of my favorite jazz tunes, the bottom line is the original as it was first composed. Enjoy the music. |
Notec, if only I still had the vim vigor and vitality to hang at those nightclubs which were anything but "melancholy". Visions of beautiful jazzy ladies still dance in my head, while the live sounds of saxophones, trumpets, drums and many other melodic instruments haunt my memories; they remind me of nights of a thousand dreams that are no more. Have you ever been on the street of dreams?
Love laughs at a king
Kings don't mean a thing
On the street of dreams
Dreams broken in two
Can be made like new
On the street of dreams
Gold, silver and gold
All you can hold
Is in the moonbeam
Poor, no one is poor
As long as love is sure
On the street of dreams
Gold, silver and gold
All you can hold
Is in the moonbeam
Poor, no one is poor
As long as love is sure
On the street of dreams
Or walked the street of sorrow on the boulevard of broken dreams?
I walk along the street of sorrow -
The boulevard of broken dreams -
Where Gigolo and Gigolette -
Can take a kiss without regret -
and so forget their broken dreams.
You laugh today and cry tomorrow -
When you behold your shattered schemes -
And Gigolo and Gigolette wake up to find
their eyes are wet with tears that tell of
broken dreams.
Here is where you'll always find
me -
Always walking up and down -
But I left my soul behind me
in an old cathedral town "
The joy that you find here, you borrow -
You cannot keep it long it seems -
But Gigolo and Gigolette -
Still sing a song and dance along -
The boulevard of broken dreams.
They are both flip sides of the same coin, where Gigolo and Gigolette can take a kiss without regret and so forget their broken dreams. Gigolo and Gigolette can always be found in those, not so "melancholy" jazz clubs where they are destined to meet and once again to walk the street of dreams, a street that leads to the boulevard of sorrow.
Enjoy the music.
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Rok, I've got that same CD. I envy Ry's working with his son, that's gotta be cool; his son is sitting on the floor next to him on the cover. You ain't had the blues until you git them Ethiopian Blues, that's what this gal got. https://www.youtube.com/watch?v=DvJbYKSF5UwEnjoy the music. |
No, I never heard of the "Carolina Chocolate Drops" until you mentioned them, but they make my kind of music. After going to "You tube" I got an obsession to go south and look for a "Country Girl". https://www.youtube.com/watch?v=FVIaiADsyYoThey were walking along a road with a tall metal container that had two handles in the foreground, and it took me awhile to figure out what it was, "a churn", that's what they made butter with. Have you ever had churned butter on hot biscuits? That's going back to a time when they didn't even have electricity where we went, Winona Mississippi. All I remember is a big lone house in the middle of nowhere on a dirt road; but that's the old south "dirt roads", they didn't know what concrete was. I find it amazing that the south has changed so much, that a lot of people are finding country living preferable to the city; I can understand that. Enjoy the music. |
Rok, I thought long and hard, no I don't remember any fat people, even as much as they ate then; while food was the biggest thing in life in the country, there was always a lot of work to be done. Our existence is so much easier now, even if it is much more complex. Yes, I recall walking barefooted down dirt roads, and how good that soft dirt felt under bare feet. I also recall some of the most beautiful fragrances wafting by, they smelled better than any cologne or perfume. Where they came from I don't know, whether they came from wild flowers, bushes, trees or whatever, these different beautiful fragrances wafted by quite regularly in the country. Sorry, I don't remember any music in Winona, but I do remember the music from that time, and here is some of it. https://www.youtube.com/watch?v=eMR3OnbmWkA https://www.youtube.com/watch?v=xovmaG9S0sQAlthough Dorothy Dandrige is more colorful, I think this one by Ella Mae Morse was the one we heard on the radio. https://www.youtube.com/watch?v=ortOAiClE34Enjoy the music. |
Rok, "Nica's" book had in it, the best jazz musicians who ever were or ever will be. I don't know why, I don't know why, I don't know why; but I do know that was no typographical error.
When my computer went on the blink, someone decided to replace the rug in the bedroom, and I had to sleep in the den; to make a long story short, things were so turned around that my only source of music was the jazz station on FM radio.
The beginning wasn't bad, but after awhile the "Jazz" music began to have some kind of "sameness", before long I couldn't stand it. It seems that currently, there is some kind of requirement for the music to be "jazz", that shouldn't be. I've heard this same statement from musicians who played with the one's in Nica's book. Either current "jazz" musicians are limiting their imaginations, or whoever decides who is and who is not a good jazz musician, is limiting things for them. Financial success is a requirement for whatever one does, if one has to make a living at it, and that's one possible answer to this "sameness".
Enjoy the music.
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Rok, you hit upon my favorite tune by my favorite male vocalist, his songs come to life; sometimes they're like slices of my life, and at other times they bring back memories. One of his funniest tunes was "Street Hustlers Blues"; that corner he sang about, was even the same when I passed it after driving to "Chi Town" in my brand new "Duece".
Milt Jackson is one of the few artists who are so select that I can count them on one hand, and still have fingers left; they're the ones I can't find a bad LP or CD by in my collection. He takes on more different colors than a chameleon; that's why so many people like to record with him, he makes whoever he records with sound better.
While I like that "ethereal" sound of the MJQ, this is the first time I realized that's what it was. That ethereal sound is the reason they've been chosen for many movie soundtracks.
Lately, I'm enjoying my collection a lot more; especially after being forced to listen to the current crop of jazz musicians for days on end, on FM radio; it sure feels good being back to normal.
Enjoy the music.
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Acman, you and Rok are both correct; while it's not so apparent on records, at a live performance it was quite clear; "Trane" would take off to parts unknown, he seemed to feel, "If you wanted to hear what you heard on a record, you would have stayed home and played the record".
Tyner would stick with "Trane" as long as he could, but was quick to realize when it was futile, and that's when he would just make a solid foundation for the rest of the group to get behind.
According to Miles, Trane played for Trane on live sets. When this happened, only the musicians in the audience seemed to know what Trane was doing and where he was going.
Yes, Tyner was the glue that kept things together when Trane decided to go on one of his excursions, and Trane must have known that when the muse hit him, and he took off to another galaxy, that McCoy Tyner would keep things together down here on the ground; otherwise, as Rok stated, the music would have slipped into the abyss, and Trane knew that Tyner wasn't going to let that happen.
Enjoy the music.
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"The many faces of Charlie Haden" is a subject worth exploring, for we also explore the many faces of jazz. Old and New Dreams was a jazz group that was active from 1976 to 1987. The group was composed of tenor saxophone player Dewey Redman (doubling on musette), bassist Charlie Haden, cornet player Don Cherry and drummer Ed Blackwell.[1] All of the members were former sidemen of free jazz progenitor, alto saxophonist Ornette Coleman, and the group played a mix of Coleman's compositions and originals by the band members. They released two records on the German jazz label ECM: a self-titled release in 1979 and Playing, recorded live, a year later. These discs were bookended by a pair of discs on the Italian Black Saint label: a studio record from 1976 (also self-titled) and 1987's A Tribute to Blackwell, capturing the quartet's final concert at a birthday celebration for Blackwell. Each member is now deceased, Haden died in 2014, Redman in 2006, Cherry in 1995 and Blackwell in 1992. Here is a cut from the first LP I acquired by them. https://www.youtube.com/watch?v=QU6Jb5m9DbMEnjoy the music. |
"The Jazz Classics", are quite often short, but very profound stories about the age old "male, female" relationship. "Since I Fell For You", is just such a story. "Since I Fell for You" is a jazz and pop standard. The blues ballad was composed by Buddy Johnson in 1945 and was first popularized by his sister, Ella Johnson, with Buddy Johnson and His Orchestra. The biggest hit version was recorded by Lenny Welch in 1963, reaching number four on the U.S. Billboard Hot 100 chart. https://www.youtube.com/watch?v=U7xrQY_FLM4&feature=kpThis is the story of a young man who had a girl friend, and he was happy with his existence; that is, until he met the most beguiling and captivating woman he had ever laid eyes on; she loved him, and then she snubbed him. Although he didn't know it, she was a "playgirl", the queen of hearts. She left the young man in an agony that he had never known before. Lenny Welch projects this to the extent I can feel his pain. Without words, Lee Morgan tells the same story. https://www.youtube.com/watch?v=DdLtXuAlt6AMusicians who don't understand the story behind the classics, should stay away from them and write their own music; that's my firm opinion. Enjoy the music. |
The first jazz record I distinctly remember was "Jazz of Two Decades". Although it was a compilation, the cut that stuck in my mind was "East of Suez". At that time, who was playing what was irrelevant. I guess I was in 10th grade then, and I wanted to travel to far away places with strange sounding names. "East of Suez" sounded like some place I might want to go, it sounded exotic and I liked the music. https://www.youtube.com/watch?v=PnrYk1pq12IAlthough I'm recounting this record from memory, I didn't remember all the cuts, but thanks to "google", we can all share them together. http://www.discogs.com/Various-Jazz-Of-Two-Decades/release/1474375After examining this record, "Jazz of the 50's" came back to me; those cuts have remained favorites of mine down through the years, that's also why I found it remarkable that the cut from the 40's stayed with me all these years. Enjoy the music. |
Rok, aficionados don't intellectualize the music we call jazz. Before "you tube" we were limited to words, which are a horrible way to communicate music. Now we can communicate with music, it makes statements that words can not be found to express. Maybe that's why Miles was so horrible with words, they failed to communicate anything he was trying to say.
Music is like a gigantic mirror of the times in which it was created; notice how music of the 40's seems to have some kind of common denominator that I can not put into words; and so it is with the 50's and 60's, those decades also have some kind of "common denominator".
When someone posts a statement with music, I can understand what they're saying much better than with just words. "You tube" has blessed us with a quality of sound, higher than we ever had, back in the day. For example; I'm sure I heard Miles and "Bird" on "Night in Tunisia" before, but I never heard it without distortion, pops, clicks, and record noise almost as loud as the music. Musicians have a sound as distinctive as the human voice, and I can't think of anything more distinctive than that. If you were in a crowded room with everyone talking, you would instantly recognize an old friends voice, even if you didn't see his face; that's what I mean about hearing this persons unique sound, not his style, but his musical voice that makes him different from any other musician before or after; now, we can hear things we never heard before.
Being an "aficionado" is about listening to the music. One of the most amazing people in jazz, never played any kind of instrument, she never wrote or talked about herself, but there is one statement she made that rings in my mind, that's when she told her talkative niece, "Listen to the music Hanna"; that's what being an "aficionado" is all about, listening and hearing. We hear things musicians say that can never be put into words, and others don't hear.
Enjoy the music.
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Rok, my post was meant to inform, and criticize Ken Burns in regard to us. While programs like Ken Burns are excellent for many others, I feel we are far too advanced for those types of programs; our discussions should be more into the "voices" of the different musicians. Miles for example had a trumpet "voice" that was different from any trumpet before him.
I also feel that when any of us find a musician we like, but are unfamiliar with, that we should all see what else that musician has to offer in order to increase our collection, and use "You tube" to do it; this is what they want you to do. The more exposure, the better the chances are for one of us to buy that artist's CD. I've bought a number of CD's based on your submission, acman3's post, or Frogman's recommendation on "You tube"; so it's a win win for "You tube" and the artist, that's what they are there for. Initially artists objected to their material on "you tube" without their permission, but after discovering that this increased exposure, increased their bottom line, they no longer objected; as a matter of fact, I've seen stuff that was removed come back on "you tube".
Charlie Ventura is apparently new to all of us, and I like his "musical voice". Our chances are better for finding something else by him when we go on a combined search on you tube. Since Frogman has yet to respond, he may know of something else by Charlie.
There is no better way to purchase new music than "like it or not", and our chances of finding new music we like have increased exponentially because we've been communicating on this thread for so long, that we should almost have a "mind meld".
Listening, hearing, and sharing what you heard with us, all go together; from now on, say it with a musical post, and then I'll know what you're talking about.
Enjoy the music.
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Here's someone we haven't touched on much, "Urbie Green", known as the “trombonist’s trombonist,” is one of the true greats of jazz, among the elite of the world’s trombone players. Urbie Green has toured with Woody Herman, Gene Krupa and Frankie Carle and has been cited numerous times in Down Beat magazine’s annual critics awards. Green has also established an extensive career as a free-lance trombonist for recording artists such as Count Basie, Frank Sinatra, Leonard Bernstein, Louis Armstrong and others. He has approximately 30 albums under his own name, appeared in the film version of The Benny Goodman Story and appears at major jazz festivals. Lately his solo career has taken him around the world three times in as many years. Urbie’s collaboration with Martin design engineers has led to innovations in the comfort of the hand brace and slide, an improved water hole with a curved key that empties easily in one turn rather than several shakes, and a goose neck that is chrome-plated to prevent players’ clothing from becoming marked by brass. https://www.youtube.com/watch?v=6-Q30Zq3IHUEnjoy the music. |
Rok, you got it, Bobby McFerrin clicked on real nicely, he's all over the place; as a matter of fact he just popped up on my play list from the "Round Midnight" soundtrack.
That's a real nice piece by Freddy Hubbard, and Kenny Garret shines on flute, he's gotten very creative lately. Mark Templeton is new to me, is he still active? Who's the bass player?
Now that you got those mark up tags straightened out, I'll be looking for more good music like this.
Enjoy the music.
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Rok, once the full impact of that video hit me, it almost brought tears to my eyes. This is the first time I ever saw all those stars together, making some of the best jazz that's ever been made, on one of the best jazz albums that's ever been made.
Jazz performances are like snowflakes, they can never be duplicated. No matter how many times the title track "Moanin" was made, and no matter who made it, none of them can compare to that performance at that time.
Each "jazz classic" is a part of my history; that was released just before I joined the Air Force, and no one knows better that you about the good times a young service man can have. That album could serve as the soundtrack for a movie of my life at that time; while there was some "Moanin", there were also quite a few "Bettys" that came along to brighten up the day.
And to think Lee Morgan was not yet 21 when that album was made, is an indication of his musical accomplishments that were to come.
Enjoy the music.
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Roland Kirk was one of the most unusual, inventive and creative musicians ever; he drew inspiration from old music and musicians to make new music, as well as play instruments I've never heard of, and play three or more at the same time.
"The Delta Rhythm Boys and the foxes by a landslide". Who said life was fair?
Anita O'Day is the jazziest jazz singer ever; she sang a song I've never liked, but when she sang it, it knocked me dead. The lady got style; the way she walks, talks, everything about about her says she is one jazzy lady, did you dig the way she scatted on "Tea For Two"?
"Afro Cuban All Stars", I'll get back to you on that one.
Frogman, could you lead us into new Cuban music and musicians?
Enjoy the music.
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Rok, in order to understand my specific comments in regard to Africa, the berimbau, and capoeria, we have to focus on the history of "Bahia"; but first, I would like to respond to some of Frogman's comments that are related.
There is no doubt that many different kinds of rhythms, and drumming that existed in Africa, no longer exist there, but can be found in other places. How is this possible?
Before slavery, Africans were living all over the continent in villages, if they lived far away from powerful countries and tribes, they lived in peace; but when slavery put a price on African heads, powerful countries, and tribes captured and sold them. Different villages had different drumming and rhythms, they were exported west, first to Cuba, which was "the board of trade" for slaves, and then to wherever their final destination was to be. Things that were unique to many villages, no longer exist on the continent of Africa, but they can be found where those slaves final destination was to be.
For my specific comments, we have to focus on the history of "Bahia". It was a center of sugar cultivation; integral to this was the importation of a vast number of slaves; more than 37% of all slaves taken from Africa were sent to Brazil, and processed in Bahia, and that's another reason for the unique rhythms that can be found in Bahia, but not in Africa. I don't mean for this to be a diversion, our focus is still on Cuban music.
Enjoy the music.
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Rok, fossils still like to look at foxes; although I noticed the audience was quietest when she was just moving and not singing.
Well folks, apparently it's time to get back to our regularly scheduled program, unless someone has more to add on Cuba.
Rok, am I ever glad I still have my Miriam Makeba records. When I tried to replace them with CD's, I found they don't exist. Her best records were made about the time she made that clip. My research person told me some were only released in Europe, and are very expensive; I didn't ask, "How expensive"?
If anyone has anything to add to the Cuban dialogue, fine, otherwise we'll get back on the tracks.
Enjoy the music.
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Here's an interesting artist, "Lila Downs Sanchez". She was born September 9 of 1968 in Tlaxiaco, Oaxaca, Mexico. She is the daughter of Anita Sanchez, a Mixtec cabaret singer and Allen Downs, a British-American professor of art and cinematographer from Minnesota. From an early age Lila showed interest in music. At the age of eight she began singing rancheras and other traditional Mexican songs. She began her professional career singing with mariachis. At fourteen she moved to the United States with her parents. She studied voice in Los Angeles and learned the English language, which her father helped her to perfect. When she was 16, her father died, and afterward she decided to return to her native Tlaxiaco with her mother. One day while she was working in a store in the Mixtec mountains a man came in to ask her to translate his son's death certificate. She read that he had drowned trying to cross the border into the United States. This deeply affected her and has continued to influence her work. She talked about this in an NPR interview about her 2001 release entitled Border. Although today Downs is proud of her origins there was a time when she felt shame regarding her Native American roots. "I was embarrassed to have Indian blood. I was embarrassed that my mother spoke her language in public." This led her on a path to find herself, which included dropping out of college, dying her hair blonde and following the band The Grateful Dead. After some time Downs found herself back in Oaxaca working at her mother's auto parts store, where she met her future husband and musical collaborator, tenor saxophonist Paul Cohen. Downs studied Anthropology at the University of Minnesota and voice in New York. Later she attended the Institute of Science and Arts of Oaxaca to complete her studies. At 25, after completing academic and music studies, Lila decided to return to Tlaxiaco. Paul Cohen always encouraged her musical ventures, and she joined a group percussion called Yodoyuxi's Cadets. Because Paul Cohen had business in the United States she began to live in both Minnesota and Oaxaca. Here is one of my favorite cuts by Lila https://www.youtube.com/watch?v=0MtQY-gtdH4Enjoy the music. |
Cuba is probably the only country whose people, history and music are inextricably interwoven. I'll begin Cuba's history and music with "Afro Cuban All Stars", a popular Cuban CD that displays the fascinating music of this country, that's derived from the roots of it's people. The first cut is Amor Verdadero, it's Guajara-Son, a rural music with more of a Spanish twist. Since there are ten cuts on this CD, I suggest that we take 3 cuts each, look them up on "Wikipedia", and tell us a little bit about them. Cut 2. is Son Montuno; 3. is Danzonete-Cha; 4. is Son; 5. is Guaguanco; 6. is Guaguanco son; 7 is guaracha; 8. is Mazambique; 9. is Son; and 10. is Son Afro. Acman, you take 2, 3, and 4; Frogman, you take 5, 6, and 7; Rok, you take 8, 9, and 10; while I go into other interesting aspects of Cuba's history, and music. https://www.youtube.com/watch?v=ZpJ4hF8EBZgAs you know, the roots of the inhabitants of Cuba are a combination of African slaves, and Spanish colonists; hence the music. I expect that defining the types of music, will shed a lot of light on the history of Cuba. In Cuba's revolution for independence from Spain, slaves fought in that war, which is one of the reasons why African music is so prominent in Cuban music. I expect your definitions of the music will dovetail with Cuba's history. I'll wait for us to meet before proceeding. Enjoy the music. |
Rok, you done went and gone "Hi Hat" on me and "The Wolfman", AKA Howling Wolf.
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Frogman, I was just joking about the drum, but seriously, how long did it take for African slaves to cease their "Africanity" (new word) and simply become their own people. Even "genetically", some African Americans are more European than African. Remember, one drop of African blood constitutes being an African American; some African Americans have blue eyes and straight hair, they can pass for white. There is nothing that can be traced back to present day African Americans, and that is what makes "Bird" so unique, when you listen to "Bird" as intently as I do, a whole new music was born, I call it "Bird Bop".
Now when you use the word INFLUENCE, almost nothing can be invalidated; however, I can separate Bird from Trane, when Trane is blowing; there was more of Bird in early Trane, but before he died, there was pure "Trane", without any Bird.
Enjoy the music.
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Rok, I got religion! Unfortunately, you have to dance, and I've never been much of a stepper, but I'm catching on. They're taking 45 RPM records, and playing them at 33, just for me; in a year or two I'll be up to speed.
https://www.youtube.com/watch?v=o86Y1xgbKmQ[\url]
[url]https://www.youtube.com/watch?v=QRNEVAzaX9sThis is the lousiest sound quality I've ever heard, but the music is poppin. [url]https://www.youtube.com/watch?v=JPG7KGa9fsg>https://www.youtube.com/watch?v=QRNEVAzaX9s>https://www.youtube.com/watch?v=o86Y1xgbKmQ[\url] [url]https://www.youtube.com/watch?v=QRNEVAzaX9s This is the lousiest sound quality I've ever heard, but the music is poppin. [url]https://www.youtube.com/watch?v=JPG7KGa9fsg Enjoy the music. |
Rok, since you took Finland, I'll take Norway, and begin with "Terje Rypdal". He was born 23 August 1947 in Oslo, Norway, is a Norwegian guitarist and composer. Most of his music has been released on albums of the German record label ECM. Rypdal has collaborated both as a guitarist and as a composer with other ECM artists such as Ketil Bjørnstad and David Darling. Over the years, he has been an important member in the Norwegian jazz community. The son of a composer and orchestra leader, Rypdal studied classical piano and trumpet as a child, and then taught himself to play guitar as he entered his teens. Starting out as a Hank Marvin-influenced rock guitarist with The Vanguards, Rypdal turned towards jazz in 1968 and joined Jan Garbarek's group and later George Russell's sextet and orchestra. An important step towards international attention was his participation in the free jazz festival in Baden-Baden, Germany in 1969, where he was part of a band led by Lester Bowie. During his musical studies at Oslo university and conservatory, he led the orchestra of the Norwegian version of the musical Hair. He has often been recorded on the ECM record label, both jazz-oriented material and classical compositions. His compositions "Last Nite" and "Mystery Man" were featured in the Michael Mann film Heat, and included on the soundtrack of the same name. Since I recently broke a stylus, I can't review what I have on my ECM albums, but here's what I found on You tube. https://www.youtube.com/watch?v=HiZ6YuIrj54 https://www.youtube.com/watch?v=CttBw2tcrB0This music refreshed my memory of Terje; I'll let you comment first. Enjoy the music. |
The problem with "current" jazz is that somebody defined what jazz had to sound like in order for it to be "jazz", and that's what shot the horse in the leg. "You know what they do to horses don't ya". Who might I ask gave anyone the authority to define jazz.
When I was restricted to FM radio, and current jazz for 3 days, it sounded good the first day, not too bad the second day, by the third day I wanted to throw the radio out the window; that's because the 3rd day sounded too much like the first day. Maybe the guy who defined jazz does not have the required originality to come up with something new that sounds good himself.
While I stated one problem with current jazz, it suffers from the same problem as the entire globe has "not enough money". I also find that when an individual's personal financial situation is secure, he can't understand other financial situations that are not secure. More people are on wobbly financial ground than at any time in my life, and that's because each successive administration plays with the numbers to make himself look good, and that's been going on for 30 years.
No, No, No, I absolutely do not want to go into a debate about these things, it's just that my mind went from one thing to another; kind of like "Dis, Dat, and De udder"
In regard to your current picks, while Oscar Peterson is Mr. piano, he always played too many notes for me, besides that, I'm in the "Hard Bop" camp; never the less I'm also a a big "Clean Head" fan, saw him live, and that was when people went to a night club to see one of his favorite jazz musician.
Duke Ellington and Count Basie were just too much for words. Although I was never a big band fan, I got to have that; it's on order. For me, it captured a time gone by when I was too young to go to night clubs, and when I heard something like this on the radio, I wanted to speed time up, now I want to reverse it.
Enjoy the music.
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Since the "J" word is beginning to give me a headache and run my blood pressure up, I'll refrain from writing about it for awhile. Although I have an extensive collection of "J" music that I'll continue to hear daily, for my health, the word must be avoided. I think I'll get a little religion; Rok, here's the real deal; this is music from the holy land, not some Baptist church in Nawlins. This is music Christ and the Apostles were listening to, all the way live, not some Baptist music out of Nawlins or Mississippi, but this. The subject is the music, not the movie; the instruments chosen for this music were the same instruments they used in Christ's time. https://www.youtube.com/watch?v=L7-2ldzIbUQ"Susana Baca", have I been here before? My memory ain't what it used to be. This lady has such a fascinating voice and story, that I can stand to hear again. The last time I was here, I can't remember whether I went on a solo flight or took you guys along; this time we'll go together. Her voice has such a sweet haunting quality, I could listen to it all night; which I probably will tonight. https://www.youtube.com/watch?v=MXo4AfC8HFY Although I don't understand the language, my heart takes care of the translation. https://www.youtube.com/watch?v=xgJLLKzYFYA https://www.youtube.com/watch?v=CGIZkjTDt4kSometimes in music, it can sound even better when you don't understand the language; music is a language of it's own, and that's universal, the music can speak for the heart and soul in a way that words alone couldn't manage; when you toss in your imagination, Susana's songs take on a magical quality. Here is one bad version of "Harlem Nocturne", that was featured in a movie about one bad ride. "Christine" was bad to the bone. https://www.youtube.com/watch?v=NuvGP2_RQ50Enjoy the music. |
"Ry Cooder", that names rolls off your tongue like Mississippi Moonshine; I know you done heard about dat. Although his music is all over the place, I choose to focus on the music that sounds like his name, "Ry Cooder". https://www.youtube.com/watch?v=31FrrSlQoxoHere's Miles Davis's home town; it's one no one who lived there when he did would even recognize now. https://www.youtube.com/watch?v=fOkXrd6eRRwRy Cooder always keeps it "Real", that's what I like about the man; he's never far from the harsh reality of survival of so many millions in a world of plenty. To keep their peace of mind, many will say "All they gotta do is get a job". This one is close to home for you; https://www.youtube.com/watch?v=-nkRVfyBc-QEnjoy the music. |
Miles and miles of Miles is enough Miles; I'm going back to Cecile McLorin Salvant before my odometer runs out. While I can switch the sound to the big rig, which gives me superior sound without picture; in Salvant's case, that works to her advantage, but when the big bucks come rolling in, a make over is in order, plus a few trips to the gym, and that gal will be a stone fox. Here she is on "Yesterdays", which is a little reminiscent of Carmen. Salvant can scat too, nice and easy without overdoing it, and her pianist is boss. https://www.youtube.com/watch?v=tgOghmYGsSYEnjoy the music. |
Rok, although I have Casandra's CD's since the beginning, this is my first time getting acquainted with her; she's infinitely more impressive than ever entered my mind.
Never heard of Gregory Porter, but the boy can "sang". I must say, Casandra is growing old quite gracefully; she's beautiful in many ways, I watched the entire 52:23 of that clip.
Since I've been looking at "Miami Vice", that offshore bank account thing was right on time, I'll have to check it.
Leersfool, when you say "musicians", you mean "Classical" musicians; the one's who can debate a "Basis super arm 9, versus "Vector" versus "Graham" tone arms. John Lee Hooker had 3 identical Adcom systems in his three homes; Max Roach had a most unimpressive system in his apartment over looking Central Park when he was interviewed by "Stereophile". If the musicians I've known were filthy rich, they would not be "Audiophiles"; setting up a brand new, high end analog rig, is too much like playing with electric trains; "When am I going to listen to some music, I'm tired of fiddling with this cartridge and tone arm, somebody call an engineer or Jeeves the butler."
Enjoy the music.
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Somebody done hit the sweetest sweet spot in jazz "Mr. T"; he's made more sweet sounding notes than any other jazz musician, and I ain't gonna take it back. His entire discography is boss, and what I don't got, I'm going to get. Turrentine received his only formal musical training during his military stint in the mid-'50s. In 1959, he jumped from the frying pan into the fire when he left the military and went straight into the band of the great drummer Max Roach. He married the organist Shirley Scott in 1960 and the two frequently played and recorded together. In the 1960s, he started working with organist Jimmy Smith, and made many soul jazz recordings both with Smith and as a leader. In the 1970s, after his professional split and divorce from Scott, Turrentine turned to jazz fusion and signed for Creed Taylor's CTI label. His first album for CTI, Sugar proved one of his biggest successes and a seminal recording for the label. He worked with Freddie Hubbard, Milt Jackson, George Benson, Bob James, Richard Tee, Idris Muhammad, Ron Carter, Grant Green and Eric Gale, to name a few. He returned to soul jazz in the 1980s and into the 1990s. Turrentine lived in Fort Washington, Maryland from the early 90s until his death. He died of a stroke in New York City on September 12, 2000 and is buried in Pittsburgh's Allegheny Cemetery. Although I like every cut on that album "Salt Song", this has got to be my favorite; it pictures someone who's done everything humanly possible to resolve a difficult situation, now there nothing left to do but "Tell Jesus". https://www.youtube.com/watch?v=y4JP6JRv7k0Enjoy the music. |
When it comes to Christmas Music, I'm pretty conservative; this album by Kenny Burrel appeases both my conservative and jazz sides. I would imagine every aficionado who celebrates Christmas has this one in his collection; it cooks and projects the spirit of Christmas at the same time. Right now I'm trying to decide which is my favorite cut; so far it's between "My Favorite Things" and "Little Drummer Boy". Give it a listen and tell us your favorite cuts on this album, and share with us your most special Christmas Music of whatever orientation. https://www.youtube.com/watch?v=S7PfDn0KhtI https://www.youtube.com/user/edawworldEnjoy the music. |
"Horns and piano, horns and piano; how about a little "Gitar"? Grant Green, my homeboy was born good; I saw him at clubs before he made his first record, and he was good then. He would just kind of lean back, look at his guitar, and beautiful music would start pouring out; he didn't even seem to be playing it, or making hardly any effort, like magic, beautiful music emanated from his guitar. Since I like all of his records, I'm going to have a hard time choosing, but I hope you'll forgive what some would call my excess number of selections. Me and Grant's music seem to be in a constant state of resonance, that is "we vibrate in harmony"; my first choice is "Lullaby of The Leaves". http://www.youtube.com/watch?v=-hxCP_LEniwNext is "Round Midnight"; this is a real laid back version with mystery; you never know what's going to happen around midnight in the city. While we have those syrupy lyrics to that song, they were not Monk's intention; he wanted the music to speak for itself, that's why he never plays it the same way twice. http://www.youtube.com/watch?v=6cYSD0knfvA"Somewhere In The Night"; this version seems to be more optimistic than most, "All he's got to do is just keep looking, and he's sure to find his lost love, she's out there "Somewhere In The Night". PH3Yc56wRZN25Bv3um>http://www.youtube.com/watch?v=SOOfQjU_Pxk&list=PLxsNFDVhPXQhZ_-
PH3Yc56wRZN25Bv3umNow we have "Speak Low"; Grant pops them "Gitar strings" on this one; and I mean he could pop em. I recall notes reverberating right inside my ear when he was popping them strings from way cross the room. http://www.youtube.com/watch?v=MHDEEJF1I4I&list=PLF3AB418A7231FFDF"Idle Moments" is the last one; this is one beautiful tune. The most striking thing about this tune is when Joe Henderson got so caught up in his solo, that he had no idea of time, and Rudy Van Gelder, who is a stickler about time, knew he was going over, and just let him blow. "Let that man blow his horn", that's what Gabriel said. http://www.youtube.com/watch?v=KoXNc-vKdJM&list=PL8C1FF6ED9FD7329BEnjoy the music. |
