Jazz for aficionados
Ghosthouse there are so many facets in jazz that we've been through that I don't know if we touched on them since you were included. Have we touched on "Don Cherry"? https://www.youtube.com/watch?v=GAwRxXcxSgs |
Thanks to everyone. O - Don C was probably before I started visiting regularly. I know the name but never listened. Got Milarepa playing now. Pretty atmospheric. Sounds like something Miles would have done a la Silent Way or Bitches Brew. What's that little horn Don is holding? Either he has big hands or that thing is tiny! Pocket trumpet?? F - I did say my "fixation" on tone was a shallow reason! Hey, when you come up listening to Clapton, Page, Hendrix, West & Taylor and that's the sound that trained your ear, it's hard to adjust to this "clean" jazz sound. Seems kinda wimpy. I believe you when you say the Martino and Metheny solos weren't "abstract" but to my ear, hard to hear the connection back to the source. Would be interesting to hear a jazz guitar piece transcribed for, say, trumpet or VIBES (that's the ticket). Wonder how that would hit me. I really didn't HATE those 3 albums just not something I felt compelled to go and buy. On the other hand, if forced to pick one of those players to learn to love, I'm thinking it would be Wes Montgomery. Acman - Thanks for taking the time. Sideman vs group leader, might well make a difference. Joe Pass' work on that On Time recording you recommended (I believe) was very enjoyable even though I don't get all giddy about the sound. Rok - You are a card as they used to say. Good recommendation on that Smokin' at the Half Note. Fits Acman's sideman proposition. Thanks for all the tutorial attention, gents. Feeling a bit like the slow kid in class. :-) |
Rok, I started out with Hank in 63, but I see by his discography that I fell way behind. I'm going to correct that. From what I've heard from other musicians, he was a most likeable person. Here are the goods on him https://en.wikipedia.org/wiki/Hank_Crawford Enjoy the music. |
One of my faves. GREAT alto sound; especially on stuff that leans more to pop. Don't hold it against Hank, Rok, but he was one of Dave Sanborn's biggest influences. Crawford, along with players like Maceo Parker (James Brown), created a style of alto playing that was bastardized by an entire generation of "Smooth Jazz" alto players. They play with an over-the-top "emotionality" that I can't stand. Tone that is nasal, whiny and with way too much vibrato; like the guy on that Billy Ocean clip. What these young players often don't know is that the style didn't start with Sanborn, it started with Crawford. https://m.youtube.com/watch?v=4nbouwehaMY http://jazztimes.com/articles/25671-hank-crawford |
Frogman, I don't consider Hank "Pop or smooth jazz" soulful jazz maybe, but definitely not pop or smooth jazz. https://www.youtube.com/watch?v=bAxFv8UojKM What would you call this? |
Ghosthouse, if you don’t know this guy’s playing it might be more up your alley. Amazing prodigy as a child this French, Django Reindhart-influenced guitarist is an interesting and exciting player in a variety of styles from Gypsy swing to fusion: https://m.youtube.com/watch?v=Zs_qP1vT3Cw https://m.youtube.com/watch?v=6ROlGn_dZuo |
O-10, great clip; loved it. What would I call it? R&B. Some would refer to some R&B as "soul jazz". You said Hank Crawford was "soul jazz". From Wiki (if you won’t take my word for it 😉): ++Soul music (often referred to simply as soul), is a popular music genre that originated in the United States in the late 1950s and early 1960s. It combines elements of African-American gospel music, rhythm and blues and jazz.++ Also from Wiki: ++Rhythm and blues, often abbreviated as R&B or RnB, is a genre of popular music that originated in the 1940s.++ What do both descriptions have in common? "Popular". Isn’t that what I wrote? Actually, I said "leans toward pop". But, neither would I call jazz. That’s not to say Crawford didn’t sometimes play jazz; he did. The influence of R&B players on pop and Smooth Jazz players is undeniable; which is what I wrote. Thanks for the great clip. |
Just listened to my one and only Hank Crawford CD. A twofer. Two LPs on one CD. 'Mr Blues' and 'Mr Blues plays lady Soul'. No need for wiki. Some of the tune list: On a Clear Day Route 66 Lonely Avenue Soul Serenade Ain't No Way Baby I Love You Going Down Slow He plays a lot of popular music. But it's a lot more Jazzy, and enjoyable, than most of the recent posts. His tune selection, not his playing, reminds me of Houston Person or Bernard Purdie. Cheers Both of the LPs I have are on you-tube. |
Admittedly kinda late to the party, but wanted to weigh in on this. I understand completely what @frogman is getting at; and for the record, I would call what's in @orpheus10 's Hank Crawford youtube post some form of soul jazz. No doubt, Hank was one of the best. Also agree with observation about his influence on David Sanborn, although I never really thought about it that way. I caught Sanborn a few years back at Yoshi's San Francisco, and if I remember correctly, he gave homage to Maceo. My wife really likes him. We also saw Gerald Albright at the same venue, as he is one of her favorite artists (good show, BTW). You get the idea. At any rate, this seems to be a discussion about derivations on a theme ... whether it's jazz-funk, smooth jazz, new jazz, or soul jazz for that matter. To me, there's jazz and then there is everything else. With all due respect, label it what you will, but please don't call it jazz. I mean no disrespect to any of the regulars on this thread. So please forgive me if that appears a little strong. I have been incredibly blessed to have seen/heard many of the greats in this genre - from Adderley to Zawinul. One of my very early and fondest memories was being in the audience in '71 at a concert featuring Roland Kirk, Gerald Wilson, and Lee Morgan. Along the way there's been a sampling of so-called "smooth jazz" (which I enjoy) and soul jazz, like the stuff that CTI was putting out in the 70's and 80's. When I went to those clubs/shows to see/hear Hank Crawford, George Benson (when he first started singing), Stanley Turentine, Grover Washington, Esther Phillips, Johnny Hammond, and Lonnie Smith ... it was mostly because the women I dated at the time liked "new" jazz, but they didn't care for real jazz. What always struck me were those times when Grover, George, or Stanley played some of their old stuff - "straight ahead" jazz ... I was really diggin' it. Then the crowd would grow restless and bored. But they came alive as soon as there was something you could clap to or snap your fingers. It was during those times that I came to realize that many of those artists played that type of music because it was generally more popular and therefore, more profitable. Think of the transitions Wes Montgomery and Bird made, playing popular music with strings in order to make a living. As far as I can tell, so very few ever had much commercial success playing straight ahead jazz. Other than Miles or perhaps Herbie, I can't think of any. That is really a shame. Over the years, many Bay Area jazz-only clubs came and went ... like Kimball's, Keystone Korner, Jazz Workshop, El Matador, Mandrakes, The Both/And; and these all came well after the Black Hawk. I loved those places. Now Yoshi's SF is the latest casualty. They featured a mix of folks like Branford, Roy Hargrove, Terence Blanchard, as well as the Yellow Jackets and Spyro Gyra. But it's hard to remain commercially viable when Diana Krall is the only artist to sell out the place. Well, I guess that's it. I'm pretty well "ranted out". Thanks for your time; and again, pardon me for hijacking the thread and going off on a bit of a tangent. I'll go back to the sidelines now and take in the commentary. You guys keep on doing what you're doing. It's much appreciated. Happy Listening! |
Stratehed, I really wish I could have been on any one of those sets. A local musician by the name of Eddie Fisher could really jam, I went to see him at a place called Mothers every night he performed. Realizing he would have to go on the road and leave his superfox wife, in order to make a living as a jazz musician, he opted to stay in St. Louis, where a musician has to play "hill billy" or whatever the crowd wants, that's what he did. So I can really understand a jazz musician playing dis dat and the other thing. Are you with us on this Hank Crawford journey? |
Frogman - Thanks for those links. Never heard of the guy. It is mind-boggling how many VERY talented people God put on this planet. Amazing. Am I losing it or just becoming "brainwashed" :-)...in the first link, would you consider that a traditional jazz guitar sound? I liked it more and thought while similar sounding, it was fuller than the sort of muted sound from the Pats, Kenny Burrell and Wes. That does seem like a huge hollow body so maybe that explains what I heard. Or I could just be mistaken. In the second link where he’s playing solid body electric, his bandmate is playing soprano sax, right? Now that sounded really good to me. It sounded flute-like to my ear not something I associate with soprano sax! I can see why you would think the guitar work more "my cuppa" seeing how it’s much more of a rock guitar sound. Obviously very talented but do you think he’s a bit "sloppy" (for lack of a better word)...seems to me like he drops notes at the end of a few of his solo runs. Maybe i’m being overly critical. I am very intrigued by that woodwind, whatever it is. Thanks again. PS - Thanks for the Wes Montgomery, "The Incredible Jazz Guitar...." I'm back listening to it. Wes has something to say that's worth listening. What I especially like about him is his sense of economy. AND it is Tommy Flanagan on piano. Great combination, those two. A really excellent recording...might have to buy it (contrary to what I said previously). |
Strateahed, you obviously have something to say. I certainly would like to read it more often. Ghosthouse, I dont mind you caling me ’Acman’ as long as you listen to suggestions. Here is another one, already posted it here, the guitar that you might like more than 'straight' jazz sounding ones Ivan Joe Jones https://youtu.be/kUVNIJl6h38?list=PLQex93r41WkEtAKa6U75DHcs6gv1itT3Y |
Hello Alex - I try to give credit where it’s due and always want to express my sincere appreciation for the suggestions provided - so my apologies to you! I will be checking out those Kenny Burrell links. Thank you. With respect to the earlier albums suggested by Frogman, as you might have read, I went back to the Wes Montgomvery "Incredible Jazz Guitar" album and listened again last night. That one is definitely growing on me...so maybe there is time. I’ll let you know what I think once I get time to listen. Ciao. PS - Well I fired up that Joe Jones link. You are right on the money with that one, Alex. It’s jazz but very funky. If you have more background or info about this style please let me know. VERY enjoyable (though I didn’t think much of the organ solo) - enjoyed his guitar work a ton and liked the (bass?) solo on the outro. Fun stuff. |
Great suggestions by Alex, the Kenny Burrell clips in his second to last post are all excellent and leave no doubt as to why he is considered one of the giants of jazz guitar. Hardly "traditional" Jazz guitar, but I loved his Ivan Joe Jones clips the first time around and even more this time. Excellent clip with a great feel and live that "Manteca" quote by Rusty Bryant with that amazing gritty tenor sound. I have to get that record. Ghosthouse, glad you liked the Birelli Lagrene clips; lots more on YouTube. I don’t hear "sloppiness" in his playing. I don’t know if your comment is in reference to his more straight ahead playing (hollow body), his more Rock-oriented solid body playing, or both. I ask because he phrases differently in each style; appropriately so. In his playing on solid body I don’t hear anything that I would consider sloppiness (!). However, in his hollow body playing there is a quality that is perhaps what you refer to; although it is a musical choice in his phrasing style: In jazz phrasing (any instrument) there is a "technique" referred to as "ghosting" (😍) notes. This means that the note(s), within or at the end of the phrase, is implied and not actually sounded. If you look at transcriptions of solos you will see these notes in parentheses. Several times in his solos on hollow body he trails off dynamically at the end of phrases to the extent that you almost can’t hear the final notes. Perhaps that is what you refer to. As I have said previously, I commend your inquisitiveness and since you seem to be so open to suggestions I would, respectfully, suggest that you don’t let the analytical awareness get in the way of the emotional reaction. This relates to something that sometimes, and unfortunately, leads to silly arguments here: the idea that there has to be a devide between the analytical and the emotional (head/brain). Full emotional appreciation of any music does not have to mean absence of analysis; in fact, the two inform each other for a deeper appreciation of the music than is possible by staying in only one camp. Back to guitar and your question about Birelli’s hollow body tone: There is no ONE "traditional jazz guitar tone". While it is true that compared to a tone that leans more to, or is fully in, the rock or pop camp there can be quite a bit of variety within the "traditional" approach to jazz guitar sound. You prefer a less "sleepy" tone with a little more bite and is why I thought you might like Birelli’s hollow body tone. Nothing wrong with preferring that kind of sound, but tone is the only thing that defines what "traditional" is; what and how the player plays it defines it much more. As I said before, and I hope you don’t mind my saying so (again), I predict that as you listen to more and more "traditional" Jazz the less incisive tone approach will be less of a deal breaker for you. Here is another little known living player who is a bit of a hero to many guitar players amd who plays with a brighter, less muted and more incisive tone: https://m.youtube.com/watch?list=PLZClVvCqkpw3QeQGiBMnrpiP3tZpVENPQ&v=lMurkUZLHXY |
Full emotional appreciation of any music does not have to mean absence of analysis; in fact, the two inform each other for a deeper appreciation of the music than is possible by staying in only one camp. Well said, Frogman. I completely agree. I've had enough music training over the years to now know that I don't know...but that's another story. I like getting the technical analysis from you. Thanks for addressing many of my questions and comments. Your description of "ghosting" with respect to the Birelli Lagrene playing fits to a T what I thought was sloppiness - but it was in the 2nd link where he plays solid body electric that I noticed it. It was in a couple of his solo runs towards the end, and before he does a kind of duet with the (soprano sax?) player. Yup, did like his hollow body tone. Anything unusual about the size of it? Also, any comments about the soprano sax sound?? To Alex - I did just listen to the Tommy Flanagan/Burrell "Blues In My Heart". But probably more to hear TF. I had noticed the piano playing in that Wes Montgomery "Incredible Jazz Guitar" LP. It's Flanagan. Gosh there and in the Bluebird LP he displays such great taste and style. "Less is more" always made a lot of sense to me. He has that in spades. I think that is what works so well in that Wes Montgomery recording. They both seem to have this great restraint (balance, maybe) in their playing. Nothing over done, nothing forced, no unnecessary notes. Somebody else has a better way to describe it, I'll listen. O - did you guys already cover Flanagan? I gotta get some chores done around here. Thanks to all for your time and input. Much appreciated. |
Yup, soprano sax. Beautiful soprano tone at that. In the scheme of the saxophone world not particularly unusual although very different from what we hear from the likes of Kenny G: nasal, reedy and obnoxious. While I shudder at the thought of including Coltrane in the same paragraph as Kenny G, even Coltrane's tone on soprano was an acquired taste: very aggressive and hard; still, in his case, perfect for his musical message. I think you recently mentioned the tune "Safari" by Steps Ahead. On that tune Michael Brecker plays soprano and sounds beautiful. This is one of my favorite jazz soprano players: https://m.youtube.com/watch?v=Kp1Ay0C36P0 And, of course, the classic soprano solo by Gerry Niewood on this jazz-lite "hit"; very pretty soprano sound: https://m.youtube.com/watch?v=WtRxKRS0r8g |
Ghosthouse, I have few albums of Boogalloo Joe Jones. To my ears he sound very capable, its pity that he played in years when ’jazz jazz’ already started to decline. On ’All Music’ http://www.allmusic.com/artist/boogaloo-joe-jones-mn0000113250/biography More on Wiki https://en.wikipedia.org/wiki/Boogaloo_Joe_Jones Other than that I read that he was not full time musician (or could not afford to be, maybe) and has worked as croupier in Atlantic City. As for music of simmilar style, maybe this will fit, album with Richard Holmes and Jimmy Mc Griff, also from ’later’ years. https://youtu.be/MzosF36TOO8 Tommy Flanagan is one of the greats, no doubt. Like him very much. Recorded many great albums to recommend. Will follow with that. By the way, he played with Burrell on that Milt Jackson' album 'Bean Bags' too. In fact they played together not only on thieir own albums, but as sidemans, many times |
strateahead, thanks for coming to the party. Great moniker which is, believe it or not, one of the reasons that I made a comment here a while back that I was skewered for. I suggested, with no hidden meaning, that there were many jazz fans in Agon that, "for various reasons", chose not to post on this thread; that we were not the only jazz fans on this forum. Your moniker, and some of your posts on other threads, were the giveaway. Nice comments and I hope you visit again soon; plenty of "food and drink" left at this party. |
Alex, it's interesting how the cover of certain albums flash in my mind, when I see the title of the album. "Bean Bags" is such an album; I remember where I was when I bought it, and everything that was going on in my life at that time. When an album affects me like that, I know it has some of the most outstanding music in my collection. Although it's been posted a number of times, it can stand one more. I even knew a Sandra at that time. https://www.youtube.com/watch?v=DMgwWAaxQQ4 Enjoy the music |
Ghostehouse, there's nothing like looking at the music while it's being made. That unit on "Cantaloupe Island", might be the the best group I've ever seen; they play as one, the music seems to emanate from one source, although Herbie's piano is the glue that holds it all together. That DVD is worth it's weight in gold, I hope you treasure it as much as I do. Enjoy the music. |
Hello there, Orpheus. So pleased you are enjoying that DVD. I have not viewed the whole thing yet...too many other things on the stove. I did watch the performances of the first two songs with Herbie. In the second song, love the sound of vibes but I don’t have a clue who that was playing. It was very good, that’s for sure. Maybe you can clue me in. I'm looking forward to watching it with my neighbor who is also a music lover. He'll appreciate it (I'd forwarded him the You Tube clip of Cantaloupe Island that's from the concert). By the way, couldn't miss that Herbie and Freddie were wearing some really good looking suits. Rok would be pleased. And if you will indulge me here...been like a week where I been trying to fit my square blues head in a round jazz hole. Hard work, a little painful at times ;-) hahaha. Anyway, tonight wanted to get back to something more in my comfort zone, as it were. Accordingly, I offer this. [’Cause as Rok said (and it took me a little to figure out exactly what he meant) "No Blues, No Jazz. Know Blues, Know Jazz".] Hope you can dig it. This whole album is great in my O-pinion. https://www.youtube.com/watch?v=vLFlMbyA0r8&ab_channel=WolfRicketts |
O-10: Lord lord, my burden is great. There is only ONE blues and it was created in the Mississippi Delta. All others are bogus. Here is one of the all time great Blues players, from Mississippi of course, playing with one of the all time great Jazz players. They both seem right at home. They both seem in their element. https://www.youtube.com/watch?v=cY4YB_6P4qk Anything Miles is quoted as saying must be taken in light of the fact that he did go off the deep-end eventually. I love him, but, Just saying. And we don't know the exact moment he went over. Pops, one of the founding Fathers, wrote many many tunes with the word 'Blues' in the title. I hope you are not about to argue with Pops? Stop trying to deny the place of Blues in Jazz. You have not been taking correspondence courses from that Julie Ard place have you? Cheers |
https://www.youtube.com/watch?v=_8yGGtVKrD8 All Girl Band From Mississippi https://www.youtube.com/watch?v=WczP3PyHt20 Cheers |
Here it is, everything you always wanted to know about "The International Sweethearts of Rhythm" https://en.wikipedia.org/wiki/International_Sweethearts_of_Rhythm Enjoy the music. |
Nice "segue", Ghosthouse, in light of the recent discussion re Sanborn/Crawford; don't know if it was intentional or not. The alto solo on that clip of Paul Butterfield's band is by none other than Dave Sanborn where he earned his stripes for several years before becoming the R&B/pop alto star that he became. That was his first record with the band and shows him still not fully developed as the stylist that he would become. Here is some more bogus blues 😉; I posted this not long ago. Recorded ten years later, Sanborn's tone is fully morphed into what became his signature edgy and overtone-rich sound: https://m.youtube.com/watch?v=B4GNci5koi8 |
Interesting confluence there, Frogman but I’d be lying if I said it was intentional. I hadn’t been following the Sanborn discussion. The name only registered as some vague recollection of late night TV (I see DS did play in Paul Shaffer’s Late Night Band). Maybe it highlights how interconnected this whole music scene is. I wish I had your ear. I can say without knowing anything else, I thought the sax playing kinda primitive and raw compared to some of the more virtuoso playing I hear in the jazz recordings recommended here. But I guess it’s appropriate in the context. Jazz ain’t ruined the blues for me yet. Regarding the "bogus comment"? Do you mean that? White boys can’t play authentic blues? The remark might have been tongue in cheek but I suspect there’s something behind it. My thought is if you want to get all purist about it we’d be limited to some scratchy Library of Congress archival recordings from the early 1900s. Exaggerating to make a point. PS -Thought this was a great comment from that Slowdown link... "He plays sax on the harmonica better than Sanborn." Liked that. |
My "bogus" comment was totally sarcastic and in jest, in response to Rok's bogus comment. I totally dig PB's band and the presence of DS in the band is the stuff of minor legend among saxophone players. Your ear is great as you picked up on the rawness of DS's sound. That's EXACTLY what works best in that music. If we think Sanborn sounds raw, check out the tenor player in the other clip I posted. Holy sh?t! Killer! Btw, I completely agree with your comments about being limited. |
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Regarding the "bogus comment"? Do you mean that? White boys can’t play authentic blues? The remark might have been tongue in cheek but I suspect there’s something behind it.***** No need to suspect or wonder, if I had meant to say that, I would have said it in plain English. The answer is, i don't know. I have never heard one play authentic Blues. I bet Elvis could have, but he went in a different direction. So could many authentic / real Country Artists. ***** My thought is if you want to get all purist about it we’d be limited to some scratchy Library of Congress archival recordings from the early 1900s. Exaggerating to make a point. ***** Not at all. I have hundreds of Blues CDs and LPs. Only a handful are of the Library of Congress sort. Purchased for historical reasons. The Blues is not some musical form in a textbook, it is a product of, and portrayal of a way of life that's fading fast. I am somewhat at a disadvantage because I can't open The Frogman's posts. All three highly recommended. https://www.youtube.com/watch?v=u011JBVZGSw https://www.youtube.com/watch?v=T7eOIfFfyBw https://www.youtube.com/watch?v=s0aIjyX7vwI It's amazing what people can do if they leave their arrogance at the door. Cheers |
More Driftin' Blues https://www.youtube.com/watch?v=Z_4WTxejJms https://www.youtube.com/watch?v=fUyC2l--fSw Cheers |
Rok, when I was in the service, I developed a friendship with a guy who liked C & W in the extreme. We were sleeping in cubicles at that time, he was at the opposite end of the barracks, and whenever he wanted to converse, he would turn his most extreme C & W up as loud as he could, knowing that I was going to come running down to his cubicle, yelling "If you don't turn that *&^%$# down I'm going to throw you and that noise box out the window." He got the biggest kick out of that, he just couldn't understand how anybody could not like his music. Ray Charles could sing anything and I would like it. Charles Brown sang the original, best, and the only version of that song for me. Enjoy the music. |
Just for fun. Our rants from Three years ago today. frogman3,065 posts 10-15-2013 8:40amO-10, thanks for the Shadowfax link. I like it; it's not the kind of thing that I would go out of my way to listen to, but I like it. I am not a big fan of music with that "New Age/World Music" vibe; just a personal preference. It's a pretty melody and the playing is good; but..... the tune needs a good "bridge" to break up the sense of too much repetition. I can imagine, after the melody is repeated once, a variation on the melody in a double-time feel. Notice how the drums and bass play in a half-time feel throughout while the keyboards suggest a double-time feel. It would have been very effective if after the first repetition of the melody, all the instruments would break into a double-time feel playing the variation and then return to the original feel and melody to the end. The tune made me think of this other tune which, for me, pushes similar buttons, but is "kicked up quite a few notches": http://m.youtube.com/watch?v=sF9kW-8NPqs&desktop_uri=%2Fwatch%3Fv%3DsF9kW-8NPqsrok2id3,557 posts10-15-2013 12:44pmOyez, Oyez!! Wynton Marsalis Septet -- IN THIS HOUSE, ON THIS MORNING Could have been named 'in church in Nawlins'. The music takes you through an entire service. Said 'home' to me. Is it a stretch to say that Wynton is the Ellington of this era? I don't think so. His talent runs deeper than just Jazz. His can write music that 'depicts', in your mind, things, places and moods. Not just any player can do that. You will love this Jazz CD. Esp, if you have ever set foot in a Southern Church. What about my man, Wycliffe Gordon!! He is the trombone player, and he is great. I remember him from the Blues CD with Wynton & Clapton. This is a 2 CD set. I listened to both in one sitting. For me that's saying a lot. I get bored easily with music that does not connect with me. Guest appearance by the Gospel Great, Marion Williams. If you like good Jazz music, you gotta have it. One of Wynton's best. He could be the most under-rated and under-appreciated Jazz player ever. Give it a listen! Cheerstubegroover1,983 posts10-15-2013 1:03pmJeez I love this thread! I am systematically going through the recommendations and links, great stuff, thanks guys!frogman3,065 posts10-15-2013 2:03pmTubegroover, in appreciation of your appreciation (from Tete Montoliu, one of my favorite piano players and one who seldom gets talked about): http://m.youtube.com/watch?v=hfj8Ks9pU3s and speaking of Cuban music: http://m.youtube.com/watch?v=TKB5Pv4SUu8orpheus10 OP3,539 posts10-15-2013 4:04pm Another Mambo King! http://www.youtube.com/watch?v=El3lMf_Mfhc Enjoy the music.rok2id3,557 posts10-15-2013 5:20pmWhere be The O-10?? cheersorpheus10 OP3,539 posts10-15-2013 7:44pm Rok, as much as I like Dee Dee, I don't like the way she treats the standards; while I admire her ability to scat, she does it too much on the standards. Now here's a tune where it's very appropriate; as a matter of fact, I like everything she does on this CD. Here, she can do no wrong, and I'm sure Horace Silver would agree. http://www.youtube.com/watch?v=otcHh-90eo4 Here's another version of that same song. http://www.youtube.com/watch?v=xh7aZ_Q6ibw&list=RD02otcHh-90eo4 Enjoy the music. |
I don't know why critics of Wynton say one thing and fans hear another; no critic of Wynton ever said he could not play the trumpet, no critic of Wynton ever said he couldn't play jazz; every critic of Wynton said the same thing, including me; he can not create jazz that sounds good, new, and original; he couldn't do that to save his soul. Enjoy the music. |
'White boys cant play authentic blues?' I would say that 'they' play different kind. What ever you like the call either one, but one can hear and recognise distinction, in a heart beat. T Bone Walker, Joe Turner and Otis Spann, together, with others. Album is 'Super Black Blues' from 1969. https://youtu.be/H2BlxoEHpBo Muddy Waters,Buddy Guy,Junior Wells,Lefty Dizz with Rolling Stones live, from 1981 https://youtu.be/bpX7OhkWC-o Complete concert https://youtu.be/GOgnZAQ6jSE It may look simple to play the blues, but it seems to me that there are lots of music and artists that are pretending to play it, but somehow it just does not sound right. I liked the posts from Rok, the first movie tells a lot about it |
