Jazz for aficionados

It certainly doesn`t mean he`s a better musician.It is sheer evidence he`s far more popular and has legions of fans who are happy consumers of his product.Was Michael Jackson a better musician than T.Monk?
Regards,

I don't like Wynton's music, I don't like my own music, because I can't make any. I don't like Dr. Dre's music, but I do like Harold Land's music. I was able to get top dollar for Wynton's LP's that I sold because so many other people like his music, and I'm glad for me and Wynton. Some people like strawberry while others like vanilla.

Enjoy the music.

For you youtube folks.

http://www.youtube.com/watch?v=RvNIivHdy0Q

If you don't get the trumpet solo on 'Layla', then you are hereby banished from the Jazz Aficionados faternity.

Of course all the other players are great also. Check out 'just a closer walk with thee' also. Hell, check out the whole CD.

I find that I am a lot more receptive and sympathetic to music when I can see the players as they play.

Cheers

Wynton makes a million a year? Tiny Tim made that much in one day singing 'tiptoe thru the tulips'. And they say there is no justice!

As has been demonstrated many times over in this thread, the beauty of music (any music) is that it touches individuals in unique ways. Objectivity can only take one so far in determining (if one must) who is better, best, etc. as there is an inextricable link between what the artist is saying (or trying to say), how he is saying it, and the sensibilities of the particular listener. There are, in fact, certain universally accepted "cues" that the cognoscenti (aficionados) use to establish certain and usually broad benchmarks, but they are of usually limited use in discussions given the emotional nature of both the music and the discussions.

Having said that, and re the "Layla" cut, I definitely "get it", I just think that it is average blues trumpet playing at best. I think that the cut, as a whole, is really good and with a good vibe. But, where as this should have been an opportunity for "the jazz cat" to cut Clapton's, while good, typically derivative blues playing to shreds, it is only on a par with.

This I really get:

http://m.youtube.com/watch?feature=relmfu&v=HJLsvlYE9t8

Talk about "telling a story". Or, really playing in the pocket. Listen to the subtle inflections that propel the groove even at (especially?) such a slow tempo. True artistry; IMO.

I hope this is downloadable (it is not on my IPad). This is one of my very favorite Wynton solos on record from one of my very favorite records of all time. Wynton was really on that day:

http://m.youtube.com/watch?v=ur-lNeq4pQM

Cootie's music conjured up visions of Cab Calloway strutting across the stage.

http://www.youtube.com/watch?v=_zvxIZZUyAk

I listened to Shirley Horn twist in order to absorb Wynton's solo, and it was every bit as good as you said it was. (apparently I have been misunderstood) I never said Wynton couldn't blow the trumpet, we just have two different concepts of good music when he does his own thing. Even if everyone in the universe thought Wynton's concept of good music was the best, when I go to the record store, I pay the cost to be the boss.

Enjoy the music.

Frogman, Shirley Horn can really get you emotionally involved in her songs, they seem like short stories of her life. I'll have to get more of her work.

Shirley Horn, I have her CD 'you won't foget me'. That one includes Wynton, Branford and Miles. The lady traveled in good company. On another one she has Roy Hargrove. She has a thing for trumpet players? The clip you sent was indeed special.

Cootie Williams played with the Duke. So of course he can play. Wynton's solo on the Horn song was him doing what the song and the moment required.

Your comments on personal perferences and appreciations are right on target. Well said. Even me, with my big mouth, cannot think of anything to add. You Nailed it.

Your comments on the Wynton/Clapton CD? Extremely Close, But No Cigar.

You are not considering the total situation. I.E. the context of the playing. This was not a 'blowing' session. It was written arranged music, promoted as Wynton and Eric play the blues. It was not a head cutting event. The audience got what they came to hear.

All music arranged by wynton. No leader dominating the solos. Everyone played. All Had their moments. This was not a JATP thingy.

Considering the moment, the song, the location, the event,... the solo was perfect. The Shirley Horn tune called for something else, so he did something else. When he performs with Kathleen Battle doing Mozart, he again, does what is called for.

A few things to remember about Wynton.

He plays to please the audience. He actually wants people to like Jazz. So, sometimes he meets them halfway.

He is not from the 'mean streets' of anywhere, he is a memeber of a highly accomplished and respected Jazz music family, born and raised in the birthplace of Jazz.

He plays to give enjoyment and pleasure to the listener.
I have him playing and singing (scatting) on a CD by Jon Hendricks. Doing the same on a CD with Willie Nelson!
And of course the Clapton CD. Name another Jazz player that could do that. You want to know where he is coming from, think Louis Armstrong.

Some Jazz players, usually the unsuccessful ones, play for themselves. And others, the ones that do well, play for their audience, while exposing them to new things.

I ignored your 'IMO' thingy. That's understood and applies to us all, and if that was the final word, we could close the thread now.

Cheers

Orpheus10, good description of Shirley Horne's artistry. She is a beautiful singer; and plays great piano, too. That recording (Here's To Life) featuring the songs and orchestrations of Johnny Mandel is a true gem; beginning to end.

Rok, I am well aware of the context of "Layla". Of course, it was not a blowing session. But, in any context, when a truly exceptional improviser plays, the depth of the playing can "shred to pieces" lesser players. It doesn't have to be flashy, nor with a lot of notes. Nor does the intent have to be to surpass anyone else; the playing simply excels. Your point about Wynton playing for the moment is well taken. But, I would not give him too much credit for that; that is basic musicianship and there are many layers of excellence that go beyond that basic musical demand that separate the greats from the not so great.

****He plays to give enjoyment and pleasure to the listener.
I have him playing and singing (scatting) on a CD by Jon Hendricks. Doing the same on a CD with Willie Nelson!
And of course the Clapton CD. Name another Jazz player that could that****

Are you kidding? That is what jazz players do (not all scat well, of course). They are able to fit into a variety of situations:

Zoot Sims played on Phoebe Snow's debut album. Phil Woods played on Billy Joel's "I Love You Just The Way You Are". Wayne Shorter played on Steely Dan records, the list goes on and on. BTW, you want to hear great scatting from a trumpet player? Check out Clark Terry; amazing!

I am not a Wynton basher in the least. My point (which perhaps I have tried to make a little too gingerly, in order to not offend some;-) ) is that Wynton is a fine player, but sometimes inconsistent; and, at the end of the day, not on the level of many of the greats as far as depth of playing. That is simply why, with so many great classic recordings still missing from my collection, Wynton's are just not near the top of my list. Additionally, I doubt that fifty years from today, jazz students will be transcribing Wynton's solos. As far as he deserving the adulation that he receives from some AS A PLAYER, we'll just have to agree to disagree.

Amazing performances by Clark Terry:

http://m.youtube.com/watch?v=3AvImcsbt1U

http://m.youtube.com/watch?v=ldnGJn3wz2s

Frogman, we have no argument. I never said, or at least never meant to say that Wynton is the BEST anything. I am just reacting to the Wynton bashing that is out there. Not from you, but from many. If he is not the WORST Jazz player, then bash the guys whom he is better than! Just for a change.

Cheers

Clark Terry has been my favorite for years. Even when everyone else was going gaga over Miles. Maybe because I played Flugelhorn in concert band.

Rok,
I feel the same, Wynton isn't my favorite trumpeter or the"best".I do enjoy his music and have much respect for him on several different levels. Like you I long ago tired of the redundant bashing.
Regards,

Ike Quebec is one of my favorite tenor sax men. "Heavy Soul" is my favorite cut from that album which has been in my collection for ages. I'm sure you'll enjoy it.

http://www.youtube.com/watch?v=wIZzHpXGEjg

Charles1dad:

Smart Jazz players and fans support Wynton and his efforts to expose new people to Jazz and increase the fan base of the music. And in order to do that, the music must be accessible. Not a job for the Ornette Coleman's of the world.

It's sort of like Tiger Woods. Although all golfers want to win and try to win, they know that if they can't win it, it's better for them all if Tiger does. The more he wins, the more money for them all.

I have never heard or read of a Jazz player bashing Wynton. I think they know better. Too bad the fans don't.

Thanks for the words of support.

Cheers.

BTW, lest there be any doubt. I do not consider The Frogman a basher. That type of thing would be beneath a person with his musical knowledge and background.

Frogman makes some very good points on Wynton and others. I would like to elaborate on one thing he said, about inconsistency, which I believe was in reference to Wynton in his post, but could be in reference to anyone, really, when we are talking about live performance. I am also aware, Frogman, that what I am about to say is not really the same point you were making, but more about inconsistency in general. None of us professional musicians are perfect in live performance. One thing that the recording age has done is to elevate the standards that people judge a live performance by, which is why many musicians were violently opposed to recordings when they first started, both in the jazz and classical worlds.

Recordings really can be "perfect" now - with the digital editing technology that exists now, it really is not exaggeration to say that recordings are really almost completely false now, often not resembling the actual playing done whatsoever. I have participated in opera recording sessions where all of the takes sounded like dogcrap. Every single one. Yet somehow, the engineer/editor put together a "recording" that sounds basically perfect. This is how it is done now, and the unfortunate thing about this is that it has raised unrealistic expectations for a live performance from people who don't know much about it, which is most people, including most audiophiles. This is one reason why so many audiophiles say they would rather sit at home and listen to their systems instead of going out to hear live music making. This is a very, very sad thing, IMO.

So I would say about many of these artists that we are discussing here - if you have only heard their recordings, you have not REALLY heard them. If we are talking about a living, presently working artist, you really need to hear them live to truly get a sense of what they can really do. And I want to make it clear that I am not just putting a negative spin on this - you will hear nuances in their live performances that the recordings just do not pick up, and you will slowly gain a greater appreciation for what it is they are actually doing, in the moment, making their music - the sort of things that have been under discussion in this thread, which I agree has been one of the best ever on this site. Yeah, you'll hear some flaws that are not on your recordings - but you will also hear (and feel) some magic that your recordings can never ever pick up, and which you are missing if you do not hear them live.

Learsfool,
Well said.As much as I truly enjoy listening to jazz with my system, it won't ever replace the feel and vibe I experience at the jazz clubs I frequently attend. There's no substitute.
Regards,

Rok, thanks for "getting" where I am coming from. Too much great music out there to spend time bashing. Analysis and criticism is a different matter altogether, and serves to gain a deeper understanding of the music, IMO. No artist should be put on such a high pedestal that they are above it; and most of the great ones would be the first to admit it.

Learsfool, great comments. I couldn't agree more with your comments re live performances vs. studio "performances"; that is precisely the reason that at least half of the links that I have posted here are live perfs. A while ago I made a comment in a thread (don't remember which) about the fact that some musicians (mostly older guys) feel that the advent of recording technology was "the beginning of the end". I was berated by some for that comment, which while overly pessimistic has truth in it; as you point out. Now, the beautiful thing about many of the classic recordings that we are talking about (classic Blue Notes, Prestige, etc.) is that digital editing was not part of the process back then, and in spite of some manipulation (balance, multiple takes etc.) they give us a much better representation of what the players could do than most of the recordings today. As you point out, many would be shocked at how, in some cases today, a solo is "composed" in the mixing room by taking the first four bars of the first take, the middle twelve from the third take, the bridge from the fourth take, and then back to the first take for the last sixteen; not to mention "fixing" fracks and squeaks. Even a singer's faulty pitch can be fixed in the booth with today's technology. Of course, the artists with the most integrity refuse to do much of this sort of thing, if at all.

"in some cases today, a solo is "composed" in the mixing room by taking the first four bars of the first take, the middle twelve from the third take, the bridge from the fourth take, and then back to the first take for the last sixteen;

This is depressing. Frogman you have shattered all our illusions. What's next? That was not Miles blowing on 'kind of blue'. Miles was sick that day, his cousin Jerome took his place?

Like watching sausage being made. It's best not to watch or know some things.

And all this time I thought I was listening to spontaneous improvisation. So instead of jamming with 'Mingus at Antibes', I was actually jamming with Igor Fixitstein, the control room guy!

Too Much Information!

Cheers

And not very good sausage at that! But fear not, most of the players that do that kind of thing are not worth listening to anyway.

Rest easy Rok,
The caliber of musicians we all enjoy don't resort to this nonsense.

Has anybody taken the time to listen to "Ike Quebec"?

I was just messin' with The Frogman.

Cheers

I'd like to recommend a CD you all may enjoy (I really like it). "Fingerpainting" the music of Herbie Hancock played by a piano less trio.Nickolas Payton, Mark Whitfield and Christian McBride.Very good music and certainty playing, Payton's trumpet is in top form.
Regards,

"Nature Boy" by Ike Quebec is an interesting version of this tune.

http://www.youtube.com/watch?v=3tk6dYP_uhs

Since I posted "Heavy Soul" two miles back and it got missed, here it is again. I especially like Freddy Roach on organ. They knew Ike was dying from terminal cancer when they recorded this, hence the title "Heavy Soul" .

http://www.youtube.com/watch?v=wIZzHpXGEjg

Enjoy the music.

O-10

Very good 'bluenote' session. I love his tone. I have his 'Blue And Sentimental' CD. He was another player with greater potential derailed by drugs.

Cheers

I listened to Ike Quebec's Bossa Nova Soul Samba last night and it made me very, very happy.

Beautiful Ike Quebec cut; thanks for sharing. I love that approach to tenor sound; big, meaty, and breathy. It's always refreshing to hear that sound in contrast to the Coltrane-influenced approach that is so prevalent now. It is a physically different approach to producing tone on the instrument which starts with the use of "subtone" to begin the note; instead of the tongue giving a note it's start, a breath attack is used. Additionally, the physical muscular "mechanics" used keeps the sound's core closer to the front of the mouth instead of further back in the throat. That further back in the throat approach is what gives the more modern approach (Coltrane) that "screaming" quality; not always an attractive sound.

Ike Quebec is one of those players that could really tell a story with a solo. On this cut there is a beautiful sense of knowing exactly where he is going. Each phrase is a follow-up to the previous phrase in a way similar to the way that a great speaker is able to recite a well written novel. He strikes a nice balance between restraint and exuberance, whereas many of the similar sounding tenor players of the (loosely speaking) Texas tenor school can sound overwhelming at times in their exuberance.

Great stuff!

Jimmy Forrest was another often overlooked great tenor player. Indisputably out of the Texas tenor camp, this cut teams him with two other greats: King Curtis and Oliver Nelson who we often forget was a great player as well as composer/arranger. Check out Forrest's opening phrase, but first fasten your seatbelt. His solo is first, followed by King Curtis and the Oliver Nelson. I love the way Nelson crafts a solo. There is an incredible logic to the way he develops a solo. Anyone familiar with his "Bues And The Abstract Truth" will recognize the almost stately way that he starts and then develops an idea before there is an "ok, time to cut loose" attitude. Three very different but equally interesting styles:

http://m.youtube.com/watch?v=6N3ttzmzJmg

Today's Playlist (so far)

The Blue Note Swingtets -- Featuring groups led by
Tiny Grimes, John Hardee, Ike Quebec, Benny Morton and Jimmy Hamilton

Great playing throughout. This was, according to the liner notes, recorded during Blue Note's 'Swing' period.(1944-1946) A period greatly influenced by Quebec. He seems to have been a very influential advisor to the founder of Blue Note Alfred lion. Even brought Monk to Blue Note.

On this CD, eight of the numbers are by groups led by Ike. Very easy swinging blues rule these sessions. Ike contributes two of his own compositions: 'Blue Harlem' and 'Zig Billion'

Some of the all time greats appear: Milt Hinton, Oscar pettiford, Ben Webster, Barney Bigard and a lot of the Duke's men.

All recorded between 1944 and 1945. Some tape hiss and a little noise, but nothing that would bother a vinyl aficionado. Which I ain't.

I have not given Ike his proper due in my music collection. Only one CD. I will have to correct that. I am sure I have more of him on LP.

Great Liner notes by Dan Morgenstern. I just love it when the history of the players / music and background of the recording session is included.

Cheers

Some jazz artists I've known personally, were gifted, as opposed to talented, or practiced hard. They could improvise on their chosen musical instruments and mesmerize a crowd on any given night. I decided not to name them, because I'm going to give you the reasons they didn't become rich and famous. One word, drugs!

I can say with confidence, there was absolutely no linkage between the drugs and jazz; they would have been drug addicts whether they were musicians or not. From what I could ascertain in these particular cases, there was some "unspeakable" psychological pain they had endured, and drugs was their only means of escape. This also applied to Billy Holiday if you read about the psychological trauma she endured as child.

Miles Davis would not have become rich and so famous, had he not kicked his drug habit. He was a copycat drug user, he did it because he thought it was hip. There was no "unspeakable" psychological event that ever occurred in his life, and that's why he was able to kick the habit.

The musicians who I watched shoot themselves, didn't know how I sufferd when they did it. Since we had become close friends, I could also imagine being part of their "guaranteed" wealth and fame. No matter how gifted an artist is, if he can't get up and go to work, there is no way he can be successful. No, drugs did not help them play better, as a matter of fact, they just wouldn't show up on a gig if they were wasted. When I asked them why, they simply looked off into space.

None of the current crop of musicians can remotely compare to the musicians I knew personally. You'll have to take my word for this, or not take my word; but the linkage between rich and famous, as opposed to relatively unknown is not necessarily how good of a jazz musician the individual is.

Enjoy the music.

When I watch a youtube 'video' with just a still shot of the artist, I think of the movie '1984,' and the pictures of Big Brother. Words being spoken but he never moves! hahahahahahah I felt like Ike was watching me!

Cheers.

'Heavy soul' did not get missed. That's why Ike is the topic of conversation. The Frogman and I commented on it. And I even listened to his work on the Blue Note Swingtet CD. Pay attention O-10. :)

Jazz Aficionados:

I feel that I understood all the comments The frogman made about Ike Quebec's Playing technique.

The Frogman is a great teacher. His descriptions paint such detailed and vivid pictures of the points he is making. We can all be glad to have a person with his expertise in this discussion and forum.

Cheers

Today's Playlist:

Charles Mingus -- Oh Yeah
with/ Booker Ervin, Rahsaan Roland Kirk, Doug Watkins, Jimmy Knepper, Dannie Richmond
On this set, Mingus plays piano, not bass. I think they needed him on piano.

I suspect there are a lot of 'tongue started notes' on this one. This is one of my favorite CDs by Mingus. This guy really has a good time and it is infectious. If you don't like this CD, you are beyond help.

How can a group have both Booker Ervin and Roland Kirk on tenor sax? Dosen't that violate some law of nature!! Of course Kirk plays everythiong else also.

Quebec might know what is coming after every phrase, I am not sure these guys know or even care! But it is great!

I would like to hear the Frogman's take on the Sax playing on 'Hog Calling Blues'. There was a time, (a lifetime ago) when I would just dismiss it as confused noise, now I hear it as just awesome!! No Filler!! Every tune a winner.

The last track is Mingus being interviewed by Nesuhi Ertegun. Your guess is as good as mine.

If you call yourself a Jazz lover, you gotta have it!

Cheers

Yes we can all be glad for the Frogmans expertise. This is the first time I had anyone explain how the musicians make music.

Here's Hog Callin Blues.

http://www.youtube.com/watch?v=donDOIiuWc0

Enjoy the music.

last of Today's Playlist:

Oliver Nelson -- Blues and The Abstract Truth
featuring: Paul Chambers, Eric Dolphy, Bill Evans, Roy Haynes, Freddie Hubbard and George Barrow

If nothing can be perfect, then it's just FLAWLESS!

But I do have a few comments:

Everytime I hear Eric Dolphy, his passing seems even more of a devastating loss to Jazz. What a Talent!

Why isn't Freddie Hubbard mentioned more often, when people talk of the Jazz Trumpet greats?

I have this on LP from back in the day. The liner notes / booklet with the CD is an outrage. Especially considering the importance / significance of this performance. Just a folded piece of paper with micro print.

You won't find better playing, writing or arranging anywhere else. If you ain't got it, the question is, why not??

Cheers

Thanks for the very nice words, Rok. Will listen to the Mingus cut (it's been a few years) and get back to you.

Cymbop, "Favela" is my favorite cut on that LP.

Enjoy the music.

"Oscar Pettiford is the best bassist ever". Now, somebody is going to tell me, "You can't say that". Oscar Pettiford is the best bassist ever! I thought they didn't hear me the first time.

When it comes to this music, my opinion is the only one that counts; except yours of course, that's why I like to share it with you. Today is OP day.

Titoro

http://www.youtube.com/watch?v=3SR2o5hF75g

Bohemia After Dark

http://www.youtube.com/watch?v=T_npQWXqwPY

Oscalypso

http://www.youtube.com/watch?v=MAd09K115B4

Stardust

http://www.youtube.com/watch?v=Ut6LinT-DJI

Enjoy the music.

Roland Kirk is not an imposter, he is the real deal. He is one of those players who can play "free" or "outside" because he can also play inside and within the tradition. There have been many imposters whose playing consists of squeals, honks, and "energy" only, and who have managed to gain notoriety because of fickle critics and some gullible listeners, eventhough what they are doing is nothing more than bullshit.

I think that Kirk is brilliant on this cut. Notice how he never strays from the tradition for too long; no matter how far he goes in the direction of cathartic honks and multiphonics, he always returns to home base with a swinging blues-infused phrase. He always reminds the listener that he knows what he is doing.

A player's intonation can serve a certain purpose. While the great players don't necessarily make a conscious decision to play a little flat or sharp, they may hear what they want to say a certain way because of the mood it can create. Notice how Kirk plays consistently a little on the flat side of the pitch. This highlights the bluesy attitude of his solo, and adds to the rawness and looseness of his playing in general. In case anyone wondered, the percussive sounds at 4:50 are "slap tonguing"; a way of hitting the reed with the tongue while stopping the air stream in short burts.

His playing fits the mood of the piece perfectly; they are calling hogs, after all.

Here's a link to Mingus' "Hog Calling Blues". BTW, my comment above should, of course, read Kirk WAS not an imposter; he passed in 1977:

http://m.youtube.com/watch?v=Hv1Yewr6Z5s

Hog Calling Blues? We should also give a shout out to Mingus on Piano. I always zero in on that, have since the first time I heard it. To my ear, he was the continuity throughout the whole wonderful thing.

And the rhythm section was awesome. Hell the whole tune was great. No sense trying to disect it.

Why is the CD cover art of my 'oh yeah' different? It's lame also.

Cheers

Complete 'Review'

Ray Charles & Milt Jackson -- Soul Brothers / Soul meeting

Purchased this on the recommendation of O-10. It was a good buy. If you like Blues in your Jazz or Jazz in your Blues, this is it. 2 CD set.

Ray plays piano and alto. Milt plays Vibes, piano and guitar. Sometimes it hard to keep track of who's playing what. But it's all good. I have never heard Ray play Jazz like this.

Quite a few big time people on board. Oscar Pettiford stands out. This guy is no Shrinking Violet. You always know he is there. I think O-10 may have a point about Pettiford.

The liner notes are really interesting. Sort of hard to follow, the tunes are not talked about in order, and the additional tracks are not mentioned at all.

However he, (Bill Randle) discusses the playing in great detail. Uses phrases like "Billy Mitchell sounds like Charlie Parker blowing through Coleman Hawkins' embouchure" or "plays tatum piano riffs". hahahahahahha Great stuff. hmmmmmmm his writing style does seem familiar!

Great laid back stuff. Late night with that special someone? Recorded in 1957 & 1958. Pettiford died in 1960. This must have been one of his last recordings.
Recommended.

Cheers

Rok, as good as your reviews have been, this is the best yet. Although it's almost impossible to know who's playing what, it's all good. Ray has not played jazz this good before, nor since; he had so much soul, and he was young then.

The blues, jazz comment is right on. This music mixes them so well, that bluesjazz is the only appropriate word for it. In regard to who's playing what, I just found out that Skeeter Best is the guitar soloist on "Blue Funk".

Enjoy the music.

Charles1dad, thanks for the recommendation of "Fingerpainting". Listened to it last night and enjoyed it very much. I love the concept of Herbie's music minus piano; a very daring one, IMO. The idea of trying to capture the spirit of a jazz composer's music without using the very instrument that, in many ways, has always defined those compositions takes some huevos. The concept could fall flat on it's face, but not only doesn't it do that, it works very well with only a very occasional "samy" quality. Great vibe throught the record, and very intelligent choice to not do Herbie's most popular tunes (Maiden Voyage, Watermelon Man...). "Chamelon" kills! Payton sounds wonderful; no "but" here.

'Ray Charles & Milt Jackson -- Soul Brothers / Soul meeting'

After listening to this CD at a more appropriate volume, It's even better than I previously stated.

Cheers

My sights are set on Fingerpainting. With that lineup it can't miss. Thanks.

Regina Carter -- Rhythms of the Heart

One of the few Violin players in Jazz. Very enjoyable CD. 'Oh, Lady, Be Good' / 'Mojito' and 'Papa Was A Rolling Stone, with Cassandra Wilson on vocals, are the standouts. But, ALL is good. Supported by Kenny Barron, Rodney Jones and others.

After hearing this, it's hard to understand why the violin is not more common in jazz. Check it out!

Stephane who?

Cheers

Hi Frogman,
I`m glad you enjoyed it.I play it fairly regularly. I love "Chan`s Song" with that beautiful con arco bass introduction by Mcbride.The duet "Kiss" just catches my ears every time.Herbie could write some beautiful music.
Regards,

Assorted Swedes -- Jazz at the Pawnshop 2CD set SACD

After listening to both CDs, I have two questions.
1. what was all the brouhaha about?
2. WTF was I thinking when I bought it?

I have owned this forever. Listened once and put it back on the rack. I Fell for all the 'audiophile' hype.

I never even stopped to see who was playing and where.
For years I just assumed that the Pawnshop was a club in NYC. Well it turns out its in Stockholm Sweden. And the players are locals (I assume).

This is much ado about not much. Even the vaunted sound quality is not that special given the current state of the art. This is an example of Sound over Substance

I thought the sound was great. As I listened it occurred to me that seldom does great performance and great sound come together at the same time. That seems to be true across all genres.

I thought that this recording expertise could have been put to better use on other performers and performances.

I checked the reaction on Amazon, and one reviewer said the same thing. I guess we both wished we could get Charlie Parker recordings of this quality. It feels great to have similar thoughts with other Jazzers.

And not content to inflict this one outrage on the Jazz public, there are vols two and three!!! Due no doubt to the 'audiophile' element amongst us. They even assaulted Brubeck's 'Take Five'!!! Where there no Jazz police there???

I am sure the players are nice guys, and they play well. They are just missing that certain Something. Hard to define, but I know when it's not there.

Ain't got it? You don't need it, BUT, if you absoultely, positively have to have it, 'these sellers' will have it in your hands next week for a measley $90. $122 for the HD version! Good Luck!

Cheers

For a number of years I've felt that "Jazz at the Pawn Shop" was representative of the quintessential audiophile Creed, the sound means more than the music being performed.

.
Dexter Gordon's 'One Flight Up' album is a must-have in your jazz collection. The cut 'Tanya' is a monster jam.
.