Jazz for aficionados
Nice groove. Michael Leonhart is a very talented young musician. Son of well known bassist/singer Jay Leonhart. He is part of the most recent Steely Dan horn section and does a lot of their arrangements of new material. He does some really nice work arranging and playing trumpet and vibes on Fagen’s recent “Sunken Condos” record. https://youtu.be/OfOUm1WxRGk |
Well, due to my ignorance I never would have thought that I would see the words Croatia and tango in the same sentence. A little research revealed that tango is quite popular in Croatia with several annual tango festivals it seems. That was my first reaction when I listened to “Moj Dilbere”. A slow tango?! Ancient song set to a tango beat. I agree with Rok, very beautiful. **** I would be very curious to hear what kind of emotion or thoughts this evokes,if any, with you **** Bitter sweet; with a bit of melancholy. Music in an appropriately minor key. The (imaginary) memory of that last dance with the beautiful Croatian woman I met during that summer stay in Croatia. A wonderful romance that had to end; but the memory will last. |
Glad you liked it, mary_jo. Apropos recent mention of the clarinet, here is Ted Nash on what some less versatile jazz saxophone players only-half-jokingly refer to as “the misery stick”: https://youtu.be/pxeLSJOEhi8 |
I have to admit that the last thing I expected to hear on your first clip was “Sing, Sing, Sing”, mary_jo. No “woe is me, I am not feeling well”; more of a “let’s kick this cold in the butt” attitude. Hard not to think of Benny when the clarinet is mentioned. Sorry the Ted Nash clip is not available to you. Hope you feel better: https://youtu.be/b_IpgKzy75E Nice post and clip, Alex. Zoot is always great and timeless as you say. Thanks for sharing. https://youtu.be/ojfMCYpDda8 |
Wonderful! Thank you. Heard him at The Village Vanguard back in the late ‘80s and still remember what great music he played and the buzz that his comeback had created. Cedar Walton was the pianist as I recall. He had recently been released from one of his stints in prison on drug charges. How sad and tragic that society dealt with this problem of the human condition in such a way. Beautiful player clearly out of the Parker school and still individualistic. You must know that he is a native of Minneapolis. There clearly must be something in the water there to foster so much inspired music making. |
Since my first trip there one of the many things that I have looked forward to every time I have travelled to Japan is the sense of order (“harmony”) that permeates just about every aspect of that wonderful culture. While “soulful” is probably not an adjective that comes to mind for most Westerners re Japanese culture, it is in fact a very soulful culture in ways that don’t always reveal themselves to the one time visitor. Wonderful country, Loved “Nirvana”, acman3; thanks! Some of the best playing by Zoot that I have heard with the extra treat of hearing him on soprano. Interesting how his musical persona seems suddenly a bit more modern when he plays soprano. And what a swinging rhythm section! Buddy Rich sounds wonderful with a lighter touch than he sometimes played with. You know, much is made, and deservedly so, about the way that bass playing has gotten more and more virtuosic in more recent years, but there’s so much to be said for simple great timekeeping. Milt Hinton sounds wonderful. This one goes on the list. Speaking of simple (in a way), my wife played this today. Great reminder that in the end it is the power of the delivery that matters and a single voice or instrument can make as much music as an entire ensemble: https://youtu.be/x0PlS8nuceA |
Omg! Reading over recent posts I noticed something in one of my own. I wrote: “Speaking of simple (in a way), my wife played this today”. For the record, and since it has been very cold outside here in NYC and I much prefer to be inside 😤, I was referring to the beautiful simplicity (in a way) of the performance; NOT my wife 😊. https://youtu.be/RYMcPcYfa9Q |
That’s very funny, Schubert. That image made me think of this legendary Cuban singer/pianist popular in the 50s with the unlikely (for a Cuban) stage name “Bola de Nieve” (snowball). Ignacio Villa was a very interesting and nuanced singer of ballads and cabaret songs: https://youtu.be/upgx0GIpL3g Glad you liked the clips, mary_jo. |
Welcome to the thread three_easy_payments and agear! A wealth of riches, acman3! Excellent clips. Thanks. Eddie Daniels is the Michael Brecker of the clarinet. A modern approach combined with amazing virtuosity and “schooled” tone. Beautiful player. One more excellent Ted Nash recording and a favorite. Great example of why Wynton is “Wynton”. One of the best solos I’ve ever heard by him; interesting and mind blowing in its virtuosity. I posted Ted Nash’s Grammy Award winning “Presidential Suite- Eight Variations On Freedom” a while back. Worth revisiting or for anyone who missed it. https://www.youtube.com/playlist?list=PLAm5Vq3NMd_SFx85GWKiFGNFRmUMJjLKq Like his “Presidential Suite”, his earlier suite “Portrait In Seven Shades” which features works inspired by famous works of art may seem a bit “heady” at times, but is very interesting. Another example of why he is one of the most creative jazz musicians on the scene today. https://www.youtube.com/playlist?list=PLkOZGEh8mR8M4lwribmQQIvRmOuyGe2by |
+1 Schubert’s recommendation of “Montreal Memories”. Beautiful record. One of Frank Morgan’s favorite tunes was Monk’s classic “Round Midnight”. Sometimes different versions of a player’s favorite tunes offer some interesting insights: 1989. A couple of years after his heralded comeback. Beautifully soulful playing with a touch of urgency: https://youtu.be/7Z2F1XmLFVI 1990. Very different setting and much more “up” take on the same tune. His playing sounds particularly strong and lively; he sounds really “in shape”: https://youtu.be/OeFFVjFI2VM 2004. Fewer notes and more introspection. Shades of Art Pepper’s almost-painful-to-listen-to mournfulness. Coincidence?.... he had co-led a band with fellow prison inmate Art Pepper: https://youtu.be/UKiPZ45tN7k 2006. Less than a year before he passed. Some might say he sounds tired while letting Hicks have the spotlight. I think he sounds beautiful and peaceful: https://youtu.be/9yDkIwQjeB8 |
**** Is it against jazzology to prefer Cables over Hick ?To my hears Hicks played it and Cables made love to it the way a mother loves her child . **** No, I don’t think so. I don’t disagree and I like your analogy. As you know the success and meaning of any duo performance (and relationship) is dependent on the contribution of both players and their interaction. A mother loves her child by also guiding and maybe even prodding the child. That is the kind of interaction I hear between Cables and Hicks. As beautiful as the Hicks/Morgan “Round Midnight” is one could say that Hicks’ approach is more like the way that a grandparent loves a child: a little deferential and even spoils the child. There is a clear sense that Hicks tends to wait for Morgan to “make a move” and then reacts with the accompaniment. On the other hand, Cables at times shows the way and Morgan follows. Each approach to accompaniment sets up the solo piano turns. To me Cables was always a player with great clarity of purpose and even tone; not a lot of ambiguity. Both great. https://youtu.be/u_xy1sjKyZc https://youtu.be/QXpBRRBA8h4 |
That’s about the response I expected from you. Like clockwork. Two extremely accomplished musicians whose music you have praised as much as, if not more, than just about anybody. One in particular you hold as God and Savior of the music. Yet, you consider what they (and, by extension, me) have to say about the music’s makeup and history, integral parts of the very reasons that it sounds good to you, “complete and utter BS”. Hmmm, I wonder who it is that is suffering a disconnect and is spouting BS? |
Loved the Elian Elias “Blue In Green”; thanks, Schubert. Have always liked her playing and singing. But, man, that’s a reallly long limb you’re going out on. Better than Evans’ version?! Always fascinating to consider the perspective of a very thoughtful music lover, but I think this may go to the futility of that kind of categorization. Apples and oranges in too many ways for me. I love Elias’ playing. It is sophisticated and has that unique swagger and sexiness that Brazilian performers seem to have (for me). She approaches “Blue In Green” in a very different way than Evans does. Modern cosmopolitan and obviously “bluesy” with a clear Brazilian sensibility. Ramsey Lewis comes to mind. Evans’ approach to the tune is more traditional, but still with a very modern harmonic palette; he paved the way after all. Rhythm takes the back seat to harmonic exploration that I feel Evans takes to higher highs. Elias’ approach relies much more on the rhythm component. Love both versions. Thanks for sharing the clip; that’s one to get. Been listening to this. I love!!! the feel on this record. Why isn’t Gene Harris mentioned more often? Amazing left hand! Great story telling by Turrentine, as always. https://youtu.be/93dmFfZppuIw https://youtu.be/KHZ4L6k966 https://youtu.be/LphVcrN4Yv4 |
Great comparison of different versions of “Blue In Green”. Really interesting and thanks, Schubert and Acman3. BTW, there is reason to believe that it was Bill Evans, not Miles, who wrote the tune for the KOB recording. If true, it adds further context to Evans’ version. **** It has long been speculated that pianist Bill Evans wrote "Blue in Green",[1] even though the LP and most jazz fakebooks credit only Davis with its composition. In his autobiography, Davis maintains that he alone composed the songs on Kind of Blue. The version on Evans’ trio album Portrait in Jazz, recorded in 1959, credits the tune to "Davis-Evans". Earl Zindars, in an interview conducted by Win Hinkle, said that "Blue in Green" was 100% written by Bill Evans.[2] In a radio interview broadcast on May 27, 1979, Evans himself said that he had written the song. On being asked about the issue by interviewer Marian McPartland, he said: "The truth is I did [write the music]... I don’t want to make a federal case out of it, the music exists, and Miles is getting the royalties...."[3] Evans recounted that when he suggested that he was entitled to a share of the royalties, Davis wrote him a check for $25.[4] **** Adding to the mystery and controversy, check this out. I’m reposting (thanks, acman3) Bills Evans’ version for easy comparison. Listen to the first few seconds of the opening to Evans’ version recorded several months after the KOB session: https://youtu.be/mW_7gRH7ASE Then, listen to his playing in the first few seconds of the opening to “Alone Together” from Chet Baker’s “Chet” recorded the year before (1958). Sound familiar?: https://youtu.be/SENykNkARzI |
Just the sharing of personal points of view in the interest of expanding one’s own perspective. No “betters”. https://youtu.be/pK8E0i1deY4 |
Here’s another pianist who, like Evans, is the kind of player that lets, even requires, the listener to “lean into” his playing with less overt emphasis on rhythm (in the usual sense) and more on harmonic interest. Skillful and creative use of harmony to give clarity to what is referred to the “harmonic rhythm” of a tune (any music) can create a more subtle sense of forward movement or of “going somewhere”. https://youtu.be/kNhrygNQthw |
Thanks a lot for the Gene Harris clips, Alex. I do have that record, but had not listened to it in a long time. I went through a period when I was buying anything that Stanley Turrentine was on. This is a good one. And I enjoyed the Fresu demo clip. Great Miles imitation! I thought his Chet Baker was good, but not quite as convincing as his Miles. Interesting in that on the face of it one might think that Baker would be the easier one to mimic; but not so. Speaking of Bosendorfers (Schubert), Peterson always played Bosendorfers; you may enjoy this: https://youtu.be/ec-FrnaU0rs |
Interesting post, Alex. Evans Bradshaw is new to me and I’m really glad to learn about him. I admire your dedication to lesser known players deserving of more attention. The music business is a tough business. Who knows what circumstances led to his very limited success? What I think I do know based on what I heard on the clips is that he was still growing and had tremendous promise. In many ways he sounds fantastic with a lot of chops, good sense of swing and a nice touch on the keyboard; but also a tendency to repeat his favorite licks. I also think that his producer(s) did not serve him particularly well. He and the other players don’t play that well together as a trio; especially on “It’s The Right Place”. Bradshaw takes it a breakneck tempo and the drummer can’t keep up. A producer’s job with new talent is to not let that happen; or, at least, not let that be the final product. Both trios sound like they could have used a little more rehearsal time. This clip came up on YouTube and shows Philly Jo doing a much better job of keeping up with Bradshaw’s exuberance: https://youtu.be/5BU_lrLE408 Loved Newborn’s version. It’s great with a very different slower feel. Very glad to have heard the clips. Thanks! Speaking of little known piano players and elegant playing (per Schubert’s comment), here’s something different. Don Shirley was an incredibly accomplished individual in many ways and worth learning a bit about: https://en.m.wikipedia.org/wiki/Don_Shirley He didn’t really consider himself a jazz player and was trained as a concert pianist. Not the most swinging player, but played with a nice feel and recorded many jazz standards in a very inventive style which showed his Classical music training and which sometimes came dangerously close to a “Muzak” or “Beautiful Music” style without crossing over the line (for me) into Liberace territory. His playing and inventiveness were very elegant and he produced an especially beautiful tone on the piano: https://youtu.be/yYb6qwzode8 https://youtu.be/SWJJm2WJ-WA Schubert, Gonzalo Rubalcaba was one of the first young Cuban musicians to gain international attention after the first wave of high profile defections of Cuban jazz musicians which included Paquito D’Rivera and Arturo Sandoval. Very elegant player as you say: https://youtu.be/tQQMFRr_e1g |
Another Bosendorfer Artist, btw. Amazing instruments with the “sharp clarity” that Schubert pointed out: https://youtu.be/bXwWRFl6LSk In contrast to the softer (texture) and rounder Steinway sound which can be clearly heard in spite of the distorted recorded sound during the percussive passages. More obvious still is the commentary showing what an interesting, articulate and deeply spiritual individual Rubalcaba is: https://youtu.be/NU-QqnFGlDg Rubalcaba and Valdes. Yamaha pianos this time. Roughly (!) somewhere between the sound of Bosendorfer and Steinway, but not as good as either, IMO. With amazing artists like this it doesn’t matter much; but interesting nonetheless: https://youtu.be/voMHOO3v2J0 |
mary_jo, dinner jazz is a silly term for the kind of “jazz” one might hear in restaurants; background music, usually played softly, intended to add an air of sophistication to the ambience in the restaurant (or other). Like “cocktail piano” it usually consists of ballads or pop tunes played in an insipid and unobtrusive style meant to not interfere with conversation. Of course, the diner is at the mercy of what the host or proprietor of the restaurant considers “jazz”. **** I do not believe that jazz is about to die, ever, or that is encountering a slow death, gasping for air. **** Aaah! The subject of much dispute and contention here. I could not agree with you more and many of the recent posts here prove your point. Of course, all art evolves as a reflection of current times while building on what came before. Personal opinions on the subject are, in great part, a reflection of a person’s personality traits and general feelings about the state of the human condition itself. Is the glass half full, or half empty? For some reason many find a kind of comfort in unreasoned negativity. Nice post. |
Nice! One more Hoagy for Schubert. I can’t think of a more beautiful song: https://youtu.be/DjU6ZjrQulc https://youtu.be/TeFeLaEsHBs As done by the composer himself: https://youtu.be/Em3xyZz_mow |
Brilliant record. Herbie Hancock plays classic Rock and R&B tunes in a Jazz groove with an all-star lineup......and it works, big time. A bit of a rarity, Michael Brecker on soprano and killing it. God, how he is missed! https://youtu.be/4NqkBQJQl1U https://youtu.be/y9SkS3yU704 https://youtu.be/hOABTxSN6dA |
A voice with obvious “imperfections”; but, for me there is something special and very honest about the way that Abbey Lincoln sang. There is a sense that it is coming from a place very deep inside. Amazing artist. Apropos recent focus on a great songwriter (Hoagy Charmichael), Kurt Weill’s “Lonely House”. Kills me every time: https://youtu.be/JXtY_APMKWA |
The more things change, the more they stay the same. https://youtu.be/09wjR5tc12s https://youtu.be/O_h-saU6gNA https://youtu.be/AKQ7v3S9atM |
Re Schubert’s mentions of music conservatories and saxophone ensembles. This is the level at which young musicians in schools and conservatories are playing today. Same thing on the Jazz side of things. Pretty astounding! https://youtu.be/XYfK4aKSbd4 |
Turn a metronome on....perfect time, but no feel. “Feel” is primarily where each player feels the pulse of music in relation to that potential absolutely perfect pulse. In real life music making there is, on either side (faster/slower) of those potentially “perfect” completely in control pulses, a certain amount of latitude before it sounds like simply bad rhythm. Where each player feels the pulse in relation to that potentially absolutely perfect pulse and how he is able to control and manipulate the subtle deviations from perfect (in either direction) is one of the most important things that determine HIS time feel. Some players play very behind the time and some very in front; and lots of in betweens. |
I would never suggest you are dreaming. I assume you mean Benny Goodman instead of Artie Shaw? Different? Sure was. One could be generous and make a magnanimous judgment and say that his was a time feel that was pretty representative of the time feel of most Swing music. I know exactly what you mean and why you feel that you don’t “get” it; and, I suppose, why you don’t like it: on the front side of the beat; unlike the more relaxed, back side of the beat feel of other players. On the other hand, one could also make the assessment that he is too square. Dare I say it?.......too white. In some ways the very reason that the music of that era was so popular; it didn’t deviate too much in feel from the comfort zone of the majority of the consumers at the time. However, hard to argue with what Benny did for Jazz on several levels. Integrating black and white musicians for starters. |
Thanks for that. Rare indeed. Carlos Garnett, now there’s a name I haven’t heard in a while. Good stuff. Back to Chick: https://youtu.be/90oTlHmjNcM |
I too enjoyed the Pelt clips; a lot. Thanks, pjw! Interesting player; something very direct and “to the point” about his playing. I did have a little trouble with his choice of synth patch for his horn. On “Blues” (can’t get more direct than that for a tune title), the synth trumpet sound didn’t quite work for me within the overall vibe setup by the rhythm section and that killing guitar solo. Some great plunger mute work might have been just the ticket. Just my personal taste and it really was a great trumpet solo. nsp, thanks for the Rubalcaba/Lovano clips. I did not know they had recorded together; interesting and unexpected pairing. Also unexpected is the horn that Lovano plays on “Mr. Hyde”. “Return Of Our OP” prize to whoever can identify the instrument 😀. Welcome back, O-10. https://youtu.be/2ErlcwMVGdw |
We have a winner!! Alto clarinet it is. Lovano is one very talented dude. I’ve posted this before, but worth revisiting: https://youtu.be/YaY1GVeHqKw |
What’s the date in April, pjw? Re “Sugar”, I have on lp only. It’s been a while since I listened to it. Love Turrentine, but never been a big fan of Creed Taylor’s sonic aesthetic. I do remember that it was a fairly hot sounding recording with very prominent cymbal work. I have to listen to it again. Could be the remastering of your particular reissue. |
Catching up here. Nice clips all. Thanks! pjw, thanks a lot for the invitation. Due to my work schedule the only date I can make is Mon, 4/8. Let me know if that works for you guys; would be great to meet you both. Thanks again. That “Autumn Leaves” by Rubalcaba is pretty amazing, nsp. Mind blowing technician! That was recorded almost twenty years ago and I think he has tamed that incredible exuberance a bit. Always a lot of depth however. Amazing player. I wonder what Chick Corea was thinking while in the audience listening to Rubalcaba. Not common knowledge, but Gonzalo is also a terrific drummer and percussionist. He is the son of pianist Guillermo Rubalcaba a legendary figure in Cuban music. Schubert, Piaf/Rubalcaba; interesting pairing to say the least. This might offer some clues as to what that might have been like. The old man himself accompanying singer Luis Frank; another Cuban music legend. Beautifully suave playing by the senior Rubalcaba: https://youtu.be/Z4MeEz-Q-Mc |
I must confess that I was so astounded that I looked for clues that they weren’t actually playing, but “playing”along to prerecorded music. Nope, they are playing. Amazing! Better intonation than most college bands. Even more astounding is the well developed tones. Extremely rare for players that young to have that kind of fullness of tone. Those kids have had exceptional training. Disciplined with relaxed and correct posture and embouchure; hallmarks of great training. Pretty incredible. Bet you none take their smartphones to band practice. |
pjw, I’m a little confused. You wrote he is at Birdland 4/8-4/12. The date I can make is Mon 4/8. I might be able to make Tues 4/9 depending on the time. The rest of the week is no good for me. What time is the set on Tues? I saw Carter at the Village Vanguard several years ago when he was first causing a bit of commotion on the scene. Played a lot of sopranino and baritone saxophones that night. Very exuberant player. I like him although I can’t say he is a favorite. I haven’t followed his career too closely and would like to catch up and hear where he’s at currently. Please let me know about the dates. Thanks! |
https://youtu.be/2BfQUx0OKjY https://youtu.be/J2bCQMj3D9w If only there were a better word than eminent. |
