One my favorite jazz quotes is Zoot Sims’ response when asked what he thought of Stan Getz: "Stan, he’s a great bunch of guys". Baker was known to be a nut; volatile pairing. The way that Stan Getz leaves the stage on your clip is very telling of how he felt about Baker. However, if I had to put my money on who I thought was the main cause of the problem I would put it on Baker. Getz leaves the stage abruptly for whatever personal reason. But, Baker then goes on to express his dissatisfaction to the audience; a big no-no in my book. You may find this interesting: https://books.google.com/books?id=dm9kOiIEFAwC&pg=PA258&lpg=PA258&dq=stan+getz+chet+bake...They did have a stylistic "simpatico", but I consider Getz the superior artist. Some more music from Getz’s "Voyage". After Getz, the star of the album is Kenny Barron; incredible player who matches Getz’s ability to be poetic with his playing. The rhythm section sounds amazing: https://m.youtube.com/watch?v=mkrzDFCSuP8https://m.youtube.com/watch?v=kowHSx8CXgg |
Great posts all; thanks. Alex, thougthful commentary as always.
****, or else man could fall in trap of dislaking some work of art for a sake of dislaking artists personality.****
Agree, but there's another trap: liking some work of art because we like the person and what that person represents to the extent that we overlook the flaws in the art. Why I think a certain amount of objectivity is important. I agree about Baker having "that certain thing". For me personally, the "tortured soul" persona wears a little thin sometimes.
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Acman3 and jzzmusician, thanks for the great clips. Beautiful alto sound and tasty attitude from Leon Parker; not he kind of tone one usually hears in that kind of groove with just the right amount of "modern". Liked it a lot. And beautiful and heartfelt singing from Rene Marie. Good stuff, and, as always, no reason that the new can't mix with the traditional. Which goes to Alex's comments about the public's attitude toward art today. I have some thoughts that need simmering. Every town used to have a "town crier". I propose that Jafant be given the designation "jazz crier"'with his short and concise interjections and mentions of artists and factoids; sometimes serving to diffuse the silliness that creeps in here from time to time. Before "Summertime" became the beautiful jazz standard that it is, it was: https://m.youtube.com/watch?v=O7-Qa92Rzbk |
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Mel Lewis had one of the most distinctive time feels as a drummer; particularly his cymbal sound. Very relaxed but with good forward momentum.
Loved the Jones "After Hours" clips. Thad Jones was a beautiful jazz player who could have been one of THE names that always comes up on "best jazz trumpet" lists and whose excellence and success as a writer and orchestrator took some of the limelight off of his playing. Great stuff!
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Thrilled to see mention of the Thad and Mel band. Had the pleasure of hearing the band when Thad was still here about half a dozen times; amazing band. Great YouTube clip! It some subtle and some not so subtle ways it goes to so much of what we argue about here. Bottom line: there's always great music going on; its up to us to keep up with it, not the other way around.
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Bought this for my wife after hearing "This Is (Not) A Protest Song" on WBGO a couple of days ago (Acman3 posted a live version of the tune recently) thinking she would really like this singer. This is without a doubt one of the best, most complete, albums that I have heard in some time; new or old. This woman is an amazing talent; great singer who writes her own material. Her writing is killer; great tunes with interesting and unexpected melodic and harmonic twists and turns that cover quite a wide range of styles. Mostly jazz but also strong shades of gospel and even country. The rare singer who can do a torch song justice and can also sing a ballad with tenderness and nuance; oh, she can swing like the best and can be sexy as hell. Did I say I like this singer? The band is killer. Check out Sherman Irby (alto) on the title cut; amazing solo and a perfect example of telling a story with the fewest notes and the most "pocket". My new favorite record. Can’t say enough good things about it and an absolute must have; especially for anyone who still has any doubts whether there is good jazz being created today or whether it has a future. For my money this record belongs on the list of the best jazz vocals records ever; it is that good. https://m.youtube.com/watch?list=PLMc5W-p_zXiIIKFYmVTxmacQYQ9zNbYjF&v=FO5yVP-BcM8 |
****Everybody is listening**** Well, duh!, some might say. A seemingly obvious expectation of musicians in an ensemble; but, there’s listening and then there’s LISTENING. As you point out, Acman3, these guys are listening big-time with wonderful interaction and support of each other. A new one to me, Danny Green is a very very nice player with a rather gentle touch on the keyboard which serves the style of his compositions well; compositions which go beyond simple structures and the familiar and comfy twelve bar blues format. The trio is clearly a working band very familiar with each other’s playing styles and exibit a kind of musical intuition for each other and familiarity with the form of the tunes. One thing is to play the "head" of a tune with unusual "stop-time" figures; another is to be able to incorporate those musical "stop-and-go’s" within an improvised solo in a credible way. Sometimes virtuosity is not about speed and number of notes, but about simplicity and musical cohesion; virtuosity of musical intent. Very nicely done! Thanks for the introduction. One of the more interesting and different takes on the piano trio format: https://m.youtube.com/watch?v=ZIJW6Fw9-DYhttps://m.youtube.com/watch?v=K7iaGSYk1hkhttps://m.youtube.com/watch?v=x2We0zoJNL0 |
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Btw, for anyone interested, the melody for the "tune" in the Jesse Cook clip was an appropriation (iow, "lifted") of a traditional Colombian "cumbia" with lyrics made popular in the early 50s titled "La Mucura". This is an early version by one of the greatest Cuban singers of all time, Beny More: https://m.youtube.com/watch?v=Y1x3dXHylR4 |
And btw, Jesse Cook is not even close to being a contender for "world's leading exponent of Spanish Guitar". Perhaps in the pop-ish World Music bag like the "Havana" clip; but no more than that. Contenders are players like Paco DeLucia, Juan Martin and Paco Pena. Lots on YouTube.
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O-10, there is no contradiction.
****Are you saying the music of Cuba is pointless and bland.****
I would hope that you are not serious with that question, because, surely, you must know that the answer is no. I am glad you like Jesse a Cook and his music. I find it to be pleasant enough; but, formulaic, highly produced and, in spite of all the different influences, not a good representation of any of one them and not an interesting "fusion" (World Music) result. Your question suggests that simply having the influences of Spanish music makes it good music; clearly not the case. No need for argument. You like it; I dont. I look for something else in this type of music.
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Sometimes neutral is all that the art aspires to be.
****our take on the music is determined by us, and not the music.****
Exactly right. And exactly the point that I've been making for over three years. "Our take" on the music is usually a reflection of ourselves. But our own individual take on the music is not the final arbiter of the music's ultimate value; after all we are clearly not clones of each other. Perfect example: I can't for the life of me understand how the Jesse Cook clip can be felt to be anywhere near as "spectacular" (to use your definition) as any of the recent piano trio recordings. I wish I could say I was "neutral" to it. To my sensibilities it is bland, derivative and (almost) totally pointless music. Obviously, not to all. But, that's just me and goes to your point. |
No, Rok, I am not wrong "again". Art is many things and sometimes it is greater than some individuals' ability and capacity to understand it. Even the "Great Unwashed" can't escape the inevitable result of not washing.
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Newbee, excellent comments re good/bad. Glad you like "The Sound Of Red"; it is a great record. |
McCoy "Sahara": not sure what it has to do with "fusion", but one of the best records of the 70s and a longtime favorite. Much has been made about why McCoy left Trane's qt., but the huge musical-influence debt that McCoy owes Trane is obvious on this record. A direct extension of his work with Trane's Classic qt., McCoy takes his pentatonic scale-based playing to new places. A very distinctive musical vocabulary. Amazing player and record.
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About as good an explanation of how fusion came to be as I've read.
Btw, my comments re McCoy had everything to do with "Sahara" and Trane's influence on McCoy (and just about everyone that came after, as you pointed out).
I don't understand why it's necessary to misrepresent how the so called "modernists" feel about the blues; and with sarcasm at that. There has not been a single derogatory blanket comment about the Blues by anyone here who also happens to like modern jazz. The issue is not that anyone doesn't like or respect the blues (it would be absurd not to), it's simply that there are other styles to like as well; and, it's the traditionalists who tend to be less open to other styles. |
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jzzmusician, in local parlance there is only one word for that clip: Sabor! Thanks for that. |
Great music indeed! The real deal in Spanish guitar. Love this music and have always found it to be incredibly soulful. Have "Almoraima" and will look for "Solo Quiero Caminar"; I am intrigued by the use of the flute in the ensemble. Thanks for sharing. Picked up this one recently; with Camaron De La Isla, the great flamenco singer: https://m.youtube.com/watch?v=xbIqVzf6PUohttps://m.youtube.com/watch?v=Sht0la5TgH4 |
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Aargh! Here we go again; good one, O-10. Friendly suggestion: never worry about offending me; no chance of that happening. In the meantime, if you care to try and keep things remotely productive, I would only point out the obvious fact that my comments were about the one Jesse Cook clip that you posted and nothing else. I would, of course, encourage you to consider how the recently posted clips of the "Pacos" differ and compare to Jesse Cook's music and why some might consider the differences important; but, well......Less importantly, I could point out that it was you who first opened the door of criticism of someone else's music posts. All this would, of course, presume appreciation of the act of being reasonable; a tall order I'm sure. I will not be responding to any further posts about this idiotic matter; so, feel free to fire away but don't expect a response (unless, of course, and as I tell my kids, there's a different attitude). I would also seriously consider Newbee's most recent post and how that relates to blanket statements. Enjoy your day; beautiful here in NY.
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Well......all right...one more 😉
****Frogman, your record speaks for itself.****
Thanks; I believe it does.
Now, and, of course, this is coming from MY world view, sensibilities, and standards, but I feel there is always room, in spite of everything, for one last ditch appeal to the possibility that somewhere in there is just a tiny bit of that little voice that says to reasonable people: "don't you realize how idiotic this posturing is?, If you're going to insist on going down this road, where's the beef?".
Music, anyone?
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****Music, anyone?****
Thanks. |
Incoherent? Not at all, Rok; and perfectly clear. But, it occurs to me that the reason that you don’t understand the message in my "ramblings" is the very reason that you are locked in such a narrow scope of music appreciation; but, that’s ultimately for you to figure out. Now, you can go ahead and have the last word, I am tired of the bs and the hypocrisy in how you and O-10 allow yourselves to be aggressive and provocative with your comments and interaction, but it’s high crime when others do anything remotely like it. But, of course, you can direct your vitriol at O-10 when you feel like it and that’s ok; he needs you and apparently you need him. I am going make a sad prediction: this thread will one day be shut down because the vitriol (O-10’s pit bull comment) will get to the point where the censors will deem it necessary. That would truly be sad, so I encourage all concerned (I include myself) to step back and take a closer and more honest look at what really goes on here. Great day to all.
Last word? |
Pattern:
Hmmmm..........lull in the vitriol........this same sh&t has happened so many times before.........respite.........will it last?..........avoid dialogue with O-10; too loaded and difficult.......hey! other posters show up.......great posts.....good dialogue, good, respectful discussions.......disagreement........different preferences.......no problem........hey! why aren't we arguing?..........good music posts..........more good music posts.............why aren't we arguing?.............O-10 comes back........good!..........informs that he is "forgiving us"........uh, oh!..........won't last..........O-10 goes on to express his dislike ("neutral") of my music posts..........no problem..........hey! maybe good dialogue........fewer posts.............less participation..............O-10 goes on to expound on the "bigger picture".........."we are all wired differently"; different tastes..........how true.......I agree..........I point out that our respective recent posts are a good example of what he had just said ("wired differently"). and (uh, oh!) point out why I feel that way.........ALL HELL BREAKS LOOSE.........WTF!...........much indignation.........posters go away...........O-10 runs to Rok for support..........how pathetic..........isn't it obvious that something so personal (soliciting support) should not be done in a public forum?............most importantly, why does anyone need "support" for his personal likes in music?.............why should the fact that I don't like it be such a threat?............other posters are vilified for not running to O-10's and Rok's defense............why doesn't it occur to them that maybe, just maybe, it is simple agreement and not some conspiratorial thing?............how insulting to the other posters to suggest that they don't have minds of their own, or would be swayed by "The Frogman"; who, btw, you mention by name(?) SIX times in one of your most recent posts.........SIX TIMES!...........doesn't that say something to you?...........think!...........how "magnanimous" of you to suggest that "we both" need to "cut back on the personal stuff".............valiant effort!...........why is he overlooking the insulting and cynical attitude that he, himself, often exhibits when posting?.............what gives?...............doesn't it occur to them that there is no vitriol when they decide to "go away" in indignation?............what a shame that it has to get to that point..........this thread could be so much more..........you two are pathetic............a music lover respects the music; not just his personal "love" of the music in an effort to build himself up............not only do I not think that Newbee is a troll, he is correct............opportunity wasted...........refusal to learn and expand horizons and learn to appreciate on a deeper level the music that they try so hard to claim they love........what a shame...........
Some random thoughts based on verifiably accurate occurrences. Make of them what you will.
A gentle suggestion: get your heads out of your a$$e$ and appreciate just what an asset this thread and ALL its posters could be.
Your (YOUR) resident "vital asset". |
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Beautiful Sonny Stitt! Love Sonny Stitt. For me, perhaps the most fascinating and interestig mystery story in all of jazz history and lore: Much (actually, not enough) has been discussed, postulated on and argued here about the issue of the evolution of jazz and, at the micro level, the influence of prominent players on younger players and on the direction of the music. It was Sonny Stitt’s contention that up until the time that he was "discovered", recorded and finally met Parker, that he had never previously heard Charlie Parker play; live or recorded. Yet, their styles were remarkably similar and given the firestorm that Bird was causing on the scene (not to mention that everyone was incorporating Bird’s style into their own; well, almost everyone) it would be assumed that the reason that Stitt sounded so much like Bird was, in fact, Bird’s influence on his playing style. There really is no verifiable reason to doubt Stitt’s claim, eventhough the matter has been looked into. This begs the question: how did this happen since the lineage of influence is easily traced in the majority of important players’ playing styles? To my way of thinking this points to the "inevitability" of the evolution of the music and how it’s like a force set in motion that can’t be stopped; it will always keep evolving whether we like it or not. Just some hopefully remotely interesting food for thought. https://m.youtube.com/watch?v=-vK_29ka1lc |
****Although the above is true, it contains in it, the inherent belief that any musician who did these things could be as good as "Trane" Miles or "Bird";****
Not so, and I'm not suggesting any such thing. That's quite a leap and don't see how or why you made that leap based on what I wrote. Otherwise, I'm pretty much in agreement. |
****The unwashed need answers.****
Why? Imo, some WANT answers; two different things.
****The questions become, is the evolution an improvement?****
Why does it have to be, or is expected to be, an "improvement"? Is Joe Henderson playing a ballad an "improvement" over Lester Young playing a ballad? Different and each a reflection of its time (****Evolution is a response to environment****). As always, whether any one of us likes one particular style better than another is a reflection of ourselves and our sensibilities relative to the world around us. The only thing that is a "dead end" is the need to put those qualifications on art. Now, if you really want to use criteria that gives a measure of excellence (or not) with something resembling an objective standard you have to look at the level of CRAFT and criteria used to judge that; and, no, those criteria are not purely subjective. You know.....that phrase that rhymes with "putz and dolts". It is, of course, not only about the craft; but, that road inevitably leads back to us (dead end).
****Guys trying to be different on purpose does not count as natrual****
Do you think, for one minute, that Bird and Trane didn’t "cultivate" their individuality? Every player sets out to find his/her voice and does so through a combination of inspiration and the hard work of trying new things; everything from developing harmonic concepts in their playing to trying fifty different saxophone mouthpieces to get the tone that they hear for themselves in their head. Bottom line:
You like the more traditional music (no problem) and seem to have a need to deem it "superior" to more contemporary music for some reason that is your very own. I don’t have that need and find it very limiting. I appreciate the excellence in the new and the old as long as certain other criteria are met. However, you don’t love or appreciate the traditional any more than I do. Excluding the non-traditional does not enhance our appreciation of the traditional; in fact, it limits it. You like the traditional and dislike the modern (I am generalizing, of course). There’s no problem with that. So, either you are correct and there are no worthy modern trends in music; or, I’m an idiot for thinking that there are. Importantly, it should be pointed out, again, which side of the coin does the bashing of the other. |
I have two sons; one grown and the other almost. The number of times that I say to myself: "sometimes dealing with my kids and their childish and petulant behavior is like dealing with some on this thread" surprises even me. Why? Because in both cases sometimes the behavior is an attempt at getting attention and wanting to appear more grown up than they really are. Deep inside kids know who has the real answer; but, darn it!, they will argue, scream and holler in order to, if only for a moment, feel grown up (knowledgable).
The real question is: why is Rok bringing up the subject of fusion and modern jazz at this point; and bashing it again at that? It’s not like there’s fusion being posted regularly. The fact that some like it and some don’t has been made crystal clear. Answer: comfort zone; the comfort zone of negativity towards what he doesn’t like or understand in an effort to get attention and build up what he does like. The insistence on continuing to call it "noise" when he KNOWS it is liked by individuals who have amply shown to be thoughtful music lovers will be seen as nothing more than provocation and stirring the pot; especially because a simple "I don’t like it", would suffice handily. Or, alternatively and much better yet, in order to make truly meaningful and substantive commentary he could offer something besides "it’s noise", "not a natural evolution", "it was done for the money", etc; comments which are essentially meaningless. Of course, a simple desire to keep the peace, at least for more than a day, would also suffice; but, like the finer points of music, that’s not part of the repertoire.
Rok, I could quote you and say "Wrong again!" I won’t, I’ll be a little less tactless. I believe you’re wrong; it IS all a natural evolution. You said it yourself; "product of the environment". You like music with simple structures, easily recognizable "tunes", and harmonic and rhythmic structures that are easy to take in and don’t challenge our sensibilities, however sophisticated they may be in other ways; all a reflection of the time of their creation, of your sensibilities and comfort zone. NOTHING WRONG WITH THAT. Fast forward a few decades to music that is more complicated reflecting a more complicated time, and in some cases "free". Why does it bother you so much that some don’t agree with your definitions? And, please, don’t go to the "it degrades the art" nonsense. I have no issue with you not liking what I like, but please do yourself a favor and don’t ridicule yourself by calling what some of us like "noise". I believe you do know better than that, but like my thirteen year old........"look at me, look at me!". Why are you still "searching for the truth"?; seems to me that you have found it already......the truth for you. Others on this thread have found their truth; why can’t you leave their truth alone? Now, if you would like to discuss this stuff in the only way the has some objectivity (so that it is applicable to all) (Newbee) let’s see what you got; haven’t seen much yet. Miles didn’t go in the direction he did "for the money"; he had plenty already. The real shame is that in spite of how much you like certain music you still don’t really understand the creative spirit.
All this was way too personal I admit and counter to your suggestion that things be kept less personal. All I can say is "practice what you preach".
On a fourteen hour plane ride (long posts; aren’t you excited?) to uncertain internet connectivity so nobody go reading into a possible delay in response time.
Acman3, nice quote, I need to borrow that myself sometime 😉 Love Eddie Harris, thanks.
Where’s my damn peanuts?!
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Good performances and great movie, Alex (the movie is about a saxophone player, after all 😎), but I don't think those two tunes qualify as adaptations of "music from a movie". Both tunes were written over thirty years before they appeared in the soundtrack to "Some Like It Hot". They were not written for the movie. While I can't think of examples, I would wager that the tunes also appeared in movies done before SLIH (1959). |
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Just a thought:
An incredible amount of potentially VERY INTERESTING topics and themes for discussion in recent posts. Excellent! It is MY impression that this thread tends to move away from topics to new ones without even getting close to exploring all there is to explore in any one topic (theme, music style, musician, etc.) if there isn't quick response time and posts. We all live in, not only different time zones, but different parts of the world and with different levels of free time at any given moment. Perhaps we should consider being more comfortable slowing the pace down a bit. Would love to look at Zorn and film further. Jus sayin...... |
Acman3, Charlie Chaplin’s work is definitely not for everyone; a unique combination of slapstick and pathos. Groundbreaking in the film world. This is not about music per se, although the music is by the great Hans Zimmerman. I am posting this only because I think it’s an extraordinary moment in a pretty extraordinary later movie (a talkie this time) of his and considered one of the great speeches in a movie. From "The Great Dictator": http://youtu.be/nKm_wA-WdI4 |
I like Zorn's work a lot; thanks for the clips. As far as Chaplin goes, like I said, it's a certain aesthetic that not everyone enjoys. I enjoy it to a point. Actually, I would say that an argument could be made that he is to the film world and its history what Jelly Roll Morton is to jazz. |
Here's another one. Beautiful saxophone playing throughout. Can't be sure, but would bet it's Phil Woods on the featured alto: http://youtu.be/2dl1-OW_oFw |
Alex, thanks for those clips. I am by no means a Chaplin-file and came to his work fairly recently. For a long time I assumed, as I suspect many do, that his works were primarily caricaturish and slapstick; until I became aware of their substance and importance. My experience with his films began with my involvement in projects having to do with the recreation of their music several years ago. I have not seen King In NY but will make a point to do so. Why surprised? Is it the "NY" part, or the "King" part 😉? |
Alex, thanks for those clips. Very nice music! I particulaly enjoyed "Le Cercle Rouge". Here is one of my all time favorite scores. Written by the brilliant Japanese composer Toru Takemitsu for one of Akira Kurosawa’s epics "Ran". I’ve always been a fan of Kurosawas’s samurai epics; this one is amazing. The score is gorgeous, haunting and violent at various points: https://m.youtube.com/watch?v=xOeauXqEF-A |
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Right......🙄 You just love saying (writing) that. Guess you need to get it any way you can. I am glad to help you out Rok; I believe in charity 😌
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"Round Midnight" is a fine film with Dexter giving a pretty amazing performance (for a mere saxophone player 😎), but I'm not prepared to say it's the best ever or that ever will be (maybe I'm not an Aficionado 😱); definitely one of the best 'though. Too many considerations and different points of view as to what a "jazz movie" should be to give it such an exclusive ranking. For starters, I have a little trouble with the choice of McFerrin on the melody in the title tune; good, but can't get past the "gee-wiz, how clever vibe". Imo, as good as McFerrin is, I don't think he can "play" (sing) an intricate jazz melody such as this as convincingly as a great horn player. I can't get past how McFerrin's easily recognized voice quality takes away (for me) from the period authenticity of the movie; not to mention the obvious technical shortcomings in his delivery of the melody (2:11 in the film soundtrack is one example-ouch!) which make it sound a little belabored overall. Dexter is awesome and the movie is really good overall. http://m.ranker.com/list/15-jamming-jazz-movies/konnoisseur411https://editorial.rottentomatoes.com/article/definitive-jazz-movies/BTW, saw the new "Miles Ahead". Big disappointment. Not particulely factual and Miles is portrayed as an almost buffoonish character. Cheadle's portrayal of Miles, except for a pretty good voice imitation, is not very believable. |
Good post, O-10; I can't disagree with what you wrote. On a related note, Jamie Foxx's portrayal of "Ray" is incredible. As far as I am concerned, from an "acting" perspective, that's the one to beat. Great movie.
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Sounds good; but, doesn't hold water. Couldn't disagree more about the Foxx performance. I think we agree that a great performance does not a great movie make. Acting IS imitation. However, what is the difference, as far as the craft goes, between "imitating" a character as defined and described by a script and directorial cues and "imitating" the traits of a famous person? I think you're short changing Foxx's performance. It s true that he bears a resemblance to Charles, but the performance was first rate by any standard; even the "piano playing" was the most realistic and believable that I've ever seen from an actor. |
acting, the representation of a usually fictional character on stage or in films. At its highest levels of accomplishment acting involves the employment of technique and/or an imaginative identification with the character on the part of the actor. In this way the full emotional weight of situations on stage be communicated to the audience.
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Very glad to see discussion of Eric Dolphy; a player who definitely pushed the envelope of modern jazz into post-hardbop avant-garde and I'm not sure there would have been as much interest here three years ago. To my ears, he was one of the few avant-garde players who, at no point in his improvisations, am I tempted to say "this is bs". He had his own musical vocabulary and was a much more accomplished instrumentalist than many avant-garde players. He was particularly accomplished on alto saxophone and bass clarinet; somewhat less so on flute with a less developed tone than on the other two instruments, but not to the point that he couldn't be fully expressive. I really like Ghosthouse's description of his style: ****Dolphy reminds me of Stravinsky/Schoenberg/Webern...very angular compositions; "post-romantic" if be-bop can be considered "romantic".**** I feel differently about his playing as a sideman vs leader. To my ears his work as a sideman is excellent and very distinctive, but it is his work a leader that fully expresses his voice. It isn't surprising that for anyone who can take Dolphy on a limited basis his work as a sideman would be preferred; it is generally a little more "inside", and hence more accessible, than his work as leader in which he generally takes it farther into the avant-garde. "Out To Lunch" is a brilliant record and probably his best record. The earlier and appropriately titled "Out There" is another great one: https://m.youtube.com/watch?v=MOhKYOQK-dHis flute work on this is great: https://m.youtube.com/watch?v=s4GdwJODLbI |
