Rok, I remember "Psychedelic Sally", she was one hot mama, and could she dance, she twisted a hole in the floor.
That rain dance reminds me of the time when I was in the Sonora Desert, and it had not rained since God knows when; it was so dry rattle snakes were crawling around with their tongues hanging out. Me and the Lakota Sioux were wandering what to do, when Horace, Stanley, and the rest of the cats pulled up in a long black Cadillac limousine; they started playing that there Rain Dance tune, that's when me and the rest of the Native Americans began doing our thing to the beat of the music, and before you know it, we had a thunderstorm.
Enjoy the music.
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Horace Silver Quintet; "The Dragon Lady"; this jam starts off to my liking; the beginning certainly fits the title. The Dragon Lady was a boss chic in the comic strip "Terry And The Pirates"; I know most of you are too young to remember that. I didn't care too much for "Terry And The Pirates" but I sure nuff dug The Dragon Lady; she was exotic, Oriental, and everything else that went with her name. I think this tune does a good job of depicting, "The Dragon Lady" https://www.youtube.com/watch?v=1nE9u3VuwUMEnjoy the music. |
If any body is still wandering why I don't reveal my friends name, another reason is it would be pointless; it's not that he doesn't have good jazz recorded as a sideman, and as a leader, but that music doesn't compare to what he was playing when he was staying at my apartment that summer; not one single note of that music was recorded; makes me want to cry.
Enjoy the music.
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"Silver's Serenade" is a nice laid back tune; Junior Cook's short bit sounded especially good, and then him and Blue Mitchel come in in unison near the end, nice touch. I liked it.
Enjoy the music.
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Frogman, That is the funniest dance ever, and I didn't even practice.
Enjoy the music.
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Rok, I really get inspired when I hear Horace and Stanley together.
Enjoy the music.
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From Wikipedia, the free encyclopedia The Cape Verdean Blues is an album by the Horace Silver Quintet, led by jazz pianist Horace Silver. The quintet is joined on half of these tracks by trombonist J.J. Johnson, with whom Silver had been eager to work for some time. The album was inspired by Silver's father, John Tavares Silva, who was born in Cape Verde. Track listing All tracks by Horace Silver, unless otherwise noted. "The Cape Verdean Blues" - 4:59 "The African Queen" - 9:36 "Pretty Eyes" - 7:30 "Nutville" - 7:15 "Bonita" - 8:37 "Mo' Joe" (Joe Henderson) - 5:46 Recorded on October 1 (#1-3) and 22 (#4-6), 1965. "Cape Verdean Blues" https://www.youtube.com/watch?v=0gt7QXwYpZoEnjoy the music. |
Alex, Donald Byrd has one of the longest records in jazz history of producing consistent high quality jazz albums; but even when he left the "jazz reservation" he was still producing high quality music. Such a long record makes it easy to overlook some of his best.
I'm enjoying this "Paul Chambers" album big time; that's because I don't have it in my collection. Chambers perspective on this album takes me back to a more laid back time. My ability to go back in time, enables me to enjoy jazz much more than someone who can only hear through a present, 2016 perspective; someone who was not only alive at that time, but was quite active in listening to and collecting jazz, can surround themselves with scenes of the jazz nightclubs, and events at that time.
Middle 50,s to 61, was the time John Wright's album "South Side Soul", depicts the south side of Chicago; and to this day, they honor him and his album, on a certain day in the summer; that's because all they have left of that place and time is his album; that's the power of music.
When I go back to that time and place in Chicago, I enjoy the music that was created then, so much more.
Enjoy the music.
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I just recieved a Grant Green CD, titled "His Majesty King Funk", and there is a picture of Grant Green that looks like the Grant Green I remember; anyway, this reads as follows:
"Throughout the Seventies and Eighties, Grant Green had become the forgotten man of jazz guitar. Overshadowed by such virtuosos as, first, Wes Montgomery, and later George Benson, Green was reduced to performing pop material with mediocre groups at the time of his death in 1979.
Some of his best recordings remained unissued until the Eighties, and were then only available in Japan in limited quanties."
That explains a lot of things for me; I've got all of these boss CD's by Grant Green, now the question is "Why aren't they LP's"? That's the way so many other people that I have in my collection are, the point is, if these albums were made back when, why didn't I have them in my collection "back when". This also coincides with some clown on "Agon" that's been saying that Grant Green had albums that couldn't be released because they were substandard. That also goes a long way to explain his economic troubles.
Right now, steam is coming out of both ears, so I'm not going to expand on the above paragraph; I'm going to put the CD in, and hear what it sounds like.
Enjoy the music.
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Rok, I was listening to Grant Green before Blue Note ever heard the name, and he never made no sub standard music then, why should he come to Blue Note and make sub-standard music? Besides, that's what somebody on "Agon" said Blue Note Said, in regard to sub-standard music.
I've got all the factors, I've added, subtracted, multiplied, divided, taken the square root of the denominator, and the answer is; Grant got screwed, and that's all I got to say about that; next subject.
Enjoy the music.
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Frogman, Alex has it posted, and you can listen for yourself. I'm listening to it at this moment; Grant Greens guitar is boss.
Enjoy the music.
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Alex, I haven't heard the entire CD, only what you got posted, and I certainly don't regret I bought the CD.
I bought some of Byrd's music thinking it was jazz way back then, and it was like someone turning up a bottle of wine, and tasting whisky; or someone turning up a bottle of whiskey, and tasting wine; either way, they would spit it out.
I just ordered some of the same music that I took back, and I might order more. No it's not jazz, but I like it; that's because I can accept it for what it is; it's wine, and I wanted whiskey at that time, but now that I know it's wine, I think it's some pretty good wine; speaking of which, I think I will have a glass. If it was possible, I would offer you one too.
Enjoy the music.
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Money in whose pocket Grant Greens or Blue Note?
Business people have devious ways of figuring the bottom line
Enjoy the music.
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It's been over 24 hours since I posted "Cape Verdeen Blues" by Mr. Horace Tavares Silver, and no one has posted in regard to that album. I'm going to assume that means the evaluation and review of Mr. Silver is concluded. It has come to my attention that we have only reviewed known jazz divas, and other well known divas of various genres, with the exclusion of one of my favorite female vocalists, Ms. Dusty Springfield; therefore I will post a couple of my favorite tunes by her; "Since I Fell For You" and "The Look Of Love"; she sings these tunes in a fashion that makes my heart cry. https://www.youtube.com/watch?v=0kYYEpIumCo https://www.youtube.com/watch?v=MPkp-pCJYCcEnjoy the music. |
Frogman, that record had absolutely nothing to do with the discussion concerning "Blue Note".
It's quite evident that you know almost nothing about Grant Green; maybe you should read over the music posts.
Enjoy the music.
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Qdrone, this is about Grant Greens music; it wasn't necessary for us to know about Grant Greens habit.
orpheus10
2,793 posts
01-23-2011 10:51am
Qdrone, could you name the stuff to avoid, I would like to buy it.
qdrone
799 posts
01-23-2011 1:29pm
Anything that says never released or only released in Japan. Or in box sets where you have newly discovered tracks (Mosiac has one or two sets with Green) I actualy posted for everyone to understand the times these recordings were made,heroin was problem among many musicians,I'm sorry that your so full of yourself that you thought i was just responding to you.
Well now that Mr. Qdrone, has told you what records to avoid, maybe you can evaluate those records and get back to me, Mr. Frogman.
Enjoy the music.
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Grant Green would have been better off if he had never left St. Louis. Blue Note came to St. Louis looking for Grant Green, he didn't go looking for Blue Note. He would not have become famous, but he might still be alive, and as well off as other St. Louis musicians. St. Louis takes care of it's musicians; but when they're destitute after being rich and famous, that's the last thing they want out. (once you become famous, people think you're rich)
I can think of a musician who was rich and famous, but became destitute and in bad health. Naturally they wanted to keep it a secret. When word got out, not only did they get help with medical bills, but attorneys helped them recoup millions in royalities.
All the St. Louis musicians who I know personally, live on the same economic scale as someone with a good job; they have a nice home and automobile, plus live good.
When word gets out about a musician being destitute, (right now I'm thinking of local musicians) the first thing that happens is a "benefit"; any famous musicians have to show up, and perform for free. Rich patrons can't just donate $20; they have to contribute real money, because their names will be on a plaque with how much they donated. Every musician in St. Louis has to show up. If they're too old to perform, at least they were seen. For fans like me, it's the place to see, and be seen by people you haven't seen for ages. Everybody has a good time, and we all benefit.
I'm glad Chuck Berry is still alive, he was always instrumental in benefits. Like I said in the beginning, no musician whose been famous wants anyone to know when they get destitute; a big mistake in St. Louis.
Enjoy the music.
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"Some of his best recordings remained unissued until the Eighties, and were then only available in Japan in limited quanties."
Frogman stated;
Grant Green's "His Majesty King Funk" was, in fact, released the same year that it was recorded (on lp of course). This was the same time period that George Benson was making quite a name for himself with Brother Jack McDuff and his own "Cookbook". It's a good record and as Alex points out has some catchy tunes.
The "Verve" cd release date had nothing to do with the "Blue Note" records. We were discussing the "release" of the "Blue Note" records, and because I quoted notes on that CD you say it's related. You stated the "Verve" CD was released in the same year; what's the connection?
Acmans post
The Grant Green Mosaic box set with Sonny Clark is one of the releases that mostly came from Japan. It is highly regarded.
frogman
2,650 posts
04-17-2016 9:03am
Well said, Acman3.
If you agree with Acman, are you saying Grant Greens Mosaic box set should be well regarded, Frogman? or what are you saying? What did you mean when you made that statement?
Qdrone, could you name the stuff to avoid, I would like to buy it.
qdrone
799 posts
01-23-2011 1:29pm
Anything that says never released or only released in Japan. Or in box sets where you have newly discovered tracks (Mosiac has one or two sets with Green) I actualy posted for everyone to understand the times these recordings were made,heroin was problem among many musicians,I'm sorry that your so full of yourself that you thought i was just responding to you.
Since "Qdrone's post was directed at me personally, do you agree with his post? It's very difficult to follow where you're coming from, and what it is you're trying to say.
Could you compact and simplify; meaning say where you're coming from in fewer words.
Enjoy the music.
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Frogman, you could talk for days and never say anything. I'm turning my computer off, not to be turned on or click "Agon" |
Aficionados, it's been over 24 hrs since I last posted, and I noticed Frogman hasn't posted either, could there be a connection?
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"It is Previn playing a twelve bar blues with orchestra sweetening. Previn is a wonderful musician, but this is pretty bland stuff; taking into account the differences in genres, no better than what one hears from Kenny G in an elevator." That's what Frogman had to say about "Like Young" by Andre Previn. One of us is "Phaking the Phunk", and it might be me; but it's for sure one of us is Phaking the Phunk". According to my evaluation "Like Young" is boss, and here are some other people who think so as well; https://www.youtube.com/watch?v=xCZxvAG5wHgElla Fitzgerald doesn't think "Like Young" is elevator music. Linda Lawson doesn't think "Like Young" is elevator music; it jump started her career. https://www.youtube.com/watch?v=CA81pRYtEXcNow it's either me or Frogman is "Phaking the Phunk"; one of us is not a true jazz "aficionado". Enjoy the music. |
I asked Learsfool what did he think of Andre Previn as a classical musician, and he hadn't heard any classical music by Previn; I looked but failed, and I responded. I have jazz by Andre Previn, and I tried to find some classical music by him, but this is all I found. https://www.youtube.com/watch?v=CwEuR2TtW5cMaybe you could find some classical music by him and paste it so we can hear it. Or any classical you like best. learsfool 1,167 posts 03-20-2016 1:45am Orpheus, in the classical world, Andre Previn is mainly known as a conductor, though he did write a few pieces. He also wrote a few film scores. I don't think I have ever even heard any of his classical compositions, let alone played them. Certainly they are not performed very often, especially if he is not conducting them. His recordings I have heard where he is a conductor did not particularly impress me. Not saying they are not good, just that there are much better conductors. Learsfool, this is the classical Andre Previn; could you give a critique? https://www.youtube.com/watch?v=fvU5OGdVFNcEnjoy the music. Frogman chimed in a conversation that didn't involve him one way or the other, and this is what he said; frogman 2,654 posts 03-20-2016 9:08am I would add that the posted Previn link is not "classical" music at all. It is Previn playing a twelve bar blues with orchestra sweetening. Previn is a wonderful musician, but this is pretty bland stuff; taking into account the differences in genres, no better than what one hears from Kenny G in an elevator. Just because it is played by an orchestra does not make it "classical". O-10, what do you think of this?: Now why would I think "Like Young", my favorite piece by Andre Previn since 1959, to be classical music? Frogman, I never said it was classical, I would have to be a MOWRON to think that was classical music. I stated this was all I could find by Previn , and I asked Learsfool to find some classical music. remember that word that you used, with unfounded indignation, describing what you thought I (and another esteemed aficionado who I will not include in this bs) felt that you were? You know.....that word that rhymes with "boron"? I am saddened to have to report that I believe you were correct in using that word. Now Frogman is saying that "Learsfool", that's the esteemed aficionado he's referring to, thought I was a MOWRON. Learsfool never made any such statement in a conversation that Frogman had no business commenting on what so ever; the conversation was between Learsfool and I. Enjoy the Frogman. |
In addition to "Like Young" by Andre Previn, he played some real hip "West Coast" jazz. I suppose you have to get in a laid back west coast groove with a glass of wine to dig Andre; his music is what was happening in LA in the late 50's, "Beatniks" were in; he even did the soundtrack for a movie titled "The Subteraneans"; here's "Jeru", as Miles called him, and Art Farmer with music from that movie. The man plays some real hip piano, but not everybody can dig it; that's the way it is with all things that are truly hip. https://www.youtube.com/watch?v=puUeyUAX3IsJeru's baritone is one hip sounding sax, but not everybody can dig it; https://www.youtube.com/watch?v=bo537jPaFPcEnjoy the music |
Aficionados, feel free to weigh in on this controversy; that's the only way it will be resolved; when I say "aficionados", I don't mean the peanut gallery, but those who have contributed to this thread.
From my point of view, Frogman has been on a mission lately, and the evidence is quite blatant; but since Frogman is a musician, and you value a musicians input over a sincere and honest evaluation of the music, I have no problem with that; but to put this in the vernacular of the West "This town ain't big enough for the both of us", Frogman has made that quite apparent.
Disregard the fact that I started this thread because it can't function without you; unfortunately you have to make an ugly decision for the thread to continue.
Enjoy the music.
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This is what "Grant Green" was playing the last time I saw him live at the club in St. Louis; he appeared to be in good health. https://www.youtube.com/watch?v=1ZvQhQbPioYWikipedia, the free encyclopedia Live at The Lighthouse is a live album by American jazz guitarist Grant Green featuring a performance recorded at the Lighthouse Club in Hermosa Beach, California in 1972 and released on the Blue Note label. Enjoy the music. |
"Learsfool", Frogmans esteemed "aficionado friend", you and Frogman just totally lost it; for the "Jazz Aficionados" of which you are not one of, because you only respond in defense of "Frogman" or to help "Frogman" defend some indefensible position; I stated for them to disregard the fact that I started this thread in regard to an ugly decision they have to make. For you, I am rescinding that statement.
"Learsfool" I did not start this thread for two obsessed musicians to teach me music, "Can you read?" if so, read the purpose of this thread; the very last sentence in the purpose of this thread states; "Why don't you share your, "must have" jazz albums with us.
Is there anything in that sentence that says "Please obsessed musicians, come teach me music"
Why don't you and Frogman start your own thread? And furthermore, your long-winded response only confirmed that you and Frogman are lockstep in "Cahoots", it didn't even respond to "Like Young" by Andre Previn, which the controversy was about. My suggestion is; why don't you two "obsessed lock-step in cahoots musicians" start your own thread.
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Frogman and Learsfool, this post proves you both are totally "Out to Lunch"; since that's a New York phrase, I know you both know what it means.
From Wikipedia,
André Previn (2012)
André George Previn, KBE (/ˈprɛvɪn/; born Andreas Ludwig Priwin; April 6, 1929)[1] is a German-American pianist, conductor, and composer. He is considered one of the most versatile musicians in the world and is the winner of four Academy Awards for his film work and ten Grammy Awards for his recordings (and one more for his Lifetime Achievement).
Learsfool, how many awards have you and Frogman won between the two of you?
Previn made dozens of jazz recordings as leader and sideman, primarily during two periods of his career: from 1945 to 1967, and then again from 1989 to 2001, with just a handful of recordings in between and afterward (while he focused his career on conducting/recording classical music, and later on composing contemporary art music). Previn also did several crossover recordings with classical singers like Eileen Farrell, Leontyne Price or Kiri Te Kanawa, too, as well as several Easy-Listening records with piano and orchestra in the 1960s.
Like Oscar Peterson, whom Previn admires a lot,[8] and Bill Evans – or more recently Keith Jarrett, Brad Mehldau or Esbjörn Svensson – Previn has worked a lot as a trio pianist (usually with bass and drums). Following his performance on Shelly Manne's huge hit record Modern Jazz Performances of Songs from My Fair Lady in 1956, Previn released several albums of jazz interpretations of songs from broadway musicals as well as several solo piano recordings focussed on the songbooks of popular composers (André Previn Plays Songs by Vernon Duke, 1958; André Previn Plays That Old Black Magic, Come Rain or Come Shine, Stormy Weather, Over the Rainbow and Other Wonderful Songs by Harold Arlen, 1960; Ballads. Solo Jazz Standards, 1996; Alone: Ballads for Solo Piano, 2007), the late recording of songs by Harold Arlen with singer Sylvia McNair and bass player David Finck (Come Rain or Shine. The Harold Arlen Songbook, 1996), and his TV shows with Oscar Peterson (1974)[9] – which Marlon Brando simply called "one of the greatest hours I ever saw on television"[10] – and Ella Fitzgerald (1979)[11] respectively.
Jazz critic and historian Ted Gioia wrote in his book about West Coast Jazz, the scene to which Previn belonged:
[His] projects varied greatly in terms of quality and jazz content, but at his best Previn could be a persuasive, moving jazz musician. [...] Despite his deep roots in symphonic music, Previn largely steered clear of Third Stream classicism in his jazz work, aiming more at an earthy, hard-swinging piano style at times reminiscent of Horace Silver. Long before his eventual retreat from his jazz work, Previn had become something of a popularizer of jazz rather than a serious practitioner of the music. At his best, however, his music reflected a strong indigenous feel for the jazz idiom.[12]
And Dizzy Gillespie has stated,
He has the flow, you know, which a lot of guys don't have and won't ever get. Yeah. I heard him play and I knew. A lot of guys, they have the technique, the harmonic sense. They've got the perfect coordination. And, yeah, all that's necessary. But you need something more, you know? Even if you only make an oooooooo, like that, you got to have the flow.[13]
Jazz Recordings as leader/co-leader[edit]
Collaboration (RCA Victor, 1955) - with Shorty Rogers
Double Play! (Contemporary, 1957) with Russ Freeman
Pal Joey (Contemporary, 1957)
Gigi (Contemporary, 1958)
André Previn Plays Songs by Vernon Duke (Contemporary, 1958)
King Size! (Contemporary, 1959)
André Previn Plays Songs by Jerome Kern (1959)
West Side Story (Contemporary, 1959)
The Subterraneans (Soundtrack) (MGM, 1960)
Like Previn! (Contemporary, 1960)
André Previn Plays Songs by Harold Arlen (Contemporary, 1960)
André Previn and J.J. Johnson Play Mack the Knife and Bilboa Song and Other Music from the Threepenny Opera, Happy End, Mahagonny (1961, with J.J. Johnson, Red Mitchell and Frank Capp)
Duet (1962, with Doris Day, Red Mitchell and Frank Capp)
A Different Kind of Blues (1980, with Itzhak Perlman, Jim Hall, Red Mitchell and Shelly Manne)
Nice Work if You Can Get It (1983, with Ella Fitzgerald and Niels-Henning Ørsted Pedersen)
After Hours (1989, with Joe Pass and Ray Brown)
Uptown (1990, with Mundell Lowe and Ray Brown)
Old Friends (1992, with Mundell Lowe and Ray Brown)
Kiri Sidetracks: The Jazz Album (1992, with Kiri Te Kanawa, Mundell Lowe and Ray Brown)
André Previn and Friends Play Show Boat (1995, with Mundell Lowe, Ray Brown and Grady Tate)
Sure Thing. The Jerome Kern Songbook (1996, with Sylvia McNair and David Finck)
Ballads. Solo Jazz Standards (1996)
Come Rain or Shine. The Harold Arlen Songbook (1996, with Sylvia McNair and David Finck)
Jazz at the Musikverein (1997, with Mundell Lowe and Ray Brown)
We Got Rhythm. A Gershwin Songbook (1998, with David Finck)
We Got It Good and That Ain't Bad. An Ellington Songbook (1999, with David Finck)
Live at the Jazz Standard (2001, with David Finck)
Alone: Ballads for Solo Piano (2007)
Jazz Recordings as sideman/group member[edit]
With Benny Carter
Jazz Giant (Contemporary, 1958)
With Helen Humes
Tain't Nobody's Biz-ness if I Do (Contemporary, 1959)
Songs I Like to Sing! (Contemporary, 1960)
With Barney Kessel
Music to Listen to Barney Kessel By (Contemporary, 1956)
Carmen (Contemporary, 1959)
With Shelly Manne
Shelly Manne & His Friends (Contemporary, 1956)
My Fair Lady (Contemporary, 1956)
Li'l Abner (Contemporary, 1957)
Bells Are Ringing (Contemporary, 1959)
With Lyle Murphy
12-Tone Compositions and Arrangements by Lyle Murphy (Contemporary, 1955)
Classical music (as conductor and/or pianist – selection)[edit]
Chamber music / solo piano music[edit]
As in Jazz, Previn, the classical pianist, worked most of the time as a trio pianist (with violin and cello) in classical chamber music. Accordingly, most of his recordings as pianist are in this genre.
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Let me repeat, "I still appreciate your musical wisdom, for those like Rok, and Acman who benefit from it".
This is what Rok posted right after that;
O-10:
We all know that you do not want to know anything about anything. What we don't know is why you are so ADAMANT about telling us this at every opportunity.
We get it.
I would be a triple MOWRON, if allowed anyone to tell me what I should learn! Especially after I invited their words of wisdom for others who have this desire to learn, not once, but twice.
Enjoy the music.
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Learsfool, I've got nothing else to do, I can play this game all night long.
Since I don't have any expertise in classical music, your evaluation of Andre Previn's classical music stands, and I couldn't care less.
The controversy involves "Like Young" by Andre Previn. Frogman said it sounds like elevator music; do you agree?
04-19-2016 6:37am
O-10, remember your comment about my supposed feeling that everything you say has to do with me? Now, remember that word "projection"? Now, again, remember that word that you used, with unfounded indignation, describing what you thought I (and another esteemed aficionado who I will not include in this bs) felt that you were? You know.....that word that rhymes with "boron"? I am saddened to have to report that I believe you were correct in using that word.
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Frogman is saying that you "The esteemed aficionado" agreed with him in regard to that word that Rhymes with "boron"; is this true? That came about because he said I thought "Like Young" by Previn was classical music.
Learsfool, you nor Frogman read my posts very well; the controversy is about "Like Young" by Andre Previn, is that clear?
This is what you posted;
You have repeatedly proclaimed your ignorance of music and that you are proud of it and will never study it. You simply do not speak the language, and don't care. This is precisely why this is not a "controversy" to anyone but you, and also why there can be no actual debate or even meaningful dialogue with you about music. You can't really tell us WHY you like one performance over another, or one version of a tune better than another, because you don't speak the language. But you do get mad if someone says they don't agree with you, especially when they have good reasons. All I can say is that this is the price you must pay for maintaining your ignorance.
frogman.
How many times do I have to repeat; "I have no interest in learning music". Why is that a problem with you and Frogman?
Now you are telling me that's the price I pay for maintaining my ignorence. I say that's the price you pay for not being able to read.
The controversy was about "Like Young" by Andre Previn, would you care to evaluate that?
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"Jazz Aficionados"; this is "Idle Moments", it is my favorite tune by Grant Green,could you evaluate it in your personal language; promise I wont get offended, even if you trash it; however, I do have the right to question your "authenticity" as an aficionado. https://www.youtube.com/watch?v=gwaFDFP7m_EEnjoy the music. |
Learsfool, could you evaluate this in any language you choose, but I don't speak French or Italian; neither do I have any expertise in classical music. This is "Holst": The Planets Op.32, since it's nice and long, you should be able to make a thorough evaluation. https://www.youtube.com/watch?v=ZOk6NlEaOTYEnjoy the music. |
This Buds for you Learsfool; from "Wikipedia"
Classical music (as conductor and/or pianist – selection)[edit]
Chamber music / solo piano music[edit]
As in Jazz, Previn, the classical pianist, worked most of the time as a trio pianist (with violin and cello) in classical chamber music. Accordingly, most of his recordings as pianist are in this genre.
Samuel Barber: Four Excursions, Paul Hindemith: Piano Sonata No. 3, Frank Martin: Prelude No. 7 (1961)
Gabriel Fauré: Piano Trio D-minor op. 120, Felix Mendelssohn: Piano Trio D-minor op. 120 (1964, with Nathan Roth and Joseph Schuster)
Serge Rachmaninoff: Music for Two Pianos. Suite Nr. 1 op. 5, Suite Nr. 2 op. 17, Symphonic Dances op. 45 (1974, with Vladimir Ashkenazy)
Maurice Ravel: Piano Trio A-minor, Dmitri Shostakovich: Piano Trio No. 2 E-minor op. 67 (1974, with Kim Young Uck and Ralph Kirshbaum)
Claude Debussy: Piano Trio G-major, Maurice Ravel: Piano Trio A-minor (1995, with Julie Rosenfeld and Gary Hoffmann)
Ludwig van Beethoven: Piano Trio No. 7 B flat-major op. 97, Johannes Brahms: Piano Trio B-major op. 8 (1995, with Viktoria Mullova and Heinrich Schiff)
American Scenes. André Previn: Sonata for Violin and Piano "Vineyard", George Gershwin: Three Preludes, Aaron Copland: Sonata for Violin and Piano, Nocturne, Samuel Barber: Canzone (Elegy) op. 38a (1998, with Gil Shaham)
Orchestral music / concertos / ballets[edit]
Previn's recording repertoire as a conductor is focused on the standards of classical and romantic music, with notable exceptions like Anton Bruckner, most of Gustav Mahler and opera in general, instead favoring the symphonic music of contemporaries like Hector Berlioz, Johannes Brahms and Richard Strauss and with a special emphasis on violin and piano concertos and ballets. Just very few recordings deal with music before Joseph Haydn and Wolfgang Amadeus Mozart (both favourites of Previn's programmes) or contemporary avant-garde art music based on atonality, minimalism, serialism, stochastic music etc. Instead, in 20th-century music Previn's repertoire highlights specific composers of late romanticism and modernism like Samuel Barber, Benjamin Britten, George Gershwin, Erich Wolfgang Korngold, Serge Prokofiev, Serge Rachmaninoff, Maurice Ravel, Dmitri Shostakovich, Richard Strauss, Ralph Vaughan Williams, Harold Shapero and William Walton.
His recordings of works by Gershwin, Korngold (especially the Violin Concerto in D major op. 35, which he recorded three times with Itzhak Perlman, Gil Shaham and Anne-Sophie Mutter), Prokofiev (esp. the 5 piano concertos with Vladimir Ashkenazy and the LSO, Romeo and Juliet op. 64 with the LSO, and the Symphonies 1 and 5, the score to Alexander Nevsky, and the Symphony-Concerto for Cello & Orchestra with Heinrich Schiff as soloist with the Los Angeles Philharmonic), Rachmaninoff (esp. the Symphony No. 2 E minor op. 27 and The Bells op. 35), Shostakovich, Richard Strauss (esp. the recordings of all tone poems with the Vienna Philharmonic) Tchaikowsky (esp. the three ballets Swan Lake, The Sleeping Beauty, and The Nutcracker), Vaughan Williams (a complete cycle of the nine symphonies for RCA), and Walton (esp. the Symphony No. 1 B-flat minor and Belshazzar's Feast) have been particularly prized.[citation needed]
Previn recorded most for EMI, Telarc and Deutsche Grammophon.
Contemporary classical music (recordings of Previn's own compositions – selection)[edit]
Guitar Concerto (1972, with John Williams and the London Symphony Orchestra)
Every Good Boy Deserves Favour (1978, with the London Symphony Orchestra)
Piano Concerto and Guitar Concerto (1990, with Vladimir Ashkenazy, Eduardo Fernandez and the Royal Philharmonic Orchestra)
Honey and Rue (1995, with Kathleen Battle and the Orchestra of St. Luke's)
"From Ordinary Things": Sonata for Cello and Piano; Four Songs for Soprano, Cello and Piano; Two Remembrances for Soprano, Alto Flute and Piano; Vocalise for Soprano, Cello and Piano (1997, with Sylvia McNair, Yo-Yo Ma and Sandra Church)
Trio for Piano, Oboe and Bassoon (1997, with Cynthia Koledo de Almeida and Nancy Goeres)
"Music of André Previn": Trio for Piano, Oboe and Bassoon, Peaches for Flute and Piano, Triolet for Brass, Variations on a Theme by Haydn for Piano, A Wedding Waltz for Two Oboes and Piano (1998, with the St. Luke's Chamber Ensemble)
"American Scenes": Sonata for Violin and Piano "Vineyard" (1998, with Gil Shaham)
A Streetcar Named Desire (1998; with Renée Fleming, Elizabeth Futral, Rodney Gilfry, Anthony Dean Griffey, San Francisco Opera Orchestra)
"Diversions – Songs": Diversions; Sallie Chisum Remembers Billy the Kid; Vocalise; The Giraffes Go to Hamburg; Three Dickinson Songs (2001, with Renée Fleming, Barbara Bonney, Moray Welsh, Vienna Philharmonic, London Symphony Orchestra)
Tango Song and Dance (2003, Anne-Sophie Mutter)
Violin Concerto "Anne-Sophie" (2003, with Anne-Sophie Mutter and the Boston Symphony Orchestra)
Double Concerto for Violin, Contrabass and Orchestra; Piano Concerto; Violin Concerto "Anne-Sophie"; Three Dickinson Songs; Diversions; "I Can Smell The Sea Air" from A Streetcar Named Desire (2009, with Renée Fleming, Anne-Sophie Mutter, Vladimir Ashkenazy, Roman Patkolo, Boston Symphony Orchestra, London Symphony Orchestra, Vienna Philharmonic, San Francisco Opera Orchestra)
Brief Encounter (2011, with Elizabeth Futral, Nathan Gunn, Kim Josephson, Houston Grand Opera Orchestra, Patrick Summers)
Television[edit]
Previn became known to a broad public through his television work. In the United Kingdom he worked on TV with the London Symphony Orchestra. In the United States the TV show "Previn and the Pittsburgh" (1977) featured him in collaboration with the Pittsburgh Symphony Orchestra.
Previn is particularly remembered in Britain for his performance as "Mr. Andrew Preview" (or "Privet") on the Morecambe and Wise Christmas Show in 1971, which involved his conducting a performance of Edvard Grieg's Piano Concerto with Eric Morecambe as the comically inept soloist. At one point during the sketch "Mr Preview" accuses Eric Morecambe of playing all the wrong notes; Eric retorts that he has been playing "all the right notes, but not necessarily in the right order".[14] Because of other commitments the only time available for Previn to learn his part in the show was during a transatlantic flight but the talent he showed for comedy won high praise from his co-performers. He made a second appearance in their eighth series. In the sketch, he is tricked into visiting the pair again, and they suggest that if he works with them again, he could receive a knighthood. He joined them at the end of the episode in singing Bring Me Sunshine.
At a concert with the Grieg Concerto in Britain afterwards, Previn had to pause the playing to allow the audience time to stop giggling as they remembered the sketch. Previn himself notes that people in Britain still recall the sketch years later: "Taxi drivers still call me Mr Preview".[1]
Enjoy the music.
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Frogman, if you and Learsfool find me and MY THREAD so distasteful, START YOUR OWN THREAD. I've even got a classy title; Jazz Meets Classical, how's that for a start?
Enjoy the music.
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Frogman, an "aficionado" is someone who likes and knows a lot about something; jazz aficionados know a lot about jazz. This thread established "posting" music from "you tube" at the very beginning; it's not necessary to speak your musical language; an "aficionado" can listen and decide for himself, anything, and everything you could describe in your "musical language"; for example, Acman rarely posts two paragraphs, but since he's posted the music, I know more than I would if he had posted a long diatribe.
When I said you were "Phaking the Phunk", I was referring to the fact that you seem to be unable to hear the "essence" of the music, the "flow" that Dizzy Gillespie referred to, in the music; and you demonstrated this when you stated that "Like Young" by Andre Previn sounded no better than Kenny G on elevator music.
After you discovered he is one of the worlds greatest musicians, you tried to clean it up, but it was too late. We can all disregard that one incident, because when I said "Phaking the Phunk", I was thinking of a very long history of incidents, when you failed to hear "the flow".
Frogman, this is what you posted;
6. O-10, let me be clear: I DONT think the "problem" is that you are not interested in learning about music. I am, believe it or not, perfectly ok with that. The problem is that you don’t want to allow others to speak the language of music; not a reasonable expectation. You, yourself, want to be able to critique others’ music choices and use terms with negative connotations like "soulless", "intellectual", "stereotypical jazz" etc., but you don’t want to hear why others feel the way they do about music that you like. Not a reasonable expectation. Please try to recognize how just about every recent post by you is laced with at least one snide or negative comment or insinuation; that approach will achieve nothing positive and will certainly discourage anyone from interacting.
"I don't want to allow others to speak the language of music; to be quite blunt; "I don't know what the hades you're talking about?" That paragraph is null and void; I never use the word "intellectual" in reference to music; that's Rok's word, who you happen to be sucking up to presently, but who you used to trash at every turn.
Back to "Phaking the Phunk"; when you cannot hear the "soul" of the artist, you go into that "musician nit picking bag", and evidently that's what you want everyone to learn, although you can count me out, I don't know how many times I've stated it's fine for Rok and Acman, and that I have no objection to you teaching them, and any one else who wants to learn; but you and Learsfool go into this "Phase lock loop" and repeat the same thing over and over, and I know you will continue to do it until the cows come home in St. Louis.
"Soulless" and "stereotypical" are my two favorite words; that means to hook together well worn jazz cliche's, that I've heard a thousand and one times, that you think are really cooking; when they even sound mechanical, like they're trying to imitate "Bird", which is totally impossible.
How can I prove you are "phaking the phunk" if I tell you to leave the thread?
Enjoy the music.
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The controversy involves "Like Young" by Andre Previn. Frogman said it sounds like elevator music; do you agree?
04-19-2016 6:37am
O-10, remember your comment about my supposed feeling that everything you say has to do with me? Now, remember that word "projection"? Now, again, remember that word that you used, with unfounded indignation, describing what you thought I (and another esteemed aficionado who I will not include in this bs) felt that you were? You know.....that word that rhymes with "boron"? I am saddened to have to report that I believe you were correct in using that word.
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Frogman is saying that you "The esteemed aficionado" agreed with him in regard to that word that Rhymes with "boron"; is this true? That came about because he said I thought "Like Young" by Previn was classical music.
Learsfool, you nor Frogman read my posts very well; the controversy is about "Like Young" by Andre Previn, is that clear?
This is what you posted;
You have repeatedly proclaimed your ignorance of music and that you are proud of it and will never study it. You simply do not speak the language, and don't care. This is precisely why this is not a "controversy" to anyone but you, and also why there can be no actual debate or even meaningful dialogue with you about music. You can't really tell us WHY you like one performance over another, or one version of a tune better than another, because you don't speak the language. But you do get mad if someone says they don't agree with you, especially when they have good reasons. All I can say is that this is the price you must pay for maintaining your ignorance.
frogman.
How many times do I have to repeat; "I have no interest in learning music". Why is that a problem with you and Frogman?
Now you are telling me that's the price I pay for maintaining my ignorence. I say that's the price you pay for not being able to read.
The controversy was about "Like Young" by Andre Previn, would you care to evaluate that?
orpheus10 OP
2,811 posts
04-22-2016 9:45pm
Frogman and Learsfool, this post proves you both are totally "Out to Lunch"; since that's a New York phrase, I know you both know what it means.
From Wikipedia,
André Previn (2012)
André George Previn, KBE (/ˈprɛvɪn/; born Andreas Ludwig Priwin; April 6, 1929)[1] is a German-American pianist, conductor, and composer. He is considered one of the most versatile musicians in the world and is the winner of four Academy Awards for his film work and ten Grammy Awards for his recordings (and one more for his Lifetime Achievement).
Learsfool, how many awards have you and Frogman won between the two of you?
Previn made dozens of jazz recordings as leader and sideman, primarily during two periods of his career: from 1945 to 1967, and then again from 1989 to 2001, with just a handful of recordings in between and afterward (while he focused his career on conducting/recording classical music, and later on composing contemporary art music). Previn also did several crossover recordings with classical singers like Eileen Farrell, Leontyne Price or Kiri Te Kanawa, too, as well as several Easy-Listening records with piano and orchestra in the 1960s.
Like Oscar Peterson, whom Previn admires a lot,[8] and Bill Evans – or more recently Keith Jarrett, Brad Mehldau or Esbjörn Svensson – Previn has worked a lot as a trio pianist (usually with bass and drums). Following his performance on Shelly Manne's huge hit record Modern Jazz Performances of Songs from My Fair Lady in 1956, Previn released several albums of jazz interpretations of songs from broadway musicals as well as several solo piano recordings focussed on the songbooks of popular composers (André Previn Plays Songs by Vernon Duke, 1958; André Previn Plays That Old Black Magic, Come Rain or Come Shine, Stormy Weather, Over the Rainbow and Other Wonderful Songs by Harold Arlen, 1960; Ballads. Solo Jazz Standards, 1996; Alone: Ballads for Solo Piano, 2007), the late recording of songs by Harold Arlen with singer Sylvia McNair and bass player David Finck (Come Rain or Shine. The Harold Arlen Songbook, 1996), and his TV shows with Oscar Peterson (1974)[9] – which Marlon Brando simply called "one of the greatest hours I ever saw on television"[10] – and Ella Fitzgerald (1979)[11] respectively.
Jazz critic and historian Ted Gioia wrote in his book about West Coast Jazz, the scene to which Previn belonged:
[His] projects varied greatly in terms of quality and jazz content, but at his best Previn could be a persuasive, moving jazz musician. [...] Despite his deep roots in symphonic music, Previn largely steered clear of Third Stream classicism in his jazz work, aiming more at an earthy, hard-swinging piano style at times reminiscent of Horace Silver. Long before his eventual retreat from his jazz work, Previn had become something of a popularizer of jazz rather than a serious practitioner of the music. At his best, however, his music reflected a strong indigenous feel for the jazz idiom.[12]
And Dizzy Gillespie has stated,
He has the flow, you know, which a lot of guys don't have and won't ever get. Yeah. I heard him play and I knew. A lot of guys, they have the technique, the harmonic sense. They've got the perfect coordination. And, yeah, all that's necessary. But you need something more, you know? Even if you only make an oooooooo, like that, you got to have the flow.[13]
Jazz Recordings as leader/co-leader[edit]
Collaboration (RCA Victor, 1955) - with Shorty Rogers
Double Play! (Contemporary, 1957) with Russ Freeman
Pal Joey (Contemporary, 1957)
Gigi (Contemporary, 1958)
André Previn Plays Songs by Vernon Duke (Contemporary, 1958)
King Size! (Contemporary, 1959)
André Previn Plays Songs by Jerome Kern (1959)
West Side Story (Contemporary, 1959)
The Subterraneans (Soundtrack) (MGM, 1960)
Like Previn! (Contemporary, 1960)
André Previn Plays Songs by Harold Arlen (Contemporary, 1960)
André Previn and J.J. Johnson Play Mack the Knife and Bilboa Song and Other Music from the Threepenny Opera, Happy End, Mahagonny (1961, with J.J. Johnson, Red Mitchell and Frank Capp)
Duet (1962, with Doris Day, Red Mitchell and Frank Capp)
A Different Kind of Blues (1980, with Itzhak Perlman, Jim Hall, Red Mitchell and Shelly Manne)
Nice Work if You Can Get It (1983, with Ella Fitzgerald and Niels-Henning Ørsted Pedersen)
After Hours (1989, with Joe Pass and Ray Brown)
Uptown (1990, with Mundell Lowe and Ray Brown)
Old Friends (1992, with Mundell Lowe and Ray Brown)
Kiri Sidetracks: The Jazz Album (1992, with Kiri Te Kanawa, Mundell Lowe and Ray Brown)
André Previn and Friends Play Show Boat (1995, with Mundell Lowe, Ray Brown and Grady Tate)
Sure Thing. The Jerome Kern Songbook (1996, with Sylvia McNair and David Finck)
Ballads. Solo Jazz Standards (1996)
Come Rain or Shine. The Harold Arlen Songbook (1996, with Sylvia McNair and David Finck)
Jazz at the Musikverein (1997, with Mundell Lowe and Ray Brown)
We Got Rhythm. A Gershwin Songbook (1998, with David Finck)
We Got It Good and That Ain't Bad. An Ellington Songbook (1999, with David Finck)
Live at the Jazz Standard (2001, with David Finck)
Alone: Ballads for Solo Piano (2007)
Jazz Recordings as sideman/group member[edit]
With Benny Carter
Jazz Giant (Contemporary, 1958)
With Helen Humes
Tain't Nobody's Biz-ness if I Do (Contemporary, 1959)
Songs I Like to Sing! (Contemporary, 1960)
With Barney Kessel
Music to Listen to Barney Kessel By (Contemporary, 1956)
Carmen (Contemporary, 1959)
With Shelly Manne
Shelly Manne & His Friends (Contemporary, 1956)
My Fair Lady (Contemporary, 1956)
Li'l Abner (Contemporary, 1957)
Bells Are Ringing (Contemporary, 1959)
With Lyle Murphy
12-Tone Compositions and Arrangements by Lyle Murphy (Contemporary, 1955)
Classical music (as conductor and/or pianist – selection)[edit]
Chamber music / solo piano music[edit]
As in Jazz, Previn, the classical pianist, worked most of the time as a trio pianist (with violin and cello) in classical chamber music. Accordingly, most of his recordings as pianist are in this genre.
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Learsfool, it's quite apparent to me, that who is doing the posting, is much more responsible for your negative diatribes, than what has been posted, and that concludes any further dialogue with you in the future.
Enjoy the music.
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Learsfool, after the third time, maybe this will sink in but I doubt it.
André Previn (2012)
André George Previn, KBE (/ˈprɛvɪn/; born Andreas Ludwig Priwin; April 6, 1929)[1] is a German-American pianist, conductor, and composer. He is considered one of the most versatile musicians in the world and is the winner of four Academy Awards for his film work and ten Grammy Awards for his recordings (and one more for his Lifetime Achievement).
You're another one of those who can't hear "The Flow", and you demonstrated that when you called it "elevator music". You and Frogman seem to believe that if you say something enough times that will make it so.
Enjoy the music.
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Frogman, I found "OM" to be very relaxing; so relaxing as a matter of fact, that I went to sleep. That was it's purpose, and it worked for me.
Enjoy the music.
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Rok, in 1959 I had never heard of Andre Previn, and a guy in the next barracks had all of his hit music at that time; out of everything I listened to, "Like Young" was my favorite tune.
Black 'Leotards' was the dress for ladies of the hip persuasion at that time, and when we went out, (me and my fellow Airman) I spotted a long lean fox dressed in black leotards; I went over introduced myself and asked if me and my friend could join her, and her friend; that was the start of something big.
The title of the album that tune is from is; "Secret Songs For Young Lovers", and it was quite appropriate for me and my new lady friend; she played it a lot.
I don't think my attachment to this song is any secret, and I am convinced that's the reason it has been trashed. That song could not have remained a hit if it had been "elevator music". Ella Fitzgerald is not in the habit of singing "elevator music"; Andre Previn is not in the habit of producing "elevator music", and now two musicians are going to tell me "Like Young" sounds like "elevator music".
They said it was "elevator music" because I posted it, and if you're so concerned about "Like Young" starting a flaming forest fire, why did you bring it up again?
Enjoy the music.
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Frogman, you don't boggle my mind, I'm sorry that I boggle yours; you're motives are as clear as a mountain stream, and their all EGOTISTICAL. Reviews of the album We like Previn - Volenza.se www.volenza.se/en/reviews/we-like-previnIn terms of his mastery of so many disparate musical areas, Andre Previn ranks with Duke ... In "Like Young", which also Ella Fitzgerald recorded, she is grand. I can go all day with superlatives that others have to say about "Like Young" by Andre Previn; yet I'm the only person on this thread that appreciates it. That says a lot about the people on this thread who call themselves "Aficionados". Enjoy the music. |
Jazzcourier, so glad you dropped in; these "wannabe's" think if they all stack up against me, that will give their nonsense some validity, but it only confirms what I have to deal with in order to enlighten them.
If you noticed, none of them responded to "Idle Moments" by Grant Green; they wouldn't know good jazz if it hit them upside the head with a guitar; but can they type.......After two or three hundred pages worth of "whatever", I still don't know what they said.
Do drop in more often.
Enjoy the music.
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Frogman, did you know that Joe Henderson was the featured tenor man on "Idle Moments"? His solo on that jam is one of the most talked about among "Aficionados". Here's the real scoop on why that one cut is so long: Rudy Van Gelder is the timekeeper; he's responsible for turning on the light to signal it's time to wrap it up; but he was so caught up in Joe Henderson's solo that he decided to let him blow till he had said what all he had to say. That's the real deal on why that cut "Idle Moments" is so long.
Enjoy the music.
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Maybe you like to start forest fires? maybe you're bored and want some more excitement? Edger Allen Poe called this "The imp of the perverse" "The Imp of the Perverse" is a short story by 19th-century American author and critic Edgar Allan Poe. Beginning as an essay, it discusses the narrator's self-destructive impulses, embodied as the symbolic metaphor of The Imp of the Perverse. The narrator describes this spirit as the agent that tempts a person to do things "merely because we feel we should not."
Now you're getting the precise action that you knew you would. Well done.
Enjoy the music.
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That's a very good point of view Alex, and you have succeeded because I'm unfamiliar with Tiny Grimes. I'll listen and get back to you.
Enjoy the music.
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Alex, in my young days, I traveled from one blues joint to another; consequently, my familiarity with the blues is from live music, as opposed to records, as in jazz, and the only famous name I can recall is Albert King.
At that time I never had one serious thought about the music, I was just out to have a good time, and now I have to reflect back to those times in order to put the music in some kind of perspective. When I reflect back to what I heard at that time, the blues I heard was either Delta, or New Orleans based, meaning originated from one of those two places, and I make that statement founded on what Rok, the blues expert has said about the music.
Although I liked "Tiny Grimes" I was unable to put his guitar into any kind of perspective, it sounded original to me; but what's all important is whether or not I liked it, and I did.
Enjoy the music.
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Acman, thank you very much for that valuable information; now I'll be able to find the best of Tiny Grimes, playing with "Bird" says more than a mouthful.
Enjoy the music.
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