Jazz for aficionados
nsp, thank you very much for that post, it affirms everything I said about the album "South Side Soul". You could have taken photographs of those places mentioned on that album, or you could have filmed those places, but nothing captured the feeling and vibrancy of being alive at that time and experiencing the "aura" of those places like John Wright's music. |
"Afro Blue"; here we see Alvin Jones in his favorite shirt; this was recorded in October of 1963; note Trane's progress on Soprano sax. I saw Trane, McCoy Tyner, Alvin jones, and I'm not positively sure of who the bassist was, but we had a table close to the bandstand; It was in the early Winter of 63. Every jazz musician in St. Louis was there, without their girlfriends; they didn't want any distractions. Jazz drummer Kenny Rice sat at our table. It was nice to have a professional jazz musician at your table; he politely answered our questions. "My Favorite Things" was the tune everybody came to hear, and Trane performed his very extended live version; it was as I recall 28 minutes long; much longer than what's on record. Man, I was feeling good and in a fantastic groove on this one. After 25 minutes, I was ready for it to end, but Trane kept on; he had lost McCoy Tyner and Elvin Jones. Tyner looked at Jones as if to say; "We'll hang together until the boss gets back". Me and my date looked at Kenny Rice who was in heaven; this is what he came to hear; we were lost. Miles commented on these live extended trips to the outer galaxies that Trane made. That was the most fantastic performance I have ever witnessed in my life, even if I was momentary lost. |
Acman's, "Ole Coltrane"; this was released in 1961; that's very important because Trane evolved at a very rapid pace. This is arguably his best album. I call several of his albums the best, depending on my mood when I'm listening. Musicians not normally in the Trane lineup on this album are: Freddie Hubbard on trumpet; and Eric Dolphy on flute. I make this comment because of the significant contributions they make on this album. |
http://www.chicagoreader.com/chicago/john-wright-piano-jazz-south-side-soul-prestige-gathering/content?oid=1499599 orpheus10 Above is an article on John Wright's I think you'll enjoy. Thanks for posting him again I just bought a CD set encompassing four of his albums.John remained very popular in Chicago and true to his roots there until the end of his life.With regards to Alex purchase of music I don't believe he purchased these titles when they originally came out. I think that the internet and it's information and places like YouTube and others where people can be exposed to music led him to find the Jazz titles he now has. but of course until he weighs in on the subject we will not know. |
For those who have been following my health; I was curled up in the fetal position in a hospital, comfortably waiting to die, when without word, they hauled me and my belongings to another hospital. I was told the surgeon who was to operate was out of the country, but would talk to me in about a week when she returned. Well, all is well that ends well; so much for that. |
Trivia that's troubling me; "I'm not sure of the color of Dinah Washington's "Continental Mark II" but I saw it parked in front of the famous "Pershing Lounge" surrounded by a crowd of people before she came out of the lounge and got into the car. No, it wasn't after a performance but in the middle of the day, maybe she was there on business, too early in the day for cocktails. This car was so striking at that time, that it drew a crowd of people; not everyone knew it was Dinah Washington's car. https://www.youtube.com/watch?v=BKxVVEXtZkA After looking at these cars, I believe it was black with gold lettering on the trunk spare. |
Epic, indeed! Fabulous Trane. Listened to this last night. For me, Coltrane and Cannonball seem to compliment each other even better than on the classic records with Miles on which the stark differences in their styles border on the distracting. Cannonball’s “Stars Fell On Alabama” is classic https://youtu.be/OgdnbJ5smR4 |
pjw, and nsp, I have partially answered our question in regard to Alex's record collection; he acquired those records when they came out, but how he chose so many killers is a mystery to me. He owns another relatively unknown Chicago musicians record that I searched for, that's not on CD, but one very expensive record was available, which I declined to purchase. If we have time, maybe we could search Alex's posts, and discuss what we found. I know he has posted other records I intended to buy but forgot about them. Every version of "Poinciana" by Ahmad sounds fantastic, but for sentimental reasons, the first one stands the most replays. (a friend of mine's donkey laugh can be heard on that album) |
Orpheus10 I enjoyed the John Wright Trio album. I listened to every song. I had never heard of him thanks for that. I am, of course, familiar with Ahmad Jamal and I too have his "At the Pershing / But Not For Me" disc. Mine is one of the latest re-issues on CD and has the 7:38 long version of "Poinciana" released on the Chess label and it is remastered (32 bit). https://www.youtube.com/watch?v=cytUz9KkK9M |
nsp, it seems we are both curious about Alex's collection; he has records so unique that it seems only a native of the South Side of Chicago in the late 50's would own them. South Side Soul is just such a record, it captures the spirit and feel of neighborhoods in that part of Chicago so distinctly, that the music takes you back in time, and you can visualize being there, here is an example; https://www.youtube.com/watch?v=ViAsMZhJX1E Ahmad Jamal was the house band on 64 and Cottage Grove where he recorded his famous album at the "Pershing Lounge", and I lived one block from there with my older cousin. One day I saw Dinah Washington coming out of the lounge and getting into her brand new continental with the spare on the trunk; it was that kind of place. South Siders who were there at that time have a day that they honor this musician every year. How did a record so unique come into Alex's possession? Track listing "South Side Soul" (Esmond Edwards) – 5:02 "47th and Calumet" (John Wright) – 3:57 "La Salle St After Hours" (Armond Jackson) – 5:21 "63rd and Cottage Grove" (Wright) – 4:06 "35th St Blues" (Wendell Roberts) – 7:00 "Sin Corner" (Jackson) – 5:30 "Amen Corner" (Roberts) – 5:30 |
Orpheus10 Here are some tunes representing some of the best musicians from the "School Of Hard Bop" https://www.youtube.com/watch?v=RkctkkEsyt4 https://www.youtube.com/watch?v=k3noQ6dfw3E https://www.youtube.com/watch?v=uBetQg4MkoY https://www.youtube.com/watch?v=COZsaiKZ5ms https://www.youtube.com/watch?v=emyuK5Luj6k |
Alex I am also interested in how & when you obtained your collection? Being from another country I was wondering how are you obtain information on different jazz artists and what sources can you hear music? Jazz magazines , song Play on radio, television, internet radio, YouTube? Also are there stores where you can into and browse music or did you have to order everything by mail? |
Hello Orpheus10 Great to see a post from you. Feel free to stop in more often after all you started this thread and I think its safe to say you are missed by all of us here when you don't come around for long periods. https://www.youtube.com/watch?v=gLq3Y6zhyGA |
Alex, I'm curious as to how you have collected so many fantastic albums. I've seen people with large collections of which half of would be a waste of space for me, but you have so very many boss albums. We have many of the same artists, but I don't have nearly as many records by them, plus that, all artists have losers, I manage to get the losers. Did you buy most of those records near the time they came out, or later? The bottom line is, how did you manage to acquire so many winners? |
frogman I love Hampton Hawes he's one of my favorite pianists. Pretty much a self-taught player, he is an excellent blues player who can play it any Tempo and never seems to run out of ideas . Hawes was in jail on a heroin sentence when he wrote a letter to then President Kennedy and was the second to last person pardoned by President Kennedy before he was assassinated. Hawes went back to recording for contemporary records and his output for that label is my favorite. Thanks for the posting of the for real album which I don't have and will probably purchase. http://www.youtube.com/watch?v=B9rUZr6KqoM |
frogmanMonks Jagged and angular Rhythm as you referred to it is what set his music apart from anyone else's and is instantly recognizable. And as you say Charlie Rouse got it due to the fact that he stuck keenly to this rhythmic pattern. Whereas Johnny Griffin just did his own thing rhythmically altering the unique Style of Monk's Tunes http://www.youtube.com/watch?v=YjfoeS8PKEK |
frogman Your post of Round Midnight. By Bill Evans reminded me of an album I've been listening to lately by his great bassist Eddie Gomez entitled Palermo http://www.youtube.com/watch?v=Zy59GYLbGV8 http://www.youtube.com/watch?v=rYrvwe4nVcg |
alexThanks for your Harold land postings I have all those albums except the carmel Jones which is going to change. I know you're posted him before I like his playing although he's not well known. Regarding the A Cohen concert it sounds like you have mixed feelings. Were you not that familiar with his music and were expecting something different?Modern jazz players not all but many do not write songs in the same way as previous jazz artists of an earlier generation. Many artists today don't use the blues form , either Not Having learned it or not wanting to use it as a vehicle for musical expression. Many modern artists also do not write Tunes with a lot of chord changes that set up melodies that are memorable . today's players tend to use less chords and keep the melody simple so that when they improvise they have a free range to go in whatever Direction they want to. Also some groups do not follow the format of playing a Melody at the beginning of the song and then having each player do an improvisation for certain number of choruses. Sometimes the players are improvising together either two or three at a time. I did listen to 3 songs so far of Cohen's album continuo which pjw posted. I find what I just said pertains to this album which I do find very engaging. But I don't think the Melodies are memorable but the band does play very tight and has excellent musicianship.I find that music outside of a certain comfort zone can be difficult to comprehend but if given the chance one may find an appreciation in the different language Expressed.It is all about the journey if you find something new and different that you like that's great if not maybe the next time. Happy listening!! |
Phil Woods/Michel Legrand - Images - The 2nd side of this album (feat. the jazz suite heard here) https://youtu.be/Hjldo10HiRo ...and the Long Yellow Road by the Toshiko Akiyoshi/Lew Tabakin Big Band both formed mushroom clouds in my young mind when I 1st heard them! https://youtu.be/3II64EHzMqg Still do!!!;) |
Fantastic Monk! What an individual! For me, his style always sounds eccentric. Jagged and angular rhythmic feel; not your typical swing. The poster of the second comment for the second clip put it very well, I think: ”...not pretty, but beautiful; not smooth, but stylish” Very stylish. Uniquely so. I can definitely understand why his playing might not appeal to some. It took me a while to get Monk many years ago. Absolute genius. As far as his sidemen went, Charlie Rouse GOT Monk. Johnny Griffin is one of my very favorite tenor players. In absolute terms he was an infinitely more proficient player than Rouse; and with amazing energy. In many settings he was as good as it got. Yet, for me, with Monk his style just didn’t work nearly as well as did Rouse’s. Well, it works, but somehow the end result sounds less “Monk”: https://youtu.be/HtT9fTQ5YwA https://youtu.be/4dyVE6MwjcE Is it possible to dance while being hunched over?: https://youtu.be/xxV8RwIUC-g https://youtu.be/3QwiTYBzU68 |
More live Monk: https://www.youtube.com/watch?v=CTijrDIU-m4 I love how Monk leaves his piano and starts dancing (if you could call it that) around in a Fred Sanford like gate And the way he plays the piano - not hunched over in a "trance like" state he bobs and weaves and lifts his hands way up and down sometimes putting one hand on top of the piano while playing with the other. Simply put you could tell he just loves what he is doing. https://www.youtube.com/watch?v=kROre63J0Lw The quality of this video (image and sound) is a bit better then the last 2 https://www.youtube.com/watch?v=RINHNEMtm_k |
I found a Michel Legrand LP in my collection titled " After the Rain" with both Phil Woods and Zoot Sims on saxophone.http://www.youtube.com/watch?v=iNHnhqTQxx4 http://www.youtube.com/watch?v=pIvyiPjGYrA |
Perhaps the most coherent band alive , big band as an instrument !Some fabulous musicians !! https://youtu.be/piwm_4ZM2Ck?t=4 I don’t know who did the chart but whoever should get a medal or two . A master class on what charts can do in the right hands . And bands . I’ll take this piano man ! And save some for the drummer as well................. https://youtu.be/uv21JLPCbCU?t=4 |
pjw Two other Bill Evans solo recordings you may want to check out are both titled Alone . One was recorded in 1968 and I featured several cuts from it here. The second recording was recorded in 1975 and is available on YouTube. I prefer Evans in a trio setting but these recordings do you have value for their sensitive and intimate playing. http://www.youtube.com/watch?v=uEyvjHuMR4E http://www.youtube.com/watch?v=pcgdvP2bBVU |
alex thanks for your candid review on the Cohen concert. frogman thanks for the Evans recommendations. I found all those albums on Amazon at reasonable prices. mary jo - alex - frogman I know exactly what you mean by "comfort zone" I too feel the same but like to try new things. More about that later. Welcome back Schubert! |
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p.s. ’Just one more thing.’ To make things simpler and life easier...regarding the Cohen, the man is obviously good but I simply do not feel the same when listenin’ Cohen in comparison to Bill Evans for instance. I would have to make an effort and learn to love Cohen. Being too old and too lazy for the process, will just choose to enjoy the Evans. I am terrible in embracing the new stuff. Evans hit the right spot from the moment I first heard his music. ...so by simplifying the things, I might have even found few answers to some of my questions but it still rings: why? |
...nsp, good for you that you did not take that bet... Very interesting theme, brought by alex. And pure coincidence, I was reading some articles about leaving the comfort zone precisely yesterday. One of my favorite theme. How much we can change or stretch our field of interest or personal taste in music, movies, literature, relationships, etc...once we reach certain level (one learns as long as one lives but still and over the years, one can hardly change that often and that significantly...) If we do change, what drives the change? I recently watched a movie when woman, being asked to explain her affection to a certain man, says: He is not my type but in a time he got closer to my heart. Is that's it? Can we learn to like anything or anybody if we just allow ourselves to like? If yes, what really counts at the end? And what happens with our previously created preferences? Do they melt in the process, do we lose eventually our individuality - something that makes are specific - because if you like everything and everbody, what will make you different from another person that does the same? Lot's of questions. If on the beginning there was a light, at the end will be definitely a question. |
For me, one of the most positive and interesting things that can happen over the course of a thread like this is that one can develop a sense for the musical sensibilities of some of the other contributors. We all have personal preferences and can even disagree at times while respecting those preferences. I mean this comment in the most positive and complimentary light and if I am being presumptuous I apologize; but I wanted to share. As I read Alex’s interesting and insightful comments about the Cohen concert I kept thinking that they were almost exactly as I expected they would be. Alex asks some very interesting questions. **** The music that they play does not reach to blues or soul idiom, it is of different origin as well as his phrasing. **** Exactly! |
Cohen concert.... I can speak only about my feelings and thoughts while listening to him and his music and while doing so, I remebered some of discussions that were written on these pages as well. Its Frogman that often spoke about 'leaving yor comfort zone' when we had themes and arguings here about 'old' vs 'new' jazz... So, when I heard that concert I often thought how his music does not sond like anything I am used to listen. Yes, its a trio and yes, they play tight, very controlled, almost immaculate,with great skill, nothing can be said there.Even their improvisations seemed to be very much rehersaled before, there is not a hint to any hesitation in execution. The music that they play does not reach to blues or soul idiom, it is of different origin as well as his phrasing. However, all that got me thinking about that (mine) 'comfort zone'. Or better, can we define why we like something or not? We can certainly define what we like and decribe it, but why, it just might be little harder. |
pjw, one of the many interesting things about Bill Evans and his playing is that he, by his own admission, didn’t feel as comfortable in a solo piano setting as he did in a trio or other setting. If one thinks about it, it is not really that surprising given his overall personality and shy demeanor. However, his solo recordings are great also; even if generally not as highly regarded as his trio recordings. I have never heard a performance by Evans that I didn’t like, but I admit my very favorites are those with Scott La Faro and Paul Motian. I have all his solo recordings and enjoy them all. My very favorite is the 1963 recording “Solo Sessions, Vol. 2”. There is something intensely personal about the playing on this record. He was struggling with his drug addiction during this time and I find something very poignant in his playing’s attitude. The usual beauty and gentleness is there, and more; even if there are moments when he doesn’t seem as focused. For something unusual, and technically “solo”, you can try “Conversations With Myself” on which he overdubs and has....conversations with himself. It may sound gimmicky, but it’s pretty brilliant. Not quite “solo”, but if you don’t know it, check out his duo recording with Jim Hall, “Undercurrent”. Fantastic record. https://youtu.be/Nv2GgV34qIg |
frogman thanks for the links to the Hawes album which I have already ordered. BTW La Faro is a superb bass player. Its a shame he was killed like Clifford Brown, both in their primes, in an automobile accident. Speaking of Monk and Evans - "Everybody digs Bill Evans" (I do have that album). I like the unconventional manner in which Monk plays and the beautiful music he creates in this manner. Monk is the only piano player that I regularly listen to his solo sessions. How much more do I like Monk then Evans - about a 1/4 of an inch between the tip of my thumb and index finger. Classic Monk: https://www.youtube.com/watch?v=KshrtLXBdl8 Classic Evans: https://www.youtube.com/watch?v=hDw2ClkdeR4 frogman, what is the best solo session on record by Evans? Your opinions go a long way with me and I do need an Evans solo session in my collection. |
Very nice Harold Land clips. Thanks all! Great improviser. That record with Bill Evans was the first Harold Land recording that I acquired after having heard him live in a tiny club in the middle of nowhere in Kentucky while traveling. How much could that tiny club have been paying a great artist like Land? Not much. A sign of the times for traditionalist Jazz before the uptick in popularity with the arrival of the heralded “Young Lions”. I confess that I have always found something in his tone, a dryness, that I find grating although it never detracted from my appreciation of his improvising genius. Speaking of Bill Evans. No dig on Monk. I like them both. “Apples and oranges” doesn’t begin to describe the differences; more like apples and pizza 😊. I love bass players and Scott La Faro is a favorite Before La Faro gained well deserved notoriety with Bill Evans, he was recording with Harold Land. This was the second recording that I purchased with Land on it. Highly recommended...if you can find it: https://youtu.be/u06MiRZc4JY https://youtu.be/UihLgF5bhZs |
alex I liked that song "Dulcinea Blue" of Evans’ Quintessence album so much that I listened to a few more songs off it on You Tube then ordered the album. The 3 men playing along with Evans on it, Harold Land, Kenny Burrell, and Ray Brown are giants of jazz. I received the album "Continuo" by Avishai Cohen and gave it a thorough listen. Great album. Still waiting for your review of the Cohen concert. A simple short answer will suffice if you are short on time. "Continuo" full album: https://www.youtube.com/watch?v=numSROD-gZY&list=PLoxhDWWBCgefXsfrPmbktRpAmreYVgOGy |
Harold Land....some albums I've got where he plays...in random order, just ot of the head https://youtu.be/CSAr0cj8qGI https://youtu.be/IKayR1oqC7w https://youtu.be/7TYNNSeaFik https://youtu.be/uYZr2E27WBs https://youtu.be/lUdsn7Kd8FI |
Thank you acman3! I have that album and play it often. https://www.youtube.com/watch?v=nt_fmhtePoc https://www.youtube.com/watch?v=NIANyO3jdA8 https://www.youtube.com/watch?v=GslhRUBgXNI Harold knew when to blow hard and when to blow soft. His timing in and out of a solo was impeccable. And it is my sincere belief that Clifford and Harold had a "telepathic connection" while playing. |
