Frog, what is your instrument ?
Yes, I was serious about Pass. Others think differently, that's fine with me.
As for the guitar players, the best jazz and more guitarist is John McLaughlin, though he plays junk these days. The best flamenco guitarist is Paco de Lucia. The best classical guitarist is John Williams. The best rock/art rock guitarist is David Gilmour.
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I’ll be more blunt, the comment is absurd. Joe Pass was one of the greatest Jazz guitarists that ever lived; some would say the greatest. **** Joe Pass is alright, though he can’t really play, technically speaking. His ’voice’ lacks depth as well. **** inna, you can’t be serious. I have to believe the comment was made for effect; an unfortunate example of the politics of Internet forums? Or, does it show a complete lack of understanding of this music. You posted this a while back. Is this your idea of “depth”? https://youtu.be/ZKbPPuaHnxw |
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@inna
Joe Pass is alright, though he can't really play, technically speaking.
Could you please elaborate on this? I think Joe Pass is a terrific guitarist. |
@inna
So, in the space of a few days, you've said "Bream is good" (he's a master) and Joe Pass is "alright" and "can't really play."
Which guitarists do you consider to be the masters?
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Joe Pass is alright, though he can't really play, technically speaking. His 'voice' lacks depth as well. Still okay, nice background music. Same as his duo with Ella, but she can sing, though. |
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I do not share the affection and respect for "Hanoi Jane" that others are talking about. If you are anti war and want to express your feelings and opinions which is your right as a United States citizen there are many other ways to do so without calling American soldiers murderer's and war criminals while they are dying for their country. Jane Fonda was, and still is, a traitor to her own country. What she did is detestable.
(8) Jane Fonda RARE BIO pt 9. - YouTube
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Mary_jo, "They Shoot Horses, Don’t They?" was a memorable movie and soundtrack. Jane Fonda was great in it. I saw it on the big screen at my college’s Little Theater in 1970 when it first came out. Here’s a small story involving Jane Fonda that has nothing to with Jazz, that occurred about the same time. Jane had attended Vassar College in Poughkeepsie, NY, right across the Hudson River from SUNY at New Paltz where I went.
Being a lightening rod for the peace movement, Ms. Fonda was invited to speak at an anti-Viet Nam War rally at New Paltz. While waiting in the crowd to hear her speak, a cute, short haired girl walked through the middle of the crowd up to the podium, incidentally brushing right by us. I would have forgotten her long ago excepting that it was was Jane herself as you guessed. She looked exactly like she did in the movie "Klute" which came out in 1971. Providing that literal brush with celebrity entrance was "too cool for school.". It’s only a coincidence I’ve been in love with her ever since.
OK, now back to jazz, you jealous compatriots.
Mike |
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Omg, for a long time I am trying to remember what was the name of the movie I saw long time ago. Bunch of folks dancing till they drop out. And this evening, there it is. On our national TV. They Shoot Horses, Don’t They? From the movie https://www.youtube.com/watch?v=nMoGmOCaI3sJohnny Green and His Orchestra Easy come easy go
That’s the way if love must have its day
Then as it came
Let it go
No remorse, no regret
We should part
Exactly as we met
Just easy come, easy go
We never dreamed of romantic dangers
But now that this ends
Lets be friends
And not two strangers
Easy come, easy go
Here we are
So darling au revoir
Its easy come, easy go
Easy go, easy go, easy go Scott Walker - Easy Come, Easy Go From Wiki: The film’s soundtrack features numerous standards from the era. These include: - "Easy Come, Easy Go" by Johnny Green and Edward Heyman
- "Sweet Sue, Just You" by Victor Young and Will J. Harris
- "Paradise" by Nacio Herb Brown and Gordon Clifford
- "Coquette" by Johnny Green, Carmen Lombardo, and Gus Kahn
- "The Japanese Sandman" by Richard A. Whiting and Ray Egan
- "By the Beautiful Sea" by Harry Carroll and Harold R. Atteridge
- "Between the Devil and the Deep Blue Sea" by Harold Arlen and Ted Koehler
- "The Best Things in Life Are Free" by Buddy DeSylva, Lew Brown, and Ray Henderson
- "Body and Soul" by Johnny Green, Edward Heyman, Robert Sour, and Frank Eyton
- "I Cover the Waterfront" by Johnny Green and Edward Heyman
- "Brother, Can You Spare a Dime?" by Jay Gorney and E. Y. Harburg
- "I Found a Million Dollar Baby (in a Five and Ten Cent Store)" by Harry Warren, Billy Rose, and Mort Dixon
- "Out of Nowhere" by Johnny Green and Edward Heyman
- "California, Here I Come" by Buddy DeSylva, Joseph Meyer, and Al Jolson
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@skyscraper
Thanks for sharing that. I love anything from Billie.
I am reading the book "Dexter Gordon Sophisticated Giant" and there is a a few bits about Miss Billie.
Don't want to spoil the book by saying whats in it but it is an awesome book thus far. |
Got the Billie Holiday complete Verve recordings box set a little bit ago after acquiring her complete Decca recordings, Columbia recordings, and the Commodore recordings disc this past year. I’d put off getting the Verve set being afraid it encompassed the tail end of her career where her voice began deteriorating.
No worries so far on the first three discs in the set recorded on Verve’s subsidiary Clef label. She is in great voice on the all three, which date from 1945-55. I listened to the third CD this afternoon. He voice had only a hint of raspiness to it by then, not so you’d notice. To my mind she is the greatest jazz singer to ever live, bar none. He later 50’s material might be disturbing to listen to though, as drugs had exacted their toll by then. Until then she was a wonder and it’s a privilege to be able to own her recordings
Michael |
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@ghosthouse
I found Corinne Bailey Rae to be a very intriguing songstress when I first heard her "Put Your Records On" hit. I bought her CD - it sits on the shelf unplayed, but what a delightful, angelic voice she has. And the slight Cockney effects add to the intrigue. Not anywhere near the greats, but unique.
So she went on to contribute to Herbie Hancock's "Album of the Year" award in 2008.
Thanks for posting this.
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I'll go O3 (1/3 the length O10 would post).
Sister of a gal I was seeing booked music for a local college. Saw a few big names there - one was Dizzy in '79, so were mid-20s. The sister arranged for the 4 of us to meet at a jazz bar in the city after the show to see Max Roach. Dizz and sister sat together and we yakked and had drinks. She later told us he was telling her he wanted to give her his key. She was so naive she thought he was saying something about a key of drugs. We had to explain he meant hotel key! Maybe Dizz scored with someone else that night.
OK, maybe that was O5.
Like those Turre tracks!
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acman3, enjoyed the Jazzfest clip. Thanks, I'm always ready for a good piece of funk. Gotta have that accent on 3.
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That really was a great clip. A few good players. Thanks, acman3. **** I don't want to go O10 on you all, but Gillespie is the only jazz great I've had drinks with. It mostly had to do with his post-concert pursuit of a particular female. **** Oh, c’mon, do go O-10 on us, Keegiam, do tell! Dizzy’s exploits with the ladies are legendary; I’ve heard a few. Actually, from a member of that very band....trombone player.....not the one who took the solo.....the one.....I should stop....😊. Btw, Frank Tiberi was one of the few Jazz players to ever double on bassoon. Beast of an instrument to play. Since Woody’s passing, Tiberi has led the band still to this day. https://youtu.be/4mawFKXet38https://youtu.be/tiF0SDH3vZQ |
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I liked the guitar in that duo much more than the violin. Bream is good. |
acman3, this Gillespie Nation concert you shared is over the top. How in the world do you bring all this international talent together and arrange such amazing music? And then there's the fantastic videography.
Thanks!!!
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Lots of good stuff in there, but I especially like Slide Hampton's solo on bone.
I don't want to go O10 on you all, but Gillespie is the only jazz great I've had drinks with. It mostly had to do with his post-concert pursuit of a particular female.
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Until tonight on YT, I had no idea that Stephane Grappelli and Julian Bream had ever played together. It's a stretch to call this jazz, but it's lovely. I've been in awe of Bream since the 70s and was lucky enough to see Grappelli in the 80s. https://www.youtube.com/watch?v=fnB8E_N6M1Q |
What kind of beer was that? I much prefer French wine, anyway. |
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Inna, Thanks for making me spit my beer. |
That's good stuff. Thank you! |
Frogman, sorry to hear about the passing of a dear friend. Seems we've both been stung by that recently. I see Lyle Mays already had his trademark hair in '72. I did the same thing during those years. What a big change in sound over the 6 years between the two clips. And what a coincidence that "Spain" was a big topic here not long ago. I like the use of the bassoon. Woody Herman always reminds me of Stan Kenton, who used to come to my area every summer to visit his close friend Hank Levy (who had previously played sax in Kenton's band). Most summers, Kenton would put on "Kenton Clinics" with various college jazz bands. Hank Levy led his Towson University Jazz Ensemble (big band all the way) at an outdoor concert every year. So I just looked him up, and the first hit has a link to the album I bought at the 1978 concert. I had no idea this existed digitally. Pretty rare stuff, and not bad for a bunch of college kids. I'm not urging anyone listen to this... just a background story. https://www.youtube.com/watch?v=KJ0AXmfxU54 |
You answered my question, Frog, thank you. You don't like that.
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Keegiam, glad you liked it. Joni Mitchell sounds particularly beautiful in that performance. You’re right about Jaco. Most musicians that collaborated with him will say the same thing, he had a way of being “a driver” in the project...in positive ways. A propos other recent comments here, one could say that he was “the John Coltrane of electric bass”; the instrument would never be played the same way again after his emergence on the scene. Very powerful musician. I didn’t know that there was a video recording (on DVD) of an album that I have owned for many years. I came to find that clip in a round about way. Recent YouTube searches of Lyle Mays material caused it to pop up since he was part of Mitchell’s band that night. Then, coincidentally: Yesterday afternoon I attended a ZOOM call/remembrance service for a dear friend and colleague who recently passed away from COVID related complications. A brilliant saxophonist who I worked with for many years and who, early in his career, had been a member of the Woody Herman big band. He could lay claim to having been a member of one of the last iterations of the famous “Four Brothers” saxophone section. As part of the service, his wife played for all some clips of performances that he had been a part of. One of the clips was the one below. Besides Sal, what caught my eye on the clip was a very young Lyle Mays in the rhythm section sounding great on Fender Rhodes. I had forgotten that Mays had played with Woody. Besides the coincidence factor, I found it interesting because it points to how many of the musicians of his generation who would later be pigeonholed as “fusion”, “crossover”, etc. musicians and who themselves wanted to do away with the negative implications that this meant for some listeners had, in fact, very solid experience in more traditional musical settings. https://youtu.be/-0Ytyg1jL_4The best known “Four Brothers” section; and “Four Brothers” the tune: https://youtu.be/KGiLtbLfseY |
Well, let’s see. I could do the smart thing and just be magnanimous and ignore an idiotic comment/question; but, alas, I’ve only had but one sip of my morning Joe (Joe....Joni....Joe 🤔). What the hell, I will just go with the vibe of the moment, respond in kind and deal with any consequences later. So....... No. I posted it, not because I liked it due to the fact that it is a video recording of a live performance released as an album considered by many to be the best release by that artist; and, which is also a fantastic performance by crossover musicians who were at the forefront of a genre representative of the more creative music of that generation, but, instead, because I had a momentary lapse in good taste and musical acumen and judgment. What was I thinking! My apologies for having the temerity to post such musical drivel and not living up to your lofty standards of musical judgment and taste. Musical judgment and taste inevitably coupled with such inclusiveness, wide scope and range so encompassing that it boggles the mind. I can’t help but be reminded of some of the standard setting greatness that you have posted here (I better type faster, I feel the Joe kicking in 😉). Greatness in both commentary and musical examples posted. In case anyone, or, you yourself has forgotten (there have been so many examples), here is but one of the many examples of greatness that you have posted and which has stuck deep in the recesses of my sadly shallow and narrow musical reservoir. The greatness of musical depth and nuance in this performance is almost too much to take. Going forward, I will endeavor to post only that which lives up to such a lofty standard: https://youtu.be/z6R5wb9iY6IAnd, of course, let us not forget the wisdom and insightfulness of some of your commentary. The timeless, “Sonny Rollins is irrelevant”. (If it still isn’t clear, I always welcome straight forward, intelligent and respectful disagreement and debate. “In the back door” sarcasm seldom flies). Regards. |
Frog, do you really like what you just posted ? |
@frogman
What a journey that is! I admire Joni's unique ability to combine avant-garde melody with story-telling, philosophy and social commentary. The interspersion of video clips of Amelia Earhart, old movies, dancing and ice skating expand the production into a creative tour de force. It's a confident woman that can front Metheny, Pastorious, Mays and Brecker, and she does it without blinking.
Love Jaco at about 26:00, but he was a driver throughout the whole concert. Also, Lyle Mays' does some nice honky tonk on "Raised on Robbery." Metheny mostly let Joni be the main attraction, but he did do a sweet, dreamy solo around 42:00.
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No birds, but a propos recent focus on Lyle Mays and Allan Holdsworth’s advanced harmonic and melodic concept, came across this concert video and reminder of how great a record this is. I could do without the YouTube poster’s “artistic license”, but still.... Tendency to relegate this incredible singer/songwriter to just “folk singer”. In my book, far more of a Jazz singer than many claiming the title; and here, her voice at its peak. Amazing band. Amazing performance. And, not to be underestimated, the huge number of young folk/rock fans whose ears were opened to the sophistication of extended harmonies and a song melodies that went to very unexpected places. https://youtu.be/bLKb9Ms68ME |
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Good morning! Morning here, so I guess everywhere. The sun shines, birds are singing under my window. Today is the plan to set some nice food on the garden table to attract some interesting flying creatures. And then, when they set their tiny feet on the improvised perch, I will shoot them. With camera of course.
Wynton Kelly Trio / Softly, As in a Morning Sunrise
https://www.youtube.com/watch?v=ldTIXsCXJhc Sonny Clark - Softly as in A Morning Sunrise https://www.youtube.com/watch?v=4cek1cBMMHQ John Coltrane - Softly, As in a Morning Sunrise https://www.youtube.com/watch?v=e57F_Rm3xI4So if anyone would ask for me, you know where I’ll be. Chasing birds. |
I am glad you like it! :---)
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MJ, just spent 20 minutes in bliss listening to your Woody Shaw piece "Your Own Sweet Way."
Sweet, slow swing with beautiful playing. Thanks!
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