In case it wasn't clear, my comment to Schubert was meant as a positive and a testament to the power of that music.
Ghosthouse, thanks for the Lars Danielsson clips. Nice way to start a Sunday and I enjoyed Mathias Eick's evocative trumpet playing. |
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Loved it! Interesting stuff from a vibist who has gotten short shrift here. Not exactly Jazz as usually discussed here but interesting music with a little bit of humor thrown which can be put in the "Third Stream" category. It sounds like a Carla Bley arrangement. Interesting lineup of players and hard to miss Gato's huge tenor tone in the mix. I particularly like from about 4:00 to the end; reminiscent of Kurt Weill's "Three Penny Opera" music. Thanks! |
An admitted Luddite and computer idiot that my kids laugh at for this reason, I can offer limited help. On my iPad, and presumably other devices as well, it’s as simple as going to the top of the YouTube page and copying the URL (address beginning with https:// ) in the box and simply pasting it into the text of your Audiogon post. |
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Well, as is often the case, the truth is somewhere in the middle. First, Cugat was born in Spain, not Cuba. So, from that standpoint he was not Cuban, but his music certainly was. To say his music was not Cuban is like saying that the music of band leaders like Benny Goodman or Artie Shaw was not American Big Band Jazz and that only that of leaders like Basie and Ellington was; doesn’t fly. Sure, much of it was commercialized, but as with Jazz in the US there were different levels of commercialization designed for the masses and not necessarily for “aficionados”. The Andre Rieu analogy is not a bad one actually; but, say what you will, the music his orchestra plays is still “Classical”. Much of it is watered down and the “packaging” can be cringe worthy, but a lot of it (Strauss waltzes) is what it is and as originally composed. Rok mentions Buena Vista. I agree, great stuff. It is Cuban all the way and I agree that it qualifies as Jazz, but much of it is closer to what one could call Cuban folk music and a throwback to a bygone era (pre Cugat). The simmering hot, more aggressive brass laden salsa sound that many associate with Cuban music would not come until later. pjw, great player Zenon; been a fan for some time. And, no, no difference between Cuban Jazz and Afro-Cuban Jazz. All Cuban Jazz has a very strong “Afro” component in its rhythms. Actually, all Jazz does. Not exactly my cup of cafe; but, not Cuban?: https://youtu.be/3A0zahhdyrkhttps://youtu.be/kxTWdvU9eCs |
And to combine that with masterful and flexible use of tonal color is just amazing. |
hmmmmmmmmmm is better than nnnnnnnnnnnnnnah 😊
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Ghosthouse, with very limited internet for the weekend and not even sure this will go out. Glad you are digging TQ. Amazing recording. I have a couple of thoughts about similar things that I will post. May take a couple of days. Great wkend all!
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Cgoodwin, stick around and you’ll realize that your concern is unfounded. Personally, I agree with your sentiment 100%, but it really does not apply as current artists, including most of the ones you mention, are and have been well covered. Welcome to the thread; always room for new contributors and new perspectives.
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I understand what you mean about RVG’s sound. It’s excellence is undeniable, but it definitely had a signature. I suppose the ultimate goal for a recording engineer recording acoustic instruments is for the music to not sound "recorded". The "in your face" quality you refer to is there; the mic is very (too?) close to the horn. Still, his technique managed to capture the soul of the performance. If I may take a small liberty here, I would say that the reason that you don’t like that kind of sound may be due to your frequent attendance at classical music performances. In general, classical music performance values and recording techniques tend to give the listener a more distant perspective than other genres. This is very important since ensemble playing benefits from a certain distance to the listener. Musical interplay, tonal and rhythmic, by the players requires that distance for the harmonic envelopes of each instrument to fully develop on their way to the listener’s ears. This gives more meaning to things like ensemble blend and interplay. When things are recorded up close some of that information gets lost, in jazz as well as classical.
Btw, no yacht on Lake George here. My idea of chillin is to dig in the dirt at my upstate NY little piece of heaven where I can be around more "unknowns, and as it should be" (like someone very wise wrote in some other thread) than in the city.
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Rok, the foundational rhythms in Latin music are generally much more complex than in most American Jazz. The most obvious and closest equivalence in American Jazz, as a general concept in the music, is the very important emphasis by the players on beats 2 and 4 of each measure of music. When we as listeners snap our fingers to a Jazz tune the “hip” (normal) way to do it, whether we are aware of it or not, is on beats 2 and 4. The “square” way is on beats 1 and 3. Polka anyone?! ☺️
Great Mongo, btw. |
O-10, what subject might that be; and, why are you sure I don’t remember? Regards. |
Fabulous stuff, thanks! You’re right, hard to not notice Perdomo. I like the way that he burns without sounding like he turned the knob up to 11; always disciplined. Nice to hear the classic Fender Rhodes sound. One of my favorite recent recordings with Perdomo as sideman: https://youtu.be/8HC8tylP8Mghttps://youtu.be/oksHdUN0m74https://youtu.be/AOBkx-K2p2sSpeaking of noticing and of discipline. I love the way it’s hard to not notice the respect for Trane and McCoy while clearly bringing things to the present with their own thing. Perdomo kills on this. (Man, Ravi looks like his Dad!): https://youtu.be/OdLCoLVRCmk |
That Perdomo “Infancia” clip with the great Ignacio Berroa reminded me of this. With Schubert’s favorite Jazz piano player and a young Carlos Enrique before Wynton snatched him up: Turning the knob up to 11 (in the right places): https://youtu.be/RQ8wSSyKggESpeaking of Berroa, probably the greatest Cuban drummer of recent times. For anyone wanting to learn about the “technicalities” of Afro Cuban drumming, the heart of Latin Jazz. But, proceed at your own risk, you might get your “Aficionado” card revoked 😊 Interesting stuff: https://youtu.be/fU8z70pdrmo |
Ghosthouse, glad you appreciated the brilliance in Chick Corea’s "Three Quartets"; state of the art post-bop by four virtuoso players. In many respects it is Eddie Gomez sets the bar with some amazing bass playing. This was Michael Brecker’s last recording before his passing after a long struggle with illness. Many thought he would never record again and the news of the project was welcomed as a sign of his recovering health. Sadly, he passed just a couple of months later. Probably the greatest of the post-Coltrane tenor players who built on Trane’s vocabulary he was also a very interesting composer. One of my favorite records and one which I would put in the same general category as "Three Quartets": https://m.youtube.com/watch?v=HkjcLU38A6E |
Ghosthouse, it was "Pilgrimage" that was his last recording. |
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Tales From The Hudson is also great. If you like that do make a point of checking out Pilgrimage, it is possibly Brecker's best record and with a poignant story behind it. It's on YouTube and I posted the link earlier.
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Chucho Valdez:
Rok, I can’t take credit for that 😊. “Originated” is an overstatement. “One of the ingredients” is more like it; but, then again, you know all this.
Don’t worry, your favorite “Bolero” (by Ravel) has nothing to do with Chucho’s “Bolero” which in this case is just the generic use of the Spanish word for “ballad”. Not a single trace of Ravel in that one. I did like it very much. Great player.
“Rhapsody” is a different story. It has become “de rigueur ” for Jazz piano players to put their own spin on Gershwin’s “Rhapsody”, with varying amounts of success. Chucho simply uses some of the melodies and incorporates them into his own thing as opposed to keeping the composition fairly intact and improvising “extensions” of the solo piano sections as Jazz players usually do. Didn’t work too well for me.
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O-10 makes some be very good points that one could say really go without saying. When listening to music one doesn't have to please anyone but ourselves. We sometimes "grow into" a genre and jazz being an evolving art form we sometimes have to grow into the different periods of the music. Sometimes it takes time and more exposure to "get it". And all that goes to a personal choice which is probably heavily influenced by our respective personalities and the place that each of us has for music in our lives; the relationship. Some listeners approach the experience with an open mind to all the possibilities and with the firm knowledge that what there is to "get" is not always understood right away as the backdrop. Or, is the backdrop that the scale is always firmly tipped to the side of what we currently like? Iow, do we demand that challenging music always prove itself to us right away? Or, are we comfortable with the idea that sometimes we have to prove ourselves to it as listeners? It is, after all, the musician who is the artist. Just some ruminations on what I find is a very rich subject. Ghosthouse, I must say that I am surprised that you found so little to like in "Pilgrimage". "undifferentiated mass of noodling"? Wow! Structure and blowing that is admittedly much more abstract than in things like "Three Quartets", but still very rich in those regards. In fact, widely considered Brecker's best writing and most inspired blowing. You do well to want to come back to it at some point later on and I have a strong feeling that you will come to appreciate it. After all, in keeping with O-10's comment about "strong concensus", there aren't that many records that receive such strong positive concensus as that one. This was Brecker's first solo record; might put some things in context and in some ways my favorite of his solo recordings. Great lineup too: https://m.youtube.com/watch?list=PLloUaOFZpOhcaevThkk-rW70srfO6LwYI¶ms=OAFIAVgC&v=sm-CSR... |
Isn't that place amazing?! The vibe as you go down those steps and when you see those photos on the walls of all the greats that played in that room over the years is almost overwhelming. Btw, I saw Al Foster play there several times in the 80's with Dexter Gordon during Dexter's "comeback" period. Probably the greatest jazz club still in existence. Thanks for sharing
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"Somethin Else" was the subject of heavy debate here in this thread about two years or so ago. For anyone interested it might be worth searching the thread’s "archives" for some of that commentary. One of the points of contention was whether "Somethin Else" was a "better" or more important record than "Kind Of Blue" as some asserted. As I recall I was a lone voice with my opinion that, while it is a great record, it was not a particularly influential record the way that KOB was. I also recall that it seemed that there was an unfortunate bias against KOB simply because of the fact that it is an audiophile favorite.....those pesky audiophiles 😎. I like "Somethin Else" a lot and it is a classic. I do have a couple of thoughts about it; one that was also controversial during that previous discussion. First, imo, I think it really is Miles’ date more so than Cannonball’s eventhough Cannon is the "leader". Cannonball was a sideman in Miles’ band and I can’t imagine Miles taking a back seat to one of his sidemen. The proof is in the pudding and as great as Cannonball sounds on the record, to me it is obvious that he is playing with less exuberance than usual and accommodating Miles’ more sparse and introspective style; not a negative and just an observation. My only "issue" with the music is also a personal one. I have never really liked Art Blakey very much as a sideman. His drumming style is a little laid back, almost a little lazy, to my ears. Again, not necessarily a negative, but it might explain Ghosthouse’s reaction to the record. It should also be noted that the title tune is a Miles composition. Definitely one to have in one’s collection.
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Not intended to sway anyone's point of view; after all, we all like what we like and as O-10 pointed out recently we all grow into genres and appreciation of their uniqueness and different layers. "Noodling" is defined as "aimless musical improvisation". Now, Michael Brecker's opening to the tune "Sysygy" may sound to some as noodling; but it is anything but. Brecker was the kind improviser that never noodled a single note in his career; he was an extremely purposeful improviser. The extended improvisation in the opening of the tune was a deliberate element of the composition. Some may not like or appreciate this kind of improvisation without the harmonic underpinning (comfort?) of the harmony instruments in the rhythm section, but it is a deliberate element of the composition which creates musical tension followed by the release of the tension when the harmony instruments come in. A conceptual choice....improvisation BEFORE the statement of the melody. Moreover, that improvisation sticks to the harmonic changes of the tune. Hardly an aimless exercise. Again, any one of us may not like it, but I believe there is value in, at least, acknowledging the artist's intent and not being dismissive of the artist's vision. This may be of interest: https://m.youtube.com/watch?v=TlEAl3jdn6o |
O-10, glad you are enjoying "Pilgrinage"; there is a lot to like there and I agree it is accessible. Speaking for myself, I know that there was a time when I would not have thought so. We all grow as listeners if we let it happen. Sometimes we don't even realize that it is happening. I hope that I am being neither presumptuous nor am taking too many liberties when I say that over the course of the life of this thread we all have grown as listeners. You make some good points, but I would say this and none of it is intended as criticism or disrespect of anyone. It is a "musician thing" only to a degree. What I mean is I know and have known non-musicians who understand those "galaxies" and "parts unknown" very well; believe or not, better than some "musicians" that I have known. Imo, it is a matter of wanting to understand and not put up our own roadblocks to understanding. However, for some listeners that is a kind of "work" or effort. Some of us want to do that and others don't. A personal call and not applicable to everyone. Also, assuming that what the player is doing is not, in fact, "noodling" (aka bulls&!+) I don't think that it is that "musician's speed is faster than his ideas"; it is instead that the musician's ideas are faster than the listener's speed. You are quite right, there are plenty of bulls$!+ers out there, but I don't think that Trane (or Brecker) were two of them. |
O-10, musicians are not impressed by the complexity, they are impressed by the incredibly high level of the MUSIC he is making. The person who first introduced me to Trane decades ago was not a musician; he was a jazz fan and loved Trane’s music, including music from his "out" period. |
Thanks for the Hal Galper clips, acman3! Hadn't seen those and I thought I had heard just about everything by M Brecker. Still in his twenties he had a tone that was my favorite. It changed over the years and got rounder and darker over time; arguably more beautiful but I liked the edge that it had back then. Good stuff! |
Nice story, O-10; thanks for sharing. But, as concerns the point that I think is being discussed, with all due respect and not doubting what you are saying about that audience’s reaction, I think you are missing the point. Here’s what I mean: That account would have been from at least 50 years ago or so, no? 50 years before that would have been about 1910. We didn’t even have jazz as we know it then. The point is that 50 years is an eternity in the arts and a great deal changes in 50 years, including audiences’ tastes and openness to more adventurous or challenging music. Can you imagine how audiences would have reacted to be-bop, not to mention hard-bop or beyond in 1910? Not too well. The audience that you were part of that night had never heard anything like that before. Well before the period in Trane’s career that we are talking about many many MUSICIANS thought that what Trane was playing was bs because it was so different and unconventional and that included records like Blue Train, a record now considered to be mainstream. Swing tenor players did not understand what Trane was doing and were highly critical of him. All that changed with time. Never mind my own personal experiences of the non-musicians who like Trane’s intergalactic travels on recordings, I listen to those live recordings and what I hear when the space ship lands back on earth is a lot of applause from the audience; clearly there were many audiences who liked what they heard. Besides, just what is the point of all this? Some listeners like or appreciate late period Trane and some don’t; and they don’t have to be musicians to like it. That’s all. Thanks again for the nice personal account. Some interesting comments from Tyner himself about his time with Trane: https://jerryjazzmusician.com/2001/11/mccoy-tyner-talks-about-john-coltrane-and-the-recording-of-a-l... |
Ghosthouse, J.C. Thomas' "Chasin' The Trane" is a great and very readable Coltrane biography. Very accessible and focuses on his life without much by way of musical technicalities. Highly recommended!
Thanks for one of my favorite tunes from Sunken Condos. Really like that record and John Herrington always kills me with that great guitar sound. One can never have too much light 😎 |
O-1O, this is one of those times that our discussions lose focus and I frankly don't know just what it is we are talking about. No, I never heard Coltrane live but I have heard just about every recording of his extended "excursions" so I know what it is you are talking about. I don't want to get bogged down and go in circles and risk getting into a contentious argument. Here's the issue:
This has been discussed/debated here about half a dozen times now and we are very familiar with the account of that night. This discussion began when you stated the opinion that only musicians understood or understamd (now on recordings) what Coltrane was doing during those "trips into outer space". Moreover, you have often expressed the opinion that this was a period in his career when Coltrane "went too far" and this has been stated with a negative slant. I disagree. I have known non-musicians who do like and understand what he was doing. I see that as a positive and don't uunderstand why you see it as a negative in spite of the fact that you don't like it or appreciate it. You had a wonderful experience hearing Trane live that night; good for you and I wish I had. Fortunately for fans those live sets are well documented on record. My point is simply that audiences today would have a different reaction than they would have 50 years ago when nothing like that had been heard previously for all the reasons that I explained in my previous post. Perhaps I'm not understanding but your comments suggest that the very set that you heard that night was recorded and released. Would love to hear it. Can you tell us what recording that is? Thanks again for the personal account.
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O-10, sorry, but I’m not going to go down that road of contentiousness again and for the umpteenth time. It’s too bad that you always seem to need to turn things nasty when faced with simple disagreement. I believe my comments have been perfectly clear and I don’t think it is I who is not understanding. As always I’m willing and would be glad to discuss further with civility. Until then or if not, peace! I respectfully suggest you put the brakes on . Btw, you yourself have posted examples of the Trane’s playing from the period in question as examples of how he "took it too far", so they are already here on this thread. |
Exactly right, Ghosthouse. The concept of changing/evolving audience tastes and perception is well documented and practically indisputable. Like you and as I wrote previously, I don't doubt that O-10's account of the audience reaction was accurate; and yes, that probably wasn't even JC's "most successful exploration". No need for ill-humor. I would also venture a guess and say that there probably was one jazz-geek in that crowd that, if only privately, said to himself: "That was awesome!".....there always is. |
Nice to hear from you, Alex. Great clip and of my favorite things on YouTube. There are two others that I (and I think acman3 as well) posted a while back. Here's another: https://m.youtube.com/watch?v=HE9bRhUwELE |
I too had an issue (albeit minor) with the yin-yang characterization. However, I did not make an issue of it in part because I think I know that what Ghosthouse means is the reliance primarily on a personal observational and emotional reaction to music or event when making commentary vs making commentary that is rooted in a generally accepted factual reality: subjective/objective...yin/yang. Please correct me if I am misconstruing.
I have no interest in claiming any superiority or authority when participating here. I participate and make comments, agree or disagree, based on what I believe (or know) to be factual and anyone who cares can decide whether what I write has any merit or not. However, this does not mean that I will be yielding to what I believe is incorrect or incomplete information. As always, I think the key is to do all this in a civil and respectful way regardless of which side one is coming from. I also don't claim to never have failed in being civil, but I believe that anyone who cares to look at how the exchanges here transpire will find that things get derailed when the commentary from the yin side turns personal and often nasty when the yang disagrees and won't yield. I believe the most recent exchange between yin and yang is a fine example of this.
Now, the main reason I had an issue with the yin-yang characterization is what I think is the most important message in all of this for all of us. The emotional and subjective aspect of the music listening experience cannot and should not be entirely separated from the factual reality; or vice versa. The two can and should live side by side. One of the reasons for "ill-humor" here has been the suggestion or insistence by some on the yin side that the simple fact that a listener acknowledges the factual (yang) means that that there is somehow less appreciation of or openness to the emotional (yin). Nothing could be further from the truth. In fact, and as I have suggested before, the understanding of the factual can enhance the emotional experience. Whether this can work for any one individual is a personal matter however. ( Example, and speaking for myself: I can acknowledge the craft and technical excellence of the music of Richard Wilson, but I still can't stand it. Or, I can point to all the flaws in Elvis Costello's voice and still really like his singing).
The most recent ill-humor was luckily relatively minor and I would like to respectfully point out to O-10 that there was no attempt of any kind to "teach" anything; certainly not music. Again, the problem stemmed from simple disagreement with a statement that he made about.....musicians. That only musicians are capable of understanding late period Trane. Frankly, it all seems a little ironic to me.
(Speaking of facts and relating to much of the above. Glad to see attention paid to this sort of detail on the part of acman3 when he refers to the chord changes of "Impressions". Perhaps the notes are incorrect but the changes of "Impressions" are the same as the tune "So What" not to "KOB".)
Nice Mingus clips, O-10. One of the geniuses of the music.
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Ghosthouse, when I made that inference you were not on my mind at all; had absolutely nothing to do with your comments which were clear and evenhanded. You are relatively new to this thread and were not part of prior arguments in which that assertion was made by some; primarily those wanting to rock the boat of reasonableness 😉
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O-10, I think it's time to move on.
**** Is this civil enough? ****
Nope. |
Not sure what the "forever more" part means, but as I said previously I think it’s time to move on. For me, perhaps it was last night’s performance of Shostakovich’s Symphony #5 that helped me let the dust of contention settle and move on to offer some thoughts on what you are asking, O-10. I don’t think that it takes much to understand that my reticence to respond had everything to do with the sarcasm embedded in your request (🍿); but, that’s ok....the healing power of music and in this case, Shostakovich.
The healing power of music is, I think, entirely relevant to the issue of "late-period Trane"; although there on a much larger and more important scale. I mentioned previously that I found a certain irony in all this. There is an even bigger irony in respect to the request for an "explanation" of late-period Trane in terms of the musical fact/details; especially when one considers that the rub (and now the request) seems to always be between the approach to listening that relies purely on the emotional (subjective/yin) and the approach that considers the factual (objective/yang). The reason that I find irony in this is that the truth is that there is really very little to talk about concerning the music details in factual terms. Late-period Trane is almost purely about emotion....that’s the irony. Of course, were there at least some interest on the part of some listeners in considering the factual, this would be perfectly clear...how can one recognize what isn’t there if one can’t recognize it when it is there?
What is this business about the healing power of music? The recording that was submitted for "analysis" as an example of late-period Trane (The Olatunji Concert) was his very last recorded performance and the second to last public performance. He was dying of liver cancer and would pass three months later. Much has been written and discussed here about Trane’s constant search for new sounds of expression as clearly documented in all the records that led up to this final recording (not officially sanctioned by his label Blue Note, btw). Many of those records lend themselves much more to analysis of the music details simply because there is much more there to analyze. His tune "Giant Steps" with its complicated and very fast changing harmonies has received more analysis than just about any other jazz tune that I can think of.
I think it can be fairly said that Trane was on a mission or quest for spiritual awakening; the most notable example of this being his recording "A Love Supreme" discussed here recently. Put this against the bigger and less personal backdrop of what was going on in American culture as a whole during that time... war, social upheaval and racial tension. If Trane’s music during this period is not the best example of the premise that great art reflects the time of its creation, I don’t know what is. As Schubert characterized him recently...a great artist.
Trane’s constant search led him to abandon just about every traditional notion of what music (jazz in this case) was. Dissonance and chaos, not the coziness of consonance and easily followed and understood musical lines and harmonies, ruled the day. Clearly difficult music for the listener to take in, but as far as I’m concerned the intensity of emotion and pain in the squeals and honks is obvious; and should not be surprising coming from an artist who was dying and had only three months to live; and knew it. I don’t think it’s much of a stretch to say that it was an attempt at self-healing through music. Now, the listener can (and many do) dismiss this music as simply mindless noise and screeching, but it would be a shame to do so, imo. I don’t listen to much late-period Trane. Not because I think it’s ugly, noise or bs; I just find too hard to take in on emotional grounds and almost disturbing. That’s one of the things that good art sometimes aims to do. Nothing wrong with bringing things down to simply "I like, or I don’t like"; as always, a personal call. However, I think that what gives our personal likes and dislikes relevance and meaning in the larger scheme of what art is all about requires that one consider things of this nature.
(Btw, and I’m sure you are aware of this, O-10, much of the blowing including the very first solo after Trane’s wonderful opening bluesy statement is not by Trane, but by Pharoah Sanders...there were two tenor players in that performance).
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**** Frogman, I understood the music better than I understood your post.****
Unfortunate, but not the least bit surprising. |
**** Truth is, when you hear "ahead of his time" perk your ears up, you might just hear someone with one of the rarest of all human traits, the courage to be in his time . ****
Very true and interesting comment. |
Thanks acman3; we can always count on you. Still laughing. |
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Thanks, Alex; likewise. You make some very good points. There can be profound beauty in utter simplicity and art doesn't require complexity to convey deep emotion. You mention the simplicity in tea and the zen experience. I will never forget the experience of a meal at a restaurant in Kyoto, Japan where all that is served is tofu. The setting and presentation added to the experience, but it was the perfection in the simplicity of the food itself that made the experience so memorable. Difficult to describe something that had practically no taste of its own, but it was like eating clouds and strangely satisfying.
**** Sometimes I like to think (perhaps I am wrong) that many records and music transcends its original form, because of emotion, artistry or just inspiration of that moment and it allows us to feel the hidden depths of 'beauty and soul ****
I don't think you are wrong at all. |
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I can’t disagree with your assessment. I confess I am demonstrating my bias in including the Szell. You’re right, the Dresden has it. When I refer to my bias, I am talking about my (and that of just about every other living clarinetist) bias in admiration of Robert Marcellus and his impact on the clarinet world; that is why it’s a favorite. I could get into it here to the point of boredom, but will spare you. Marcellus started a revolution in the clarinet world and is beloved for moving clarinet playing away from the bright reedy and unfocused tone approach that was prevalent up until then. The Marcellus recording was considered THE recording of the Mozart for clarinet players of my generation. In just about every other way, especially the lyricism, the Dresden/Meyer has it. Still, I like the ever so slightly slower opening tempo of the Szell...perhaps just my conditioning. Good to have options. If you have the opportunity check out Karl Leister’s with Berlin/Karajan. Generally not a fan of Karajan, but Leister sounds fabulous.
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ghosthouse, nice clip. Mintzer is one of the most talented musicians around today. Great composer/arranger/ big band leader as well as player. Bass clarinet: For me the bass clarinet, like all instruments really, is most effective when all its unique qualities are used to their fullest and is played as more than just like another “saxophone” with a different type of tone. Dolphy was, of course, the master and standard bearer. Benny Maupin is a very soulful and underrated player who deserves more coverage here. Funky as hell on saxophones he is one of those who, IMO, also found the bass clarinet’s “soul”. Charter member of Herbie Hancock’s “Headhunters” he has been involved in many interesting projects including his own: https://youtu.be/Mad5PBuGrw0Very different approach to the same tune: https://youtu.be/0Zlo2mkEo5Uhttps://youtu.be/Gcqr63Q5mEshttps://youtu.be/WtORTuLJw7ohttps://youtu.be/mZy7v_-ss74 |
Re my last post: huh?! e-gremlins. |
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