Learsfool, that statement you're referring to, was made in jest more or less, but it was in regard to "improvisation". Actually I witnessed shows that were improvised night after night, and I found it unbelievable.
Equally unbelievable are "pit musicians". Beyond the fact that each musician played several different musical instruments, was how they played written music that sounded like improvised jazz; that boggled my mind; and I forgot, this music had to correspond with action going on, in a play on stage.
Could you elaborate on these musicians?
Enjoy the music.
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Schubert, you're really on to something there. I was going on and on, talking to my minister, and using the phrase "The reality is.........."; and after patiently listening, he responded "Orpheus, there are many realities". Indicating when we look at the same thing, we don't necessarily see the same thing, and whatever the thing is, it's our relation to the thing, that gives us our "reality"; hence there are many realities.
While we know what we're talking about, that should keep everyone else confused; but that's their "reality".
Enjoy the music and the holiday.
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Learsfool, you went even farther than I was inferring to in regard to "imitating" improvised music. If this music was written out, do you think the classical musicians could play it, and make the music sound as though it wasn't faked? [url] https://www.youtube.com/watch?v=B83B1YiVcjE&list=PLUSRfoOcUe4aAPJ2Z2qXmrFfAN0GrCdBm[/url] "Also you must remember that anything being improvised on the spot in a jazz club cannot be TOO complicated, otherwise it almost certainly wouldn't work, unless it was perhaps done by a group that was used to playing together all the time, and knew each other's musical tendencies very very well. And of course, as we have talked about before on this thread, the players all know the tune and the chord changes, so the melodic improvisation is taking place inside a very structured framework that all of the members of the group understand. And even if they don't know the tune at all, if they have what they call a "fake book" that includes it, they can use it and get through the tune." The music I heard on a regular basis at jazz clubs was comparable to the music I've submitted on this post, and it was done by musicians in what you and Frogman called a "pick up band". In regard to "Too complicated", meaning comparable to the music I've submitted; I'll have to let you and others be the judge of that. When "Monk" was queried what he thought was too many times about how to play something by a certain famous jazz musician, this was his response: "You a professional jazz musician, and you got a horn ain't cha". Meaning, blow the sucker, and it better come out right. Although I was referring to a jazz musicians ability to improvise in my first post, I don't think I communicated this. (BTW, when is the last time you were at a jazz club?) Enjoy the music. |
Rok,
"Naming some guy who plays locally in a club, is not a valid opinion."
Miles Davis was "Some guy who played locally in St. Louis", Clark Terry, was some guy who played locally in St. Louis. Grant Green, was some guy who played locally in St. Louis. You don't know it, but the the guy I was referring to was someone you raved about awhile ago.
So much for guys who played locally in St. Louis.
Enjoy the music.
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Learsfool, this was a play that had been made into a movie, and I had already seen the movie; that's why I was so fascinated by these guys down in the pit, where they were out of sight for the audience, because the audience looked over and past them, at the play.
Although they were referred to as "doublers", they may have up to eight instruments each. I just looked at what the reed section consisted of: Alto sax; Tenor sax; Clarinet; Flute;and Piccolo, plus an oboe.
Now this was a dramatic play, with dramatic changes, and those guys in the pit stayed glued to that sheet of music in front of them while they changed instruments. I'm impressed by a musician who can really play any instrument; I was doubly impressed by these musicians who could play a multiplicity of instruments, and never even look at the instrument they were playing. (I guess I'm easily impressed)
While they're playing, their music had to correspond with what was going on, on stage. I wonder how many "doublers" does Frogman know. Now I remember Frogman explaining that once. I was impressed then, and just the thought of what they were doing impresses me now.
Phantom Of The Opera (orchestration according to The Really Useful Group, the company that holds the license) Woodwind 1 (Piccolo/Flute) Woodwind 2 (Flute/Clarinet) Woodwind 3 (Oboe/Cor Anglais) Woodwind 4 (Eb Clarinet/Bb Clarinet/Bass Clarinet) Woodwind 5 (Bassoon) 3 French Horns 2 Trumpets Trombone Percussionist 2 Keyboards Harp Violins (7 recommended) Violas (2 recommended) Cello (2 recommended) Contrabass Total: 27 Players
Enjoy the music.
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Schubert and Rok, Does anybody remember Weapons Of Mass Destruction in Iraq? After you get through that one, I got another one for you. |
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Learsfool, I don't mean to leave you hanging, it's just that I don't quite know how to respond to your posts without being misunderstood, and I'm hoping Frogman will chime in.
In the meantime, I'm going to sip some nog, and toast to you and all the rest of the aficionados.
Have a Merry Christmas, and enjoy the music.
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Frogman, something went wrong with that link, but here is the correct one
From Wikipedia, the free encyclopediaRaisinOriginal Cast RecordingMusicJudd WoldinLyricsRobert BrittanBookRobert B. Nemiroff Charlotte ZaltzbergBasisLorraine Hansberry's play A Raisin in the SunProductions1973 BroadwayAwardsTony Award for Best MusicalRaisin is a musical theatre adaptation of the Lorraine Hansberry play A Raisin in the Sun, with songs by Judd Woldin and Robert Brittan, and a book by Robert Nemiroff (who was Hansberry's former husband) and Charlotte Zaltzberg. The story concerns an African-American family in Chicago in 1951. The musical was nominated for nine Tony Awards, winning two, including Best Musical, and the Broadway production ran for 847 performances. Contents [hide] Synopsis[edit]In Chicago in 1951, an African-American family, Ruth Younger, her husband Walter Lee Younger, their son Travis and Walter's mother are living in a cramped apartment. Walter is a chauffeur but thinks that his father's life insurance policy proceeds will buy a way to a better life. He plans on buying a liquor store, but his mother Mama Lena Younger is against the selling of liquor. Tensions arise as Walter tries to convince Mama Lena to forget her dream of buying the family its own small house ("A Whole Lotta Sunlight"). Walter decides to make the deal for the liquor store and signs the papers with his partners Bobo Jones and Willie Harris. Beaneatha Younger, Walter's sister, is in college and is romantically involved with an African exchange student, Asagai. When Walter comes home drunk he joins Beaneatha in a celebratory dance, picturing himself as a chieftain ("African Dance"). Ruth and Walter fight about their future but they reconcile ("Sweet Time"). Mama arrives to announce that she has bought a house in the white neighborhood of Clybourne Park, and Walter leaves in anger. Walter has not returned home and Mama finds him in a bar. She apologizes and gives him an envelope filled with money. She asks him to deposit $3,000 for Beaneatha's college education, and tells him the rest is for him. As the family packs to move, a representative of Clybourne Park, Karl Lindner, arrives and offers to buy back the house. Walter, Ruth and Beaneatha mockingly tell Mama of the enlightened attitude of their new neighbors. Just then Bobo arrives to tell the family the bad news that Willie has run off with the money. This forces Walter to contact Lindner and accept the offer to buy back the house. Although Beaneatha berates her brother for not standing up for principles, Mama shows compassion and understanding ("Measure the Valleys"). When Lindner arrives, Walter announces that the family will, after all, move to the new house. Songs[edit]Act I- "Prologue" - Company
- "Man Say" - Walter Lee Younger
- "Whose Little Angry Man" - Ruth Younger
- "Runnin' to Meet the Man" - Walter Lee Younger and Company
- "A Whole Lotta Sunlight" - Mama
- "Booze" - Bar Girl, Bobo Jones, Walter Lee Younger, Willie Harris and Company
- "Alaiyo" - Asagai and Beneatha Younger
- "African Dance - Beneatha Younger, Walter Lee Younger and Company
- "Sweet Time" - Ruth Younger and Walter Lee Younger
- "You Done Right" - Walter Lee Younger
Act II- "He Come Down This Morning" - Pastor, Pastor's Wife, Mama and Mrs. Johnson
- "It's a Deal" - Walter Lee Younger
- "Sweet Time (Reprise)" - Ruth Younger and Walter Lee Younger
- "Sidewalk Tree" - Travis Younger
- "Not Anymore" - Walter Lee Younger, Ruth Younger and Beneatha Younger
- "Alaiyo (Reprise)" - Asagai
- "It's a Deal (Reprise)" - Walter Lee Younger
- "Measure the Valleys" - Mama
- "He Come Down This Morning (Reprise)" - Company
Characters and original cast[edit]Productions[edit]The musical began a pre-Broadway tryout on May 30, 1973 at the Arena Stage in Washington, D.C..[1] It premiered on Broadway at the 46th Street Theatre on October 18, 1973, transferred to the Lunt-Fontanne Theatre on January 13, 1975, and closed on December 8, 1975 after 847 performances. Donald McKayle was the director and choreographer, and the cast featured Virginia Capers as Lena, Joe Morton as Walter, Ernestine Jackson as Ruth, Debbie Allen as Beneatha, Ralph Carter as Travis, Helen Martin as Mrs. Johnson, and Ted Ross as Bobo. Capers later starred in the national tour. The production won the Tony Award for Best Musical.[2] The Long Beach Performing Arts Center in Long Beach, California presented the musical in February and March 2003. The Court Theatre in Chicago staged the musical from September 14 through October 22, 2006. The cast included Ernestine Jackson, who formerly had played Ruth, in the role of Lena Younger.[3] Critical reception[edit]In reviewing a performance in Washington (Arena Stage), Clive Barnes of The New York Times called it "a warm and loving work."[1] In his review of the Broadway production, Barnes noted that the book of the musical "is perhaps even better than the play.... 'Raisin' is one of those unusual musicals that should not only delight people who love musicals, but might also well delight people who don't".[4] After the Broadway opening, Walter Kerr of The New York Times wrote, "The strength of Raisin lies in the keen intelligence and restless invention of a musical underscoring that has simply invaded Lorraine Hansbury's once tightly-knit, four-walled, close-quartered play, A Raisin in the Sun, plucking the walls away, spilling the action onto the streets with a jittery down-flight of strings, mocking and matching realistic speech with frog-throated sass from the heavy-breathing viols."[5] The New York Times also reported that there are "ovations every night at the 46th Street Theatre for 'Raisin'. But they are for the cast, not individual performers. There are no stars.... It was at the Arena Theater in Washington, where the play first opened this spring, that Mr. McKayle said he started evolving the ensemble-acting concept."[6] Awards and nominations[edit]Original Broadway production[edit]YearAwardCategoryNomineeResult1974Tony Award[7]Best MusicalWonBest Book of a MusicalRobert Nemiroff and Charlotte ZaltzbergNominatedBest Original ScoreJudd Woldin and Robert BrittanNominatedBest Performance by a Leading Actor in a MusicalJoe MortonNominatedBest Performance by a Leading Actress in a MusicalVirginia CapersWonBest Performance by a Featured Actor in a MusicalRalph CarterNominatedBest Performance by a Featured Actress in a MusicalErnestine JacksonNominatedBest Direction of a MusicalDonald McKayleNominatedBest ChoreographyNominatedTheatre World AwardRalph CarterWonErnestine JacksonWonJoe MortonWon1975Grammy AwardBest Score From the Original Cast Show AlbumRobert Brittan, Judd Woldin (composers);Thomas Z. Shepard(producer); the original cast (Virginia Capers, Joe Morton, Ernestine Jackson, Robert Jackson, Deborah Allen, Helen Martin)WonReferences[edit]- ^ Jump up to:a b Barnes, Clive. "Stage:Capitol's 'Raisin'", The New York Times, May 31, 1973, p. 49
- Jump up^ "Sing 'Em All! The Tony Awards Songbook". 2008-04-30. Retrieved 2009-08-15.
- Jump up^ 'Raisin' at the Court Theatre, 2006 www.courttheatre.org, accessed August 15, 2009
- Jump up^ "The musical is 'Raisin' and it has come to Broadway via Washington's Arena Stage". Barnes, Clive. "Theater: 'Raisin' in Musical Form", The New York Times, October 19, 1973, p. 59
- Jump up^ Kerr, Walter. "Raisin is Sweet, Could Be Sweeter", The New York Times, October 28, 1973, p. 127
- Jump up^ Campbell, Barbara. "Cast of 'Raisin' Works as Close as a Bunch of Grapes", The New York Times, October 27, 1973, p. 20
- Jump up^ Tony Awards, 1974 tonyawards.com, accessed August 15, 2009
External links[edit][show]Tony Award for Best Musical (1949–1975)[show]Lorraine Hansberry's A Raisin in the Sun (1959)Categories: Navigation menu |
Frogman, although I had seen the movie and read the book, the play was the most impressive of them all; and the most impressive aspect of the play was the music; and that was the most impressive for me, because of the "reed doubler" down in the pit. I was seated second row, far left, and I could see him pulling different horns out of a rack while his eyes were focused on the sheet of music in front of him. Any musician who can blow sax very well is impressive to me; but this guy could blow sax, clarinet, oboe, and I don't remember what else, but he was fantastic on every instrument he blew. I'm sure the audience, who couldn't see the musicians in the pit, thought each different instrument was played by a different musician. When there was fast jazzy action on stage, the music was fast and jazzy; when it switched to jungle music, the musicians in the pit changed instruments, and instantly transported you to the congo. By the way, the name of this play was "Raisin", which is a very dramatic play with fantastic music that ran the gamut of emotions; from "Measure The Valleys" to "Alaiyo", African music that might have required a flute. Whatever, the "doublers" switched instruments and played it. Frogman, could you get the details on the play and explain to us specifics about the doublers. Here is the link to that play [url] https://en.wikipedia.org/wiki/Raisin_(musical)[/url]Thank you Enjoy the music. |
Welcome to the thread Jazzmusician, I have that original LP. Seeing that performance live was quite a privilege, which will live in your memory forever; wish I could have been there.
I'll look forward to your many fine contributions in then future.
Enjoy the music.
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Rok, that was a fine contribution, and I enjoyed every last minute.
Did you know there are those who can not distinguish between notes played very fast and "Bird's Best Bop"? When you told me, (and I knew you would) that you liked what you heard, I knew you were not one of those who can not distinguish between notes played very fast, and "Bird's Best Bop"
"Bird's" patent on Bop is encoded in the music, and he took it to the grave with him. A lot of people think that playing jazzy notes real fast is "Be Bop", but it ain't. While I can clearly hear the difference, I can't explain it because I'm not a musician.
I think it's been stated that if I learned something about music, I could explain such things. If that's what it takes, count me out; God created those who play music, and those who listen to the music they play; I know my place in the Universe, I'm a born listener.
Enjoy the music.
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Frogman, I've been gone all day, and your question is a brain breaker; especially in the in-depth way you want it answered. "Diz" played "Bop" after Bird passed; that alone would seem to nullify my statement, but I don't think so.
Right now, I'm tired, but I wanted to post something to let you know that I'm not avoiding or evading my statement that Bird took his patent on Be-bop to the grave.
Enjoy the music.
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This is the first time I recall hearing Larry Willis, although I probably heard him as a sideman. Yes! There is a big deal on Larry Willis; there's a big deal on any body who can play at this level.
The problems in jazz, are caused by people who can't accept "evolution". "If it doesn't sound this way or that, it's not jazz". Let them keep their definition, and I'll accept the music.
I bought a lot of LP's on sale, after this LP came out, that were of this genre, that I haven't played. As soon as CD hit, all the excess LP's of that time were almost given away, and I've still got new LP's to sort out; but buying a new cartridge is not on my things "to do list". This CD has been added to the shopping cart.
Frogman, so many people played Be-Bop after Bird's demise, that it's not worth debating. The only question that remains is, "How much of it was of the same quality as Bird's bop."?
Enjoy the music.
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Thanks to you, fellow aficionados, this has been a very good year for new acquisitions. What's amazing about my "new" acquisitions, is that they were not current, with the exception of "Dee Dee Bridgewater". Larry Willis was someone I missed completely, but that was before the age of personal computers, and so much good music came out in the 70's, that it was easily missed.
By attempting to stay within my chosen genre "jazz", I was probably unaware of good music that wasn't in the jazz section at the music store; and quite naturally I looked at the well known chosen names first. Now I'm catching up to all the good music I missed, thanks to you.
Merry Christmas, and Happy New Year!
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"The Bright Mississippi"; the interesting thing about that glistening muddy river from St. Louis to "Nawlins" is that the culture of the people along the river, and the music are so connected. "Board plank floors and Juke Joints", are another interesting aspect of the music, the river, the culture, and the people; I suppose when you put them all together, you got "The Bright Mississippi".
Enjoy the music.
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I believe you puttin us on Schubert.
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Rok and Jazz, I've been enjoying the posts and the conversation. Right now I'm dealing with big time weather related problems, and won't be posting for awhile.
These weather related problems of one kind or another have been going around like some kind of contagious disease.
Keep up the good work.
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Lazarus came back from the dead, and so did Orpheus; as a result of hearing the highest Blasphemy possible in the "Jazzasphere", someone has dared to compare St. Coltrane's version of "My Favorite Things", to some relatively unknown version of this same tune.
Let us not forget, Orpheus saw Coltrane, McCoy Tyner, and Elvin Jones at a small club, about this time of year in 63. (I recall the ride to the club in a brand new Buick, on wet streets glistening with the reflection of multicolored neon lights) "My Favorite Things" was performed with the extended version that included a preview of the sacred music St. Coltrane was to perform later on in his career.
While the tinkling of ice cubes and audience chatter can be heard behind live recordings of other artists, if this recording was made live, non of that would have been heard; the audience was as silent as in a recording studio while these artists were performing. As normal, everyone was having conversations before the music began; but after the first note was heard, the background noise was a silent as in a tomb, everyone came under the spell of that hypnotic "Soprano Sax". McCoy Tyner, and Elvin Jones, were as one; weaving in and out of the East Indian sounds of the most melodic "Soprano Sax" any one has ever heard.
I urge you to play this twice, and just focus on McCoy Tyner and Elvin Jones; you will hear what the audience heard. When listening to music of this caliber "live", time stands still, and your hearing plays beautiful tricks; one instant your listening to "Trane", and the next instant your Listening to McCoy Tyner, and Elvin Jones. Your mind and hearing does mysterious phase shifts, hearing one while excluding the other, and then combining the two.
When you close your eyes at a live performance in a small club, it can seem like the hypnotic "Soprano Sax" of "Trane" is in your ear, and mysteriously changes to McCoy Tyner and Elvin Jones. McCoy Tyner and Elvin Jones are as one; you'll hear this the second time around.
Enjoy the music.
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Seriously, did anyone try and focus on McCoy Tyner, and Elvin Jones when listening to MFT, by Trane. I promise you will hear it differently.
Enjoy the music.
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Musicians and none musicians have very different perspectives on jazz, or should I say music in general. Musicians can appreciate technical virtuosity, while to my ears it might sound like bombastic noise. In the case of our most recent comparisons, it was apples and oranges, plus comparing a solo artist to a group that played as one was a lose no win situation. I've heard that same identical cut of MFT no less than two zillion times, and this time I heard it new; no one can top that.
Although Mehldau was very good, who and what was chosen to compare him with was a bad idea. Now that we have two fantastic musicians, I'm looking forward to fresh new music they have discovered on this thread. Maybe we should accept new musicians for what they are, and what they have to offer without comparing them to the old.
Enjoy the music.
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Frogman, I like the music; I'm going to give his music an extended listen, and get back to you.
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That's got to be the best joke I've ever heard
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Although David "fathead" Newman is primarily known for his work on tenor sax, he's also a fantastic flutist. One of my favorites by Mr. Newman is "The Thirteenth Floor", his most awesome flute work. [url] https://www.youtube.com/watch?v=2WqN0RAuQDk[/url]Enjoy the music. |
Rok, do you remember that statement in "The Godfather", about the intended market for hard drugs? That line of thought has been able to sell a lot of things; but now we have unintended consequences, and the heroin user is a 21 year old, blond hair, blue eyed, resident of the "burbs". Maybe law enforcement will have a different outlook.
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You're making o sense Rok, which is nothing new. If a well to do (white) person buys and uses an illegal substance it's ok; but if an African American, Hispanic, or musician buys and uses drugs it's a crime. That line of thinking is nothing new except when all those young people began overdosing, then "We got a problem".
My heart pumps purple panther pee for the problem if that's the outlook.
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Rok, what did Billie Holiday go to jail for? What did Art Pepper go to jail for?
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Schubert, race has been used to elect the people who gave us this present "Corporatocracy"; and the constant threat of terror, has been used to take away our rights. We have always perceived that if someone else's rights are taken away, that's OK because it's not our rights; but it's their rights today, and our rights the next day because now we're left with no one to help defend our rights.
Acman, what did Art Pepper go to prison for?
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Oregonpapa's thread, "Does West Coast jazz get any better than this?" has some of the best jazz musicians of that genre, on one disc. I'll be covering them individually a little later on.
Enjoy the music.
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Moto_man, thanks for the video; although Billie's voice was in decline, she projected like no vocalist I've ever seen, all the horns were blowing to her and for her. To see Billie, was to idolize Billie; she was so beautiful in that special kind of way that we saw.
Enjoy the music.
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Rok, I think you're referring to someone trying to equate "soul" in mathematical terms.
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"Little Niles" is another one of my favorite tunes, and any time I really like a composition, I have it by many artists; this is just such a tune. The first version I have is "Lambert, Hendricks & Ross". [url] https://www.youtube.com/watch?v=uZzJUssQxbg[/url]Out of all the versions of this tune, "Bill Anschell" is my favorite; his is the longest. The other reason is that he loves the tune as much as I do, and this can be detected by the way he play's it; he goes in and out, but comes back to the main theme in a different way. [url] https://www.youtube.com/watch?v=UPxN1c3pnL4[/url]Share your favorite version of "Little Niles". Enjoy the music |
Moto_Man, you have good taste; that's why I knew you would appreciate them both as much as I do.
Enjoy the music.
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Rok, I agree with you they're both beautiful; that means you have to give credit to the guy who wrote it.
What are some of you're favorite tunes that you have multiple version?
Enjoy the music.
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Although I agree, I'm surprised that you chose Abdul Malik. What's your favorite version of "Around Midnight"? I like Monk's tunes, but quite often I like them played by someone else. Here's one of his tunes that he plays just right; it's a quirky tune about a quirky fellow, and it sounds just right when Monk plays it; [url] https://www.youtube.com/watch?v=FuHjgKQDofs[/url]Enjoy the music. |
Rok, that version is so hard to beat, that I'm going to simply try and tie it. There was a version by "The Montgomery Brothers" that I had on an LP; this was before Wes became famous., that I don't think is on "you tube". I found the one by Wes; it's laid back, and there's a personal story that goes along with it. Every time I hear this, that personal story becomes crystal clear. Since I can't separate the two, I don't know if this would be my favorite without the personal story. [url] https://www.youtube.com/watch?v=K1Xozvcf0FA[/url]Here's one by Kenny Burrell; [url] https://www.youtube.com/watch?v=crNTPVGSt6E[/url]Which one is best between Miles and Kenny Burrell or Wes, depends on how I picture the setting. If I picture the setting in a cozy club, in the booth in the back, and what goes with that setting, Kenny Burrell wins, but if I'm just sitting at home listening to the music, Miles wins. For the heck of it, let's just add Chick Corea, and Bobby McFerrin. [url] https://www.youtube.com/watch?v=shWrMVSj_hk[/url]Enjoy the music. |
I've got just the thing to ease his pain. I'm still in the alley rolling with the rest of the tin cans; this time Mr. Jimmy Smith is providing the music. I think I hear juke joint sounds in the back ground, it's about 2:AM and everybody is feeling good; we even got a harmonica, "laissez le bon ton roulet", let the good times roll, parlevu france. [url] https://www.youtube.com/watch?v=utmgnjBavs0[/url]Enjoy the music. |
Rok, I wonder why good new music is so scarce? When I bought Mingus's famous album"Mingus Ah Um" in 1960, I bought it because of the abstract art cover work, I had never heard of Charles Mingus. It was just that easy to buy good jazz at the record store. Now all I do is accumulate losers. As we came into the 60's, there was a lot of prosperity in that decade; the auto industry in Detroit was booming, it seemed that everyone was driving a new car, and don't forget about "Motown". The same could be said for St. Louis, and Chicago. Although I didn't go to LA during that time, it had a music scene that rivaled New York. What do you find in those cities now? If no one has anything to sing about, how can you expect musicians to make good new music? Right now I think I'll take a step back to some better times and sample a little "Chitlin Con Carne" with Kenny Burrell, who is one of my favorite guitarists; he does jazz in a soulful bluesy kind of way. Here's an album no collection should be without, "Midnight Blue". Every cut on this is a winner, and when you add Stanley Turrentine's tenor sax, you got some downright low down blues. "Just throw me back in the alley and let me roll with the rest of the tin cans" is what I heard a lady say in a juke joint while shaking her hips and popping her fingers; she was feeling real good. Take your time, settle back and relax while you listen to this complete LP. [url] https://www.youtube.com/watch?v=eNWDwOsQqlw&list=PL4DB8E958D5D43CC3[/url]Enjoy the music. |
Frogman, if I'm wrong about new music, come up with something "Boss" that's was made in 14, or 15, and I'll concede. If I don't like it maybe Rok will; that would make it a draw.
I'm waiting.
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Acman, what I bought wasn't a total loser, but neither was it boss; I'll find it and get back to you. |
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Acman, the most current CD I bought was "Offering", by Cheranee Wade, and it was boss. The other most current CD was "Kalenia" by Oran Etkin, and I'm still evaluating, but I wouldn't call it a loser.
Actually I was challenging Frogman to come up with something new.
Enjoy the music.
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This is specially for you Frogman, since you're equating "soul" in mathematical terms, I'm going to give you some "super soul". In order to capture the nuance on this one cut "Blue Funk", I first had to get to the "high end of the high end"; 45 RPM vinyl, Sota Saphire, modified Rega Tonearm, Grado Sonata cartridge. Grado is sneered on here because they wouldn't recognize soul if it bit em in the ass. Tube pre and amp is a must. Any speakers that have good solid midrange and bass are sufficient; soul is source critical. This is not about having the deepest pockets, but about selecting the best components for the job. This is the LP; [url] https://www.youtube.com/watch?v=zUnID70IU-g&list=RDzUnID70IU-g#t=563[/url]I'll get back to you next year when you have the mathematical calculation. Enjoy the music. |
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Rok, with Rachelle Ferrell I had to quit looking at her over the top facial expressions, and scratch the fact she was singing "Autumn Leaves" and "scatin". When I turned away from the computer and listened to her voice as a musical instrument, she got A+; but I had to go through a lot of changes. With the "Bey Sisters"; can you say "stereotypical", I knew you could. That means to use something that's been used too many times before; it was not original. It reminded me of an entirely different song; [url] http://www.weather.com/weather/hourbyhour/graph/63031[/url]Andy Bey by himself did a lot better; he's singing a standard like a standard is supposed to be sung by bringing out the meaning and emotion that goes with the song; and as my teacher used to say; "This is the last time I'm gonna tell you this', [url] https://www.youtube.com/watch?v=JXwcazvrnko[/url]Enjoy the music. |