The rules of the game changed, or at least my understanding of them. But at my age I'm easily confused it seems. ;^)
Anyway, I thought o10 was originally suggesting submitting songs/artists where the musical message was conveyed by the fewest notes, i.e. with significant space between them. That's why I nominated Basie.
But if I now understand things what he was really asking for is submission of songs which can be identified by the fewest introductory notes. Nothing wrong with that, but it is a different game.
Carry on all . . .
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Hey Jazzbos, Happy New Year to you all! I've been away for a family holiday visit and don't carry digital connections with me, other than a basic c-phone. So I just spent time catching up on your posts made while I was away. The dreaded "Application Error" on Audiogon continues into 2018 so hope this gets posted as I have a collection of comments. "Sing, Sing, Sing" and the Benny Goodman concert was truly groundbreaking, and not only for being the first jazz concert presented at Carnegie Hall. Recently I read that was the first LP album release but that didn't make sense to me. I thought LPs were introduced about 10 years after that concert? frog, speaking of genres in music, this is not exactly jazz, but blues must certainly be considered a close sibling within the family. I first saw an hour's program from this session on PBS several years ago. Then a couple of years later I found an LP with some of the numbers at an audio show. This is the first time I've seen what must be the full length video, great stuff - https://www.youtube.com/watch?v=mPcGJahjsHY rok, the beautiful car on the Jimmy Smith cover was a Jag XK-150, the last of their 100 series and just prior to their more famous XK-E Type. That image was distorted from spreading by a wide-angle view which made it a little less obvious. Also, if the seat material was important to you, you should have bought a Chrysler with the famed "Corinthian Leather"! ;^) Regarding Hollywood and drumming, one of their biggest sins was the distortion of the Native American beat. It was not "BOOM, boom, boom-boon" as depicted in so many Western movies, but instead a steady, even beat, replicating the human heart. A friend with Native American heritage pointed this out to me some years ago. Lastly, this is a repeat link for me, but I couldn't resist with mention of Haitian music - https://www.youtube.com/watch?v=L7CoJEyiSfE |
The 10 best live jazz albums to own on vinyl? Well, that's the opinion of this author. So, what do you think? http://www.vinylmeplease.com/magazine/10-best-live-jazz-albums-vinyl/I have all of them except the Sonny Rollins and Keith Jarrett, though not all on vinyl. I do enjoy all the others -- but I find it impossible to pick out 10 for a challenge such as this. There are just too many variables, including my mood at the time of listening. ;^) However for one easy example, I think I'd need to include the "Dave Brubeck Quartet At Carnegie Hall" which would be my pick over all his other recordings if I could have only one, including the ever-recommended "Take Five", with the bonus of it being a live jazz album qualifier. |
rok, frog, acman, I’ve been having problems with loading since at least Thanksgiving, frequently receiving "Application error" or (500) error screens without loading. I use an iMac. This can happen when I first attempt to open the Jazz for aficionados site, when I jump to the last page, or when I try to post a response. It can be particularly frustrating in the case of the latter if my post attempt was more than a few lines long and is lost.
Sometimes, immediately attempting to reload the site/page works, although any new post is lost. Other times I must back out to the Forum list and enter Music again.
I’ve contacted Audiogon twice so far but no improvement. Perhaps if everyone having problems would complain it could get their attention?
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Thanks frog. I was not aware of that album and never knew Cannonball played/recorded with Mendes.
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To all who have experienced problems with "Application error" or (500) error messages. I just received this reply after my second recent complaint:
"I reported the issue. Unfortunately we cannot replicate it, so it seems to be a very intermittent problem. If we hear from 2 or 3 other users about the issue it will be something we will prioritize to take action on immediately. I am sorry there is nothing more I can do to solve the issue currently."
I admitted up front it is an intermittent problem, but they don't seem to have the patience to test it several times. So I hope more of you will complain to the site managers rather than continue to tolerate their failing.
Thanks
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o10, yes I have the Coltrane/Hartman album on LP and find it to be a total pleasure. Also, I'll admit I'm unfamiliar with Etta Jones. I had to look her up to be certain you didn't make a typo. ;^) But I am familiar with Etta James and offer this album for everyone's consideration. I find it to be something special - https://www.youtube.com/results?search_query=etta+james+mystery+ladyLastly, ghost, thanks much for that link. I found it informative and stirring. |
o10, my "Mystery Lady" is on CD (Private Music D102561) and on my system it offers a very good sense of "presence*". More so than most CDs in my experience.
I'd only known Etta as a blues oriented pop singer prior to this. I've had this disc for a few years now so no recollection how I discovered it, but I continue to love it.
* Without going all audiophile geeky, to me this implies a sense of aliveness, more being in the presence of a real performance than most recordings. I've used it a few times to demo something on my system for friends.
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Wow o10, that's a pretty radical move. And a very unique one I'd say.
I still hold a preference for vinyl since it generally offers a greater sense of presence, among other things. But I wouldn't want to be without my (much smaller) CD collection. Some of those were never released on vinyl and some were purchased only after giving up on finding clean LP copies of specific recordings.
Anyway, I wish you great pleasures.
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Welcome mary jo, as o10 said, always nice to have more perspectives. And nothing wrong with "lurking", I often do it myself. But don't be hesitant in sharing what you like, newbie or not.
o10, Julie London has been a favorite of mine for decades. I can't say I consider her to really offer jazz stylings, but I love her voice and she always seemed to have top-notch back up, including respected jazz musicians.
Sad story: when in college some friends and I drove to Detroit to attend a major jazz fest at Cobo Hall. That offered many top artists, including Julie on the bill. I was excited for my first chance to catch her live. However as the concert continued on toward midnight she had not yet appeared. My friends became restless about the hour-and-a-half drive back to campus. I pleaded for them to wait for Julie to come on but they insisted on leaving -- with or without me. I had a choice, go with them or wait for Julie and find my own way home. I may have been young and foolish but the idea of hitch hiking out of downtown Detroit after midnight was not exactly appealing. So to my disappointment I never saw her perform.
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Well, I appreciated Christy, but I loved Julie! Also, I assume this is pure coincidence and had nothing to do with her nickname, "the Misty Miss Christy" - https://www.youtube.com/watch?v=-5QrkDrS0IQAlso, here's a nice collection of jazz album covers, nearly all of which I can associate with the featured artist or the music. An exception would be the "Miles Ahead" album. http://www.birkajazz.com/archive/columbia.htmAnd I agree rok, Blue Note was also a leader with album art. Speaking of which, a good friend in HS and college had an older sister married to an artist who was commissioned for I believe several World Pacific covers. Unfortunately a search didn't turn up any examples. |
frog, the first time I saw the great flick, "Jazz on a Summer's Day" I became an instant fan of Anita. For me that remains possibly the best jazz vocal performance I've heard. Too bad it was so brief. She truly was a jazz singer, unlike Julie in my opinion as mentioned previously. Still, like chocolate and vanilla, there are reasons to enjoy both. ;^) https://www.youtube.com/watch?v=DcMmVGrzpy8Also I agree about Krall. She is OK, but not nearly worth the popularity she seems to have obtained. I can only attribute that to so many younger people not having been exposed to the many great jazz vocalists we've been discussing here. Of course it doesn't hurt that she is easy on the eyes -- if that is not too politically incorrect to state. |
frog, don't remember ever seeing Krall's legs, but if skinny, I agree. We all have standards for personal taste (nothing wrong with that) and I prefer at least gentle curves.
"Easy on the eyes" became a favorite expression long ago. At a wedding the black grandmother of the groom was heard to say that about the white bride's brother. It struck me at the time as not only a "cool expression" but how wonderful that she could openly express her reaction considering the repressed age and race norms of the period. Of course had a white grandmother uttered that about a young black brother, she might have been escorted from the church, if not banned. Hope this little story isn't too far off track, but I always admired that woman for her open honesty.
Back on track, mary jo you're talking about the top of the mountain now, so you can't be too much of a newbie, at least regarding appreciation.
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rok, I was driving to an audio club gathering Sunday morning when I heard "Mercy, Mercy, Mercy" on my favored FM jazz station on the car radio and thought I should post a link later as it seemed to fit so well with recent discussions here. But I was away all day so very pleased to see you had the same idea.
Now, not to continue thumping on the deceased equine but I need to comment on o10's calling "you seem to say that Billie's rough life helped her as a singer." as "BS". I wouldn't say "helped her" but I have little doubt her "rough" experiences had a huge impact on her adult personality, sensitivity, and general perspective on life. And that must have come out in the ways she expressed herself in her singing. That is not to suggest she would not have been successful and admired had she not be introduced into prostitution for example, only that that experience added to who she was so became an element of her emotions and sensitivities later in life.
On another subject, o10 you suggest a question I don't remember asking myself. Did Miles and Jamal ever record or perform together? I'm not aware if they did. If not, a little surprising if they were good friends.
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o10, we seem to be at a misunderstanding so I'll hope to clear the air before it continues any further.
"I never said her rough life helped her." And I wasn't suggesting you did say that. But I was reacting to your comment, "What upset me was that you seem to say that Billie's rough life helped her as a singer. Like being a prostitute at age 14, and being a drug addict, gives you 'soul' and 'passion' in your music. All BS, of course."
Right or wrong, I read that as saying you consider any suggestion for her early rough life to have aided/contributed to her development as a singer to be BS. Knowing a little about your knowledge and sensitivities from readings here that surprised me.
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rok, many thanks for clearing that up. I must have missed your original comment so obviously attributed it to o10. Anyway, the air is now clear so I trust all are happy. Regarding Parker, for anyone who may not have many of his recordings (or none yet) this concert is considered by many jazzbos to be one of the most important. There is an underlying story about confusion with his name due to recording contract disputes. This is the album I have from this classic event (it's less than $180!) - https://www.youtube.com/watch?v=0jlQ_0fKH_8&list=PL3V0wfpNp_6RctFzcapBqpesR5i3v1QPd |
Regarding Mosaic, as well as some other reissue companies, I tend to agree with o10. I have a few of the Mosaic LP box sets and I typically don't enjoy hearing 2-3 takes of one song in succession. That may be OK for one listen to pick out the differences. But for repeated listening over time I don't care for it. For me it would have been better if the original recording was presented in sequence, then offer any worthwhile outtakes at the end. But that is just one person's opinion.
Otherwise, I've found the Mosaic sets highly recommendable.
One other related point. For many artists, regardless of type of music, I'm content with one or two representative recordings. It is only artists I really enjoy that I've accumulated from maybe 5 to 25 or more albums. That preference limits my interest in most of the Mosaic catalog. I'm not a completist. ;^)
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One further thought on "Mosaic", except this time the tune, not the label. Any person who considers themself a jazz aficionado should be able to identify this group in just a few seconds, if not the tune itself. It came on my FM jazz station as I was driving home from the dentist this morning, so that inspired me to share it. Unmistakable! https://www.youtube.com/watch?v=pzfURZdmkx8 |
OK, recently, if not on this page, we had requests for new/current albums. I admit to not owning any of these but pass along this list in the hopes others may find something of interest here. It comes from my local, college FM jazz station. They play a wonderful blend of that "classic" jazz discussed recently as well as recent and new releases. This is their "best" list for 2017. http://www.jazz88.org/articles/Top%5FTen%5FDiscs%5Fof%5F2017/Also if anyone is interested in streaming their broadcast find link on that page. Yes frog, that should not have been a challenge for any aficionado here. ;^) rok, thanks for the link to the performance of Basie's music. Lastly, I just had to add that I ordered tickets to a special performance of music from this Mingus album. The promotions at the time claimed it was his favorite among his recordings. So, top musicians out of NYC and performed at one or our best sites for acoustics (<300 seats), how could I not attend? https://www.youtube.com/watch?v=WdQVI4zTp_I |
mary_jo, I hadn't heard that Desmond version of "Taste of Honey" before. The album title was certainly appropriate, I found it quite melancholy. For the same song in a more swinging, upbeat version, I really like this one, from an album I've owned for decades - https://www.youtube.com/watch?v=NbQHNrCotcc |
I hesitate to backtrack like this, but being the foolish person I can be sometimes I’ll go ahead. o10, you chided readers for not commenting on your initial 1/18 "hard bop" comments and selections. Well, I enjoyed those but was confused by your suggestion of Pepper Adams. I read that to mean he was represented on all your selections. I intended to comment then but was sidetracked and didn't get back to it. Picking just one, the Mingus "Moanin’" did not include Adams, although I believe he did record that with Mingus on another album. Anyway, Mingus was a leader who seemed to go through a wide variety of sidemen, other than Danny Richman of course. For another example of a bari-sax player with Mingus check this out - https://www.youtube.com/watch?v=wx112gQTNucsloryder, I only knew Hollsworth from his time with Soft Machine, didn’t realize he got into jazz after that. Anyway, nice list. |
mary jo, you may be a newbie but you show very good taste in my opinion, lots of classic and outstanding albums there. Since you mention Chet Baker more than other musician let me suggest this album. Hard to believe it was done in 1955. It has been a favorite of mine for decades. Hope you enjoy it, everyone else too - https://www.youtube.com/watch?v=S9qGcwK8L5U |
mary jo/others, sorry, my mistake. While the "California Concerts" is a great album, it did not include Baker and I should not have suggested it. This is an example of the Mulligan/Baker collaboration I had in mind so give it a try - https://www.youtube.com/watch?v=VrZGLZIW5V4 |
o10, you posted the exact Giuffre track that lead me to his music, and that number remains my favorite decades later. You will certainly remember that I've commented on and posted links to performances from "Jazz on a Summer's Day" several times. Including recently to O'Day's stand out numbers. Regarding "Flamingoes", Toni was good but I remain loyal to Gil Evans' instrumental version - https://www.youtube.com/watch?v=MUJ8P-aeZhERegarding Ornette, I remember how radical I considered his music when he came on the scene. Now if I listen to any of those early albums they sound almost conventional. So that's a good perspective on how our tastes and perceptions can change over time. https://www.youtube.com/watch?v=OIIyCOAByDU&list=PLLfQmEMiqjKdrJLwKLZzOsLHCEZsBx3I- |
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From a listing along the side of the Dizzy/Getz link was this one by Jaco. He certainly was one of the most "influential" bass players. Not that many great bassists didn't come before him, but he developed new stylings that influenced those who came after him. Interestingly I found other links to him alongside links recommended by others here following the Dizzy/Getz post. His performances in jazz extended far beyond Weather Report. https://www.youtube.com/watch?v=AtqvKnZ_LMg |
Hi jazzbos, I've remained on the sidelines during discussions of "underrated" musicians for a couple of reasons. I'm unclear what constitutes being underrated. Is it based on record sales, jazz polls won, number of times they made the cover of Time magazine, or anyone's individual perspective? And is it their musicianship, how many groups they've lead, how many compositions they've written which were then covered by others, or how much their technic influenced other players? Curious minds want to know. ;^)
However I now come out onto the playing field, mainly because of a concert experience last evening here in San Diego. The Mingus Dynasty performed a tribute to the "Tijuana Moods" album. BTW, they also performed the night before in Tijuana and I heard it was an over-flow crowd success.
Anyway, frog may know some or all of the musicians since they are based in NYC. And they all have recording experience other than with Mingus Dynasty, so others of you may know some of them too. But they were all unknown to me. The band:
Wayne Escoffery - tenor sax
Brandon Wright - alto sax
Alex Sipiagin - trumpet
Frank Ku-umba Lacy - trombone
Theo Hill - piano
Boris Kozlov - bass
Adam Cruz - drums
I found the individual musicians to be either very good or outstanding. Yet, as stated, I'm not familiar with any of them. So does that suggest any or all are underrated? I'm not sure. |
Thanks frog, I hoped you would follow up.
Yes, I knew that Mingus Dynasty was not a specific group of players, but drawn from those available in a larger collection. I suspect every member of that collection is a top flight musician, and so there is no let down regardless of who participates at a given time.
I came away with two major impressions regarding the musicians.
First, the two who I would say were most "underrated" (to keep with our theme here) were Hill and Cruz. Hill was extremely dynamic in the sense of loud to soft. On some numbers his emotion coiled up and sprang from his body as he bounced about in front of and over the keys. Yet other times he barely whispered the notes. All with feeling and in tune (thematically) with the other musicians. Cruz was simply cool and nonchalant, overall effortless while keeping perfect time with creative steady and dynamic moves.
And not to be politically incorrect, but I was impressed that two Russian born musicians (Alex and Boris) who immigrated to the US displayed such depth and feeling for music written by Mingus. This was seemingly in defiance of some comments on this site about influence of background as it relates to or might limit jazz expression.
But that’s just my view.
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o10, I have a somewhat parallel perspective as you, but for slightly different reasons.
I too hold a strong preference for the "classic" artists from the '50s and '60s. That's not to say the Young Lions have nothing to contribute or haven't recorded anything worth listening to. For me it becomes a choice between time spent listening to musicians/albums I know I enjoy and delight in hearing again compared to time exploring new artists that I may or may not like.
All this is due to my age and the admission I don't likely have that many years left. I came to this realization recently responding to an audio buddy about a potential upgrade to one of my components. It is simply not worth the time, effort, and expense any longer chasing my tail with upgrades. I'd rather spend my time listening to music I love. And if I've heard that music 100 times, it doesn't matter since I choose to go back 99 times after initial hearing and obviously it brings me pleasure.
Anyway, if I didn't already have a huge library of LPs and a lesser number of CDs to pick from I might feel differently. But I'm not likely to be able to listen again to everything I already own, so why worry about finding more?
Your motivation may be health, mine is age. Let us hope we are both still able to continue on for some time yet. Peace brother.
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Thanks o10, I'm pleased it reached you. When I reread it before posting I almost deleted it, thinking it might sound too self-centered. But then I thought, hey, I'm only offering my personal perspective. We all have those.
I have some Szabo but I don't remember that one. I need to check. My collection exceeds the shelving space in my living room so more records are stored in the garage, and not all are easy to get to.
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frog, another interesting thing about Rollins' playing is to me it somehow sounds like there is more there, but not due to flurries of notes. This is the best example I can think of, for me, it always seemed like it was more than just a trio - https://www.youtube.com/watch?v=-5rCZcTfr2s |
rok, great stuff. "The Bright Mississippi" is one album I did add to my collection recently (for me that means a couple of years ago).
And frog, thanks for the deeper comments on Rollins' technique. Lacking a musical background I couldn't offer such an explanation. Regarding your Satchmo link, any idea which version (what time) that was? He recorded "West End Blues" a few times. In spite of any "audiophile" credentials I might have, I can easily accept less than pristine recordings of his music.
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Most interesting frog, I don't recall hearing Farrell pre RTF. But I have a couple of those as well as one or two of his CTI albums. As an aside, it is interesting with the several law suits in popular music for one composer or artist lifting an intro/theme/riff/whatever from another these days, it is a fairly common practice in jazz. In fact it happens so often it can become a parlor game to identify all the other music references a soloist may include in their turn. And not just jazz on jazz or jazz on pop. It happens with classical music too, as in Corea's "Spain". Of course Albeniz has been dead too long to come after any of the jazz musicians who adapted some or all of "Concierto de Aranjuez". ;^) Second movement, go to 7:25 - https://www.youtube.com/watch?v=ye-FvKCZp3s |
acman, as you may have read, I saw one of the current versions of Mingus Dynasty early last week. Every iteration of that group I've heard has been top notch, all great musicians. I like them almost as much as Charles hisself!
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frog, thanks for digging so deeply to find those legal perspectives. However, not being a lawyer I quickly became twisted around some of the logic presented there. And just exactly what is the duration of "briefly quotes"? ;^)
Anyway, quoting lines is such an established tradition in jazz (re: your Charlie Parker references) that I doubt it will end.
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Now something for anyone who appreciates Louis Armstrong. I've mentioned before that my dad was a big fan so I heard lots of his music while growing up. I still have one 78 album (3 records so 6 songs) from his collection, Armstrong and his All Stars Town Hall Concert 1947. I posted at least once from that recording previously. Now recently I stumbled upon this link which appears to possibly be that entire concert. Satch was both young and mature enough here that this may have been one of his optimum recordings. https://www.youtube.com/watch?v=120jlJAsfBkSorry all of you looking for "new releases". This is going the wrong way. ;^) |
For those who may be critical of "old" recordings and their technical approach, have you ever wondered why in particular the earlier Blue Note LPs command so much among used records? You might answer "it's the artists", but many of those were reissued so are available in both newer analog or digital format.
Just a quick review identifies one thing fans look for is engineering by Rudy Van Gelder. RVG in the runout is gold! The Contemporary issues engineered by Roy DuNann are similarly sought after. These examples relate to miking (minimal) and general recording techniques. Then there are preferences for tubed recording components verses solid state, and analog masters versus digital. Also the quality of vinyl utilized during the '50s and '60s was superior to what was available after the oil embargo in the very early '70s, after which "recycled" vinyl was utilized, even by major labels.
Now admittedly many early stereo recordings were guilty of "a hole in the middle" of the soundstage, the result of panning emphasis to the left and right channels to highlight the stereo effect. But a mono or blend control on your preamp could minimize that.
Other than the above factors, more "modern" recordings tend to mic individual musicians and often "isolate" them with sound panels in the studio. A worse case is when other musicians are added from new tracks recorded at another place and even time. What sort of musical cohesion can result from that? The net result becomes a function of the mixing engineer, not the musicians themselves.
For myself, there are only two issues with older recordings, and I'm talking about those from the '50s and '60s, not earlier. One is condition of an individual record - was it handled properly and not played excessively? The other can be cost - just look at asking prices for some of those RVG Blue Note, particularly the earlier "deep groove" versions.
You may not agree, but at least understand why some of us are not all that excited about "new" recording techniques.
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alex, I've been away a couple of days visiting old friends so I'm late in responding to you. I'll just say this.
I admit to being guilty of having one foot in the music appreciation door and the other in the audiophile door. That can create conflicts sometimes. But I would suggest that most folks I know who identify as being audiophiles will have a strong preference for newer recordings, whether they are jazz or any other category. That is a major element in driving the reissue market on audiophile labels. It is more the true music lovers who "get into" or appreciate the sonics of the original recordings from the '50s and '60s. I don't believe it was audiophiles who drove up the prices on the original BN LPs. So if my comments on older recording procedures suggested audiophile listening that was not my intent. Just the opposite in fact. But none of this is important so long as we each find recordings we enjoy of music we love.
BTW, "Rumble" was released when I was in high school and I still have than and many other classics from that time on original 45s. That brought a smile to my face.
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First, for "Night In Tunisia" my vote is cast here. It was the first version I heard then owned. Therefore it is the one I've heard most often so it is burned into my mind and thus becomes the comparison for all others. I love the energy/drive, typical for Blakey recordings, and the closing solos. https://www.youtube.com/watch?v=FHKyVJ5YfNUmary jo, if you want to hear Tijuana jazz, try this. I heard a live version by Mingus Dynasty a couple of weeks ago in the concert I mentioned - https://www.youtube.com/watch?v=aGsVqF-URXc |
frog, many thanks for that sax demo. Even as a non-musician and through my iMac speakers I could hear differences.
I found the Buesher to have a little more body (dimensionality, air passing through a cylindrical tube) and slightly mellower tonality. The Grafton sounded brighter and "flatter". However, to me they were not big differences and I wouldn’t say I could always identify one versus the other on a given recording (with no back-and-forth for comparison).
What did Ornette play?
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Thanks o10, I am a fan of Silver and have several albums with him, as a leader and with the Jazz Messengers. But that one was new to me.
rok2id, for me "'Round Midnight" is such a classic tune, perfect for jazz interpretations, that every version I've heard seems to have something worth listening to.
Regarding War, I have a couple of their rock albums, so need to listed to that entire link later when I have more time.
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For those of you who enjoy the contributions (playing/arranging/writing) by Charles Mingus, I just found this local video of a panel discussion on him, presented the day before the Mingus Dynasty concert I mentioned previously. I enjoy the insights brought up in discussions such as this, so hope you may as well. https://www.uctv.tv/shows/32750It runs nearly an hour so make time if interested. |
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And now, for something completely different. My link to the panel discussion on Mingus included a reference to a recording of Johnny Cash with Louie Armstrong. Not only had I never heard of that, I couldn't imagine it! So I had to look it up. https://www.youtube.com/watch?v=v6F7pIF4zOUTalk about musical crossovers! ;^) |
o10, alex, I've had that album (Elevator/Lift to the Gallows, or Jazz Track) since the early '60s. Actually make that two copies, they have different covers and slightly different liner notes. I admit I never bother with the soundtrack side (1). And no, I've never seen the film. However side 2 includes Coltrane, Cannonball, Evans, Chambers, and Cobb (think Kind of Blue) and offers three beautiful ballads - https://www.youtube.com/watch?v=Nic4lb02ANwhttps://www.youtube.com/watch?v=e6ItyaYgvKMhttps://www.youtube.com/watch?v=-MnohCMudG4If you're a fan at all of the most influential and enduring jazz album of all time (IMHO), how could you not love these? |
OK frog, educate me.
I enjoyed the (new to me) example of Garland's playing. However I heard him play in that "block chord" style up until 1:17, which sounded like a typical group ensemble intro. Then I heard single note lines up to 2:50, which for me was more of a solo focus, after which he reverted to chords, like a larger group joining in following a solo. So my impression was this was not all that different from other pianist's styles of mixing the two technics.
Since Garland plays both ways, is it a heavier dominance of block chording that you are referring to? I would like to better understand this.
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mary jo, did you begin following this site in time to see references to the Buena Vista Social Club? Ry Cooder's production of the DVD and audio recordings opened the door to some of the wonderful music of Cuba.
Your "Bonga - Mona Ki Ngi Xica" link fits in nicely.
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