Jazz for aficionados

Gorgeous “September Song”; thanks.  One of my favorite tunes from the great Kurt Weill.  Parker sounds awesome playing the chart. The other thing I hear, and it goes to a great comment that nsp made, is James Carter.  Or, more accurately, how much JC obviously admires the pre-Coltrane style of tenor playing.  Big, bold, sometimes breathy tone and with a lot of swagger.  Great clips.  

Fantastic live footage, indeed!  Thanks for that.  Byas sounds awesome.  The first two minutes or so of the clip are priceless; Dizzy speaking.  Two things that stood out for me.  The first at about 0:25 and is something that some jazz fans don’t seem to want to accept for some reason:  the musicians themselves were and are the biggest “geeks” of all.  That is their language and what makes it all tick.  The other is at around 2:05 and to paraphrase Dizzy: the highest level of playing is reached when sober.  Must have been a great hot dog 😋!

Response to Mr Know-Nothing, oops errr I mean Rok2id. Not that that any kind of response is deserved. It has nothing to do with the recording engineers; well, very very little. The rest, you can try and figure out on your own. If you care to be a little more civil, I would be glad to elaborate.

Well, what a nice thing to say, O-10. Thanks so much. May I ask what exactly offended you so? Was it that I dared to bring a bit of well intended humor to my response to the story about your experience with your lady? Never mind that I cared enough to address your story and make a musical offering. Or, was it something else? Honest questions.

OK, O-10, lets examine it. I could dismiss all this as an over reaction on your part. I won’t. I had no intention nor desire to “rain on your parade”. In fact, I was playing along. By your own admission (just now), your “vignettes” are often times fiction. As I said before, what I wrote was simply a well intended attempt at some humor while at the same time recognizing the more “serious” aspect of what you wrote....I referred to the “forlorn look on your face”. I then contributed a version of your song that I thought you might enjoy (you’re welcome). Is that not “moving things along”? Is there no room for a bit of humor? I thought it was kind of funny, and a scenario not out of the realm of possibility. I am sorry that you didn’t get the humor. I still want to know just what exactly it is I wrote that caused you to feel that way; to feel that your parade was being rained on. The bit of humor? You don’t like Al Jarreau? Rocks? What rocks was I throwing? That you spilled your beer when you saw her? My fiction. Anyway, with respect, I think you are seeing something here that simply is not there. Bottom line: is there really anything in what I wrote that deserves a response using obscenity? Hardly. Btw, were you wearing a pair of those cool two-tone black and white shoes? 😊. Regards.

Sorry you feel that way, O-10. I still don’t get it and would still welcome a better explanation. Nonetheless, I offer a sincere apology for making you feel that I was “raining on your parade”. That was far from my intention with any of this. I hope you reconsider; but, as with all of us I’m sure, I don’t believe it is necessary nor appropriate to have to tailor one’s style of writing and interacting on an on-line forum (!!!!) by second guessing someone else’s expectations or needs when the only “infraction” is a bit of harmless humor. I would only add, and for whatever it may be worth, that my experience has been that the reasons for our reactions are not always what they may seem to be. I wish you well.

Check out the piccolo!

https://youtu.be/1oMfgTkRBak

Nice Mahalia Jackson, pjw.  Wonderful singer.  I feel as nsp does re Gato.  I never found his “free” stuff credible; he never sounded quite in his element.  I think he found his niche with his later stuff which had more of a “world music” vibe with a heavy Latin Jazz/pop leaning.  Didn’t care much for it, but he seemed more at home with it.  I never thought of him as a Jazz player, but more of an enjoyable stylist.  Re recent discussion, try and find a Gato recording, any recording, with Gato playing a Jazz standard.  There aren’t any (that I can find). 

Very pretty song, “Lazy Afternoon”. Thanks, O-10. Song from the very interesting (yes, there are some) Broadway musical “The Golden Apple”.

A lazy “Lazy Afternoon”:

https://youtu.be/8tXfHBd5_xI

An even lazier “Lazy Afternoon”:

https://youtu.be/Cix2tz1EgWc

Pjw, thanks for the James Carter recommendation.  Looked for it on the Tube; not there yet.  I look forward to hearing it.

For me, one of the all-time greatest instrumental pairings in Jazz was the collaboration between Bill Evans and Stan Getz. To my ears they both lived in very similar musical planets. I posted this previously:

https://www.youtube.com/playlist?list=OLAK5uy_kSdDcxyIWm1GGkwoOsAnSegN9sZYwenrE

I post it again because it was long thought to be the only recorded collaboration between the two. Not sure how this eluded my radar, but I just became aware of this other, previously available only as a bootleg, live recording:

https://youtu.be/4_eLn4B9MzQ

Evans, by his own admission, was heavily influenced by Classical composers. A beautiful example of this “cross pollination” of genres in his very interesting chord voicings on their fabulous rendition of “The Peacocks” @ 39:57. Bela Bartok with a touch of Ravel all the way.

**** what do you know about Joe Wilder ****

Wonderful trumpet player. I have heard many Joe Wilder stories and references from musicians in NYC of that generation (many no longer with us) and who worked with him; he was a fixture in the NYC scene. They all speak of Wilder with nothing but admiration and references as to what a kind individual he was. He graduated music conservatory (Manhattan School of Music) where he developed his unusually “schooled” technical ability. He was one of very first to break into the previously all-white (and lucrative) Broadway musical theater scene. Amazingly for a Jazz player he also worked with the NY Philharmonic in their trumpet section. All, surely enabled by a his formal training since a certain kind of playing is required to be successful in those fields; a level of control and technical finesse on the instrument that Jazz players typically don’t have.

His playing had a very suave and elegant quality about it and with a rhythmic feel that clearly showed that he was coming out of the Swing era. Beautiful stylist who improvised in a very harmonically “inside” style typical of the pre-bebop Swing era. A bebopper he was not. I love his playing.

Suave and elegant:

https://youtu.be/QseqYFnDJBs

Jazz is never stuck. Whether we can unstick ourselves to understand, appreciate, or like where it has gone is another matter. There is a big gulf between today’s Jazz  (modern, by definition) and “free” jazz. The great majority of today’s jazz is not free jazz; but, stuck it is not. 

**** There is no new and old.  Just the good and the other kind.****

Not sure about the first sentence, but the second is exactly right.  

Very nice player, Oliver Jones.  Nice clips.  Student of Oscar Peterson and shows it.  He doesn’t quite reach the amazing technical command of Peterson, but who does?  Lighter touch and not quite as rhythmically assertive as Peterson, but brings a somewhat more modern harmonic approach to the table as your second clip (Mark My Time) demonstrates; as opposed to Peterson who always stayed in that place between Swing and bebop.  I like him.  Thanks.  

https://youtu.be/tvS4Mm_bVEY

**** If jazz is moving so freely forward, why are you submitting so much jazz from the past? Why aren’t you submitting jazz from 2010 at least ****

O-10, because you brought up the subject of “free jazz” and, based on your post it seemed to me that you were connecting all post-bop jazz with free jazz. Two totally different genres. “Modern Jazz” has moved well beyond hard-bop while having nothing to do with free jazz. Moreover, there has been a tremendous amount of post-2010 Jazz posted by myself and others and two (“so much”?) examples of interesting, or at least significant, “free jazz” seemed like an appropriate contribution given your reference to it. Lastly, the obvious: 2010 to the present is a mere ten years; jazz, as you know, has been with us for a century. Many more examples, no? This subject has been beaten to death here, IMO, and there is a tendency to go around in circles with these general sub-topics. Bottom line, and as has been written many times:

”there’s the good kind and the other kind”, and we can find examples of both from any time period including the present.

Regards, and I hope that answered your question.

Pharaoh Sanders, “The Creator Has a Master Plan”.  Amazing!  Thanks.

What other hat wearing tenor player had a tenor tone later in his career almost exactly like Pharoah’s?  Both came up in the “free jazz” scene around the same time (mid-late ‘60s).  Interestingly, his tone was fairly conventional at first and for the time:

https://youtu.be/BuyT7d8ex5M

Gato then went to a tone concept like Pharoah’s.  However, he used it to move to a much more accessible genre: World Music/Latin pop.  Usually works the other way around as far as tone goes, but it worked for him.  

“Trane was the Father, Pharoah was the Son, I am the Holy Ghost"- Albert Ayler

Go in with an open mind.  Otherwise, you may not come out 😊

https://youtu.be/GXscqwF2E00

pjw, Buddy’s ranting and raving is the stuff of legend among musicians. I know many players who played in his various bands over the years including the pianist responsible for making that infamous tour bus recording. The stories are incredible; some hysterically funny and some unbelievably pathetic. Great and iconic drummer. At times, not so great human being.

**** Frogman, what you call good jazz and what I call good jazz are two different things. Can we agree on that? ****

Absolutely not. You have posted many things that I consider good jazz and others have also posted many things that both you and I have considered good jazz. So, there goes that theory 🤪. Now, as far as what I have posted and how you feel about it:

If I were to agree with your comment it would mean that you don’t consider the work of Miles, Trane, Shorter, Turrentine, Cannonball, Hancock, Morgan, Criss and countless others who played the music at the highest level to be “good jazz”. Why? Because I have posted them all and more.... many times. Many more times, as was just pointed out, than the few “out of the mainstream” things that I have posted and which seem to cause you to make statements like the above. Things that, while they may not be to someone else’s liking (or, even mine), may have important significance from a historical perspective; or, simply from a skill perspective. There is value in all that and understanding that value makes one a better listener. Just because I post Albert Ayler in response to YOUR comment doesn’t mean that it is what I always reach for when listening to music. Of course, we know that the real rub is that I disagreed with the way that you associated all post-bop with “free jazz”.

You want to talk about not being “consistent”? Please! I have been extremely consistent. Consistent in keeping an open mind for the new and the old; and when something is not to my liking stylistically I judge it according to how well it is executed from a skills perspective. “Consistency” is sometimes just a word for narrow minded and of limited scope. You have your own personal reasons for always trying to punch holes in what I write. Doesn’t take a genius to understand why this is. No problem; it’s your issue, not mine. Your comment above is simply a sneaky way of, once again, saying that you think you know what good jazz is and that I don’t. Please, must we go through that childish nonsense again? I prefer to have meaningful discussion about this great art form and its history with some semblance of logic and without hysteria and needless personalizing. It does get very tiresome. Just as it gets tiresome to have to go through these pointless discussions. “Why all the angst?” Great question.

What IS a problem (for this thread) is that some always seem to want to turn this into a competition of some sort. “Best this, best that”, “only classic jazz is any good”, etc. Can’t praise something without putting something else down. “If someone doesn’t like what I like then he has terrible taste in music”. All the while without consideration of the obvious: personal taste, the reason for and the value in better understanding of the objective aspects of the music. I could say a lot more on the subject, but I would direct you to Acman3’s excellent post above. He laid out a great formula. There will always be something to learn and there will always be things about art that we don’t understand or can relate to. I see it as room for growth, not for shutting doors; and, that doesn’t mean that we then have to stay in that particular room.

Mary_jo and the reason that, as a relative of mine always says, the world would be a better place if more women were in positions of power.

Excellent post, Mary_jo. That anecdote on “Bolero” is wonderful; and completely true. More on the great Buddy Rich:

Watch Buddy Rich play and one of the things that one notices is the relaxed attitude in his body. One of the things about Buddy that is often forgotten is that he was a tap dancer (and singer!). Not exactly Nicholas Brothers caliber hoofer, but he was pretty good:

https://youtu.be/kwE6ukSz69c

Pretty good drummer, but outstanding hoofer:

https://youtu.be/xoEX6g8itTw

You have an amazing record collection, pjw.  Congrats.  Great Buddy Rich clip.  Amazing drummer.  More Buddy; with the great Tonight Show Band (Lew Tabackin on tenor!):

https://youtu.be/2-yQWPanTyw

Glad you posted some Rudresh Hamanthappa. I didn’t want to comment on jpw’s clips before O-10 did since he had just promised to do so. Just being cautious 🤫; one never knows 😊.

Astounding! I can’t believe I hadn’t heard this guy before. Total ease in those incredibly difficult odd meters. Makes “Take Five” seem like a nursery rhyme. Interesting that most attempts by American jazz players to go to the Eastern/Indian side of things don’t quite make it. He goes from the Indian side to the Jazz side of things and it kills. Strange but wonderful logic to his improvisation. Thanks to both of you for the introduction. Definitely one to check out further.

From the same NPR series. Featuring the guy filling the Tenor 1 chair in the great Maria Schneider Orchestra:

https://youtu.be/oIbFjfH0erI

That’s a good observation and accurate. It is part of the “set up” for the entrance of the soloist, whether it be vocal or instrumental.

What does our resident Grant Green-phile think of this?

https://youtu.be/2yZXafHQiIA

Jazz musicians have always loved comedians. No relative importance implied, but when all is said and done there are a lot more similarities than differences between a great comedian and a great jazz musician. The really good ones use inspiration, subtlety, creativity, adaptability, flexibility, and draw from what they have worked out and practiced in one manner or another to make it all seem spontaneous to their individual personalities. Comedy has had its Satchmo, Bird, Miles, etc. Thanks for that Seinfeld clip.

This one is for our OP, O-10. One of the first tunes by Gato that I heard way back when. Great feel in the rhythm section: 

https://youtu.be/vRsxDN2YLQM

MBL:

Heard them at a show a few years ago.  They sound amazing....if everything else in the chain is also great. Hate to break it to you, they sound better than your Polks.  Btw, just bought a pair of Polk Atrium outdoor speakers.  Impressive for $99.

Nah!  I don’t compete that way.  The glee will come when you see the light and stop being a Africa-connection denier.  Besides, I am in the process of downscaling my system for something simpler and that doesn’t require the push of seven (!) “on” buttons for it to play music.  Well, at least I’m thinking about it.  Maybe Polks? 🤥

Rok,

**** A person sits in front of a stereo system and listens to a tune he has never heard before. He does not know the group playing. He has no prior knowledge of any aspect of the music he is about to hear.

Can a person tell just from how the music starts and what and how it’s played at the beginning, whether or not there will be a vocal component to the tune. ****

Interesting question. The short answer is, no; with one notable, but very “inside” exception. First, I assume that by “vocal component” you mean vocalist as soloist on the tune as opposed to non-soloist vocalizing as part of the arrangement. The way that, say, a piano trio “sets up” the soloist in the introduction to the tune does not have to be and would most likely not be any different for a vocalist than it would be for an instrumentalist. To recognize the notable exception the listener would have to have perfect pitch or relative pitch. All tunes are composed in a particular key. Instrumentalists seldom play tunes in a key other than the “standard key” (the key that the tune was composed in). Vocalists, however, often need to have the accompanist or band play a tune in a key other than the standard key in order for the tune to be within a range that is comfortable for that particular singer’s vocal range; not too high, not too low.

Johnny Hartman sang it in the original key (C Major) his baritone voice was comfortable in that range:

https://youtu.be/ecrE80rnjhw

Ella needed to sing it a sixth higher in the key of A to accommodate her higher vocal range:

https://youtu.be/_ss9TV70uqE

Sting (yes, Sting; not bad!). Sings it in the key of F; about half way between C and A. If you listen to the general range of Hartman’s and Ella’s voices, even without perfect pitch, one can tell that Sting’s general vocal range is roughly between that of Hartman’s and Ella’s :

https://youtu.be/3MYCQLDoeB8

Jazz:/Schuller:

About as good an attempt at defining it as has ever been written; and classic. It answers Rok’s question perfectly; although there is at least one aspect
of it that will see disagreement 😊. Thanks for that.

Beautiful Lester Young, pjw; thanks. Re Buddy:

You make an interesting point about Buddy Rich as a sideman and you may be right that those are his best recordings. However, I’m not sure that I agree that he didn’t hire great players. I know a lot of the players who played in his bands post around 1978 or so. Great players. Although I did not know him, his featured tenor soloist Steve Marcus is a great player as were many others. I see it as the other way around. Buddy was an ego maniac and often abusive. As a sideman, he would never get away with that kind of behavior. As a leader, he could and did. Musicians will not give of their best under those conditions. Even so, I think that the main reason a lot of his later big band stuff is not particularly great is the same reason that later Maynard Ferguson stuff wasn’t either. The focus was not great big band playing, it became “The Buddy Rich Show”. The style became this extremely aggressive, bombastic “always balls to the wall” style of playing that I personally can’t stand. Still, amazing drummer.

Great posts.

Monster drummer! One of my faves and member one of my favorite quartets in recent times:

https://youtu.be/dy0Kalb617w

https://youtu.be/Wem-GMT9NYA

Little known fact, he also plays trumpet. He and Michael B. switch horns; Peterson on trumpet and Brecker on drums. Having fun!

https://youtu.be/VOLf6E10a94

The opposite of bombastic. Classic Neal Hefti big band chart:

https://youtu.be/5_Mtgo9WOL0

Even more relaxed tempo. Of all the renditions of this chart that I’ve heard, my favorite.  The great Frank Wess leads a Basie alumni band. Fabulous instrumental blend; like velvet. Snooky Young is wonderful:

https://youtu.be/RlX0b-AJWz4

Refresh my memory, please.  What was that quote again? Worse case, Big Brother will delete it again. It was a good post.

Indeed a crime, Schubert. Strassmeyer is very fine; and you’re right, being a good doubler is a requirement for membership in a band with a repertoire like theirs which runs the gamut.

Speaking of Frank Wess, Maria Schneider, doubling and new Jazz. This tenor is one of the most interesting of the new (ish) crop of players on the scene. Member of Schneider’s band, he is an incredible multi instrumentalist who was taken under his wing by Frank Wess. Can play styles old and new at the highest level. Plays many unusual and exotic instruments, but tenor is his primary horn. Instruments as exotic as his wardrobe 😊. A bit like James Carter in that his tone concept is traditional, but can play very modern harmonically. Check out Frank Wess’ expressions while he listens to Scott.  No doubt in that old master’s mind whether Scott can play or not.  Frank Wess was 87! when this was done. I hope I can still pick my nose at 87:

https://youtu.be/YtY4WeNEQy8

***** But without the well-spring of live music it all means nothing .You have to drink from the well to placate your thirst .****

That is exactly right.

**** The Jazz you are speaking of is gone. Gone. ****

That is exactly not right.  The problem is that very little of it is being recorded because the audience is much much smaller than it used to be.  It is there in clubs in major cities and some not so major.  We bemoan the shrinking of the market for “the Jazz that you are speaking of” but we don’t go out and support live music.  

**** once Wynton is no longer with us, that will be the final nail in the coffin of Jazz as we knew it, as far as it being played at the highest level. ****

I don’t believe that for one second.  Way too pessimistic.  Besides, I believe you are conflating a lot of different issues; painting with way too broad a brush.  Wynton’s legacy will be that of keeping a specific segment of “the Jazz you are speaking of” in the public eye (ear).  Fabulous legacy.  That effort, so far, has had little to do with bebop, hard bop, post bop and beyond.  His forays into those other segments of “the Jazz you are speaking of” have been been lackluster and not significant.  Those other flames are being kept alive by others that will not get the financial backing of the powers that be because of that sadly small audience.  Go to the small clubs in NYC, Chicago and others and you’ll hear it.

**** That's why we don't need no stinkin' New Jazz. ****

Maybe you don’t.  But, understand this, you are handing Wynton the hammer for that final nail.  

Nice story about your aunt.  As nice as that story is, I would rather take the message from someone like Frank Wess who, like on my last clip, was totally digging where the younger player was taking things.  Not the way HE would do it, but he recognized how good it was.  Another little and interesting aside in that clip that may or may not mean anything to some, but is just another little example of how most players themselves usually respect both sides of the equation, the old and the new.  Look closely, the older player is playing the latest and current model Selmer saxophone, the younger player is playing an old Conn from the ‘40s.  Symbolism at its best. 

https://youtu.be/xK3JgffVwb8

pjw, hang in there.  This too shall pass; been there many times.  You contributions are valued a great deal.  Your support of the music is as fine as anyone I have come in contact with. 

**** He was a noise making loud mouth bully!!  Had no business in Jazz.   **** 

Hmmmm 🤔.  Just change the tense from past to present 😊

pjw, all I have to say is, thank God for Jazz fans like you.

Answer to your question: Miles

O-10, a very friendly suggestion: be confident with and comfortable in what you believe to be the truth and move on.  Btw, as nsp recently pointed out a great deal of new Jazz was posted while you were away.  Check it out.  From me over just the last week or so: Michael Brecker, Donny McCaslin, Scott Robinson, Ralph Peterson, Albert Ayler, Bob Mintzer.  Nothing stereotypical about any of them.
Regards.  

Yes 🤔

With respect, you’re twisting some of what I wrote.  First, I did not say Wynton is not significant.  He is very significant (“Fabulous legacy”).   He is insignificant as far as being part of where Jazz has been going for quite some time.  His stuff with JALC is very significant as is much of his other work.  I also did not say that new jazz is not being recorded.  I said little of it is being recorded relative to how much is going on live and certainly relative to how much was recorded in the past.  This is not news; we know this.  

The argument that there is no good new Jazz simply doesn’t hold water.  Any given listener may not like new Jazz for stylistic reasons and that is fine.  But there is plenty out there and and some of it is being recorded.  The idea that no new Jazz is happening at a very high level is simply nonsense; doesn’t mean everyone will like it.  When was the last time you wore your purple bell bottoms?  My objection to the constant pessimism is that it does the art form a disservice in more ways than are obvious.  Moreover, what is the point, on a more human level, of constantly putting down what others, who are obviously not idiots, find value in; other than to try and put oneself on some sort of pedestal?  Btw, Frank Wess and players like him don’t promote younger players like Robinson because they need opportunities to play.  They do it because they believe in their artistic vision and where they are taking the music. 

pjw, you beat me to it.  My next post was going to be to welcome Learsfool back to the thread.  

Good to hear from you, Learsfool.  As you can see we have some fine new contributors; but in other ways little has changed, unfortunately.  Btw, have you come across the name Chris Comer by any chance?  

**** I don't think any real Jazz fan buys an album based on who the drummer is. ****

https://youtu.be/in5H8Zg4jME

Rok, must you? How many great players have been posted here over the last few months for the first time; often with wonderment as to why they weren’t posted previously? What on earth does that have to do with anything? Surely, you can come up with a better nonsensical attempt at a dig than that. Not to mention that you are mistaken; “how typical”. Buddy Rich was mentioned here at least a couple of times. At least once in reference to his featured tenor player Steve Marcus early on during one of my attempts to focus on big bands. There has been little interest in the big bands here.

***** Frankly speaking, how any so called jazz aficionado, could put up a post that subtly or indirectly suggests that Buddy Rich was a sub par jazz musician/drummer is absurd."


Who dat say dat, not me? ****

For the record 😊:


**** Show-man and show-off. The best Jazz drummers, you hardly know they are there.

Cheers ****


**** Rok, truer words were never spoken; ****  - O-10

Glad you liked that, Schubert. That was one of the greatest tenor fronted quartets in recent times. Michael Brecker was a genius and is so sorely missed. Putting personal style aside he was probably the greatest saxophone virtuoso that has ever lived. Very good Piazzola by the Italian Quartet, btw. Thanks for that.

https://youtu.be/2MPQCV_nUiI

https://youtu.be/tjpjGSr38d4

nsp, I’ll take that as a compliment 🤔; and I feel the same way you do about Ayler.

The only two that I am aware of that come close to being comprehensive:

https://www.press.uillinois.edu/books/catalog/95rxk4bt9780252040405.html

In a different genre, but some spill over:

https://www.amazon.com/Sound-Broadway-Music-Orchestrators-Orchestrations/dp/0199790841/ref=nodl_

Nice, indeed! The amazing Michael Brecker, composition/orchestrations by the great Claus Ogerman who graced the recordings of none other than Oscar Peterson, Billie Holiday, Bill Evans, A C Jobim, George Benson, Wynton Kelly, Freddie Hubbard, Cal Tjader, Jimmy Smith, Johnny Hodges, Stanley Turrentine and countless others. Our esteemed Schubert recently pointed out the shame that is the lack of appreciation among “Aficionados” for the great arrangers/orchestrators. Btw, I don’t recall anyone here, or anywhere, calling Cityscape “Jazz”.  Once again, the pitfall of pointless attempts at strict genre definitions. Some notable work:

https://youtu.be/qA4BXkF8Dfo

https://youtu.be/FnSsnVeguZA

https://youtu.be/G1QjyskJ9jw

https://youtu.be/wgssRuMfF5E

Schubert, Ralph Burns was fabulous and is one of the great orchestrators that was part of the genre “spill over” that I referred to.   You may find this of interest.

http://jazzprofiles.blogspot.com/2018/04/ralph-burns-fine-art-of-jazz.html

pjw, great stuff. Clifford with Strings is a classic. Not quite with the level of magic on Clifford’s, but here’s another one that I enjoy. Bill Russo arrangements:

https://youtu.be/TF6HIL4W6V8

https://youtu.be/BGEUjSt1JBw

Tony Williams: where to begin?

Glad you liked it; it’s a good one.  Here’s another favorite.  Interesting and adventurous orchestrations from the great Eddie Sauter featuring Stan Getz:

https://www.youtube.com/playlist?list=PLfOleD7-7Oj90W890D0puroQgM7yTR-0P

Here’s another one with Getz that is very interesting, if very stylized. The use of voices along with orchestra is a bit of an acquired taste for some. Composed and arranged by Michel Legrand. For me, it is very evocative of the sound of French film scores from the 1960’s or so. I can imagine a couple speeding along a narrow mountain road in their Citroen. Getz, as usual, kills on this:

https://youtu.be/2pQEsJGmXYk