Re "Les Liasons Dangereuses": The music in O-10’s link is not music by Monk nor the "film soundtrack" for the movie. On that link is some of the music composed by Duke Jordan for only the party scene in the movie. Little of that music was actually used for the film. This and the unused music was released as an album with Duke Jordan credited as the leader. The music for the party scene was essentially a "Jazz Messengers" session and compounding the confusion is the fact that it is not Duke Jordan playing piano, but Bobby Timmons instead. That very same music was also released as an Art Blakey Jazz Messengers record; but the same tunes were given different titles (!?!?). https://m.youtube.com/playlist?list=PLUJ7V33M1wR0kn82R1Xp6WwvZ47aK-2BPMonk did record the soundtrack and performed, as Pryso points out, mostly non-original compositions. This music, the actual soundtrack to the movie, was never released as a record and can be heard only in the film. From the very first piano notes heard on the film it is obvious that it is Monk: https://m.youtube.com/watch?v=EvsIDDKr7cs |
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Strictly speculation on my part, but what I think is this; and, I base this in what I know about the industry and how contracts are ironed out:
The film was a big hit in part because of the notoriety around the nude scenes which had to be edited for American audiences....imagine that! It was 1959 after all. The producers saw a way to capitalize on the film’s success by attaching its name recognition to the music. They had a whole album’s worth of mostly unused music; so, why not take advantage of the situation and release an album of the recorded party scene music and call it a soundtrack? Hey, then let’s do it again and release the same music as a different album by a different artist (Blakey)! Due to contractual issues, or perhaps simply to make it seem like it wasn’t the same, the names of the tunes were changed. Artists are often at the mercy of the producers’ whims and they probably had little say in the matter. Moreover, they probably didn’t make that much to begin with so it was a way to get a bigger paycheck. Cynical view of the situation? Maybe, but I don’t think so. Further speculation:
As you point out, Monk waited to the last minute to sign the contract. Why? Maybe he felt uneasy about the situation or the producers involved and procrastinated. As already noted, little of his music was original.
Speculation, but wouldn’t surprise me one bit. |
pryso, not sure why the confusion with what I wrote. **** From my listening, o10’s initial post was not Monk, and those tunes were not the same as listed for his recording date in the bio I referenced. **** That is what I wrote and makes the point about retitling, I think. **** could it be that the Jordan music was utilized in the soundtrack for only the "party scene" while the remainder of the film utilized music recorded in that three day session with Monk and Blakey and the Jazz Messengers? **** That is also what I wrote; with the possible exception that if you are suggesting that Monk played on the same tunes with the Jazz Messengers, I don’t believe so. If you watch the entire film you will see that the music that appears on both the Duke Jordan and the Blakey records is used only in the party scene and it was Timmons on piano not Monk. Only a little if the music recorded for the party scene, and which appears on those two records, was actually used in that party scene. None of the soundtrack music (except the party scene) is Blakey; it is Monk. Was ALL the music, Monk and Jordan, recorded during the same three days? Who knows. Certainly possible; but, separately I believe. Regardless, I think that calling either the Blakey or the Jordan records the "movie soundtrack" is quite a stretch. Re the titles: Here is a tune titled "Miguel’s Party" as it appears on the Blakey record: https://m.youtube.com/watch?list=PLUJ7V33M1wR0kn82R1Xp6WwvZ47aK-2BP&v=p4ypqf7J4x8Same tune (different take) as it appears on the Jordan record; this time titled "Subway Inn": https://m.youtube.com/watch?list=PLdvLF0osAgEhC6dS-F6FgB_xrwzEwrmbE&v=1jdGUzc8jBg |
I love these mysteries and I think there is even more to this one than what we have considered so far. A couple more clues to the solving it:
Unless I’m mistaken one of the sticking points seems to be whether Monk recorded WITH the Blakey band on any of the tracks for the movie soundtrack. As I opined previously, I don’t think so. I think Monk used his band and Blakey used his band (Jazz Messengers) for the party scene music. If one watches the movie one notices that, first, whenever there is music, ASIDE FROM the party scene, it is often Monk playing solo and when he is accompanied by a band one hears Charlie Rouse’s distinctive tenor sound and NOT Barney Wilen who played on the Jazz Messengers sessions. Additionally, when Monk is playing one NEVER hears Lee Morgan’s trumpet (or any trumpet).
BUT WAIT!!! There are a couple of scenes in the movie when the band gets screen time and it is not Blakey’s band NOR Monk’s band; one sees a young Art Taylor on drums who played on the Duke Jordan record. A much more handsome guy than Blakey was....that’s the film industry for ya. Additionally, there are a couple of soundtrack spots when one clearly hears Charlie Rouse’s tenor, BUT, not with Monk, but with, presumably, Jordan’s band as credited on the Jordan record. So, my final answer (opinion):
Monk either played solo or with HIS band on the soundtrack. That music was never released as a record. Additionally, there TWO other bands who were used for the party scene music, Blakey’s and Jordan. Each of those sessions, possibly augmented after the fact, was released as different records. |
No apology necessary for any of it, imo. I think the confusion can lead to learning some things about the artists and their "scene"; or, at least, put things in a certain perspective. I think that one of the takeaways is that while we tend to look at at the various projects that our musical heroes were involved with in an almost reverential way, sometimes it was, for them, just a day's work. |
Nor should you pass it up. Thanks for posting this. Interesting stuff. Some great reminiscences by so many of the musicians who knew him and obviously had tremendous respect for him as a musician. I particularly enjoyed Rudy Vangelder's and George Benson's comments. I think a testament to how highly regarded Grant Green was is the fact that so many of the persons interviewed made themselves available to be interviewed. I say this because in many respects Jr.'s approach to the documentary is extremely amateurish. Always very touching to witness someone's search for his roots, but I was surprised by his lack of understanding about just how important a musician his father was and his lack of understanding about music in general. Also, a conspicuous absence of music by Grant Green himself in the documentary. And why on earth the cheesy smooth-jazz used during some of the footage? Still, some really good commentaries about his dad. Thanks again and glad you're feeling better. |
Strange, if not downright terrible review from nytimes.com. First, I have never heard the term "crooner" in reference to a female singer; a crooner is male. Then, "stagey" to describe Ella and Sarah?! Guess the reviewer doesn't recognize style and individuality. "Crooner", neither good nor bad; a style. "Stagey", bad.
Nice clips, mary_jo; enjoyed Ethel Ennis. From the sound of her voice I would bet there were more than a few Ella records in her collection. Like Ella, not stagey .
One of Alex's favorite singers, Dean Martin was a crooner.
Btw, Alex you brought back memories with that clip of The Archies. That song was my very first record (45) gotten as a freebie when I was 10 years old on the back of a "Cap'n Crunch" cereal box 😋
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Great and very eclectic musician deserving of all the accolades. Ry Cooder was indeed the producer of the Buena Vista Social Club project and deserves a great deal of credit, as pryso says, for making it all happen. Interesting project on several counts. First, it all happened practically by accident as the original project was supposed to be the recording of a musical collaboration between musicians from Mali and modern Cuban musicians. The African musicians never made it due to some diplomatic red tape and so Cooder decided to record traditional Cuban music instead and embarked on finding musicians who were active pre-revolution and were mostly retired. Not only were these musicians not known in the USA, many of them were not known to younger generation Cubans. Beautiful traditional music from pre-war Cuba. I love the record, but have one pet peeve. As much as I like Ry Cooder's guitar playing, he should not have played on the record. His playing is mostly tasteful, but it really doesn't fit the style of the music. The sound of slide guitar is something that is never heard in this music. Paquito D'Rivera tells a funny story of the Cuban musicians looking at each other while recording and shrugging their shoulders as if to say "well, he's the one with the money" 😏. Still, a record that was hugely influential in exposing people all over the world to this beautiful music.
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Re Coltrane "Live At The Village Vanguard": That great record is actually only part of the music from a four day run at The Vanguard available in its four day entirety as "The Complete 1961 Village Vanguard Recordings". O-10, that's the one to get. Of note is the fact that it is the first recording featuring the classic Coltrane rhythm section of McCoy Tyner, Jimmy Garrison and Elvin Jones. In my book, one of the two greatest rhythm sections in all of jazz, along with Miles' '60s rhythm section with Herbie Hancock, Ron Carter and Tony Williams. Fantastic music. Ghosthouse, here's a couple more mold-breaking, very adventurous jazz also happening around that time: https://youtu.be/MOhKYOQK-dwhttps://youtu.be/xbZIiom9rDA |
Interesting post, bdp24. You mention John Hiatt. My wife is a country music fan and has been responsible for opening my ears to a lot of the more interesting country music out there. Knowing that I am a Lyle Lovett fan she bought me tickets to see Lyle Lovett and John Hiatt at the Beacon Theater just last Sunday. With Jazz and Classical being my preferred genres, I knew John Hiatt as a great songwriter and not much more. To say that I was blown away by this musician would be a huge understatement. What a singer and guitar player! Soulful and completely from the heart singing and playing. He and Lovett put on a great show trading songs and stories, but it was Hiatt that knocked me out making Lovett seem a little "lite" and affected by comparison. Great musician. |
Ghosthouse mentions the mixed (at best) critical reception that Coltrane’s "Live At The Village Vanguard" received and the state of jazz in 1962. To me, no better example of why "critical reception" needs to be taken with a grain of salt sometimes (!) is the story behind this next recording; one of the best stories in all of jazz lore: Sonny Rollins is a giant of jazz that has gotten short shrift on this thread, imo. In 1959 he took a three year break from performing/recording in order to work on his craft, practice and improve his technique. He would go to the Williamsburg Bridge connecting Manhattan to Brooklyn and practice, alone, on the walkway sometimes for sixteen hours at a stretch...for three years. There was great anticipation leading up to the release of his next record, the appropriately titled "The Bridge". Critical reception was mixed. Not because it wasn’t a great record, but because it was expected to be much more to the "out" side of things as was now the expected trend started by records like Trane’s "Live At TVV" and, even more so, Ornette Coleman’s "Free Jazz". How ironic is that?! One of my very favorite records. His version of "God Bless The Child" kills me every time: https://youtu.be/3c3pBbmmaVw |
Btw, I just noticed ghosthouse's link to and recommendation of "The Complete 1961 VVR". Two votes! |
Welcome to the thread, luisfcoimbra. Great record! And, no, I don't think it was ever discussed here. I don't think there is anything Herbie has done that I don't like. Fantastic musician; one of the very greatest. |
Clifford Brown/Max Roach:
First time I ever heard Sonny Rollins on record (heard him live twice) was on this record. An old friend, then an aspiring trumpet player, was very into Clifford. I still remember listening to this record in his dorm room while drinking room temperature Foster’s Ale 😋. Great record! |
Amen! Indeed, lots to be thankful for today. Another appropriately titled composition (for today) from a very overlooked alto player who was a long time member (lead alto) of one of my favorite big bands, Thad Jones/Mel Lewis. Haunting in a Billy Strayhorn/Johnny Hodges kind of way: https://m.youtube.com/watch?v=iIjKV1M8kqM |
Interesting recommendations, tigerdog (a moniker after my own heart 😊). I’ll check them out. Btw, I know exactly what you mean re your audio sound descriptions; less is usually more. |
Thanks for that Tonight Show clip, acman3; had not seen that! One of the things that makes Rollins particularly relevant is the fact that he was the first player to have the cojones to play without a harmony instrument. He pioneered the piano (guitar)-less trio. Not a gimmick, but a testament to his amazing command of harmony. To an extent, the use of a harmony instrument is a bit of a crutch for a soloist. Without it, the soloist has to improvise in a particularly convincing way which allows the listener to hear the harmony of the tune implied by the soloist’s single-note phrases. Few can pull this off credibly. Another special quality about his playing is (he’s still with us) his unusually commanding sense of rhythm. Often one gets the feeling that the rhythm section is playing to HIS pulse, not the other way around as is usually the case even with great players. My favorite Sonny recording (3 volumes); like the great “Way Out West” it is piano-less: https://m.youtube.com/playlist?list=PL0q2VleZJVEk03oGLxkxjZs-JGjm8fMu4 |
fusian, nice to see mention of Stravinsky’s “Ebony Concerto”. Believe it or not Stravinsky was “discussed” here quite a bit early in the thread’s life with some violent disagreement about the importance of this greatest of 20th century composers. I think that given your post it’s safe to say you are a Stravinsky fan. Pierre Boulez’ recording with Michel Arrignon playing the solo clarinet part is an infinitely better performance than Woody Herman’s, imo; and does, as you say, kick ass. Difficult clarinet part which was, despite Woody’s swinging talents, a little over his head technically. Another great 20th century composer celebrating this year what would have been his 100th birthday. The Leonard Bernstein Centennial Celebration is happening right now with a lot of his music being featured in concert halls worldwide. Another piece featuring solo clarinet which combines Jazz and Classical elements, his “Prelude, Fugue And Riffs”: https://m.youtube.com/watch?v=T3JYlHS5KHwHey Rok, if you’re out there, hope all is well. |
Oh, I get it! West Adams, LA; not Adam(s) West (Batman). You heard Roland Kirk in 1965. Good for you. I’m jealous; never had that privilege. Amazing player. |
pryso, I think that you may be misinterpreting some of what luiscfcoimbra wrote re the LA4 recording. That particular LA4 recording (direct to disc) was recorded by and issued by the now defunct Japanese record label Eastwind Records. The confusion may stem from the fact that it was recorded at Warner Bros. Studios in the USA. However, eventhough the Warner Bros. facilities were used (rented) the masters would still have been owned by Eastwind and unless there was some other contractual issue, WB would have had no say in the matter. Re your comment re the need for the stampers to be created as soon as possible:
I got to know Lincoln Mayorga on a couple of musical projects that I was a part of on which he was pianist (he is a very accomplished piano player) and we talked audio a bit. I have been meaning to contact him to say hello for a while so I put a call in to him this morning and will ask him about this issue. I will report back if I get any info.
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O-10, I enjoyed the Chico Freeman clip; it is, as you say, an interesting tune. I have owned that record since it came out and if I’m not mistaken that record was discussed a while ago.
I have never been much of a Chico Freeman fan and that record was considered his breakthrough recording and it was his best (by far) recording up to that time. Although it is an interesting tune and Freeman is the leader on the record, I think an argument can be made that Freeman is no more than a sideman on this particular tune. First, it is not Freeman’s tune, it was written by bassist McBee who sounds fantastic on it. Additionally, of all the soloists Freeman is the least distinguished, imo. Bobby Hutcherson sounds amazing on this tune and Wynton plays one the most exciting solos that I have ever heard from him; and he was twenty (!) years old at the time. Overall, interesting tune and some really great playing.
To put it into a certain perspective, I think it should be remembered that this record came out at a time when many were feeling that (real) jazz was dead and the arrival of “young lions” like Wynton who considered themselves traditionalists was considered a really big deal. This was the first record by Freeman in a more traditional bag and a departure from his prior avant-garde recordings. He is clearly a good band leader, but imo, as a saxophonist he is, to use an unfortunate recently used term, fairly irrelevant. Still, nice record. Thanks for the clip. |
Nice clip, Alex. That record is new to me; thanks for that. Beautiful playing all the way around. Great to hear Lee Morgan on muted trumpet. Interesting that he seems to take on a somewhat different personality with the mute in; less fire and aggression in his playing which comes through when unmuted even on ballads like this. Golson sounds beautiful. What a tone! Acknowledging that they are very different tunes and that the players have very different styles, it makes for an interesting contrast to Chico Freeman. The tune in your clip was composed by Golson and he improvises on it like he owns the tune. His tunes have always had interesting chord progressions and he plays on it with great conviction. He nails every single chord change with beautiful thematic development and the logic of someone who knows the tune intimately. Great stuff. |
O-10, I think it’s great that some things get multiple postings; especially since there are new participants here. Please don’t misinterpret my pointing out that something was posted previously as meaning that I don’t think it should be posted again; it’s a simple statement of fact and potentially interesting in a way.
Like you, I don’t buy music nor judge recordings for the sound of one particular instrument; that’s the very reason that I own that Chico Freeman record. In fact, I actually like his tone quite a bit. I just don’t particularly like him as player, nor most of his recordings. I do like Destiny’s Dance, as I said; some really good stuff on it.
I think you misunderstood what I previously opined re Billy Bang. It wasn’t his tone in particular that was the main issue for me and comparison to a Classical player is not really relevant since there are jazz violinists with tone that, while not “Classical” by any means, is excellent and I like very much. I just don’t find much to enjoy in his music and find his playing to be, overall, kind of crude. That’s just for me and I’m really glad that you find much to like in his playing.
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pryso, I heard back from Lincoln Mayorga and I told him about our discussion about DD lps and your concern about the master’s durability. He explained things this way:
There is no concern about the master’s durability other than in the way that it is handled. IOW, as long as it is handled properly, the stamper does not degrade in quality. Of course, the longer that it is handled the greater the chances that some damage can occur. From the master, anywhere from 5-15 “mothers” are made which is what are used to actually stamp the vinyl lps. It is true that generally the “mothers” are made as soon as possible in order to minimize the chances of damage to the master. The actual number of mothers is determined by various factors not the least of which is the expertise of those involved.
Lincoln is a very nice man and was intrigued and actually surprised that there was still interest in DD lps by modern day audiophiles. He had never heard of AudiogoN 😕 |
Beautiful Grappelli clip, O-10; and beautiful record. On that particular clip Grappelli actually takes a bit of a back seat to Yehudi Menuhin who plays “lead” in their wonderful duet . Menuhin was one of the greatest Classical violinists ever and could also play in other styles; particularly “gypsy violin”. To Grappelli’s credit he pretty much holds his own next to Menuhin’s amazing tone and virtuosity. Here is a live version of the tune; one can see who is playing what: https://m.youtube.com/watch?v=dzIEaNRoj3k |
Fantastic record and one of the best examples of piano-less quartets. Great way to be introduced to jazz! I agree about Mulligan and his tone is absolutely beautiful; very suave and warm especially considering the aggressive and edgy sound that many baritone players produce. Besides being a great and very melodic improviser he was one of the best composer/arrangers in jazz. And Art Farmer; talk about underrated! He sounds just great and a good partner to Mulligan. Thanks! Another great pairing with another very melodic and witty player: https://m.youtube.com/watch?v=uuFG5O8zW3Q |
Yes, nice Mulligan clips; thanks, O-10. And Serge Challof! First bebopper on the big horn and of “Four Brothers” (Woody Herman) fame. Beautiful and very expressive player. Very nice “Body And Soul”; thanks for that clip. Re Don Cherry: Well, for the first two minutes and 18 seconds it was about what I expected. Then at 2:19 it was “WHAT?!, NO WAY!”. From the first tenor note I knew it was Michael Brecker. I had no idea that Brecker had recorded with Don Cherry and it came as a big surprise. Don Cherry does the conceptual heavy lifting on this clip and leaves the instrumental heavy lifting to Brecker and the others. Can’t say I particularly liked this, but I do find it kind of interesting; although I confess to a bias for Brecker’s playing during this time period since this was, for me, the sweet spot in the evolution of his tenor tone. I listened to the rest of the record and I can do without it. Back to baritone saxophone: My all-time favorite baritone sound (pre-bebop) and which can be heard as an influence in Serge Chaloff’s low register playing. Hard to imagine Duke Ellington’s band without the underpinning of Harry Carney’s beautiful and robust sound: https://m.youtube.com/watch?v=brqxEdwsTQshttps://m.youtube.com/watch?v=jVtNIS0jFmcHere’s an interesting record with the great Gerry Mulligan and Stan Getz. Interesting because on the first three tunes they switch horns; Mulligan players tenor and Getz plays baritone! : https://m.youtube.com/watch?v=7SQkaI9Y2QA |
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O-10, pryso is correct. In fact, that is not Mingus’ band at all, but the "Mingus Big Band" which is run by Sue Mingus in a local NYC club with regular weekly date there and plays Mingus’ music. Ronnie Cuber is the baritone. Great player with a very fat, but less edgy tone than Pepper and a bit of a "funk" influence in his style which can be heard here. That is a 1993 recording. |
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Nice clips, O-10. More record release mystery/confusion. I have to assume that there are contractual issues by way of transfer of ownership of the masters that allows this sort of thing; or, perhaps in our age of streaming, simple hanky-panky that goes under the radar of the lawyers. The YouTube clip suggests that “Four Altos” was a Sahib Shihab session; it wasn’t. The leader (and arranger) of the session was Phil Woods with Sahib Shihab (this time playing alto) one of three additional alto players; hence the title “Four Altos”. The second clip “Whisper Not” is not from the album “Four Altos” at all, but from a Benny Golson record that Shihab played on. Even the artwork was copied (sort of). This is the original lp cover which I’ve owned for many years; notice the order of the names as shown on the cover: http://www.concordmusicgroup.com/albums/four-altos/Regardless, interesting record featuring four Charlie Parker disciples, the most notable being Phil Woods and Gene Quill. Sahib Shihab also sounds very good, although I think his voice on baritone is more distinctive. Gene Quill is one of the unsung heroes of the alto. He and Phil Woods co-led a quintet which recorded a few sessions (this one with the addition of Sol Schindler, another popular baritonist of that era): https://m.youtube.com/watch?v=Id5WQ0D9jdA |
Always sad when we lose one of the greats, but this one really got to me. The great Lee Konitz has passed due to complications from covid19. One of the most original voices in Jazz. An alto player so original that he managed to escape (mostly) the Charlie Parker tsunami. Disciple of another great original, Lennie Tristano. Lossely speaking, a "cool" player, but much more than that. Most wonderful player. One of few to have the confidence and command of harmony to play without a piano player and to be able to make it work: https ://youtu.be/IpNhX-UvIxMhttps://youtu.be/_4S-gydGuigLong association with another Tristano protege, Warren Marsh: https://youtu.be/9VdR9KNfurQhttps://youtu.be/OMkH5smhFNkTimeless style; right to the very end. Somebody say "original"?: https://youtu.be/fe-XceTD5qIhttps://youtu.be/KiO3JPbFgQs |
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Audra McDonald is a fantastic singer. Like you say, fantastic voice and so effortless; classically trained and flawless in many ways. I love her singing and she definitely qualifies for diva status....cabaret/Broadway diva that is and probably the best of them. Different kind of singer from the great jazz divas like Ella, however. What she does best even Ella couldn't do. Likewise, what a great jazz singer can do with a certain swing feel and swagger, not to mention scat singing, MacDonald can't do. Nice clip, btw. What she does best, imo: https://youtu.be/4J5gXGlkC3g |
Nice Frisell clips all; thanks. Love Bill Frisell; one of the most ecclectic jazz musicians today. We have discussed musicians’ “tone” a few times and Frisell has one of the most, perhaps the most, distinctive tone of all jazz guitar players whose respective tones tend to be more alike than most other jazz instruments. Really sophisticated harmonic sense and a swing feel that owes a lot to his interest in other genres; not as obviously “swingy”. Some of my favorite Frisell is his work with the Paul Motian trio. This is a really interesting take on Monk’s classic “Misterioso”: https://m.youtube.com/watch?v=YaY1GVeHqKwAnother interesting record; this time as leader and on which he really cuts loose on a couple of the cuts sounding less “dreamy” than usual: https://m.youtube.com/watch?v=tIL1vHcpwH8 |
So, some of the music from the musical was recorded before the musical opened? Highly unusual. Do you know the back story?
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“Lyrical” is the perfect way to describe Morello’s playing. That clip of “Castilian Drums” is fantastic, pryso and makes the case beautifully. Wonderful drummer with a beautiful ease to his playing. He never banged on the drums nor forced the rhythm. It should be noted that an important aspect of his playing which contributed to his lyricism was the attention he payed to the tuning of his drums to specific pitches; easily heard in his solos. In my book the only other drummer who could equal him and arguably surpass his sense of lyricism was Max Roach: https://m.youtube.com/watch?v=F_voXNIsobs |
Can’t agree with that, O-10. What is going on in our cities is PRECISELY the kind of thing that gives birth to new interesting music; including in the Jazz genre. It will surely not be like music from the past and anyone of us may not like it, but it will surely be interesting and relevant. It’s the way it has always been.
Thank God, not all “of us never think the same”. |
Interesting game, O-10; and potentially a lot of fun. The criteria are a little vague, however. You state: *** This is about the fewest notes in jazz that have said the most.*** This is something that usually refers to a player’s improvisation. Using that criteria pryso’s vote is hard to beat and crwindy makes a good point. However, during the first minute of your clip Timmons plays three repetitions of the A section of his great tune (classic AABA form) for a total of 102 notes. So, I guess melodies of tunes are included as part of the criteria; no problem. Giving the game and the premise “the benefit of the doubt” let’s consider just one A section. So, he plays a total of 34 notes; not even close to being the winner. Here’s a contender; 9 (!) notes: https://m.youtube.com/watch?v=QTMqes6HDqU |
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C’mon O-10, no need to get defensive and no technical game playing here. You said "fewest notes"; no? That's technical; no? Now, are you saying most aficionados won’t recognize "Naima"? It’s one of Trane’s best known. Seems to me that feeling backed by facts is always best. Here, I’ll try it again; hope it works better for you: Even fewer notes than "Moanin"; one of Trane’s best known: https://youtu.be/QTMqes6HDqU |
**** if I put that record on, I would still say it was Monk, and I bet in a blind test, that you, Frogman the musician would say the same thing. ****
O-10, I hope you don’t bet too much 😉; I doubt I would confuse Horace Silver for Monk. HOWEVER!, do you realize that Monk does, in fact, play on Miles’ “Bag’s Groove”? May explain why you think it’s Monk.
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Let’s keep the games going. This one a little different. As we all know, it has been established and declared by a well known jazz authority that there is only one single drum solo in all of jazz recorded history that is not boring 😊. Before we get to the painfully boring drum solo by, what was that amateur’s name?....oh, yeah, Philly Jo Jones we hear Lee Morgan play a wrong note. Can you tell where that wrong note is? https://m.youtube.com/watch?v=ZD7Yl7v9RIUNo copouts about how “there are no wrong notes in jazz” allowed, and yes, of course I was being facetious about Jo Jones; he kills on that tune. Hint: it happens in the first minute of music. |
Final answer, O-10? At :52 it’s Hank Mobley that is playing? |
It’s forgotten; was not you. And, yes, just teasing and all in good fun. A quick review of recent posts will reveal the identity of our resident “authority”; who I am sure is also just teasing and having some fun 🤔 |
Because, first, it is not the correct note of the head (melody). Secondly, Rok, who plays the trumpet can confirm that with the trumpet it is possible to play more than one note with the same fingering; the harmonic series at work. It is very difficult to consistently play multiple high C’s on the trumpet. Thirdly, in case there’s still doubt, listen to the melody at the end of the tune and compare to the melody at the beginning. At :30 Morgan plays the wrong note (Bb) when it should have been a C. Now fast forward to the end of the tune and listen to the return of the melody. At 5:55 Morgan plays the correct note (C). It might be more obvious if you listen to the melody at the end of the tune and then at the beginning; this lays bare the wrong note.
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