Jazz for aficionados
Jazzcourier, I hope they read your post in regard to saying more with fewer words, or at least "saying something". Right now, I'm suffering from eye strain trying to read their diatribes, and brain drain from trying to figure em out. I believe they are all conspiring to send me to a shrink, but now that a true "Jazz Aficionado" has come along, their efforts will be in vain. You came along at just the right time. Enjoy the music. |
Everyone feels their own passion about music and travels at their impulse in regard to what they feel is important and valuable.Jazz has always been a big puzzle and it takes lots of people to put it together,piece by piece. Jazz has also "suffered" from such a broad definition that it can be the greatest thing or the most boring thing,but it is still Jazz.People define the music by what they like and they covet and defend that niche irregardless of what came before or after or what is around the corner.They simply have no interest in expanding their world beyond that neighborhood.You can't deny that comfort zone.So take of it what you will,what moves you and what calls to you,but let others venture beyond your horizon.The music has a strong and undeniable power that has taken it many places.It is one helluva ride. |
Nice words, JC. Among all other funny comments, there were a few posts with good music. However, still there are many forgoten ones that deserved to be heard, again. One of them is certainly guitar player Johnny Smith, who started to record since late 40’s. He played as studio musician, as well as leader on string of his albums in 60’s, but it seems that he prefered a low profile life, so that could be one of the reasons for his obscurity. Here are the links, from his cd edition that has two albums from 1960 and 61. First is ’Sound of Jimmy Smith’, and the second is ’Johnny Smith plus the trio’. Hope you will like it https://youtu.be/NyiLN4jD1LY https://youtu.be/a-JwpEhvvKE https://youtu.be/axXFIQQSgcw |
Johnny Smith! Good call.This guy was all about broad strokes of elegant harmony and he was almost alone in the preference for ballads to medium tempo tunes.What a great legacy of all those Roost and Roulette records.There were a few albums on Verve with Hank Jones.Gibson honored him with his own model archtop,it was the Rolls Royce of their line in the 50's/60's.Those early albums with Stan Getz are superb.Here is a guy who came up in the 50's and made his own path.Late in his life he made an album or two with George Van Eps while he was retired in Colorado.There is one guy left alive who plays that style-Mundell Lowe.He must be in his 90's now.He was a studio guitarist in New York in the 50's as well. QUESTION...Anybody actually go to see either the MILES DAVIS or CHET BAKER films.....Please advise! |
Alex, this was almost the standard for "Moonlight in Vermont"; a lot of DJ's used it as a theme song when they came on late night; it is sooo mellow . https://www.youtube.com/watch?v=gRNpc-hFkCs Enjoy the music |
Alex, thanks for bringing Johnny Smith back to the discussion. What a nice player! Beautiful and unaffected guitar sound and feel. Jazzcourier points out his affinity for medium tempo tunes and ballads. Ballads are probably the biggest test of any player's true mettle not having the "crutch" of the opportunity to simply show off sheer and sometimes meaningless chops. Perhaps there is some significance to his choice of title for this tune: https://m.youtube.com/watch?v=gobhuQ9BKWg However, this is not to say he couldn't tear it up when he wanted to: https://m.youtube.com/watch?v=L4wbcMR3chk |
This guy can become habit forming. I read the title of the tune and thought "surely you jest'. Ended up grinning throughout the whole thing. great stuff. https://www.youtube.com/watch?v=tjpjGSr38d4 Cheers |
Rok, "Finger Poppin"; another classic Silver recording! "Cookin At The Continental" has always been one of my favorite Silver tunes and my favorite on the record. I believe this is the first recording by the classic Silver Quintet and those guys were in top form. Mitchell sounds amazing and "Cookin" has one of my favorite Silver solos of all time. Great stuff! Delta City Blues: What can be said about Michael Brecker that hasn’t been said a thousand times over? First of all, probably the greatest saxophone virtuoso (any genre, including classical) that ever lived. He was able to do things on the instrument that no one else could and with an ease that was hard to believe. Stylistically, obviously coming out of the Coltrane school, harmonic approach-wise and tone-wise. It is not too much of a stretch to say that he was the most influential saxophone player of his generation with scores of young saxophone players copying Breckerisms over the last four decades. Even the prominent younger tenor players who strive to stay "closer to the farm" (at least in their own minds) can be heard to show his influence; especially in how they inflect certain notes on the instrument. Amazing instrumentalist and, within his stylistic world, an amazing jazz player. He was also one of the most humble individuals you could ever meet. His recent death after a long illness was a great loss to the saxophone world. Thanks for that great clip. |
I had an opportunity to hear him live, almost 18 years ago, in my hometown. Funny thing was that the concert started hour after midnight, because there was another performer, before, on the same stage, in towns theatre. So, untill one concert started, finished, and the time that was needed to set up another performance, the time ran away, which was fine for everybody. Remember that he joked that after the concert he has a flight to catch and that he will go directly to airport, because the audience kept him on stage with constant demands for more encore. Found some old link with program http://mariomendes.tripod.com/ Could not find the link with actual performance, aldo the national tv recorded it, but here is the link with concert of Joe Zawinul Syndicate from next year. The quality is not the best, the music is fusion, but it can show glims of atmosphere and interview with Zawinull himself (around 5:50) if someone is interested. https://youtu.be/HPB1v5w9A5g Must add that I had the privilege to see Abbey Lincoln, Charlie Haden, Randy Weston, among others, that same year. It was quite an expirience.If somehow find those tapes, will post them |
Review by Steve Huey [-] Grant Green recorded so much high-quality music for Blue Note during the first half of the '60s that a number of excellent sessions went unissued at the time. Even so, it's still hard to figure out why 1964's Matador was only released in Japan in 1979, prior to its U.S. CD reissue in 1990 -- it's a classic and easily one of Green's finest albums. In contrast to the soul-jazz and jazz-funk for which Green is chiefly remembered, Matador is a cool-toned, straight-ahead modal workout that features some of Green's most advanced improvisation, even more so than his sessions with Larry Young. Part of the reason for that is that Green is really pushed by his stellar backing unit: pianist McCoy Tyner, bassist Bob Cranshaw, and drummer Elvin Jones. Not only is Green leading a group that features one-half of the classic Coltrane Quartet, but he even takes on Coltrane's groundbreaking arrangement of "My Favorite Things" -- and more than holds his own over ten-plus minutes. In fact, every track on the album is around that length; there are extended explorations of two Green originals ("Green Jeans" and the title track) and Duke Pearson's Middle Eastern-tinged "Bedouin," plus the bonus cut "Wives and Lovers," a swinging Bacharach pop tune not on the Japanese issue. The group interplay is consistently strong, but really the spotlight falls chiefly on Green, whose crystal-clear articulation flourishes in this setting. And, for all of Matador's advanced musicality, it ends up being surprisingly accessible. This sound may not be Green's claim to fame, but Matador remains one of his greatest achievements. Anybody who has been following this thread knows why I'm posting this, in case they don't know I'll tell you why; Grant Green died in poverty, although he made many boss albums that were not released. This album was released in Japan, probably after his death; the question is WHY? If you're interested, you can read over back posts in this thread. enjoy the music. |
Some favorite Michael Brecker: With the great Freddie Hubbard from the album "Mel Lewis And Friends" (1976): https://m.youtube.com/watch?list=PLeDkO1et6hFxVGTL0j8Hkr_syHZXVS440&v=jF6N-qGJDTg From "Tales From The Hudson" (1996): https://m.youtube.com/watch?v=cGIwQ7RyCEA https://m.youtube.com/watch?v=Il20CIZP_i0 |
I first heard Grant Green when I was 16 and he was 23; he sounded then, just like he sounds on this post; I'm feeling the spirit yall, and I'm going to "Go Down Moses" https://www.youtube.com/watch?v=jRyz7aWcxUc Now I'm going with Joshua, and me and him gonna "Fit De Battle Of Jericho". Can I git a witness! https://www.youtube.com/watch?v=1yVPWY7Kx-M Enjoy the music. |
Michael Brecker: A virtuoso who can play! I really enjoy listening to his music. Solos are so coherent. Today's Listen: Horace Silver & The Silver Brass Ensemble -- IT'S GOT TO BE FUNKY (1993) https://www.youtube.com/watch?v=0noGBH68qkM The most interesting tune was a vocal version of 'song for my father, vocals by Andy Bey. Not on you-tube. This is the tune with the Brass ensemble minus Bey. Poor sound quality. Not sure the ensemble adds anything. Blue Mitchell and et al were just fine. https://www.youtube.com/watch?v=GV3j9mjsfs8 Cheers |
"It's Got To Be Funky": Listened to the clip before reading the second part of your post. My first thought was: "some writers are small ensemble writers; it's a different skill to write for large ensemble". Eventhough the first "Silver And Brass" record worked well, I don't think this is as successful. I agree, I don't think the ensemble adds much. Also, I don't like the drummer; kinda loose and sloppy and not terribly "funky". "It's Got To Be Funky": 1993 Bootleg concert recording ("Song FMF"): 1994. Same bass player, different drummer. Hmmmm! Coincidence? Not too many players would "turn down" a tour with Horace Silver 🤔 |
As I stated once before, I heard Grant Green when he was playing for "Grant Green" and nobody else. This was in St. Louis before Blue Note even heard of him. Although I was too young to be in an establishment that sold alcoholic beverages, I was tall, and wore a hat to look older. Anywhere there was live jazz, me and my high school buddies could be found. When we heard that Grant Green was playing at a club that we often passed by, you bet; we were there. That was a long time ago, and my memory is not so good that I remember who was playing with him, or even if he had anyone playing with him. Since there was no admission, the club was packed, standing room only. That was just fine for us, because we were underage, and no one would notice this in a packed dimly lit nightclub. What I do remember is the sound of his guitar, and him; lean Grant Green with a head full of thick black hair, half standing, half leaning against a high bar stool. He was more playing to himself, than he was to the crowd of people. They were just like me and my buddies; we couldn't get enough of Grant Green's jazz guitar; all I ever heard him play was boss jazz; I can close my eyes and still hear them licks ringing in my ears. Every time he struck a note, it came ringing off that guitar like a rifle bullet, and penetrated your musical mind. Not before, not since, has anyone struck notes that rung like his. I was listening to Grant Green before Blue Note ever heard of "Grant Green", and he was playing some boss "jazz guitar" then; how could he have been playing some kind of "Sub-Standard" jazz that was not fit for release after that time? Now I find that his records that were not released, (which were supposedly sub-standard) were the best that he ever made; the question is WHY? I just received a CD titled "His Majesty King Funk" and Grant is striking some "Boss Jazz" licks even on this album. The organ is in the "funk" groove, but Grant's guitar is still striking some boss jazz licks. I got it posted here so you don't have to take my word for it. https://www.youtube.com/watch?v=Dce3qcQ6qeE I heard the man when he was playing for himself, we all knew Grant, he didn't have to impress us; he was playing what he felt, and it came out in those ringing notes. Although I have a lot of Grant Green CD's, the question arose in my mind, "Why don't I have Grant Green records"? I love jazz guitar, and I've got a lot of Kenny Burrell records, why don't I have Grant Green records? The reason I don't have Grant Green records is because they were not released. Enjoy the music. |
You got that right Jafant, Grant Green can put you in a mellow mood around midnight. https://www.youtube.com/watch?v=XPeFWcD2idg Enjoy the music. |
I've written so much about Grant Green, and him being from St. Louis; that a person could think we were friends. That's a misconception that I may have unintentionally given. I know as much about Grant Green the person, as you do. He requested to see me at the club where he was appearing because we know some of the same people, and he knew, that I knew, what he wanted to know. When I told him, he told me I was lying, got angry and walked off. Now I can't think of a worse way to meet your idol face to face than that. (when I say my idol, I am referring to his music ) That conversation is moot because it will never be revealed to anyone; but my feelings were really hurt. That's the extent of my acquaintance with Mr. Grant Green. The reason I mention this is because it might be implied that I have some personal feelings toward Mr. Green that affect my evaluation of his music. Even if I loved Mr. Green like a brother, if he played lousy music, I wouldn't even mention him; but as it happens, his music resonates with my musical psyche. That could have something to do with us being from the same town. Since I haven't ran across any music by Mr. Green that I didn't like, I felt I should clear that up. Enjoy the music. |
Today's Listen: Sonny Rollins -- +3 Where would Jazz be without the Saxophone? Two of the most impressive Jazz photos on the front and rear covers. He seems to play a lot of standards. Electric bass. He is old enough to know better. But even that is not a distraction from this music. https://www.youtube.com/watch?v=ynQP8kSUFZ4 https://www.youtube.com/watch?v=UpMooHZT2bs Cheers |
The tone, and timbre of Sonny Rollins "jazz sax", is the most recognizable there is, for me; it's almost like a person speaking. When you hear that voice, you know who it is, and this has gone on through the years. One of the very first albums I bought was Diz, Stitt, and Rollins on the album "Duets". https://en.wikipedia.org/wiki/Duets_(Dizzy_Gillespie_album) The album was so good, that it was hard for me to pick out a favorite, but I'm going to pick a cut anyway; https://www.youtube.com/watch?v=P8iGRjnb2Ns Enjoy the music. |
Rok, Sonny is fond of playing tunes that are not only standards, but oftentimes very unlikely choices for a jazz rendition. Here's one of my favorite examples: http://youtu.be/vGnYd33z0Iw We've talked about players and singers who play exceptionally "in the pocket"; with exceptional time feel and very inside the beat. Sonny is on the short list of musicians who have (or had) that quality; alongside Pops, Ray Charles, James Brown, Miles and others. With Sonny, it's as if the rhythm section plays to HIS time feel instead of the other way around. Nice clips from "+3", thanks. Re "Duets": I'm sure the OP is aware of this detail since he is so intimately familiar with Sonny's "tone and timbre"; but, since the current topic is Sonny Rollins and we certainly wouldn't want to mislead any aspirants to "true aficionado" status, it should be pointed out that the tenor player on the "Con Alma" clip that he posted is not Rollins, it is Stitt. |
Frogman, you've gone mad. I posted the link to the album that featured "Diz, Stitt, and Rollins"; that was sufficient enough. I picked my favorite tune on that particular album with no reference to Rollins on that particular cut; now I didn't know we were playing some kind of game called "Name the sax, on that solo". Enjoy the music. |
Frogman, the link I posted clearly states who is playing on what cut. Anyone reading my post could go to tracks 1, 2 & 5 as is stated on the link; if they specifically wanted to hear Sonny Rollins; my favorite cut on that album has existed since the Summer of 59 when I bought it, and that has not changed. In high school, I even had a shirt like the one Sonny Stitt is wearing; they must have been very popular when he bought his; if you notice, his is very shiny. Chill out and enjoy the music. |
This has got to be one of the baddest jams I have ever heard in my entire life, and since he was "hometown", I got to hear it live and often. Like Monk likes to work his jams many different ways, especially when he was live; I got to hear this in and out; upside down if that's the way "Homey" wanted to work it; what I'm getting at, is just like Horace Silver could work "Senor Blues" many different ways when live; Homey could work his jam many different ways, and I was there, with my lady friend, who dug jazz every bit as much as me. This was at a fashionable club where we always had a table close to the bandstand in order to absorb every note that rang off Homey's guitar. This is the same jam three different times by the same person, my favorite is the one off the scratchy record, that must be the original. My computer has a program that cleans that up. Naturally there is no comparison to this and live, but this is the best I can do. Once you got caught up in "the flow" it was like riding on a kite, and "Homey" could work it for 15 spell bound minutes. Every time he was there, I was there. https://www.youtube.com/watch?v=-e5FVMt0FVw https://www.youtube.com/watch?v=-eoL8Z4_MWQ https://www.youtube.com/watch?v=YyE59uG0nBc Enjoy the music. |
O10, Man, oh man, oh man, THANK YOU for the Eddie Fisher clips. I’ve never hear of this guy and like you said, I got lost listening to these clips. You made my day. -- Bob Here’s a mighty fine clip of the Steve Gadd band grooving hard. (Just had to contribute something. https://www.youtube.com/watch?v=3xCwOqL2S74 |
Jzzmusician, I must first commend you on your keen sense of hearing and good taste. Vintage vinyl is a good place to start for a scratchy record. That's what I started with, and had my computer program clean it up. Now it sounds silky smooth on playback. Here's where to start, Vintage Vinyl; I've been doing business with these guys since way before CD's were invented. http://www.vintagevinyl.com/ I'm sure they will be able to help you. Enjoy the music. |
I had not heard that Eddie Fisher "Third cup" in many years.The fact that it was on Cadet records out of Chicago was enough to buy it when it came out.I bought all the Blues on Chess/Cadet,or as much as i could afford at that time.The Fisher record was a little mysterious as there was little that fell into this category and grooved in a "Cristo Redemptor" kind of way.,only with guitar and this presaged the entire 70's Soul/Jazz thing.His second record was gawdawful with extreme wah wah on most tracks,that also presaged the worst part of the next decade. I was surprised to see the performance video and as i recall he passed in 1994? Had no idea who,what or where on this guy. OK...Listen up...You want a copy of "Third Cup" go to DISCOGS.COM and put it in the search and you will find there are many for sale and a decent copy looks to be had for about 12.00 new unplayed recent reissue. You take a look and decide what works for you.Duscogs is a good site full of reputable sellers,i buy there all the time. Eddie Fisher,you had a good five minutes of fame,rest easy. |
Today's Listen: Sonny Rollins -- A NIGHT AT THE VILLAGE VANGUARD vol 1 My CD is the mono version. I hope the RvG version is better sound quality. I get the impression this guy is messin' with us. https://www.youtube.com/watch?v=58fuTxAMYfA https://www.youtube.com/watch?v=60SLVk2Sllk Cheers |
Not a big fan of the soul guitar thing. I like Eddie Fisher's sound and feel, just not his choice of "bag" so much; a little too "smooth" for me. Also, some serious tuning issues in "The Third Cup"; very flat to the organ. Surprised they let that slip by. I kinda like him, though. Alex introduced me to this guy and I would prefer to listen to this which leans more to the funk farm than the soul farm; just my preference. https://m.youtube.com/watch?v=EPARbr-Ie54 https://m.youtube.com/watch?v=-GipxvHw8A8 |
Sonny, "Live At The Village Vaguard": When all is said and done, probably my favorite Sonny recording; even above "Saxophone Colossus". Perhaps the best example of what can be done with a piano-less trio. I have four copies of this lp and have worn two of them out (the ones I've had since before, well...you know...the high end audio stuff) . Have played this recording perhaps more than any other tenor saxophone recording. Absolutely brilliant example of the art of improvisation from one of the geniuses of the music. Fascinating how a tenor player can be so hip and harmonically sophisticated while escaping the almost inescapable Coltrane influence. Rhythmically commanding like no one else. For me, a more direct connection to and lineage with the great swing players; brought to modern times of course. Can you tell I like this guy? Thank you for a very timely post! I can listen to this forever. Speaking of audio, also great example of why there's something special about a good mono recording. As with most things, and certainly in music, less is more. |
Just listen to this guitar and you'll know why Grant Green is my favorite guitarist; I mean he can pluck that thang, plus this is a boss jam. https://www.youtube.com/watch?v=DC0qN0SquJM That was "Live At The Lighthouse". Although it's called "Jazz-funk", Grant's licks are more jazz than funk. It was recorded at the Lighthouse Club in Hermosa Beach, California on April 21, 1972. There is not one weak cut on this album; here's "Walk In The Night", that guy on soprano sax is Claude Bartee, him and Grant kick it up a notch. This jam is all the way live. https://www.youtube.com/watch?v=mW_YbNKAXfA Enjoy the music. |
When I saw Eddie Fisher live, and he mentioned the guys he was working with had only heard the jam that morning, it made me think about my "jazz friend"; the people he worked with had only one hour to get ready for show time. What I will never be able to understand, is how can these guys who barely met one another, play together so coherently? I recall one hour before "show time" when my friend was staying at my apartment, these musicians who he just met, on the bandstand talking musician talk, (Greek to me). Ain't no way this can work, I thought, but it always did. I have no idea who you call, or what you ask for when you want musicians to work with you; there has to be a special way to do this. That was one fun Summer. I was on sick leave, and bored out of my mind when my friend came to my apartment. I could see that he had something heavy on his mind, but I didn't ask any questions. The way I saw it, I had two jobs; one was not to ask too many questions, and the other was to keep him from thinking about what ever was troubling him so. No, I never knew what it was, nor did I ever ask him; he seemed happiest telling me about his life as a professional jazz musician, and I was happiest listening to his almost unbelievable life. If you read Anita O Days autobiography, or Art Peppers, or one of the many other "professional jazz musicians" autobiography's, you know how eventful their lives are. I had been an ardent fan of his music for six years, consequently I was familiar with it; but I was floored every time he got on the bandstand, because I hadn't heard this music before. Since I'm not a musician, he certainly couldn't explain to me what was so different, and he never tried. After the performance, my job was getting us to the best bowl of chili. There were two places in St. Louis where the chili was world famous, now there's no place to get a good bowl of chili. Only a connoisseur knows what a good bowl of chili tastes like; he was a connoisseur. After two bowls of chili with spaghetti for me, and one for him, time to go home. Neither one of us needed a lot of sleep, and I was on sick leave at that time. Symbiosis is defined as a mutually beneficial relationship between two people. He enjoyed telling me about his life as a professional jazz musician, and I enjoyed listening; that was the fundamental basis of our relationship. He was the only jazz musician who I was ever close to, consequently I can make no comparisons; but he was exactly what I expected a jazz musician would be; the way he dressed, talked and even walked. He was cool and hip, without for one instant, ever trying to be either one. Although he made sure his clothes were pressed, and clean, he never made any effort to dress; he just put on some clothes every day. "That sure is hip", I thought, what ever he was wearing. I had read about Django Reinhardt, and saw pictures of him dressed casually, and that's as close as I can come to my friend; Django always looked hip to me, and my friend had a Gypsy personality. One day I went to my car, and he was in the drivers seat; "Just what do you think you're going to do"? "What does it look like"? "But you ain't got no keys, and no car", I responded; he just sat there. "People from New York don't know how to drive, and you been in New York too long for me". After a long hesitation, I handed him the keys, and we went cruising. I took a picture of him in my mind; "Gangster lean, hat cocked ace deuce; he looked the part of a big city driver anyway." Enjoy the music. |
Since you folks insist on leaving the Jazz reservation, why not go here. Gotta listen at volume! A lot going on here. https://www.youtube.com/watch?v=WFmCCxMp7BE Cheers |
Rok, I can leave the reservation any time for music like that. Late night and a glass of wine (or whatever), and the volume up a notch. Here's another one from the same album; it's instrumental, closer to the jazz reservation. This music is also well recorded. https://www.youtube.com/watch?v=DZmeFGmiQDI Enjoy the music. |
Rok, when I was in LA sometime ago, there was a car in front of "Dino's" that looked like that, two tone and all. I could not name one single car parked in front of "Dino's". I asked the guy showing me around LA, if we should stop at "Dino's" and have a drink. Those cars parked out front told us the answer to that question, he just smiled. Enjoy the music. |
I've got a question for all jazz musicians; say you come to St. Louis and you want to gig. Since you're a well known artist, that wont be an especially big problem, but you want two more musicians to form a trio. This was in 1969; whatever difference that would make between now and then, you would know. How do you select and get these other two musicians. All you'll be playing is improvisational jazz, no "Moonlight In Vermont" or other standards, just straight up jazz; who do you call to get these other two musicians? Enjoy the music. |
I would be glad to give you an answer that I guarantee is accurate. However, and I think it's very unfortunate that it's come to this, I have to say that I will not engage in yet another ridiculous dispute with you. My answer will be an honest one and for it to have any meaning it will necessarily start by my pointing out that there are some fundamental problems with your basic premise; at least the way you have worded it. The problems (per your wording) point to a lack of understanding not only about the business, but also about the music itself. If interested, let me know and I can respond later this evening. |
Frogman, that was a completely honest question, and it partially relates to how well those musicians played with Eddie Fisher without any rehearsal of his music. No, I don't know enough about music to properly word a serious question, but in this instance I would like to learn and I'll be looking for your honest response. Enjoy the music. |
Somebody went off the "reservation"....? I didn't realize that there was a security guard on duty on this thread? FYI using the term "reservation" and what it implies (indigenous people rounded up and imprisoned) and how it was implied,has a very nasty racist overtone and will not,i assure you, be tolerated.I think an explanation AND an apology is in order,and just THINK before you type. |
