Jazz for aficionados

I have just re-discovered an old friend; it was just like running into an old friend when I heard Harold Land on "Invitation" after not hearing him on anything new for many years.

This tune is off his album "A lazy Afternoon", and every cut is boss, which is something that's a rarity these days; listen and tell me what you think;


        https://www.youtube.com/watch?v=bhFC7LB5OXs


        https://www.youtube.com/watch?v=2xlflIl5-kU

Rok, as much as I like Carmen, that's my least favorite by her. While I liked the music, I don't think Monks music is too conducive to vocals, plus, Carmen was long in the tooth by that time, but we all have to make a living.

The biggest problem is that I have so much of her music when she was much younger, and I couldn't help but compare the two; other than that, everything is just fine.

Since the CD got the highest rating, I could be wrong.

I was looking for a Carmen CD, and only found LP's; I don't know the significance of that.


          https://www.youtube.com/watch?v=GYRrcCjLiGA&list=PLvxWibFr0wiJPqeBD_Jo3OrX4gXyMfxMO


I have all the LP's on my play-list so they pose no problem; these are some of her best.

Dee Dee's got style; as I have gathered from your posts. When I hear her on my playlist it's almost like hearing a different artist; she's less stylish.

It's not that I don't like her more stylish recordings, I just don't have them; which is something I'll have to correct;


  https://www.youtube.com/watch?v=2HjtLsCxGuE

https://www.youtube.com/watch?v=1nuKcwRPFrA

Dee Dee's Feathers is on order;
 

        https://www.youtube.com/watch?v=FjGWENSUCak


I get two in one; I like both.

Glad you told me about that "Rising Sun" thing.

Dee Dee's live albums are so much different from her studio albums, I can see why you prefer them.


Neither one of us are currently into the best known Diva's; I'm into Lorez Alexandria, I've got three of her albums on my play-list, back to back.


  https://www.youtube.com/watch?v=fH3own5sERU&list=RDEMECLeXaB6Q8THTjFXhLQpGg&start_radio=1


    https://www.youtube.com/watch?v=5LbY2EANfe4


   

Rok, it's funny that you should ask questions that have crossed my mind. I never cared for the song until I heard Lorez sing it; she adds a lot of sexy innuendo.

Picture this "stone fox" looking out the window at knee deep snow, so she fly's south, where a two timin jaybird singed her wings, but she's ready to forgive and forget, plus do a little warbling that can make a lonely man happy; how she can sing. So the divine miss O is ready to give it another go.


Never the less, "Baltimore Oriole" will not be on my favorite list of songs.



The cover on "Deep Roots", which is my favorite album, is down right ugly, and that's not my favorite photograph of her on the other cover with Baltimore Oriole.


    https://www.youtube.com/watch?v=EHGQM6GDCFg


I like this photograph much better where she sings "Angel Eyes" which is one of my favorite songs.

She has the kind of seductive voice I could listen to all night long. It's good I posted this, I see she has some albums out that I don't have.

Pjw, thanks for the compliments, I intend to be around for awhile; especially when there are aficionados like you who make excellent posts and communicate well.

Now I'm going to pipe Herbie Hancock to the big rig and listen.

In these times, it's good to be able to time travel and shift into another reality. Not everyone is capable of this feat, so I shall leave them behind.

This evening, I'm going to use John Coltrane's "In a Sentimental Mood" as a vehicle. Picture this; I just left the movie theater with the most beautiful lady I've had the pleasure of escorting out for a delightful evening. It's Sunday night, and although the department stores are closed, she decides to window shop.

The store windows are brightly lit with female mannequins wearing all the latest fashions, and she's asking me how she would look in this that or the other thing, while I'm thinking, "You would look good in anything, and you know it", but she goes on chattering endlessly the way ladies can talk when admiring clothes. Occasionally, she looks at me seeking approval, while we're strolling down the sidewalk past the display windows, which she always gets but doesn't really need.


(From beginning to end, John Coltrane's "In a Sentimental Mood" mood is playing in this little scenario)



        https://www.youtube.com/watch?v=r594pxUjcz4


     

Rok, that is one of the best jazz albums ever recorded, and I recommend that any aficionado who doesn't have it, get it.

I thoroughly enjoyed each "Fats Navarrow" clip; no doubt about it, he's tops in bop.

Trumpet is the only instrument where I have an over all favorite, he's Lee Morgan; as well as I like many other trumpet players, he's my all around favorite.


        https://www.youtube.com/watch?v=1EjBJvYIj5Q


There's a personal story that goes with this song;


      https://www.youtube.com/watch?v=Zs0lrudahsU


Although it was a long time ago, I still cry when I hear this song. (almost anyway)

Every city is just a bunch of small towns, and everybody knows everybody else's business.  They knew I was still in love with her when she walked through the door looking ever so fantastic, and not sitting at the stool next to mine. What really got me though was why did they look at me instead of her; they even played this song;


        https://www.youtube.com/watch?v=LPQnIMjOL14


       


 

Pjw, those are two of my favorite vocalists. Since nobody has posted him, I totally forgot how fantastic Johnny Mathis was, and Etta Jones is a favorite since "Don't Go To Strangers"


        https://www.youtube.com/watch?v=Wwdeska8H-Y


She puts so much feeling into that song.

Frogman, you could f--k up a wet dream.

I just noticed that I overlooked Schubert's post; he didn't say much, but what he said resonated with me; he mentioned Lee Morgans version of "Since I Fell For You".

That, without a doubt is the most incredible instrumental version of that tune there is, and anyone with the sensitivity to recognize that makes them a remarkable "Aficionado".

While being able to articulate what you feel helps on a thread like this; the bottom line is the importance of "what you feel".

Frogman, after reading your last post, I realize how much better off we would all be if I just disregarded all your posts.

Let us altogether examine what happened; I wrote a "vignette", that is a small impressionistic scene, an illustration, a descriptive passage, a short essay, a fiction or nonfiction work focusing on one particular moment.

I've done this a number of times, to really put a song into focus; mary-jo has remarked how much she liked them.

pjw kept things moving along in a positive manner by mentioning how much his Mom liked that song by Johnny Mathis; so did Rok, Lenny Welch was his favorite.


Frogman, all of that was just too much for you; you had to rain on my parade;



"O-10, that must have been some lady that caused you to spill your beer all over your shoes without you even noticing ☺️. That was probably the reason that they were looking at you instead; not to mention the forlorn look on your face."


Although you're my personal "negatron", remember, people who live in glass houses should not throw rocks, especially at people from St. Louis, because we throw back them big red St. Louis bricks, and we have piles of them.

Schubert, lets face it, the reason we liked Johnny Mathis so much was because his songs reminded us of the most beautiful girl in the world; she was the one we were in love with at that time.


      https://www.youtube.com/watch?v=xsLITm1K3xE

Rok, I don't know whats wrong with my link of Gabor Szabo but it refuses to start at the beginning of the album; back it up to the beginning.

The title of this thread is "Jazz For Aficionados", not Orpheus and Frogman; with that, I return to the subject of the thread.

"Nica's Dream" by Dee Dee Bridgewater is my favorite vocal of that tune;


    https://www.youtube.com/watch?v=cEFHBKLsbxc


    https://www.youtube.com/watch?v=8Lju13U1zEE

Rok, Gato spent about 10 minutes with Don Cherry in that "Free thing" and I didn't like it either, but since then he became one of my favorites; I have him all the way through his various evolutions.


          https://www.youtube.com/watch?v=FIRI6CvtO6o


          https://www.youtube.com/watch?v=RD3nK8700NA

Rok, I've got just about everything by Oscar Brown Jr. and as much as I like that one, I'm going to submit another one.


This is my hometown girl, and I like everything she does; maybe it's because we both been drinking that Mississippi River water all our lives, I don't know what it is about her, but without comparing her to the other divas, I like it.


      https://www.youtube.com/watch?v=ILzXUGiQRKY

Rok I've got a stack of Gabor's records; here's my pick for today;



      https://www.youtube.com/watch?v=j2Nd3E3dVYw

I liked Gato a lot, especially his Latin third world jazz.


    https://www.youtube.com/watch?v=YZxiL5gdmjc


    https://www.youtube.com/watch?v=-txBekIo-5o


    https://www.youtube.com/watch?v=LkrD5rXYhCg


That last cut is "Speak Low" by Gato

Salome De Bahia lit my fire this morning;


      https://www.youtube.com/watch?v=wIYY8upJ3cU


      https://www.youtube.com/watch?v=tR7oXVELPgk

Nsp, thank you for that interview. That was an incredible time in an incredible city; The South Side was like a city unto itself that was quite diverse. That no longer exists.

    https://www.youtube.com/results?search_query=kenton+with+voices



    https://www.youtube.com/watch?v=PH-h6aV24zw&list=PLBIiojdRsFPC-0ildWL8QnAtyXJOBy3xz

African slaves landed on these shores, and before long, they were singing "Negro Spirituals", just like back home in Africa.

Nsp, Wright spoke of 47th and Calumet; I recall sitting in my cousin's car on Calumet, waiting for him to come back, when some guy came running down the sidewalk past my window, and hearing a policeman scream halt before he fired his revolver; this guy turned and fired back at the cop then kept on running; I recall he was well dressed. It's funny how details stick in your mind at a time like that.

Fortunately for me they were fairly good shots, they missed each other but the bullets came within feet of my window or closer and they didn't hit me or the car. That let me know I was in the big city. At that time, the population of Chicago was 3620962 and it was number 2 in the USA.

Sociology refers to social behavior, society, patterns of social relationships, social interaction, and culture that surrounds everyday life. It is a social science that uses various methods of empirical investigation and critical analysis to develop a body of knowledge about social order and social change.


Music is an extremely important aspect of "Sociology".

How about this Rok;


      https://www.youtube.com/watch?v=uY3vgBzgYn4

Rok, similar but different, I like them both.

Frogman, what do you know about Joe Wilder?

Sorry Rok, the OP didn't come through this time; however, I have discovered a lot more on Joe Wilder.


        https://www.theguardian.com/music/2014/may/18/joe-wilder


        https://www.jazz.org/dizzys/events/143130/18/


      https://www.youtube.com/watch?v=_HovGUENbDY

When American Blacks want Africa in their music, they have to go to Africa and get it; like Blakey;


      https://www.youtube.com/watch?v=ahBlJTNd8Xk&list=PLyHn3f7-9IUKa7Q8_Ja8H-WyX0brISR-U

    https://www.youtube.com/watch?v=tep3zOnZZc8

Joe Wilder was also a pit musician. Pit musicians who play in pit orchestras are not only required to play multiple instruments at times, but they must also be familiar and able to play in multiple keys, styles, and tempos and make a switch instantaneously. The orchestration for a musical is written in a key best suited to range of the singer. Some keys are more difficult to play in than others because of the increased attention that greater amounts of sharps and flats require. Musicals also tend to have a number of styles which can range from a soulful ballad to a syncopated funk tune to a driving hard rock song. Many musicians have been trained to play in a certain style, such as classical music, but in order to play in pit orchestras, musicians must be able to play a range of different styles. Because musicals are live, many elements can change from show to show; pit orchestra musicians consequently should be able to play different tempos every night and even skip through their music to a new spot if an actor or singer makes an error.


I know you guys remember my long and boring post about watching these musicians when I went to a Broadway show. Would you like for me to repeat it? I must have a unanimous vote for an encore.

No Rok, that's just a coincident, this is music from the "Balongi" tribe who live in the deepest jungle of the Congo.

Acman, I've never heard that Max Roach before. I'm glad it's nice and long; I'm listening to it as I type.

That's new, new if you know what I mean, and I think you do. All of that inventive percussion has really captured my attention. I don't know any of the players but all of them are mesmerizing.

I'll get back to you with my conclusion.

We welcome you with open arms David. That's a marvelous beginning; remember, we are all still learning, there is no end to this journey.

Your honest and sincere beginning has brightened my day, and I wish you an enjoyable journey.

David, if you've been following this thread, you know how much I like Grant Green and Ike Quebec. Here's one of my favorites by Ike;


    https://www.youtube.com/watch?v=jwc1bTn7Fd8


That vinyl will be worth the wait.

Why do we like the music that we like? In pop music it was thought to be a generational thing. I'm applying that same theory to jazz, and it works out to a point. Beginning with "swing", which was before "Bird", he brought in "be-bop" which phased into "hard-bop" and  what I call "modern jazz" that covers a lot of territory.

"Bird" was active from the 40's to 55 when he died. Most will agree, no one person made a greater change in jazz than Charlie Parker; since his time, jazz has branched out in different directions, all related to Charlie Parker, and morphed into what most people call "modern jazz". That has gone on through the 60's and into the 70's.

We did a side step with "fusion", but we went back to "modern jazz", which is pretty much a catch all category. I can't see where we have gone past "modern jazz"; somebody keeps talking about "free jazz" which sounds like "chaos" to me and a lot of other people; anyway, that "free jazz" never quite catches on, I know I have a lot of it I would like to sell if anyone is buying.

If there is some great movement after "modern jazz" that has eluded me, would someone please bring me up to date. I stated music and jazz was a generational thing, and I haven't gone anywhere in a fundamental sort of way for decades; am I stuck, or is jazz stuck?

Rok, you didn't tell me you were rich.

As a matter of fact,  the rich guy was British. 

Frogman, jazz is not something that exists free of gifted individuals. 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?

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

As I see it, the Frogman is not consistent.

Rok, I would like the "Beys" a lot more, if they stuck to script instead of giving every song the "Bey" treatment.

Frogman, as much as I like Don Cherry and Gato, you can have that one. I either have that or something similar, that stays in the CD player just long enough for me to sit down, listen a little, then get up and take it back out.

Rok, when I hung out at emporiums, I discovered that rich people like the worst music; marches even.

My question to you Acman is "How much do you play that interesting music?" Do you play it as much as you play what you and I would consider "good jazz?"

My fundamental thesis is that good jazz is no longer being "created". They are not creating jazz at the Lincoln Center, they are playing jazz. Musicians who play in Sue Mingus's big band, are not creating jazz, they're playing Mingus compositions.

Someone will have to post a musician who they think is creating something new in jazz to prove my fundamental thesis wrong.

The answer to this question for me, is more related to sociology than jazz.