I hate to disappoint you Frogman, but the Art Blakey story is a sad one and I've had my fill of sad stories. I think I'll even switch genres today, how about some "World Music". How about "Jai Uttall", what a name; although he grew up in New York City (you might have known him Frogman) Indian music touched him at 17, and he moved to California where he studied under the famous Sarod player, Ali Akbar Khan. He later began regular pilgrimages to India, living among the Bauls; they're wandering street musicians. He became deeply absorbed in the practice of kirtan, the ancient yoga of chanting, or singing to God. This form of prayer became the core to Uttal’s musical and spiritual life. I have this CD "Beggars and Saints" of his that appeals to me. Here's "Be With You", it speaks of long lost love, the kind one never forgets. https://www.youtube.com/watch?v=_VyIlINNME4Now we get into the real deal, "Shiva Shankara"; anytime you hear the name "Shiva", you know you're deep into it. https://www.youtube.com/watch?v=bnMbMxQFk40This music will make you forget whatever ails you, it might even cause you to go into a state of transcendental meditation and never return. https://www.youtube.com/watch?v=fHIgJlDH2dMEnjoy the music. |
Now that I'm out of that state of transcendental meditation, it's time to get back to the state of jazz, where the word on the street in the late 50's and early 60's was "Lee Morgan" was the best trumpet ever; he certainly got my vote. Right now I'm examining this box set. For once I'll have to ask Frogmans advice. Frogman, what do you think about Lee Morgans "Blue Note" box set The one where you get 6 CD's for $15.00? When I look at these box sets, I see too much that's missing, and I think the recording quality might be better by just buying the CD's with favorite tunes? http://www.amazon.com/dp/B00QR1JYUI/ref=pd_lpo_sbs_dp_ss_1?pf_rd_p=1944687442&pf_rd_s=lpo-top-st...Can I get the Frogman's invaluable opinion? Enjoy the music. |
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Frogman, when I saw Trane in 63, this is about how long he played "MY Favorite Things". They began just like it sounds on the album and they continued after that. Trane went on until he lost McCoy Tyner and Elvin Jones. They decided to stay together and let Trane come back to them. The lady I was with, wanted to know if Trane was on something, but the musician at the table assured us he was clean. Right now I'm trying to find some music that resembles what Trane was playing, and this is it. https://www.youtube.com/watch?v=kjDrkTmqxQkThis is "The Olantunji Concert", This is what Trane was playing after he had worked "My Favorite Things" as far as it would logically go. This was recorded in 1967 and it 34:38 long. This is what Trane sounded like when he lost Elvin Jones and Tyner in 63. I said it once, and I'll say it again, he should have stopped before he got this far out because he was pleasing no one but himself as far as I can see; but I know you being the "alpha musician", scratch that "the consummate musician" can enlighten us farther, and explain how this was the way to go. Enjoy the music. |
Rok, nice tribute to Gladys Knight. I’ve always been a fan and although I’ve never heard her live I am not surprised to learn that she is such a warm person; that smile says warmth. Made me think of this old record of mine by another R&B diva: https://m.youtube.com/watch?v=NaeNfB-tb7g |
*****
Rok, nice tribute to Gladys Knight*****
As much as I love Gladys, the post was from O-10. I spent the day listening to my recently received "Water Music" by the Akademie fur Alte Musik Berlin.
But it is nice to be confused with a Grand Poobah. Heady stuff.
Cheers |
O-10, nice tribute to Gladys Knight. I’ve always been a fan and although I’ve never heard her live I am not surprised to learn that she is such a warm person; that smile says warmth. Made me think of this old record of mine by another R&B diva: https://m.youtube.com/watch?v=NaeNfB-tb7g |
**** I spent the day listening to my recently received "Water Music" by the Akademie fur Alte Musik Berlin.**** What’s the verdict? Speaking of Mavis Staples: In spite of my general skepticism about pc (perhaps because of it?), I always hesitate posting music with such a strong social consciousness message since some things are too deeply personal for the impersonal nature of the Internet, but I love this record’s music and production (Ry Cooder) and I love this woman’s voice: https://m.youtube.com/playlist?list=PLJ7QPuvv91Js9joIUEy40HWLH4i2lQTOU |
Water Music: You would not believe how many performances of this music I own. I love it. I like this one even better after seeing the video. My first, and still my favorite, was by The Academy of Ancient Music with Christopher Hogwood. Still has the Tag from The German store where I bought it. Radio Pruy, 35.80 DM. Marvis Staples: Gotta have it!! She hit most of the Anthems of the Civil Rights Movement. All very well done. Born in Chicago, which is not her fault, and since Pops Staples was from Mississippi, she is authorized. Questions to The Frogman: I 'stumbled' upon this on youtube. Surely I wouldn't seek out Stravinsky. :) This is a HUGE orchestra. They have at least 8 horn players. Does the music dictate this? When the players have to turn the pages of the music, is any consideration given, during the printing of the sheet music, to what is being played by a particular instrument at the end of the page? IOW, would the sheet come to an end in the middle of a very difficult passage? I noticed the violin player sitting next to the Principal, stopped playing, to turn the page. https://www.youtube.com/watch?v=5UJOaGIhG7A |
ouch!! posted too soon. The clip is at the very bottom. I wanted to Add -- if a player stops playing to turn the page, is just assumed that player's part will not be played for those few measures?
Cheers |
Frogman, That was some of the most moving music I've heard. That kind of social interest and motivation that existed then is dead and buried.
If you want to understand the "antagonist", the people responsible for the social injustice, read "The Collected Short Stories of Eudora Welty". That woman understood southerners better than they understood themselves.
Eudora Welty was born in Jackson, Mississippi in 1909, and died in 2001; she lived a long time, and she spent all that time observing and writing mostly about Southerners. Not until you truly understand what motivated Southerners, can you truly understand their actions.
She could illustrate in her short stories, better than anyone else I've read, how people in Mississippi were raised from the cradle to the grave, in a fashion that motivated them to do the things they did.
I really enjoyed the music.
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Stravinsky "Sacre": One of the very greatest 20th century works. Amazing piece of music! Huge orchestra. Yes, the music dictates that; that is how the composer scored it. As you say, eight horns; and, two of them double on Wagner tubas. Two of the trumpets double on bass (!) trumpet. This is a brilliant piece of orchestration genius and definitely not a case of "let's throw everything in there but the kitchen sink" resulting in many fantastic colors and textures. As an aside: this being a work written for a ballet and ballet orchestras having to be in a pit, there is a version of this work (done by Stravinsky himself) for reduced orchestra in order for the musicians to fit into the typically smaller space in a pit.
Good question re the printing of the music. That is one of the jobs of a good editor and printer (publisher), to account for precisely what you describe. It is the bane of every player's existence when a publisher does NOT do that and the music is printed in such a way that you have to turn the page in the middle of a passage. They usually try and have the music at the end of a page end with a rest. What you saw from the violinists is standard protocol; the stand partner turns while the other player keeps playing.
BTW, Van Sweden will be the NY Phil's next music director beginning 2017. |
This amounts to a Classical Jam session. I love the facial expressions and antics of the Soloist, The Principal, and the female cellist. Notice how the Soloist and the Principal communicate without words. She seems to be watching the Bow of the Soloist. Love it!!! https://www.youtube.com/watch?v=zzE-kVadtNwThanks for the info on printing scores. *****
Stravinsky "Sacre": One of the very greatest 20th century works. Amazing piece of music! ***** A simple "nice clip" would have sufficed. Cheers |
"nice clip"/Stravinsky "Sacre" : "nice tune"/Ellington "Black, Brown and Beige" 😉
BTW, this was what I originally wrote and partially deleted before posting:
++++One of the very greatest 20th century works. Amazing piece of music! Up there with Classical works of.....well, let's go slow++++
O-10, glad you enjoyed that. I am looking forward to seeing Mavis Staples live this July. |
Vivaldi:
Nice! First of all, if I were one of those players I’d be watching her bow as well as her....ahem....what a beauty and what a player!
You made a comment recently about "heady stuff". Here’s some heady stuff: at the end of the day, as far as the CORE values of music making are concerned, there is FAR MORE commonality between this and the best jazz playing than there are differences. I’ll go hide now.
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Frogman, you really like to fit square pegs into round holes; "All I have to do is chisel off the corners, and I got a perfect fit"
Vivaldi: Vier jaargetijden/Quattro Stagioni - Janine Jansen - Internationaal Kamermuziek Festival
That music was just what I needed for checking out my speakers; there's such a fine line between screeching, and not screeching with violins.
Since it was piped into the main rig, I was in the dark in regard to the visual, but I enjoyed the music more. Although it sent me into "sleep mode", I needed a nap, and it was still playing when I woke up.
For a long time I had been wondering about my speakers, now I pronounce them fit to do battle with any genre of music..
Enjoy the music.
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Rok, if you and Frogman gave me some of that KOOL AID yall been drinkin, there's no telling what I might hear; I might even be able to hear some classical music from a tribe of pygmies in the jungle.
Enjoy the music.
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What are we going to do next? I'm sure we haven't been through Lee Morgan.
Enjoy the music.
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****Frogman, you really like to fit square pegs into round holes; "All I have to do is chisel off the corners, and I got a perfect fit"***
Not at all. The first problem with that comment is that you somehow equated "commonality of CORE values" with "perfect fit". The good stuff in understanding why the two things are completely different.
Now, this is good; really good. I am being sincere, O-10; really good! What am I talking about? OK:
I welcome your comments. You expressed your viewpoint and I can agree or disagree; and, as far as I am concerned, there then is the potential for interesting dialogue. However, it needs to be pointed out that there were three options for me:
1. I could just ignore the comment; what some might say is taking the high road (how boring).
2. I could retort, as I did, and hope for the mature, uncontentious, hopefully interesting dialogue. Or:
3. I could react by saying something like (and I will quote someone):
"Why are you directing that BS at me" or
"I was having a dialogue that you had no business joining" or
"You're drinking the Kool-aid" or
"You're just talking smack" or
"You're phaking the phunk" or
"Why are you always ready to pounce on me" or, or, or
In the interest of better and more mature dialogue, O-10, I hope you get my drift. I prefer #2.
Regards.
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Frogman, I thought you were making more of a humorous statement than a serious one, and square pegs into round holes was meant to be humorous.
I am not in a rancorous mood, and have no intention of getting into one; you're going to have to play this match with no one on the other side of the net.
Enjoy the music.
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Lee Morgan recorded prolifically from 1956 until a day before his death in February 1972. His primary stylistic influence was Clifford Brown, with whom he took a few lessons as a teenager. He began recording for Blue Note Records in 1956, eventually recording 25 albums as a leader. In 1958 he joined the Messengers, and was the featured trumpet on "Moanin", their best selling album. After his commercial success of "The Sidewinder", Blue Note encouraged it's other artist to emulate it's "Boogaloo" beat. According to drummer Billy Hart, Morgan said he had recorded "The Sidewinder" as filler for the album, and was bemused that it had turned into his biggest hit. He felt that his playing was much more advanced on Grachan Moncur III's essentially avant-garde Evolution album, recorded a month earlier, on November 21, 1963. In my opinion, formula and jazz don't mix, you're heading for a jazzwreck. Fortunately Morgan didn't listen too well, because he recorded "Search For The New Land" in 64 which is definitely not formula, but some of the finest jazz in my collection. Lee Morgan recorded so prolifically that I don't have a large portion of his works; normally I would scrutinize each individual album before purchase, but this time I'm going to see what I ain't got and get it. There are two things I'm concerned about, that's recording quality and music; his large box set has so much music that I can't go wrong there, and if the recording quality is not the best, I can re-purchase the one's I like most. Here is a link that will prove invaluable in helping you to fill in the gaps in your Lee Morgan collection. https://en.wikipedia.org/wiki/Lee_Morgan_discographyEnjoy the music. |
Lee Morgan is a player I would be very interested in discussing and learning more about. I only have a few of the albums he is on, and I don't think I have any that he is the leader on. I would love to hear what everyone's favorite albums of his are. |
Loving the discussion of classical. When I invite a friend over for serious listening we always start with jazz. I play a cut, he plays a cut, etc. Then we find the blues, a little r&b and then classical. Sometimes opera and then make our way back to jazz. I've been fortunate enough to have had friends that teach jazz at the college level and very often they will ask their student in a jazz band to "sing their part." This is done for a variety of reasons I won't go into here. Bobby McFerrin takes this to a whole new level. This is a fun clip. Bob https://www.youtube.com/watch?v=klc6nH8E_QwAnd for those that are curious; some of my favorite classical composers are Steve Reich, George Rochberg, Schoenberg and Frank Zappa. |
Learsfool, Lee Morgan is so fantastic, that I can't think of a bad cut, when I've heard bad cuts by Charley Parker. Picking out the best is quite a job, but I pick the album, "Search For The New Land", every cut on that album is boss. https://www.youtube.com/watch?v=YDfkkRa1VA8Enjoy the music. |
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Voted the best orchestra in the world by BBC Music Magazine a while back. They play like they are indeed.
The Frogman:
Only two horn players. I always thought the horns played a prominent role in the 7th. I thought there would be more.
At the end of movements at, 14:19, 24:09, and 34:11, The conductor turns not one page of his score but many pages. You have any idea what's on the pages he is bypassing?
Cheers
T |
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orpheus10-
I liked everything Coltrane did until he died. Yes, towards the end of his life, he did indeed stretch out pretty far. Nothing wrong w/ this.
Happy Listening! |
Learsfool, here's some more information on "Search For The New Land".
It's an album by jazz trumpeter Lee Morgan; a hard bop set with a group of well-known jazz musicians, Search for the New Land was recorded before The Sidewinder was released and is considered more abstract than its popular predecessor. Although it was recorded in 1964, the album was shelved for two years, then issued with the original catalogue number 84169. It is described by jazz commentator Scott Yanow as "one of the finest Lee Morgan records".
All songs composed by Lee Morgan.
"Search for the New Land" – 15:45
"The Joker" – 5:04
"Mr. Kenyatta" – 8:43
"Melancholee" – 6:14
"Morgan the Pirate" – 6:30
Personnel
Lee Morgan – trumpet
Wayne Shorter – tenor sax
Herbie Hancock – piano
Grant Green – guitar
Reggie Workman – bass
Billy Higgins – drums
That boss guitar solo that comes in at 9:18 is Grant Green; ain't it nice. I was wondering where Lee got that beautiful tone; he took lessons from Clifford Brown, where else. There is no more beautiful tone. Herbie Hancock really shines on this tune; as a matter of fact, all the musicians shine on this tune, thanks to Lee Morgan's beautiful composition.
Enjoy the music.
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You're absolutely correct jafant. |
Rok, if memory serves, only two of his symphonies (3&9) use more than two horns. (Learsfool?) Prominent in scoring not necessarily in numbers.
Conductor/score: As is pretty common with a work this popular, the conductor is conducting from memory. So, he conducts each movement from memory, but turns the pages to the beginning of each movement "just in case"; a security blanket if you will. Look closely, when he turns pages at the end of the first movement, you'll notice that he hasn't turned any pages up to that point. One of my very favorite orchestras, btw.
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Glad to see that the OP has had a revelation re late Coltrane 😉
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The Frogman:
Thanks for the info on LvB's 7th clip.
Cheers |
Hi Rok - Frogman is correct. Most Beethoven symphonies are scored for only two horns. The exceptions are #3, which is scored for three, and #9, which is scored for four. Sometimes you will see more than two players, though. In these cases, some of the sections of the work are being doubled - many conductors like to do this, though the players themselves almost never like to do that. Sometimes you might see three people out there in a piece scored for two, or more commonly five players out there for a piece scored for four horns. In this case, the extra player is called the assistant. They don't have their own part; they are there to assist the other players, mostly the principal. Many principal players would use an assistant for such a difficult work as the Beethoven 7th, though there is not being one used in that particular clip.
By the way, another reason that the conductor could be turning over many pages at once is if they are going back to take a repeat. Or, they could have put a cut in the work. In either case, you will see many pages being turned over at once. |
Hi O-10 - I have heard Sidewinder; I bought it on LP for my trumpet playing (not professionally) brother once, though I don't have my own copy. I have not heard Search For The New Land. Lee Morgan is one of his favorites, too. |
Learsfool, "Sidewinder" is a classic and probably his most famous recording; a great way for your brother to be introduced to Morgan. I think that to get a good overview of Lee Morgan that at least one of his early (50s) recordings needs to be included. One of my favorites (and from any period) is "Candy". It is also a recording that preceded the "bugaloo" feel jazz thing that he got into in the 60's and which, personally, I'm a little mixed about. He was 19 (!) when he recorded the record. Lots of youthful energy and is the probably the first record that shows a clearer personal style: https://m.youtube.com/watch?list=PLEED06302C1D6F617¶ms=OAFIAVgG&v=q8Fam5Gc50c&mode=NORMAL
I love that personal style. He had it all; great technique, range, rich and warm tone and all that great use of half-valving and grea combination of slurs and tonguing within the same phrase. And that swagger! I love the way he would play a great phrase with blinding speed and then lay back right at the end of the phrase and pull the time back. One of the truly distinctive stylists. Of the 60s recordings, "Cornbread" is one of my favorites, if anything, for this tune alone; although I confess to a bias as it was one of the first jazz tunes I learned. Hank Mobley's presence usually makes a record special: https://m.youtube.com/watch?v=ECw3WAX41OAOf his recordings as sideman the first that comes to mind is, of course, Coltrane's "Blue Trane"; a must-have record if ever there was one and one of my favorite Lee Morgan solos: https://m.youtube.com/watch?v=S1GrP6thz-kFor Lee Morgan in a larger ensemble setting this is a very interesting recording: https://m.youtube.com/watch?list=PL7712663461AF2184&v=r6-LxABMbKE |
Hope you will allow me, a jazz dilettante (and not an aficionado!) to jump in with a question on Lee Morgan. Years ago (70s/80s)I recall enjoying an LP of his, "Live At The Lighthouse". Confusing me now is that when I look at cover photos for this record, most seem to show him sitting (in sand under a boardwalk?). My recollection of that LP was a black and white photo of him on an all black cover. Might have been playing into a microphone...not sure. Anyone know what I might be talking about? Do I picture correctly The Lighthouse LP? or is there something else by him that looked the way I remember?? THANKS in advance for any attention you might care to give this bit of trivia/nostalgia. I'm looking on line and yet to see the album that I seem to recall.
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Ghosthouse:
It's on Amazon. Both LP covers. One CD is offered for a measly $587 dollars, US. No wonder I don't have it. But there is a 20 dollar CD.
Cheers |
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Thanks, Rok. Thanks Frogman.
What I remember is closer to the photo Frogman found (used on Disc 3 of the box set, I guess) though I don’t recall the funky Hawaiian shirt he’s wearing. I looked at the release versions listed in AllMusic (and on Discogs) but did not see a vinyl version that matched that photo. Maybe my memory of the album cover is faulty. I am certain it was Live at the Lighthouse and something I had on vinyl.
Rok interesting to note there were 2 different Lee Morgan albums called, "Live at the Lighthouse" but one has ’70 in the title. The one with ’70 in the title is kind of bogus. It was NOT actually recorded at the Lighthouse but rather at another SanFran club ("Both/And" according to a reviewer on Amazon) some weeks before the Lighthouse dates. That is the $20 CD on A’zon but it is NOT the one to get, apparently. Sound quality is reportedly bad. 3CD box set from the Lighthouse dates is the one to get...used for around $60. (I see that $587 version...maybe it’s a typo!...misplaced decimal).
FWIW - Spotify has the 3 CD box set version. They also have "Search for the New Land" Orpheus mentioned. Gonna be checking that later. The "more abstract" comment he made is intriguing.
Thanks to you both for looking.
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Ghosthouse, more abstract jazz is not for the casual listener, but those who can go into another zone with the musician. As a rule those albums don't sell well, but musicians make them for artistic sake, or their own soul satisfaction.
For example, "Search For The New Land", could easily be set to choreography; you can even visualize movement as they search for a new life, which is the deeper meaning.
lee Morgan was not a mental lightweight, and the even more abstract music he made with Grachan Moncur III was an indication of his deeper search in his music; in this case Grachan Moncur's music.
Grachan Moncur's "Evolution" is for those who listen intently, and become involved in the music, the lineup gives an indication of this: Grachan Moncur III (trombone); Jackie McLean (alto saxophone); Lee Morgan (trumpet); Bobby Hutcherson (vibraphone); Bob Cranshaw (bass); Tony Williams (drums).
Enjoy the music.
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****I said it once, and I'll say it again, he should have stopped before he got this far out because he was pleasing no one but himself as far as I can see; but I know you being the "alpha musician", scratch that "the consummate musician" can enlighten us farther, and explain how this was the way to go.**** - O-10
This question re Coltrane was asked by O-10. We can skip the "alpha" and "consummate" parts; I am neither and have no interest in more rancor. I bring this up ONLY in the interest of interesting discussion. I never answered the question because I felt it was laced with sarcasm; we can skip that part too, it's ok. I bring it up to answer the question; actually, to point out that O-10, himself, has answered it:
****more abstract jazz is not for the casual listener, but those who can go into another zone with the musician. As a rule those albums don't sell well, but musicians make them for artistic sake, or their own soul satisfaction.**** - O-10
The real question is: where do we draw the line and declare that the work is too abstract? We can't.
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*****
The real question is: where do we draw the line and declare that the work is too abstract? We can't.*****
Aficionados can't, but we of the Great Unwashed Can. And do.
Cheers |
Hello again Orpheus (regards to Frogman and Rok)...
I listened to Lee’s "Search for The New Land". I was glad to see this concept of "abstract" getting a little discussion before I responded to you here. I do think we have different things in mind when using or hearing the word, "abstract". For me Search was immediately accessible...not a painful or tedious exercise at all. More structured, melodic and rewarding than I expected.
I might be mixing things together inappropriately (probably am). When I hear abstract I expect a less/loosely structured composition possibly with elements of dissonance, and "free jazz"; sometimes a "difficult" listen.
I admittedly lack the music theory training to better describe what "abstract" means to me, so I’ll give a few examples of things that I consider abstract. (A number of things on the ECM label, as it turns out). Look forward to comments from yourself and others if this topic (how to define abstract as applied to jazz) seems worth pursuing. Maybe you won’t even think some of what I’ve listed qualifies (A) As Jazz and (B) As abstract! That’s OK too...I’m interested in other points of view.
In A Silent Way
Love Supreme
Out to Lunch
Rheomusi (Fabiano Araujo et al)
Dis (Jan Garbarek & Ralph Towner)
Magico (Garbarek w/Haden & Gismonti)
Sol Do Meio Dea (Gismonti)
I’m not saying I’m right and you’re wrong applying "abstract" to Search - please don’t misunderstand - but given my expectations for the word, Search for a New Land didn’t seem all that abstract to me.
BTW - quite the stellar group of musicians on that record. I really liked Wayne Shorter’s solo right before and through the 4 minute mark on Pirate Morgan.
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Grachun Moncur III is an artist I can only vaguely remember; he could only be found in "aficionados" collections that were so deep into the music, that they functioned as libraries, no, not mine; although I have heard of him. He is an American trombonist that was born in New York. When he was 11 he attended a private school where Dizzy Gillespie had studied. While still at school he began sitting in with touring jazz musicians on their way through town, including Art Blakey and Jackie McLean, with whom he formed a lasting friendship. https://en.wikipedia.org/wiki/Grachan_Moncur_IISometime when I can't find anything that appeals to me with a musician as leader, I do a whole lot better looking him up as a sideman. Herbie Hancock. "My Point of View" "Blind Man, Blind Man" – 8:19 "A Tribute to Someone" – 8:45 "King Cobra" – 6:55 "The Pleasure Is Mine" – 4:03 "And What If I Don't" – Personnel Herbie Hancock – piano Donald Byrd – trumpet Grachan Moncur III – trombone Hank Mobley – tenor saxophone Grant Green – guitar Chuck Israels – bass Tony Williams – drums https://www.youtube.com/watch?v=x9UZWDAoUZkAs well as I like Pepper Adams baritone sax, I don't have anything with him as leader that I like; it might be the same way with Grachun Moncur, that's why if you like this tune, you can help me look. Enjoy the music. |
I completely agree with your sentiments, comments and examples, ghosthouse; and they go precisely to what I was saying with my comment about not being able to draw the line. You also used two key words and considerations around the issue of "abstract": structure and dissonance. While it could be said that "Search For T N L" is "more abstract" than, say, "The Sidewinder" it is not a record that I personally would put on the "abstract" shelf in my record cabinet. The point is simply that to draw the line as an absolute is pointless; it is different for every listener and where we each draw it is not necessarily an indication of the ultimate value of the music. As Rok said, of course we can and do draw the line, but it serves little purpose to draw the line as an absolute other than to help us validate our individual biases and limitations as listeners. It is much more productive to keep the door open to more growth as a listener. Not necessarily to accept or like the music, but to not shut the door to the possibility of being able to understand it and maybe even like it one day; and to better appreciate certain aspects of the music we already like. |
Ghosthouse, I found "Search For The New Land" accessible as well, if I said it I'm getting ahead of myself, when I meant "Evolution" with Grachun Moncur. "Search For The New Land" I suppose was abstract when compared to "Side Winder". No Ghosthouse, you're not mixing anything up; having said that, I think we should go into what I consider "abstract" and it would indeed include Grachun Moncur's music as leader. Frogman, I'm not writing for "Down Beat" I'm writing for my taste, and how it sounded to me. Music is not "objective" like science or mathematics, it's very subjective, and whether one is a professor of music, or just a casual listener, that doesn't change. I can easily declare the work too abstract for me. Let us all address "The Olatunji Concert" which my statement was specifically based on. I said this is what Trane sounded like in 63, after he had carried the tune beyond what it was on the album. https://www.youtube.com/watch?v=kjDrkTmqxQkEnjoy the music. |
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