Just heard today, Chazro. Very sad news.
Jazz for aficionados
Jazz for aficionados
I'm going to review records in my collection, and you'll be able to decide if they're worthy of your collection. These records are what I consider "must haves" for any jazz aficionado, and would be found in their collections. I wont review any record that's not on CD, nor will I review any record if the CD is markedly inferior. Fortunately, I only found 1 case where the CD was markedly inferior to the record.
Our first album is "Moanin" by Art Blakey and The Jazz Messengers. We have Lee Morgan , trumpet; Benney Golson, tenor sax; Bobby Timmons, piano; Jymie merrit, bass; Art Blakey, drums.
The title tune "Moanin" is by Bobby Timmons, it conveys the emotion of the title like no other tune I've ever heard, even better than any words could ever convey. This music pictures a person whose down to his last nickel, and all he can do is "moan".
"Along Came Betty" is a tune by Benny Golson, it reminds me of a Betty I once knew. She was gorgeous with a jazzy personality, and she moved smooth and easy, just like this tune. Somebody find me a time machine! Maybe you knew a Betty.
While the rest of the music is just fine, those are my favorite tunes. Why don't you share your, "must have" jazz albums with us.
Enjoy the music.
I'm going to review records in my collection, and you'll be able to decide if they're worthy of your collection. These records are what I consider "must haves" for any jazz aficionado, and would be found in their collections. I wont review any record that's not on CD, nor will I review any record if the CD is markedly inferior. Fortunately, I only found 1 case where the CD was markedly inferior to the record.
Our first album is "Moanin" by Art Blakey and The Jazz Messengers. We have Lee Morgan , trumpet; Benney Golson, tenor sax; Bobby Timmons, piano; Jymie merrit, bass; Art Blakey, drums.
The title tune "Moanin" is by Bobby Timmons, it conveys the emotion of the title like no other tune I've ever heard, even better than any words could ever convey. This music pictures a person whose down to his last nickel, and all he can do is "moan".
"Along Came Betty" is a tune by Benny Golson, it reminds me of a Betty I once knew. She was gorgeous with a jazzy personality, and she moved smooth and easy, just like this tune. Somebody find me a time machine! Maybe you knew a Betty.
While the rest of the music is just fine, those are my favorite tunes. Why don't you share your, "must have" jazz albums with us.
Enjoy the music.
Showing 50 responses by frogman
All this great talk of live albums has caused me to pull out some more favorites: https://www.youtube.com/playlist?list=OLAK5uy_lrwp53TVjMLccwjjVqQH041aeOeDUu7B8 https://www.youtube.com/playlist?list=PLeDYEULrbSfJEeZAwqR24WTKXYSz2e49d |
Personnel: “Live At Yoshi’s” Pat Martino- guitar Joey DeFrancesco- Hammond B3 Billy Hart- drums —————————— “Thad and Mel”
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Wow! You saw Satchmo, Miles, Trane, Cannonball, Evans, Silver, Blakey (and others) play live. Envious is an understatement. I’ve seen my share of great jazz players, but that’s a list of some of the greatest of the great. Evans and Blakey are the only ones on that list that I had the pleasure of seeing live. The few times that I heard Evans were all memorable. Other memorable ones include, Dexter, Griffin, McClean, Phil Woods, Thad&Mel, Herbie, Hubbard, Shorter, and others....but, man, Louis, Miles and Trane!! I would have given my favorite cast iron skillet to have seen Trane live 😊. I know our OP has (seen Trane, that is). Then there’s the annual Vienna Philharmonic concert at Carnegie..... |
pjw, Ellington At Newport 1956 is a no-brainer, but it was already on the top ten list that nsp linked. I think the idea was to add to that list. Certainly would have been on my list. mary_jo, funny joke. Here’s one for you, all in good fun of course and courtesy of my dear wife, a blonde: **** A young brunette goes into the doctor's office and says that her body hurts wherever she touches it. "Impossible," says the doctor. "Show me." She takes her finger and pushes her elbow and screams in agony. She pushes her knee and screams, pushes her ankle and screams and so it goes on, everywhere she touches makes her scream. The doctor says, "You're not really a brunette, are you?" She says, "No, I'm really a blonde." "I thought so," he says. "Your finger is broken. **** |
A couple more favorite live recordings: Same rhythm section that would be part of Miles’ Second Great Quintet, but this time with the under-recognized George Coleman on tenor instead of Wayne Shorter: https://m.youtube.com/watch?v=3hnjrGvXddo For when only the bass clarinet will do: https://m.youtube.com/playlist?list=PLy016JoBl4MCWDgDOxw12Z706ZpxG5aEe |
nsp, I don’t think I’ve ever heard anything by Mobley that I didn’t like. Great player and great record! You’re right, Dolphy was the first in jazz to play bass clarinet with that level of proficiency. Harry Carney played it in Duke’s band quite a bit before Dolphy came on the scene, but it was mostly in the context of Duke’s great orchestrations and he didn’t improvise on it that much. The great clarinetist Buddy DeFranco and a couple of other contemporaries of Dolphy flirted with the bass clarinet, but not seriously like Dolphy did: https://m.youtube.com/watch?v=BFinfHYnOCQ |
Great music for a rainy Fall afternoon; thanks, acman3. What a beautifully creative musician Wayne Shorter is! I may have posted this previously; not sure. My favorite of his post-Weather Report offerings: http://www.youtube.com/watch?v=qUDRRCQj0TE&list=OLAK5uy_n2MDlw1r7tcZV_1taNfZXpofkXyD5XKb4 |
What would a thread be without its OP? As nsp suggests, the power of positive thinking is not to be underestimated. Some tunes become a type of anthem for instrumentalists. Among tenor players and within the tenor saxophone world ”Invitation” is one of those tunes; up there with “Body and Soul” as ultimate vehicles for players to demonstrate their true musical mettle. The reasons that certain tunes achieve this status is not only that they are great tunes in their own right, but also because they often “lay” really well on the instrument and there has often been an important recording of it by one of the great players on the instrument. The importance of Coleman Hawkin’s famous recording of “Body and Soul” is well known. Coltrane’s “Invitation” has been the standard setter for contemporary (post-Coltrane) tenor players. Great tune! https://m.youtube.com/watch?v=xC6wo9Jqey0 https://m.youtube.com/watch?v=oqB-sz2SBsg https://m.youtube.com/watch?v=F-el0Sblhsg |
Great clips, pjw; and nice description of the record. “The Monster” swings like mad. Two of the fathers of modern drumming! Krupa was the first drummer to be featured with extended solos in a band. His solo on Benny Goodman’s swing era mega hit “Sing Sing Sing” is a classic. He and Rich, and music from that era, are definitely deserving of much more attention here, imo; and I have always felt that it is unfortunate that the swing era has gotten short shrift. It would put bop and post bop in a much better perspective. https://m.youtube.com/watch?v=fhyhP_5VfKM https://m.youtube.com/watch?v=3mJ4dpNal_k |
There is often something indescribably right about the way that the composer him/her self delivers a song. Simple, direct and without any pretense nor concern about the listener judging the possibly limited vocal and/or self-accompanying ability. No attempt to jazzifize the song, but to simply let the essence of the song come through. Whether it’s the “best” rendition or not, I always find it very interesting and puts all others in a certain perspective. Beautiful song! https://m.youtube.com/watch?v=VgQJvNhuiAE A favorite: https://m.youtube.com/watch?v=2CwPnp2VCYM |
We sadly lost the great Geri Allen recently. One of the most important women in jazz of recent times: https://m.youtube.com/watch?v=f6qS05TZmME In a trio setting with two other prominent current women of jazz: https://m.youtube.com/watch?v=INcuvX6oudA |
Mars and Venus, O-10 and I’m ok with that. If interested in another shot at getting my point, please reread my post; but, since you’re so hell bent on shooting down any point I might be making it would probably be pointless. I would, however, gently remind you of Rule No.5 from “Rules For Aficionados”......Unfortunately, it seems the guard checking at the door is on lunch break 😊 Inspired by mary_jo, time for a little levity: Q: How can one tell if the floor of the stage is level? A: The viola player is drooling out of both sides of his mouth. 😊 |
O-10, this is not a competition as you always insist on making it. Ella/Joe Pass “(not) as good as this”. Well, la-di-da! Kurt Weill, “out to lunch”!? You missed the point. A very important point and not at all unusual that you missed it. Once again, you unfortunately demonstrate that you often let your asessment of music be governed by factors other than its merit or points of interest. Unfortunate; especially coming from a “connoisseur”. https://m.youtube.com/watch?v=mn423hPa2bk. |
Two more nice versions of the great tune, nsp. Thanks for those. I know the Milt Jackson version well, but had not heard the Clarke/Boland. The Boland/Clarke big band has always been one of my favorite big bands, but had never heard their sextet recordings. Always appreciate hearing new pieces of the puzzle. Here’s an interesting version. I don’t like to post things that I don’t particularly like. What’s the point, right? Well, I find this version interesting for a few reasons even though I’m very mixed in how I feel about it. First, I love Stan Getz. I think he was one of the most beautiful tenor players ever with an amazing sense of melodism and I am interested in anything he recorded. This recording has always driven me a bit mad. The rhythm section, especially the piano player Albert Daily plays in a way that to my ears just doesn’t complement Stan’s fairly traditional style. The piano underpinnings are very modern in approach; very much like the way McCoy Tyner (with Trane) would play and creates a stylistic clash to my ears. Taken on its own, Stan’s playing is brilliant as always. What’s your take on this? https://m.youtube.com/watch?v=tajiSHADer8 |
What else can you say? That’s an easy one. How about that you’ll stop with the provocative and insulting comments that start these stupid arguments. Or is this another one of the “most stupid, ludicrous, and ridiculous statements” that I have written here? Have you any idea how childish and disrespectful you come across? All because you feel insecure and feel your mantle is threatened. You know, I have an old dog (a great dog) and he learns new tricks all the time. |
O-10, no, spelled it twice as Weils. Seems to me that the name of a composer of his stature deserves correct spelling. Two more great Weill songs. Sarah sings with arrangement by the great Nelson Riddle. Clifford Brown on trumpet sounds wonderful. Herbie Mann’s flute solo follows Clifford and while that would always be a tough act to follow it confirms for me why I’ve always felt he was one of the most overrated famous players. Still, beautiful rendition: https://youtu.be/otPzP4YYFpE And, of course: https://youtu.be/S-lHrDPjGfQ |
O-10, first, the name is Kurt Weill, not Weils; one of the most important figures in music in the 20th centur and whose influence continues into the present. The point I made was perfectly clear. I’m sorry you could not understand it. Also clear was that the point wasn’t really about Weill per se; you made it about Weill. You see, here we have yet another example of how unfortunate it is that you choose to approach a potentially interesting discussion the way that you do. Your approach erodes any interest (speaking for myself) in further clarification or expounding because history has shown that more times than not your follow up question is nothing but a setup. Very unfortunate. If you truly are interested in understanding you can try rereading my post. If that still doesn’t do it for you and you would like some clarification from me try a different approach. Otherwise, as I said, I believe my point was very clear. One of Kurt Weill’s most beautiful songs and a favorite: https://youtu.be/5dCcGorrT0Q |
Even worse than loneliness is to not recognize who one’s true friends really are; all the while looking in the wrong places. More Kurt Weill: https://m.youtube.com/watch?v=JXtY_APMKWA |
Thanks for the Getz/Tjader recommendation, pjw. I do have that record and it’s a good one. Besides the great playing, it has always been interesting to me because the opening cut “Ginza Samba” is kind of a preview of what would be the focus of Getz’ recordings beginning a year or two after that recording date. As you know, he would do a lot to bring the sound of Brazilian music to Jazz audiences. Beautiful player. I could name several favorite Getz records in return, but I suspect you have them all. So, here’s two things by him that are less known and might be interesting; one, an oddity (for Getz). I love this record by Abbey Lincoln. I find her singing to be a bit of an acquired taste, but love the honesty and absence of affectation in her voice. Getz as a sideman is wonderful as always: https://m.youtube.com/watch?v=9MQotWj8GZ4&t=0s&list=PLkaK5DhzmyNmqcem4wEBmPZVjVl3lYKdE&i... The oddity: I came across this by accident. I read a review years ago that mentioned that Getz was featured on this record by “Huey Lewis and The News” (!!!) and I had to check it out out of sheer curiosity. I could not imagine Getz playing in this kind of setting. He sounds great! https://m.youtube.com/watch?v=WweW3A2GMdc |
Interesting new pianist/composer with a lovely and understated touch on the keys. No “in your face” pyrotechnics and always thoughtful. One of Wynton Marsalis’ “Players To Watch” and one of the JALC crew: https://youtu.be/DCL8sehbsK0 https://youtu.be/USFqWgFYd8s https://youtu.be/beOc81Vpu4U https://youtu.be/Cj2hl6VVuKI https://youtu.be/Xu1IznLhM8k |
nsp, indeed. Re Boland/Clarke: My favorite iteration of the great Francy Boland/Kenny Clarke Big Band was from the period when they had both Johnny Griffin AND Eddie “Lockjaw” Davis on tenors. Their tenor battles were legendary. This is one of my favorite cuts on a record from that period and which features Lockjaw playing what for me is (no hyperbole intended) one of the most amazing tenor solos on record. Love Lockjaw! Very interesting player who combined the sound, vibrato and inflections of the great swing players with an advanced and modern harmonic concept. Talk about sense of swing and funky attitude! https://m.youtube.com/watch?v=Zc-Qx5rAPVM&t=0s&list=PLyHn3f7-9IUI19SPDErYxaIdiEd4SD-fm&i... ”Griff’n’Jaw”: https://m.youtube.com/watch?v=gY0F7UclYA0&index=8&list=OLAK5uy_k96cR7Wh9Ins34UWWm1ZL7nHXMNlr... With Dizzy. Ronnie Scott on tenor; founder of the famous “Ronnie Scott’s Jazz Club” in London. https://m.youtube.com/watch?v=qMOYZs_vUy8 |
I think so. He certainly knows where the great young talent is. Great chart and playing by Sung. Thanks. Speaking of great young talent, the trumpet player on the clips I posted above is another lady of Jazz, Ingrid Jensen. Great young player. https://youtu.be/WftVRn_qlbE https://youtu.be/-uCMjM_LUi0 |
nsp, good and well reasoned comments. I don’t disagree about Dailey’s comping and your point is well taken. Maybe it is, as you point out, the fast tempo that I’m reacting to and makes me feel there is a stylistic clash between Getz and Bailey. I’ll give it another listen. Do post some of that FB/KC BB. Thanks. |
Good sleuthing, pjw. I may have to get that video with Dizzy. Thanks. The KC/FB BB as you probably figured out was made up of many American players who had made a home in Europe around that time. I always hear a certain energy and vitality in that namd’s performances that I like very much. Just speculation on my part, but if there might be something to be said for being a big fish in a small(er) pond this might be a good example. What I mean is that I sometimes wonder just how much attention (and personal growth as a players) excellent players like Benny Bailey and Sahib Shihab would have experienced had they not moved not to Europe where they weren’t competing with the likes of Hubbard, Pepper Adams and others. Of course, powerhouses like Clarke, Griffin and Lockjaw could compete with anybody. nsp, great Getz/Dailey clips. Both new to me. Thanks. No clash between the two in either of those clips. I don’t doubt Dailey’s ability in the least; he’s a great player and on those two cuts he plays in a way that I feel is more complementary of Getz. I listened to the “Invitation” cut a couple more times. Getz was, when all is said and done, a traditionalist with obvious roots in Swing. He was obviously much more than just a swing player, but I always hear the inflections, vibrato and suave tone of swing players even though his use of harmony could be extremely modern. In that “Invitation”, when I hear Dailey’s comping (especially as the tune progressea) with thick dissonance rich chords I somehow want to hear a more modern sound concept from the tenor. Add to that the faster tempo and it feels a little frenetic. Still, great playing from both and I’m probably putting too fine a point on it. For me, a piano player who was a beautiful complement to Getz and could move in and out of modern and traditionalist sensibilities seamlessly was Kenny Baron. Here they take the tune at a more relaxed pace. Works better for me. Terrible recording; sorry: https://youtu.be/T-AFxpI9Joo I may have posted this recently https://youtu.be/WCe83Q-3GQk |
pjw, I have been to Brazil once; to São Paulo in 2001. It was a fantastic experience. Fantastic music and beautiful women. Sexiest language on the planet, in my book. FYI, on W 48 St. in Manhattan is “Brazil Grill”. Been there many times for the best Feijoada that I have ever had. Would love to know of you and/or your wife have a favorite Brazilian spot in the city. ** (Brazilian) black bean and pork beef stew served with white rice and collard greens. ** ....and some still question the mingling of African influences in American culture (Jazz). Ate depois. |
For the sake of clarity only, I assume that the reference to “the Lincoln Center” in this discussion refers to “Jazz At Lincoln Center” only which is but one of eleven (!) resident Arts organizations that make up “Lincoln Center for the Performing Arts”, the leading Arts organization in the world. I can understand how someone might consider pairing Willie Nelson with Wynton’s band as trying to “fit a square peg in a round hole” (even Eric Clapton wasn’t quite round; imo) and I don’t disagree, but in case anyone is not aware of all the fabulous work that LC does in the arts, I felt that it was important to clarify. I’m sure it is not the case, but if the feeling is that LC in general ”delights in trying to fit a square peg in a round hole”, I would love to know on what basis this comment was made. Not looking for any controversy here, only clarity for an important arts institution that deserves it. http://www.lincolncenter.org |
No, Rok; my comment was extremely clear and there was no need for controversy. The comment I was addressing referred to “the Lincoln Center” and I even agreed with your premise. You just made it a controversy. Why not just clarify amicably and move on? Would be much nicer, no? Big boys and girls, remember? |
Sahib Shihab was indeed an excellent composer, acman3. That clip you posted of his composition “Companionship” is a rather strange, but great tune. It also shows he was more than a baritone player; he plays nice flute on it. He was also a fine alto player. Here he is playing lead alto on a record by another name and composer/arranger (and piano player) that deserves attention here, Tadd Dameron. Tadd Dameron penned tunes like “If You Could See Me Now” and “Hot House” which were recorded by countless jazz players; and his arranging skills were greatly sought after. Interesting record with a great lineup playing Dameron’s beautiful arrangements in an octet setting; sometimes thought of as a “small big band”. Aling with Shihab, Kenny Dorham is featured: https://m.youtube.com/playlist?list=PL4ypuAMic-GjImEulJZVZfqmEy_Kji6ne |
Beautiful “Every Time We Say Goodbye”, pjw. Incredibly tender playing from Chet. You know, as I think about it, it’s really not at all surprising that Chet Baker was also a singer. It has long been recognized that many of the great instrumentalist ballad players (some are better ballad players than others) listen and pay close attention to the phrasing of the great vocalists. When I hear Chet play a ballad this way I feel as if he’s singing. There is less of a disconnect between the horn and his physical being compared to other players who sometimes pay more attention to the mechanics of playing the horn. Simple, direct and with vocal like inflections and timing. Quite beautiful. Thanks for that. This is one of my very favorite vocal renditions of that beautiful song from one of my desert island recordings: https://youtu.be/qkXYqUB-9NM |
An added plus is that it’s a great sounding record. Unfortunately, Ray’s records are not always that great sonically in my experience. Not that it matters all that much since the music is always so strong. https://youtu.be/wB-KN4Ojjbk https://youtu.be/-xBm5GRofeQ With the great David “Fathead” Newman on tenor: https://youtu.be/OLHKTZnfTbU |
Speaking of good ballad players and singers. One of the great ballads players and one who had a penchant for reciting some of the lyrics of a song before playing it: https://youtu.be/CrvWtdBOQW8 |
**** The best version, or our favorite version of a song does not necessarily have anything to do with artistic merit, but when that song affected us personally, and who first expressed that emotion in the song.**** A very personal call, obviously; and I wouldn’t assume that those criteria apply to everyone. Personally, I couldn’t say “does not necessarily have anything to do with artistic merit”. For me, for any version to be a favorite it has to meet a certain standard of artistic merit. That’s not to say that “most” artistic merit will make it my favorite; but a version lacking artistic merit is unlikely to be a favorite no matter the memories it may conjure up. Just me. |
Re Carmen McRae, Schubert’s observation about her young voice and related recent topics: Clearly one of the great and true Jazz divas, McRae was more than just a great singer. While much is made, sometimes deservedly so, of the fact that some singers played piano, the fact is that many other great singers also played piano and sometimes chose to focus on singing; or, being performers after all, felt that they better presented themselves by not sitting behind the instrument. Carmen McRae got her start as a pianist and she was a good one. As Schubert points out her young voice was truly beautiful and clear. I also liked the change in her voice as she (and her voice) matured; a change in timbre not unlike the one that Sarah Vaughn’s voice underwent. There truly was something special in the sound of a young Carmen. Adding to a man https://m.youtube.com/watch?v=0h3evZg5WFo She was also a composer. One of her admitted most important influences was Billie Holiday. While many singers, out of respect or ego, make a point of not singing songs made popular by other singers, Carmen made a point of singing at least one of Billie Holiday’s songs in each of her live sets. This is one of McRae’s compositions which, interestingly, Billie Holiday herself recorded. Obviously, there was a lot of mutual respect: https://m.youtube.com/watch?v=OrnF6pMKp_w We recently looked at the Francy Boland/Kenny Clarke Big Band. Carmen McRae was married to Kenny Clarke for a few years and for a while worked as pianist with the name Carmen Clarke. She was featured as vocalist with that band: https://m.youtube.com/watch?v=7tB7_trSQYI Playing piano as well as singing, here is a more mature Carmen. Richer voice and in some ways a more self assured stylist. Excellent piano playing: https://m.youtube.com/watch?v=KGUxPneG8vA Regardless of the time in her career, always a treat to listen to. One of my very favorite renditions of this classic: https://m.youtube.com/watch?v=KPBhrzzfg9Y |
**** Adding to a man **** ????? Funny, I was going to edit my post to acknowledge acman3’s clips at the precise moment in time, apparently, that my post became ”uneditable”. Amazing; the digital gremlins at work, and they allowed only some of the data through. Btw, the wonderful piano accompaniment on “My Funny Valentine” is by the great Ray Bryant. |
Here you go, Schubert. Her first recording according to her official website. 1946, with the Mercer Ellington Orchestra. You are correct; beautiful clarity in her voice. Just beautiful. I suppose it’s not uncommon for all voices to lose some of that beautiful youthful timbral clarity as the body ages; while also gaining artistic clarity (Sometimes, and the goal for all true artists as you know; definitely in her case, imo). Interesting to me is that one of the most obvious differences is the absence of the nasality that one would hear more and more of as she aged. Not unlike a prominent quality in Billie Holiday’s voice...her admitted main influence. http://www.carmenmcrae.com/PASS%20ME%20BY.mp3 http://www.carmenmcrae.com/RECORDINGS1940s50s.htm |
I work regularly with members of the faculty at Curtis who are players in the Philadelphia Orchestra and who are friends. I know the culture and history of Curtis very well and I can tell you that is is decidedly not a “hoity toity” institution. Very open minded and diverse; befitting an open minded and diverse town like Philadelphia. Not a fact, but an opinion based on what I know about the institution, its history and what I hear in Nina Simone’s piano playing: As I have said previously, she was a great artist with a certain style. Why was she not admitted to Curtis? I put my money on the simple fact that she couldn’t compete at the extraordinarily high level of the other Classical music pianists seeking admission at the time. It is an incredibly high bar. The below may help put things in perspective: From collegefactual.com, an organization that ranks colleges according to various criteria: ***** Overall Diversity is Great We combine elements of ethnic, geographic, gender and age diversity to create a total diversity ranking for every school. Curtis Institute of Music is thought to be very diverse across all factors **** ———————————————-From Curtis’ mission statement: **** ADMISSIONS Admissions are based on artistic promise alone. Enrollment is limited to the number of musicians needed for a symphony orchestra, opera department, and select programs in piano, composition, conducting, organ, and guitar, as well as community artist fellows and a string quartet in residence. Curtis provides full-tuition scholarships to all of its students. **** |
No, I don’t think so. As usual you guys are seeing what you want to see because you are so eager to find fault in what I write and so reluctant to see the inaccuracy in what you write on certain topics. You don’t want to be called out for making inaccurate comments about things you know very little about; and I don’t refer to the issue of racism. I made no claim to know any facts concerning Simone’s rejection at Curtis and made that perfectly clear. I made no comment about nor claimed to know “what barriers she faced”. My comment was a response to the negative, inaccurate and unfair judgmental comments about that great institution. The only comments I made about Simone’s rejection at Curtis were opinion. I made that very clear and spelled out the reasons why I hold that opinion. You often make comments about the music world that are not rooted in any kind of reality. It is unfortunate that you are so unwilling to expand your horizons and learn something new. Instead, you prefer to continue to live in a make believe world of pseudo facts. Perfect example: **** The credibility of what you hear in Nina Simone’s piano playing is "0". **** This, coming from someone who not only knows nothing about Classical music, but is quick to point out how much he hates it. Yet, feels qualified to judge how a musician (Simone) would have fared as a Classical pianist in a Classical music conservatory based on opinions formed by listening to her “jazz” recordings. Helloo!!! Btw, no, you did not say Curtis WAS a “hoity toity” institution. You said Curtis IS a hoity toity institution. That was the basis for my response. See what you want to see; twist the facts to fit the agenda. As always, I would welcome some reasonable and adult discussion. |