O - haven’t checked out the Lew Tabackin yet, but I will.
I’m with you on acquired taste - mostly. Sometimes, though, people you respect make recommendations...food, drink, music, books, whatever and it’s worth investing a little extra time in something that might not immediately appeal. Of course, sometimes this just ends up confirming one’s initial reaction and better judgement!
Funny, on the oysters. My intro to them might have been one of the best places to have ’em. Used to work (contractor) in Gulf Coast refineries and chem plants. Food in Louisiana some of the best anywhere. Go to dinner at Ralph ’n’ Kacoos in Baton Rouge on Airline Highway. They did sell to a chain but when the family still owned it quality was consistently good (but what’s a damn Yankee know, ’cept it was locals that took us). Blackened redfish when that was "in". Barman would shuck oysters right there and whip up cocktail sauce too. Horseradish, catsup, lemon juice and Tabasco...might be leaving something out (Lea & Perrins?). It always seemed it was the cocktail sauce that made them, though. After a July day in a plant wearing Nomex and the rest of your safety gear, a cold, cold mug of Abita Amber and those oysters as appetizer were very enjoyable.
I will get to your Mr. Tabackin |
Only if you can complete the trifecta by including escargot, O. |
O - I listened to Tabackin’s "Pyramid" that you had posted. Also spent time with "Jazz at the Castle"...a live recording of the Lew Tabackin Quartet. This features him mainly on tenor sax but does include one piece of his flute music, "Return of Pan". His flute playing is very good and even to my ear seems to reflect classical training as noted by Frogman.
I was impressed with his sax playing on Jazz at the Castle. The style seems very modern as opposed to "old jazz" though I’m guessing the tunes are more old school. Not Free Jazz (that mostly does seem like noise to me) but his solos do have a more abstract less structured quality than the tight, well structured solos I associate with hard bop, be bop or cool jazz. Some of his playing reminded me of something I’d hear from one of Frank Zappa’s bands (Ian Underwood, specifically).
One of my realities is that the instrumental work and musicianship are NOT what I don’t get or like about old style jazz. It’s more that many (but not all) of old style jazz songs themselves just don’t grab me. They just aren’t interesting no matter how inventive the solos. And that’s said with all due respect to the thousands and thousands of jazz fans for whom the various well-regarded pieces DO make a big connection. I prefer a more contemporary sound song-structure-wise. That’s the best way I know how to describe my jazz tastes. Wish I could provide more music theory detail about what that means. I only recognize it when I hear it. Don’t know enough to predict it up front.
Some of Weather Report’s "oeuvre" represents what I like; Tony Williams Lifetime, too; the Pat Martino Joyous Lake that Frogman recommended works for me BUT absolutely NOT ALL his stuff (e.g., that work with Joey DeFrancesco); a good bit of Pat Metheny - but not his more traditional jazz recordings.
I didn’t bring up Jazz Pistols so they could be an object of ridicule (sorry for those that think that way) or even a touchstone of the best in modern jazz - I’m not that ignorant...there’s only going to be one Coltrane (or Miles or Evans). I do raise them (as well as Neil Cowley and Snarky Puppy) as examples of contemporary musicians - whether you call it jazz or not - whose compositions hold my interest AND who I also happen to think are, objectively, very good musicians.
So, that’s my meditation triggered by Mr. Tabackin’s flute playing. |
PS - Further unsolicited comments... I thought Frogman’s 4:50 & 9:18 PM posts from 11/16 well-reasoned, and moderate in tone. Very good job expressing views I share. Classical music didn’t end at the start of the 20th century even though a work by Bartok is dramatically different than one by Mozart and even though I might loathe some 20th century "classical" music. In similar fashion, I don’t see a reason certain music can’t be called "jazz" just because it differs so much from what came before. Miles or Coltrane sure as heck were not simply recreating stuff they’d grown up with. It’s the constant growth and change that keeps art alive. Want to kill jazz? Put it under glass in a museum and don’t let it change. On a happier note (for me anyway).... https://www.youtube.com/watch?v=k72QAvE3cP0&ab_channel=SnarkyPuppy-Topic |
O - Please, where did I express "disdain for the standards in jazz"? From Merriam Webster -
Full Definition of disdain: a feeling of contempt for someone or something regarded as unworthy or inferior : scorn.The fact I don’t find certain music interesting is way different than saying I regard it as inferior or with scorn! Unlike some around here, I’m not passing judgement on its merits in any objective way. I have too much respect for the genre and the opinions of many others to place myself in that falsely superior sort of position. It’s a case of brussel sprouts, beets, or liver and onions. Works for some, just not for me. Almost feel like I need to go compile a list of old jazz that I do find interesting. Well, no need. Here is something right at hand: Allen Toussaint’s "Bright Mississppi". That’s old stuff but it works for me in that album...wonderful arrangements and musicianship, great song selection and track sequencing. I do admit the fact such music held and holds my interest did surprise me. Could add to the list (e.g., that Blue Note Concert DVD; various Coltrane recordings; the Les McCann "On Time") but won’t. Just don’t want you to misunderstand what I was saying. I will continue to check out the various musics recommended here. Some will stick and some won’t. That’s more a comment about me since, to paraphrase you, the music we love is a composite picture of everything about us; where we were born, when we were born, our life experiences, and personalities. Well said. We’re happy for the stuff that sticks. Peace. https://www.youtube.com/watch?v=KqBZetLqYFY&ab_channel=StefanoBrilli |
Hello O - Always appreciate the music suggestions. Jimmy Smith is a name I actually know. My bro in law, a musician and boutique studio owner (does it all...engineering, production, arranging, mastering) is a good keyboard player too. Has a Hammond B3 he’s done some restoration on. He turned me on to "Back at the Chicken Shack". Jimmy Smith was in that Blue Note concert DVD too. Of your two tracks, I like Motorin’ Along best. Burrell and Smith is a good combination. I like what Burrell plays on that track a lot. His sound might not have the bite of modern electric "rock" guitar but he sure has great skills.
Got to say, I think we should meet up some time for lunch at Kate’s. Wish there were more of those old style luncheonettes still around. Might have to get that Home Cookin' just for the cover art. Thanks.
|
That’s a good memory for you, O. I’m guessing you have 10 years on me based on the music you were listening to and your description of the juke boxes. By my time I’m guessing it was all solid state in the NJ diners. They’d have these table top terminals with a big wheel on top to turn and flip a sort of Rolodex with the names of the singles. Feed it quarters and punch in a number or letter and number to get your song(s) in the que. I know of Shadowfax. Have one of their LPs (Dreams of Children) I bought not all that long ago. Did not follow them closely. There used to be a good program on public radio out of NYC, "New Sounds". John Schaeffer was the host. See link here... http://www.wnyc.org/people/john-schaefer/He played a range of new age, ambient and electronica on his program. That’s where I first heard Shadowfax. Also got introduced to Brian Eno, Harold Budd and Jon Hassell through that show. If you enjoy Shadowfax, you might like The Penguin Cafe Orchestra. Here’s a sample. Pretty certain it ain’t jazz, though. Might not even be that similar to Shadowfax but the two names are linked in my head for whatever reason. https://www.youtube.com/watch?v=NPpRJoYISSQ&ab_channel=itsfredholmestoyouFound "A Thousand Teardrops" on Tidal (included in the album "What Goes Around: The Best of Shadowfax". Playing it now. |
Ha, O. - Yup. As I said liking The Bright Mississippi surprised me too. But that is just some great music - jazz or otherwise.
I will check out your Ancient Future links. That name definitely rings a bell. Pretty certain John Schaefer played them on his New Sounds show.
Right now listening to Oregon, "Distant Hills". |
Oregon "...managed to combine truly deep musical substance and creativity with just the right amount of "New Age" sound while avoiding the (to me) triteness and "lite" quality of most New Age music."
Great observations, Frogman. PLUS, Oregon had the Ralph Towner factor. Read some comments from him about Oregon, something to the effect of, they saw themselves as a small chamber orchestra. O - Here’s another surprise (was to me too)... https://www.youtube.com/watch?v=julm1AwNn1U&ab_channel=d22I don’t think my copy of the CD has liner notes like this one though. (That’s because this YouTube clip is from the re-issue. I went with the original CD release.) Tonight, listening to this one. Not a false note in the whole thing. Link above is to Patterns but Stolen Moments is probably my favorite on the album. https://www.youtube.com/watch?v=zpwxyQh2ZdA&ab_channel=ObertonePerformanceArtAlex - I tried to check out your "mean guitar" link but got this notice: This video contains content from elvis. It is not available in your country. I always heard The King had a tight backing band but know very little of the particulars. Just never was a big fan of The King. My appreciation of good musicianship is a little broader than it was, so I am curious about what you hear in that track. |
Found both Roots in the Sky and Out of the Woods on Tidal and saved them to Favorites. My initial impression is both are more polished and better realized than Winter Light or Distant Hills. Yes, O...sonics on these (Yellow Bell playing now) are very good. A pleasure to listen to on a number of levels. Not sure Rok would call it jazz. There’s definitely an improvisational element but don’t think they are working from a blues structure. Liking it quite a bit. Thanks to both of you for the recommendations.
PS - I'm no Oregon expert. I backed into Oregon only superficially after discovering Towner's Solstice on ECM. Paid more attention to Tower as solo artist than diving into Oregon. But now it's a new window of opportunity. |
Frogman - Glad you liked the Ahmad Jamal clips and doubly so as they are new to you. Both are from his album, The Awakening (as you no doubt saw). A recording well worth owning.
Rok - thanks for that glimpse of Sharon Jones. I saw a few comments about her passing but know nothing at all about her. Will have to check her out. |
A Happy Thanksgiving to everyone. Certainly, for me, much to be grateful for.
Acman...thanks for those Ari Hoenig links. A new name to me. I enjoyed that 2nd "All Blues". Sure don't sound like blues though! I appreciate drummers that play with a light hand and don't use a monster kit. Funny when he drops a stick. Didn't seem to bother him at all. Would be interesting to read Frogman's "précis" of that piece and performance. There's a '74 Ron Carter record called, "All Blues". I wonder if there's a connection to that. |
|
|
Alex - you know how to pick 'em. Thanks for those Maceo links.
Frogman - Another very insightful post from you. Ever think about doing record reviews? Better than a lot of the stuff I read. I should have realized who the JBs were. Recognized the "sound/style" but thought their name was homage. Didn't look up personnel. The trombone threw me a bit too. I didn't recall one backing him...but it's been a long time and I don't know much of his full career. Yes, a couple of gems though, as you wrote, not as strong as the package with JB's vocals. Your comments about Takuya Kuroda very perceptive...I can hear what you critique.
O - were you keeping your silence regarding something I wrote? |
hahaha, Alex. "Funky" circa 1957 sure was different sounding than a decade or two later. Interesting how far back some of these terms go. Definition of funky (from Merriam Webster on-line dictionary) 1: having an offensive odor : foul 2: having an earthy unsophisticated style and feeling; especially : having the style and feeling of older black American music (as blues or gospel) or of funk <a funky beat> 3a : odd or quaint in appearance or feeling b : lacking style or taste c : unconventionally stylish : hip |
O - Thanks for the explanation. I absolutely understand. It's like you said another time about "reception". For me, it started out fun but got kind of repetitive and annoying. That Takuya Kuroda was a nice counter to them. Glad you find it worth your while. I did not listen to much of Rising Son. Will return to it. Prefer all instrumentals. Seems like there are some vocal tracks on that.
I'm enjoying the music2. |
O - Listened to all of Rising Son. Liked it (well most of it; Everybody Loves the Sunshine got kind of boring). Now listening to TK's Zigzagger. This seems to have more energy than Rising Son. His tone is still pretty smooth however. I do like his compositions. |
|
On the off chance I'm being called out as one who didn't respond and to whom the Ammons/Swinging for Benny sounds strange. I'm actually enjoying it. A lot more interesting than some of the (for me) snooze session "jazz jazz" that gets posted [snooze inducing whether or not performers are wearing jackets and ties].
Thought the below was interesting...assuming the reviewer posting on Amazon knew what they were talking about. Anyone know who played piano on this? Nice lead in solo. Of course, enjoyed the trombone solo. Anyone other than me think the extended sax solo by whoever takes over at 5:40/5:41 has moments of Coltrane? Not sure if it's all one sax player or two of them trading off during the last 3-4 minutes.
Recorded by Vee-Jay records in 1959 under the title of THE SWINGIN'EST - BENNIE GREEN and re-issued in 1961 as Gene Ammon's JUGGIN' AROUND. It is currently available on CD under the Bennie Green title. It's a septet session with Bennie Green, Gene Ammons, Frank Wess tenor sax and flute, Nat Adderley and Frank Foster in the front line backed by the usual piano led rhythm section. The picture of a younger Gene Ammons, with a white mouthpiece, has nothing to do with his playing here and probably eminates from his tenure with the Woody Herman Band in the late 1940's or early 1950's
|
Thanks Frogman. Well, I’m gonna pat myself on the back a little. I thought that might be Tommy Flanagan though given how shallow my depth of jazz knowledge is, it could easily have been someone else. On the other hand, to me, he seems to have a clearly recognizable style ...very economical and tasteful; elegant even. Less is more. He plays on that Wes Montgomery recording that Acman or Alex recommended (I get foggy which of the two names starting with A! :-). He also played on that live recording (with WM) that Rok had recommended. How do you know so much about the details of that Swinging for Bennie cut? "trade fours" means to take turns doing 4 bar solos?? That doesn’t sound like very much time if I’m right about it. Must be multiples of 4 bars per solo??? Basie is another big name I know next to nothing about. That is some impressive soloing on that cut. It has a hint of something more avant that I’d expect. What I wouldn’t give for a time machine to travel back and see these guys in person. Not just talkin’ the 2 Franks but many from a roughly 3 decade period...40s - 60s. https://www.washingtonpost.com/entertainment/music/frank-wess-jazz-saxophonist-with-the-count-basie-...https://www.washingtonpost.com/local/obituaries/frank-foster-dynamic-saxophonist-who-led-basie-band-..."Mr. Wess came from the old school of jazz, where a sense of soul-stirring swing was what mattered most.
’If you can’t tap your foot or dance to it, you may as well be driving a cab,” he said in 2005. “That’s what it’s all about.’ ”
Sounds vaguely familiar, don’t it. And some more good stuff! "Mr. Foster played the band’s traditional favorites, but he also introduced many new and more thorny works that were not as popular. ’The old school says they’re tired of hearing the new stuff,’ he told the Los Angeles Times in 1995. ’They don’t understand that musicians have to be constantly challenged or you lose them. . . . I’m on the side of those who like newer things.’ ” Me too. |
fourwinds - I think rok, arbiter of all that is good and true jazz, is the one to look to for an authoritative answer about SpyroGyra. rok - be gentle if you are able. Me? I’m a jazz aficionado dilettante and not qualified to have an independent O-pinion as I’m sure the R man will confirm. I do think if you like ’em or even just that one piece, it’s all that really matters. FWIW - I had the same impression as you that they were purveyors of shallow, vacuous smooth jazz. A musical accompaniment for novocaine, if you will. I freely admit that might be unfair based solely on a subjective assessment derived from limited exposure, personal bias, prejudice, intolerance and bandwidth receptivity narrower than a keyhole. BUT - I think I might be in some good company here!! On the other hand, I will have to check out Morning Dance. Thanks for the recommendation. https://www.youtube.com/watch?v=bVDZ5UY_oDw&ab_channel=AmherstRecords |
Orpheus - enjoyed your comments about Soul and Jazz. You can have soul music without jazz but the best jazz music got to have soul.
You realize of course that you and Frogman are Yang/Yin, Head/Heart, Objective/Subjective...polar opposites - but the whole is not possible without both. At the same time, let me be quick to add, while I see Frogman's postings being interpreted as exclusively favoring an objectivist perspective on jazz, I don't think that accurately reflects where he's coming from. He doesn't need me to defend him. That's not my intent. Rather, as something of an outsider, I see merit in both your perspectives and no need for it to be one at the expense of the other. |
Hey fourwinds - Glad you took my little rant as humor. Getting an original pressing of that Spyrogyra LP is a NICE present. I can see where you are coming from talking about Aja and Gaucho in the context. Add Royal Scam to the list (some tracks from it, anyway). I think I prefer the Steely Dan stuff because it seems a bit more complex - but that’s based on very limited familiarity with Spyrogyra and I might be selling them short. I don’t question their talent as musicians, more a case of questioning how they employ it. At the same time, these guys gotta pay the rent and buy groceries. Back in the day, seems like they found a commercially successful "formula". If it was so easy to do, lots more woulda done it. Might not be my preferred cuppa but I also think I can’t act all superior about their choices not having walked in their shoes.
As usual, thoughtful and insightful comments from Frogman. I agree with the parallel he draws between Spyro and Chuck Mangione. Pop Jazz is an apt sub-genre heading too. Trying to think of some others that are in this category...maybe some of Tom Scott's L.A. Express work??
I’m not sure why some here have a problem with analytical discussion ("critiquing"! even) of the music. I like getting below the surface, past the "Like it" or "Don’t like it" initial reaction and on to what makes it tick. Why is composition or performance ABC "better" (or not) than XYZ? Why are Flanagan and Evans "elegant" players while Monk, not so much. Does McCoy Tyner's intricacy qualify as elegant? How about Keith Jarrett?? Such discussion doesn’t detract from the music at all but can add to the enjoyment.
FWIW - Elegant is more restricted in meaning than simply being of high quality or "good". A definition of "elegance" (that which elegant embodies) from Merriam Webster on-line:
1a : refined grace or dignified propriety : urbanity
b : tasteful richness of design or ornamentation <the sumptuous elegance of the furnishings>
c : dignified gracefulness or restrained beauty of style : polish <the essay is marked by lucidity, wit, and elegance>
d : scientific precision, neatness, and simplicity <the elegance of a mathematical proof>
Restrained beauty of style strikes me as entirely applicable to what I've heard of Tommy Flanagan.
Hope you continue to participate in this thread. Hats off to Orpheus for starting it. Been a Jazz 101 course for me.
|
Frogman - Take my advice. Don’t even bother responding. It is wasted effort. Extraordinary and disappointing to read of a lack of interest on the one hand and scornful dismissal on the other for learning more about something one professes to love. Meaningful dialog is only possible within limits set by O and Rok, apparently.
"I don’t understand what an analysis of music is suppose[d] to achieve." That strikes me as a remarkably ignorant statement from one of the main contributors to a thread called, "Jazz for aficionados". Selective memory about liner notes aside, in the larger universe of music appreciation, analysis plays an important and respected role.
Aficionadao: a person who is very knowledgeable and enthusiastic about an activity, subject, or pastime.
"aficionados of the finest wines"
synonyms: connoisseur, expert, authority, specialist, pundit, cognoscente
|
Rok - I do think you are the one that needs to "read it again". I called your statement ignorant, not you. I said "selective memory" about liner notes because I strongly suspect you are ignoring those that previewed the music in analytical terms; fairly common, I think, on classical LPs. As far as "enlighten us", who is "us"? Orpheus doesn’t care (regrettable, but I get it). You’ve already made your position clear. Why should I bother? I will say, however that for some of "us" analysis of the music is part of the overall enjoyment and it enhances the auditory experience. This is what it achieves. Seems a simple enough proposition: the mental process goes hand in hand with the auditory process. Understanding what I’m listening to deepens my enjoyment of the music. Is that to say enjoyment without understanding is impossible? Not at all. But in my worldview (and contrary to popular opinion), the oldest profession is taxonomy. "Man gave names to the animals". Some of us like to "give names" to the music. It deepens our appreciation. You don’t accept that for whatever reason? No problem to me, just please spare "us" the pontificating about how irrelevant it is. |
|
O - Your compliment much appreciated. Flattered, actually. That jazz remark you attribute to me was really a takeoff on what you yourself had posted.
Depending on context - call it "soul", magic, inspiration, emotional connection, spark (you get my drift) - it’s that mysterious transcendent something that elevates some music. Having a music degree and great technical chops do NOT guarantee it’s going to be present. I will certainly give you and Rok that. Though I also believe (and this is not original with me) study, practice, eduction and hard work can make the vessel better able to receive the gift when it’s granted. Of course, we all respond to and feel that "something" differently. So another area for discussion and disagreement: what’s got it; what doesn’t. We both agree on Maiden Voyage, though. Glad it evoked a response in you - both now and back when you first heard it. |
|
Mildly disappointed of course that those two Eldar tracks weren’t cause for celebration for the 3 of you. Your various reasons while valid for you personally don’t diminish my enjoyment of him. Easy to get mesmerized by the technical fireworks but I do also hear music in his performance (listen to other tracks on the album) and wonder what more he will bring with further years and increasing maturity.
Worth checking the Wikipedia entry on him. He comes from a very different culture so not surprising he brings an unfamiliar style or interpretive reading to standards (or so I think). There are a few other "covers" on the album that Sweet Georgia and Moanin’ were taken from. Those too (e.g., Nature Boy, Maiden Voyage) sound WAY different...almost unrecognizable, even to me. Because I’m not as grounded in jazz as you more seasoned aficionados, I’m also not married to a particular style or mode of interpretation applied to a given composition. I don’t have expectations. Consequently, this music just sounds very fresh and different to me. NEW even.
Horses for courses, as they say.
|
Hello again, O. I did appreciate your concern that I might have been offended by your earlier comments about Eldar's take on "Moanin'". I was not offended and my subsequent comments really weren't intended as a defense of my "unique" point of view. On a good day, I can consider various conflicting points of view and learn from them. Though somewhat critical, these broaden my appreciation of his performance strengths and weaknesses. Now, as far as me not being as grounded in jazz and therefore not having expectations and these couple of factors leading to a comparison to the blind guys groping the elephant - that does warrant some further discussion. Am I the only blind guy you had in mind? If so, that certainly smacks of someone taking an objectivist stance on jazz appreciation: "I'm better informed. I've cultivated better taste. My long years of listening enable me to recognize good jazz vs bad jazz. You, on the other hand, aren't well enough schooled to distinguish between the two." That's a position I can accept. Might or might not apply in this case. BUT it seems to run counter to your usual subjectivist stance. Art history is a sequence of new styles being declared barbaric by proponents of "the old school". Can being enamored of and married to a particular style blind one (deafen one, in this case) to the merit of other styles? I think that's a risk. Blindness or deafness afflicts all of us to some extent. As much as you, Rok and Wynton seem to wish it were so, jazz cannot be frozen and preserved in exactly the same forms as found over the span of a few decades. Its beauty and strength is how alive and constantly changing it is as a medium of expression - even if I can't always "go there" or appreciate the latest frontier. I actually think I have a clue what you object to in that rendition of "Moanin'. [Aside from style violating one's sensibilities and expectations, how much moanin' has Eldar ever really had occasion to do, anyway? 'It ain't "authentic.' someone I know would say.] To me, the original intent behind "Moanin" as a touchstone for evaluating the Eldar piece is just not relevant. I certainly get that it matters to you but for me, that background is a minor footnote. I'm really not trying to insult you or belittle something you treasure. It goes back to what you said about our appreciation being shaped by so many different "life-experience" variables. In this case, I'm guessing we share very little around that piece. Playing that Eldar album again as I write. It's just amazing to me. There are sections where it sounds like four hands playing not two! My appreciation of him is definitely not "unique" (though my reasons might be. I don't know). I have read that he's something of a pop culture "darling" (appearing on various late night TV shows). That, to me, is probably more damning than anything you or Frogman have said. I'll try to forget I read that and just focus on his wonderful playing. Anyone who can take "Nature Boy" or "Fly Me to the Moon" and make them interesting to me is doing something remarkable in my O-pinion. https://www.youtube.com/watch?v=db7n1kNkFk8&ab_channel=EldarDjangirov-Topic |
Frogman- Not to worry. No offense taken on Eldar. No time now to write more now, though. Later. |
jafant - It’s about rabbits...a society of rabbits facing a crisis. BUT there’s a deeper story there for sure. Don’t agree with rok too often about music but will gladly support him on Watership Down. It is excellent. The amazing part to me (if memory serves me well) is that it started as stories Adams was telling his kids while they were taking automobile trips. Sorry to read of Mr. Adams passing. He did live to a ripe old age if there’s any consolation in that. |
O -
I too read Watership Down many years ago...probably on the order of 30. Recollection of details a little vague. I haven't seen the movie you linked to. No idea how faithful it is to the novel (though I have my doubts). Watership Down is not a cutesy animal story a la Disney's Bambi. Rok said in his reply to jafant, "It's about us." That is true. In that regard, it is too complex to have one single message though I'll repeat there is a deeper story there.
Rather than say it is about a "rabbit society", I should have written it's about a "rabbit community". Somewhat like Orwell's Animal Farm, Watership Down is an allegory about human society.... though not as narrowly political and I think much more complex, textured and nuanced than Animal Farm. It tracks the pilgrimage of a community of rabbits as they seek a new safe home having been warmed of impending disaster by one of their visionaries. They face many perils and temptations in their travels. There are personality clashes, power struggles, moments of great doubt and crisis. The portray of rabbit society is well-realized...they have their own mythology, a unique vocabulary, and a distinctly "rabbit" world-view.
It's a great book and like Rok said, not to late to read.
Note to self: Not to late for re-reading, either. |
|
Very pleased to hear your take on it as a musical journey, O.
After I posted the link was thinking exactly that and how it related to your earlier post. The whole LP does indeed make for a nice musical journey. Master Nishimoto is a superb tour guide. The entirety will be worth your while, if you are so inclined.
Personally, it took a while for me to get my head around it. Couldn’t make sense of the individual compositions initially. It kept drawing me back though...maybe ’cause the sonics and textures are so appealing. Anyway, some things really do get better with repeated listening. |
Hey, O - good luck getting the Lavandula CD. First run sold out at "Sonic Pieces", the Berlin label he records on. 2nd edition was produced but their on-line shop is closed until Jan 25. I did find a downloadable version available at Junodownload (WAV, FLAC, ALAC & AIFF) if you roll that way ;-) otherwise you'll have to wait for the Sonic Pieces store to reopen. And don't believe that mention of "we're closed but you can buy our stuff at ANOST" if you click on <<Purchase CD>>. Can't tell you how much time I wasted looking around the ANOST site for it. http://www.junodownload.com/products/takeshi-nishimoto-lavandula/2243115-02/ http://www.sonicpieces.com/sonicpieces018.html |
w/respect to "mellowness". Frogman had turned me on to Pat Martino. Came across his El Hombre (Rudy Van Gelder remaster) - debut from 1967. It is very good BUT I also this evening stumbled onto his 1998 Stone Blue. VERY impressed with this one. Especially the remake of "Joyous Lake" it contains. Sax (4:30) and Piano (7:50) solos are excellent. Don’t know the other musicians, maybe you do. Personnel Pat Martino – guitar Eric Alexander – tenor saxophone Delmar Brown – keyboards James Genus – bass Kenwood Dennard – drums, percussion https://www.youtube.com/watch?v=gBsyQmorCIM&ab_channel=aseaoffaces |
O - I know what you mean about the tangible thing. With the download files, you can of course burn them to a CD if you want. I'm holding out for a physical CD myself so will let you know when the Sonic Pieces on-line shop re-opens.
@jafant - check out those couple of Pat's I mentioned. Very enjoyable. |
|
Greetings O. Wasn't gonna visit long but you threw out this long lasso and hauled me back. :-) I LIKED that Vince Guaraldi. Tried to find info on the other musicians playing. Guitar work impressed me. Not finding "A Taste of Honey" or "Ballad of Pancho Villa" listed in Wiki for Vince. I do see credits for his work with one, Bola Sete. Is that who is playing? And what is the actual recording, a compilation? Melody sounded somewhat familiar but not exactly like A Taste of Honey that I remember from when Herb Alpert was getting airplay with it. Clue me in, please. In line with, "all flesh is grass"... https://www.youtube.com/watch?v=LGmQXuySF28&ab_channel=AUGUSTUS66ful |
@alexatpos Thank you for that generous and informed reply. I will look into Eddie Duran and check out those various links you provided. See if this link works for you: https://www.youtube.com/watch?v=I7R6UoOkF6M&ab_channel=RWThis is not the same link as what Orpheus posted but it is a version of Taste of Honey, a track on "From All Sides". Ballad of Pancho Villa (the link from O you could not open) appears to be a YouTube playlist with 27 Vince G tracks. Track 4 is Ballad of P.V.. Track 5 is Taste of Honey. Credits... From All Sides Bass – Fred Marshall Drums – Jerry Granelli Guitar – Bola Sete Piano – Vince Guaraldi "A Taste Of Honey" by Bola Sete |
Hello @frogman
Coincidentally, I was checking in briefly this morning. Been spending more time lately on Head-fi.org. Anyway, I will check out that GITarr player on the Blanchard clip. Still owe Alex a listen to his suggestions.
In support of your position, I respect the heck out of Orpheus' and Rok's depth of knowledge about and enthusiasm for "old school jazz" but seems needlessly restrictive to draw a circle around that and dismiss content that falls outside it...regardless of wardrobe.
I'd also suggest time has exerted a filtering effect making more obvious the great material produced "back in the day". BUT I suspect, living in the moment back then, there would have been an equal amount of "sad stuff" cluttering up the musical landscape. We don't have the perspective provided by the passage of time to accurately assess all contemporary jazz. Let's talk about it again 50 years down the road. |
Frogman...just dropped by. Haven’t read any of the preceding but did listen to the first couple tracks of that Wes Montgomery "Twisted Blues" clip you linked. Very nice. Might have to look for that as a recording. THANKS
BTW (for Rok’s sartorial edification) as far as I’m concerned, Wes’ fashion look (white tab collar dress shirt with skinny black tie) NEVER went out of style. 50 years later, he is still a sharp-dressed man.
|
|
Chuck Berry 10/18/26 - 3/18/17.
Looks like 2017 is going to continue apace as 2016.
Nobody getting any younger.
Back to Memphis - Chuck Berry
I’ve been struggling up here, child, trying to make a living
Everybody wants to take, nobody like giving
I wish I was in Memphis back home there with my Mama
The only clothes I got left that ain’t rags is my pajamas
No brotherly love, no help, no danger
Just a great big town full of cold hearted strangers
I went hungry in New York and Chicago was no better
But today, my dear mother wrote and told me in her letter
Son, come back to Memphis and live here with your Mama
You can walk down Beale Street, honey, wearing your pajamas
You know home folks here, we let do just what you want to
And I born you and raised you right here on the corner
I’m going to leave here in the morning and walk down to the station
I’ve got just enough money to pay my transportation
I’m going back to Memphis, back home with my Mama
If I have to ride that bus barefooted in pajamas
Back home in Memphis, no moaning and groaning
I know everything will be all right in the morning
You can walk down Beale Street wearing your pajamas....
Now THOSE are some great lyrics. Always put a smile on my face hearing them.
Thanks, Chuck. RIP
|
|
@frogman - pleased you enjoyed the Bunny Brunel clip. YES! Frank Gambale...you are exactly right about that For me it was a bit of serendipity as I'd recently been enjoying Steve Smith/Vital Information "Come On In". Became aware of Gambale there. Great sound. Great inventive playing I thought. The SQ on that Momentum recording...even from Spotify is really really good.
@rok2id - You have much to offer in this thread as you have repeatedly demonstrated. While I understand you disagree with Frogman (and others) on various matters related to jazz and "audiophilia", ridicule does not advance your position(s). It has progressed beyond childish and tedious to generally unpleasant, becoming a good reason not to follow this thread or at least your contributions to it. |
Hello acman3. I had recently become aware of Esbjorn Svensson because of an album by Magnus Ostrom, "Thread of Life". This is one that might be interesting to you. Ostrom played drums with the E.S. Trio. At any rate, I’ve spent some time with E.S.T’s "Tuesday Wonderland" and also sampled briefly, "From Gagarin’s Point of View". I liked the trio’s rendition of "Dodge the Dodo" that you posted. I prefer this to that with the Royal Stockholm Philharmonic. Making of EST Symphony will be of interest, of course. Thanks for posting these links. Hope you will check out Thread of Life and the two other EST recordings (if you aren’t already familiar with them). By the way, at least based on Dodge the Dodo, I think there’s a little bit of similarity in music by the Noel Cowley Trio (e.g., the LP "Spacebound Apes"). They are more pop/rock influenced, but you might also hear what I do. I don’t like too many promotional videos. Prefer performance clips as you provided. Unfortunately, that’s all I quickly found for NCT this time around (had posted "She Eats Flies" a while back). Do love the chords in this one. Love the chord changes too. https://www.youtube.com/watch?v=rh5WYBT0rs0&ab_channel=neilcowleytrioThanks again for the E.S.T links. I find this music interesting and enjoyable. |
|
