Jazz for aficionados
Frogman to the rescue! I had to look at Bobby and Bags for a third time in order to confirm Frogman's post. Since Bobby is my man, I certainly didn't look at this with any bias; but Bags is the greatest ever, and when you read between the lines, both he and Bobby are acknowledging that fact. Enjoy the music. |
Rok, Jackson and Hutcherson were twice as nice the second time around. Bags seemed to be saying more with fewer words, especially on "Bags Groove". Did you notice how well coordinated the color scheme on their attire was. "Delilah" on the CD "Skyline" by Bobby is exquisite, I bought the CD just for that cut, although it was all good. The artists were: Kenny Garret, alto sax; Geri Allen, piano; Christian McBride, bass; and Al Foster, drums. Bags vibraphone had a pedal and seemed more complex, also I liked the tone better; but I never would have noticed if you hadn't mentioned there was a difference. Yes, this was better than the double piano because both artists were "deep in the groove" on this one, wish I had been there. Enjoy the music. |
Unfortunately everything I had by Frank Wess was on LP, and who knows where that went; but I found this, and I thought I would share it with you and Rok, http://www.youtube.com/watch?v=703LlU1pwX4 Bobby McFerrin made me feel like I was in church in Mound Bayou, Mississippi; way back when. Enjoy the music. |
Rok, this time it's about the evolution of music from Africa since the time of slavery, and how it's represented in this hemisphere; that would also include a comparison of evolution in the reverse direction, meaning from here to Africa. It's really beautiful when you think of artists like Hugh Maselela, and Miriam Makeba where the evolution went in the reverse direction of my original post. Enjoy the music. |
Rok, and Frogman, with your help I would like to take a very interesting historical journey; we'll do it "audibly". I want to trace African music from slavery to the present, beginning with music from Brazil. Baden Powell is an artist who was the favorite of a professional jazz musician I knew, his music has stood the test of time in my collection, and it's the just right blend of Afro Brazilian jazz that stands repeated listening. "Canto De Ossanha" is one of my favorites. http://www.youtube.com/watch?v=JgS16Ipnr2E Next is a very languid version of "Lemanja". I would like for us to explore Afro Brazilian the same way we explored Afro Cuban, we didn't skim the surface, but went deep; bypass the commercial, there is a wealth of this music we haven't heard before. I've noticed a big difference between the different Afro Blends. Afro- Cuban, is quite different from the Brazilian. The most unique aspect of Afro Brazilian music is the berimbau. Here is the website that gives a description of this instrument. [url]http://en.wikipedia.org/wiki/Berimbau>http://www.youtube.com/watch?v=IcpfHAJZagE[url] I would like for us to explore Afro Brazilian the same way we explored Afro Cuban, we didn't skim the surface, but went deep; bypass the commercial, there is a wealth of this music we haven't heard before. I've noticed a big difference between the different Afro Blends. Afro- Cuban, is quite different from the Brazilian. The most unique aspect of Afro Brazilian music is the berimbau. Here is the website that gives a description of this instrument. [url]http://en.wikipedia.org/wiki/Berimbau Slaves in Brazil escaped and set up a free community in Brazil called Palmares that lasted for almost 100 years; that's why the "Afro" in Afro Brazilian is so pervasive. This was a historical secret for quite some time. While the "berimbau" was one of their favorite instruments, nobody knows precisely where it came from, that's what I mean when I say "Afro Brazil" is unique. While there is "Afro-Cuban", there is no "Afro-American"; slave masters evidently told them "I want yall to stop beatin them damn drums, ya hear me", and they quit. Slavery in this country was by far the cruelest. African music came to this country from Cuba or Haiti, it was not passed down from the African slaves. Nothing African, that's audible, came my way before Dizzy Gillespie, and that was from Cuba. The only thing that survived was the "Voodoo music" in New Orleans, and it would not have survived if it had not been kept secret. While this religion and it's music are one inseparable package, we want to focus exclusively on the music. Here is some accompanying music from New Orleans, check "New Orleans Voodoo" on you tube, there is no doubt about it's origin; "Africa"! If you go to Haiti, you will hear this same music; kids can beat this out with a rock in each hand banging on a metal shovel, while others dance to the music. This same music and rituals can be heard anywhere in Brazil if you are invited to one of the secret meetings, and I'm sure the same goes for Cuba; but this isn't about the rituals, this is exclusively about music from Africa that survived through that horrible thing called slavery. Enjoy the music. |
Here's the music from Nawlins, it's the same as the music in Haiti or Brazil. It came to this hemisphere with the slaves, and survived all of those centuries "unchanged"; that's what I call a history without a history book. http://www.youtube.com/watch?v=2EJUWRThg-c |
Acman3, you're definitely into the swing of things, this is history by ear and nothing else. This music came from Africa with the slaves, and was suppressed, that's why we didn't hear it. http://www.youtube.com/watch?v=2EJUWRThg-c Enjoy the music. |
While the music in Africa, which was the point of origination, evolved; the music in Brazil, in Bahia for example, could be the same as when it left the continent of Africa hundreds of years ago. I find the Afro Brazilian music more pleasing to my musical sensibilities than the music of Africa, and some of it could be the African original, since it's traditional. http://www.youtube.com/watch?v=_3ORkB1eKWE This music "Pops" like nothing I've heard recently. Enjoy the music. |
Rok, I've always liked the "Voodoo music", just as much as I liked "Cherry Pink & Apple Blossom White". (No one could have been in taller cotton) And I put as much religious connotation on Voodoo music as I put on "Cherry Pink & Apple Blossom White". There are elements of the Voodoo drums in much of African music, that's why I want to strip the music from the religion as much as possible. This is an "audible" excursion, we are judging everything by ear. Enjoy the music. |
Nothing is being merged, we are talking about the origination of slaves and their music, this has absolutely nothing to do with the different races who came before or after. At this juncture, before we get back to our regularly scheduled programming of jazz, the question is what happened to the slaves music after they were imported to "America"? There is nothing in your post that answers this question. Especially since that music was retained and survived all of those hundreds of years, every place, except here. |
Rok, this has nothing to do with jazz, this is exclusively about music from Africa. We can conclude that the only surviving music from Africa in this country was "Voodoo music", and the only reason it survived is because it was so secretive. I've heard this very same music in movies, "Black Orpheus" from Brazil is one example. I'm sure that movie can be found on "You tube". The part where Orpheus goes to a ceremony in search of Eurydice is where you hear this music, including the same words and music that can be heard in New Orleans. These words are not Portuguese for Brazil, nor are they English for New Orleans, they are African. These words came with this music from Africa, and that was the only thing African that survived slavery in this country. Now we can go back to our regularly scheduled program of jazz. Enjoy the music. |
Acman3, this is the real deal all the way live, "makes me want to get up and boogie". http://www.youtube.com/watch?v=ErZnMmYJlE8 Enjoy the music. |
Frogman, I was in Haiti about 3 years after this movie was made, and Haiti was very much like the movie, "weird beyond belief". In regard to the voodoo music, it's like the air they breath; we were riding up a mountain trail on a half ass (that's a cross between a horse and a donkey) in "Cap Haitian", and on the side of the road, one kid was beating out this voodoo rhythm on a metal shovel that had been left by a road crew, while other kids were dancing to the music like their bodies had no bones. They did this to amuse themselves, it had nothing to do with tourism or anything else. I only saw the movie many years after I had gone to Haiti, had I seen the movie first, I would not have gone to Haiti. Movies can come very close to reality. http://www.youtube.com/watch?v=TOoFiCgcprU |
Rok, even Sonny Clark Knew about voodoo; but on a more serious note, "Deep In A Dream" is my favorite cut on that CD. "Ike Quebec respects the beauty inherent in the song, at the same time investing it with his own personality. This perfect balance really brings the message across". I repeat "Respects the beauty inherent in the song". Here's my favorite tune by Ike, "Heavy Soul"; he was dying from terminal cancer when he recorded this. http://www.youtube.com/watch?v=jwc1bTn7Fd8 Enjoy the music. |
Here is my favorite cut from "Sonny's Crib". The artists are: Donald Byrd, trumpet; Curtis Fuller, trombone; John Coltrane, tenor sax; Sonny Clark, piano; Paul Chambers, bass; Art Taylor, drums. I believe all of these artists have photographs, and appear in the book "Three Wishes", Pannonica De Koenigswarter. Sonny Clark's three wishes were: 1. "Money" 2. "All the bitches in the world" 3. "All the Steinways in the world" This is one of the most beautiful versions of "Speak Low" I've ever heard. http://www.youtube.com/watch?v=prHxoFepR0A Enjoy the music. |
Frogman, here again we agree on "Trane". When I saw him live, he even lost McCoy Tyner and Elvin Jones. Miles said that Trane played for Trane on live sets; while that was true, talk about the pot calling the kettle black; when I saw Miles I didn't know what he was playing; but when Trane was with Miles was the time I liked both of them best. Jazz musicians used live sets for experimentation, and that made a lot of sense when you think about it. Those were gigs at small clubs, and not like Carnegie hall, what better places to experiment? This is "classic" Trane on a tune I like a lot. http://www.youtube.com/watch?v=Dt0D40JTCBY Enjoy the music. |
Rok, I was inspired by the book "Three Wishes", to find songs written in honor of "Pannonica De Koenigswarter" . Although there are twenty songs written in her honor, and I'm sure everyone has many different versions of "Nica's Dream" written by Horace Silver, I could find only one other tune that I liked. Maybe you or Frogman can find other songs written in her honor that you like. "Pannonica" by Monk captures the essence of a beautiful fluttering butterfly, which is what the lady of jazz was named after. http://www.youtube.com/watch?v=aSHkPCW8dN4 Enjoy the music. |
Nica asked Monk, "If you were given three wishes, what would they be?" He was pacing back and forth, and he paused for a moment to gaze out across the river at the New York skyline. Then he gave her an answer. And she said, "But, Thelonious! you have those already!" He just smiled and began pacing again. 1. "To be successful musically." 2. "To have a happy family." 3. "To have a crazy friend like you." Enjoy the music. |
Here's one of my favorites by Grant. While all the solo's are beautiful, Joe Henderson's solo on tenor, put him on the map. This particular cut went overtime because Joe was sounding so good, that Rudy Van Gelder, the engineer, didn't want to stop him. http://www.youtube.com/watch?v=gwaFDFP7m_E Enjoy the music. |
The day after the night before of frivolity, is when everyone has the blues in Maude's flat. Grant Green captures this mood on "Blues In Maude's Flat" http://www.youtube.com/watch?v=WuJKFQ-OqPo Enjoy the music. |
Grant Green seems to be one of the artists I'm in resonance with; that's when sympathetic vibrations occur, and the music reaches you consistently. I think we're on the same fundamental wave length. I rate musicians by how much I like their version of "Round Midnight". If they don't have one, that excludes them from the top echelon of musicians. I like Grants version of "Round Midnight". http://www.youtube.com/watch?v=eIrYlh_oq14 Enjoy the music. |
Frogman, "Many so-called "free" or "avant-garde" players have been shown to be nothing more than imposters since "musical political correctness" has been reluctant to call their playing what it is: bullshit." I mistakenly bought some of that "bullshit", and sold it the next day. I wont mention who the artist was, but someone commented that he sounded like someone was stepping on his feet. After you pointed it out, I took note of how "Idle Moments" relaxed toward the end. During that recording session, Rudy was supposed to stop Joe after 7 minutes, but every one was entranced with his solo, and Rudy decided to let him blow, consequently they had to drop another intended cut. Enjoy the music. |
Lou Rawls had a long and very successful career; he's well represented in my collection. I just received "The 100 best jazz tunes of the 50's", and I only quit listening to go to bed. This compilation is the perfect compliment to the book "Three Wishes". Bird's photo does not appear in the book, I believe the thought of Bird and the way he died in her apartment was too painful for Nica; but all of the other musicians in this compilation, also have photos in the book. While I already have 90% of this compilation, I still find it a great asset; my record collection is totally unorganized since I primarily rely on CD's for my listening pleasure, that makes finding an LP a really big job. At this time I'm in a jazz aficionado's heaven. Enjoy the music. |
Lou Rawls has a resonant voice that sounds musical when he's just talking; that's why it's so recognizable. He also has the deepest respect for the classic songs; for example, "Summertime" becomes even more "Summery" when he sings it, each song he sings becomes more of what it was when he sings it. "Don't Explain", the tune made famous by "Billy Holiday", becomes even more heart wrenching. when Lou sings it, we can see him pacing the floor all night long waiting for his lady to come home. It's 6:AM, and the Sun is shining bright when she finally walks through the door with all kinds of explanations as to where she's been all night. That's when he calmly says to her "Don't Explain". As he gazes upon her radiant beauty, where she's been or who she was with is so unimportant; once again he's in the presence of her magic charms that fill him with a joy he's never known before. http://www.youtube.com/watch?v=C1SoDpej7-M Enjoy the music. |
Jon Hendricks gets my vote for "The King of Scat". I bought "Jon Hendricks and Friends" after you recommended it Rok. Ursula Dudziak is a very unusual vocalist I've been enjoying lately, and she's not new, I just discovered her again while browsing through my old LP's. Since she doesn't like words, this is Ursula. http://www.youtube.com/watch?v=d1W-Tr5dzyI Enjoy the music. |
Rok, "Nica's Dream", has been my favorite tune for ages, my favorite jazz musician died in "Nica's" apartment, and until recently, I didn't know any more about her than you or Frogman. Although she was disowned by the family, she got her share of the money. Nica traded a long Rolls in for the sport Bentley in order not to lose any races down 5th Avenue around midnight. Picture a long cigarette holder, a mink coat, a sport convertible Bentley, and you got Nica. I was trying to present Nica's point of view, but you made me realize, I'm still quite "animalistic". The fact that the only person she was alone with was Monk's 9 year old son, when he was with her on mercy missions to help other jazz musicians; rent, food, and she even nursed Coleman Hawkins when he refused to go to the hospital; might account for her lack of intimacy. The lady soaked in a tub with only a cigarette in that long cigarette holder to keep her company, while she listened to some of the very same musicians we just acquired on "The 100 best tunes of the 50's", having a jam session downstairs. (They always gave "The Baroness" the respect they felt she was entitled to, whatever she did) Nica lived for the moment, and her life after she became "The Jazz Baroness" was one continues set. She told one of her nieces to meet her at a club: "How will I recognize the club"? "Look for the car" was Nica's response. The niece instantly recognized the club, it was the the one with the badly parked Bentley in front, that had two winos lolling around on the leather seats. "They keep anyone from stealing the car", she was told after finding Nica. This was in a tiny basement club, where Nica was the only white person in the joint. "Smoking a cigarette in a long black filter, her fur coat draped over the back of a spindly chair, Nica gestured to an empty seat, and picking up a teapot from the table, poured something into two chipped china cups. We toasted each other silently. I'd been expecting tea. Whisky bit into my throat; I choked and my eyes watered. Nica threw back her head and laughed." "Thanks", I croaked. She put her finger to her lips, and nodding at the pianist on stage, said "Sssh, just listen to the music Hannah, just listen", as she swayed to the sounds. Now you know why I'm so fascinated by Nica. Enjoy the music. |
It's a funny thing Rok, just before I read your post I was listening to jazz on a didgeridoo http://en.wikipedia.org/wiki/Didgeridoo Too bad I couldn't find it on "you tube", Australia's not far from Papua New Guinea; I'll have to find what they jam over there. Enjoy the music. |
Rok, here is a musician we haven't covered, "Johnny Lytle". Life and career[edit]Lytle grew up in Springfield, Ohio in a family of music, the son of a trumpeter father and an organist mother. He began playing the drums and piano at an early age. Before studying music in earnest, he was a boxer, and was a successful Golden Gloves champion. During the late '50s, Lytle continued to box, but landed jobs as a drummer for Ray Charles, Jimmy Witherspoon and Gene Ammons. Then he switched from drums to vibraphone and toured with organist Hiram "Boots" Johnson from 1955 to '57. He formed his first group in 1957 with saxophonist Boots Johnson, organist Milton Harris and drummer William "Peppy" Hinnant. He impressed the Grammy award-winning producer Orrin Keepnews who signed him to his Jazzland label in 1960. Lionel Hampton, considered one of the top vibes players in the world, said Lytle was "the greatest vibes player in the world." Lytle was known for his great hand speed and showmanship. He was also a songwriter, penning many of his own hits, including "The Loop," "The Man," "Lela," "Selim," and the jazz classic "The Village Caller." Lytle recorded more than 30 albums for various jazz labels including Tuba, Jazzland, Solid State and Muse. Throughout his career he performed and recorded with jazz greats including Louis Armstrong, Lionel Hampton, Miles Davis, Nancy Wilson, Bobby Timmons and Roy Ayers. Lytle was such an admirer of the music of Miles Davis that he wrote "Selim" (Miles spelled backwards) in honor of Davis. He also featured his son, Marcel Lytle, on several recordings, as a vocalist and drummer. Lytle never recorded with any of the major record labels and that could be why he never gained the status of a jazz icon like some of his peers. Feeling he would lose control of his music and creative development; he played what came natural to him, and being with a major label might not have afforded him that opportunity. He found success early in his career with chart-topping albums like A Groove, The Loop, and Moonchild. From his swinging uptempo tracks to his soul-satisfying ballads, Lytle knew how to keep a groove. And with a nickname like "Fast Hands," he could always keep the attention of an audience. In addition to his musicianship, his gregarious personality made him a popular attraction on the jazz circuit. Even though he did not experience the same success he was privileged to during the '60s, he did continue to record and build a respectable catalog of music with recordings in the '70s,'80s and '90s. Lytle remained a popular concert attraction in the U.S. and Europe; his last performance was with the Springfield (Ohio) Symphony Orchestra in his hometown on November 18, 1995. He was survived by his wife Barbara Jean Lytle, his son Marcel Anthony (of Atlanta), Michael-Lamont (of Toronto), and daughter Ayo Michelle Hagans (of Springfield) At the time of his death, Lytle was scheduled to begin recording a new CD on the Muse label. In his hometown of Springfield, Ohio, the street where he used to live was renamed Johnny Lytle Avenue in his honor. http://www.youtube.com/watch?v=inv1dVgOe9k http://www.youtube.com/watch?v=FcBVTVgSu_U These are standards I found by him on "You tube". He did a tune back in the 60's that really caught my ear, but I can't think of the name of the tune; don't you find that aggravating. I guess it's called getting young. Enjoy the music. |
When an artist is popular and makes a good living, he can't be playing jazz, his music must have a qualifier; like "soul Jazz". Grover Washington was popular, and his music was "jazz" without any qualifier. All jazz musicians in the past have given their versions of popular tunes without getting the title of "soul jazz musician"; whatever, as long as he was able to take it to the bank. Here are two of my favorite tunes by Grover: http://www.youtube.com/watch?v=i80HVojYPdA http://www.youtube.com/watch?v=hUFd3c2HZvI Enjoy the music. |
Frogman, "I love Benny and that style of music in general. Personally, I don't understand how a truly comprehensive discussion on jazz can take place without substantial mention and discussion of players like Goodman, Artie Shaw, Harry James and others from that period. The level of artistry, within that style, is fabulous; not to mention their contribution to paving the way for the more modern players. I would like to see more of it on this thread." Would you be so kind as to enlighten us, you have the floor. Enjoy the music. |
Rok, you were right in regard to your assessment of Leontyne Price and "Summertime"; it was from a Negro opera that came out in 1940, her version was perfect, but it was not the one that swept me away. Remember when me and Frogman jumped all over you about "Moonlight In Vermont"; this is the same thing in reverse, you preferred a version that didn't stick to the script. Music is SUBJECTIVE and what sounds good to you is all that counts. In no way am I saying that you should change anything; however, I am saying that we must accept one another as we are. Whatever petty point of contention between you and Frogman, that went on and on, should have been dropped before it reached this stage. Enjoy the music. |
Rok, Nica liked to take pictures when her subjects were sound asleep, and they slept wherever they dozed off; the couch, a chair, even the floor. This was after a late night gig, and her pad was where they came to enjoy the camaraderie of other musicians. She had cats everywhere, and Monk hated cats but he never told Nica. On about page 46, there are two pictures of Monk, sound asleep with a cat sleeping on him. Although these pictures were taken at different times (different clothes) the same cat is sleeping on him. That cat had claimed Monk as his property whether Monk knew it or not. There's a good picture of a young Lee Morgan, sound asleep. I find it hard to believe someone so young, was a giant among giants. I can only imagine what he would have accomplished, had he lived longer. That picture makes me realize that I always assumed he was much older, without even thinking about it. Now when you listen to that compilation of the best decade in jazz, you can visualize the musicians at the same time. Enjoy the music. |
First, let me apologize for misspelling "Learsfool", some days I misspell my own name. Rok, my appreciation for these jams on "The 100 Best Tunes Of The 1950's" has grown tenfold since I first heard them. Our discussions about the very musicians we're listening to has heightened my awareness of their individual contributions to the whole of jazz. Before, I didn't pay much attention to sidemen, but now I'm aware of each individual sideman and what he's contributing to the tune. Jackie McClean was chosen a lot as a sideman, and so was Pepper Adams; they both sound better as side men, than on their own albums that I have in my collection. Ray Charles is one hell of jazz pianist, but we both knew that. "Milestones" was certainly ground breaking with his introduction of "modal jazz"; while I still don't quite know what that is, I can distinctly remember the first time I heard this tune; it struck me as not only being different, but I thought each individual sideman was as outstanding as Miles. His ability to select the very best sidemen for "his" music is one that he retained until the end. This wont be my last post on "The 100 Best Tunes of The 1950's". Enjoy the music. |
