Jazz for aficionados

He exaggerates it a little, I'd say, but I think it is close to the roots.
https://www.youtube.com/watch?v=UIGoqv8zlRE

"Misty" is a jazz standard written in 1954 by the pianist Erroll Garner. Originally composed as an instrumental following the traditional 32-bar format, the tune later had lyrics by Johnny Burke and became the signature song of Johnny Mathis. The song I presented is from the album "Vaughan and Violins".


"Listen", "Listen" "Listen"; can you hear; did you hear the "romanticism" in Erroll Garner's piano; he wrote the tune, that's the way it's supposed to sound.

Why don't we see what Mr. Mathis has to offer.


        https://www.youtube.com/watch?v=EM1Fqi7JiQQ


That version leaves me breathless from all the memories it brings back.

Blessed are the aficionados who know what they're talking about.

You know, right now I've got a terrible flu and can't yell even thru the net. I can't tolerate any music either.
If we start accusing each other of lack of nuance and feel this thread will be destroyed. By us. Orpheus10, I think you are wrong, even if Frogman might not have been as empathic as you would've liked him to be.

Frogman, you seem to have a problem with "nuance" and feel; that is something I can not put into words. The public, the people who buy records decided on the "Misty" I presented a long time ago; that's the standard by which other vocal versions are judged.


    https://www.youtube.com/watch?v=OQ-JgK9h_MU



Conducted by Quincy Jones and His Orchestra with Zoot Sims on Saxaphone, "Misty" is a jazz standard written in 1954 by the pianist Erroll Garner. Originally composed as an instrumental following the traditional 32-bar format, the tune later had lyrics by Johnny Burke and became the signature song of Johnny Mathis. This song is from the album "Vaughan and Violins".

Sarah's accompanied Quincy Jones & His Orchestra: Marcel Hrasko (alto saxophone), Jo Hrasko &William Boucaya (baritone saxophone), Richard Davis (bass), Kenny Clark (drums), Ronnel Bright (piano), Zoot Sims (tenor saxophone), and Michel Hausser (vibraphone). Recorded in Paris, France July 7, 1958. (Mercury Records)

Look at me
I'm as helpless as a kitten up a tree
And I feel like I'm clinging to a cloud
I can't understand
I get misty just holding your hand

Walk my way
And a thousand violins begin to play
Or it might be the sound of your hello
That music I hear
I get misty the moment you're near

You can say that you're leading me on
But it's just what I want you to do
Don't you notice how hopelessly I'm lost
That's why I'm following you

On my own
Would I wander through this wonderland alone
Never knowing my right foot from my left
My hat from my glove
I'm too misty and too much in love
I'm just too misty and too much in love



It's absolutely impossible for a trio to compete with that musical lineup.

Sometimes it goes like this - there is peace to be found on the other side of war. I hope it's not the case, at least not fully.
Anyway, the best posts of music are mine.

O-10, there is a long history here of that kind of double standard on your part. Most times I’m in the mood to let it go by and simply say “There goes O-10 again”; sometimes I’m not. No need to escalate matters now, just as there was no need to start them. If you need to feel the way that the latter part of your comment states, I’m fine with that and would never make a similar comment; if anything, for the sake of civility. Let’s just say that the assertion is news to me now just as it was every previous time that you have felt the need to make that comment; and, in keeping with your initial premise I could not disagree more.

However, I’m always for escalating matters as concerns the discussion of the music and its details. So, just what about what I wrote re those two “Misty’s” is incorrect in your opinion and why? I welcome your thoughts, and peace.

Frogman, you could have saved that post; although it makes it quite evident as to why aficionados have preferred my musical submissions to yours over the years.

Well, O-10, no sense breaking the streak; since you want to keep track. The live Sarah/“Misty” wins hands down in my book. Don’t get me wrong, she can practically do no wrong in my book, but those two renditions are practically apples/oranges. The live one is jazz trio only, and far more relaxed and evocative; much more in the spirit of jazz.  The studio version...just that. Studio produced; faster, with A LOT of “sweetening”, less intimate. A bit Muzak(ish); what some refer to as elevator music. Different performance environments and as always, she knows the tape is rolling. But, who can argue with Sassy?

p.s.
orpheus
///As you already know Rok, I detest stylists who do vocal gymnastics when they are totally uncalled for, and on the wrong song.///

Hate to say that I agree. I rarely judge any pro-musician since all of them did certain amount of effort just to perform (and usually they can do much more than it seems) and I appreciate that but in this case, the vocal decoration is over-sufficient. For my taste.

To say more with less...a work of art.

Dizzy always makes me feel dizzy in the land of the living dead. This one remains to be one of my favourite's...

Will have to add Olinga on my list too. :thumbs up:

I recall, a long time ago, talking to my co-worker, a young handsome gent, who told me he met a lady from New Orleans at a party, and fell instantly in love. He was about to get married when the spell wore off, and he discovered she was uglier than "home made sin" as he put it.

Was she a descendant of Marie Laveau?

This is a repeat Rok, but since we both like it I'm going to put it down;


        https://www.youtube.com/watch?v=Lb8DlC3utYE

This is one of the few times that I concur with the Frogman almost 100%. As you already know Rok, I detest stylists who do vocal gymnastics when they are totally uncalled for, and on the wrong song.

While Frogman chose the right artist, as she stated, she had a cold; this version would have been better;


      https://www.youtube.com/watch?v=rCF0Fbq5-Tc


That version is so beautiful that it takes me back in time to when it was recorded, and I bought it; plus I had this dream where that was playing all the way through the dream, while I was entertaining the girl of my dreams. I woke up and tried to go back to sleep in order to pick up where the dream left off. (didn't work like that)


          https://www.youtube.com/watch?v=1iB_8k4hb9Y


        https://www.youtube.com/watch?v=nE0WDHha6-w

“Over the top” aka “tasteless”.  

Yeah, “stars galore” usually means over the top.  Somebody should have told Tania Maria to not chew gum when on camera.  And what’s up with Benson and those facelifts?  I wonder what Herbie was really thinking?

Not even close.  Maya Plisetskaya!  

First, the instrumental playing is infinitely superior on the Plisetskaya.  With the Proms it gets off to a rocky start from the very beginning.  The solo flute players’s rhythm sucks; it’s all over the place.  The bassoon sounds very weak and like some of the notes are in danger of not coming out.  It doesn’t get much better all the way to the end.  On the Plisetskaya the playing is first rate (I suspect it is the Bolshoi Ballet Orchestra).  I’m sure  there will be disagreement about which choreography better suits the music; but for me, in spite of the attempt by the Proms to Spanishize it, the Plisetskaya is the one.  

Even divas don’t have perfect averages.  .500 this time.  Loved “House of....”, but hated “Misty”;  way too over the top for me.  Thanks.  

https://m.youtube.com/watch?v=lJXLqAutql4

Dizzy, from album 'Bahiana'...

https://youtu.be/iNl-UdAUvVA

https://youtu.be/TVVc-41D5GQ

could not resist, put this one too....like this album as well

https://youtu.be/BsYafl7o98M

orpheus10,

Thanks for sharing the link to that movie. I had heard of the runaway slave towns but never that particular person.

And you are correct, the culture in Salvador Bahia is so unique/diverse. I will tell you this, and your might wonder how, but there is absolutely no racism in Salvador Bahia. Percentage wise, I would say its 35% African Brazilians, 35% Portuguese Brazilians, and 30% mix of the first 2, called mulattos. 

 There exists no racism from either of the 2 dominant races towards each other, The African Brazilians seem to have no lingering bitterness from the slavery era and the Portuguese Brazilians get along with them fine. Hence the high percentage of mulattos. Their are many Mulatta woman who can, IMHO, take there place as some of the most beautiful in the world.

The only prejudice that exists is between the Native European Portuguese whos still live in Portugal and consider all Brazilians "below" them. Of course the Portuguese dialect differs.

Did you know that the main language spoken in the state of Angola in Africa is Portuguese. That came about because of the Portuguese "slave hub port" on the coast of Angola where the Portuguese would pay coastal natives to go inland and capture inland native people.

https://www.youtube.com/watch?v=O6IG-CZW5N8

https://www.youtube.com/watch?v=9KpIV57PSeo&t=1088s

https://www.youtube.com/watch?v=IlI5eTr5a-0

https://www.youtube.com/watch?v=UJkxFhFRFDA

https://www.youtube.com/watch?v=XgQLOSpG4EM

https://www.youtube.com/watch?v=BrZBiqK0p9E

https://www.youtube.com/watch?v=zeBDoNBNMro

Orpheus, there is a cd edition, of King Fleming trio...
here it is...
https://www.freshsoundrecords.com/king-fleming-albums/6173-misty-night-stand-by-the-weary-traveler-3...

I guess you could listen to samples,see if you like it, I have it, but overall I would say it its an average album. Some good stuff, but nothing exceptional...

Wynton at his best.  That trombone solo kills.

pjw, Salvador Bahia is a city I've often wanted to visit, it has the most fascinating culture in Brazil, plus "Bahia" is my favorite song.

I notice the state of Salvador is next to the state of Alagoas, where Palmares was located; that was where escaped slaves established a colony that lasted for 90 years.

I saw a movie entitled "Quilombo" about Palmares.


      https://www.youtube.com/watch?v=b_cSBjNP72o


"Dandara" a female warrior was the most interesting character in the movie, you will hear her name in songs.

Alex, believe it or not, where that photograph was tken was probably one of the safest places in Chicago to observe the skyline and discuss the meaning of life with a friend over a bottle of wine.

"Misty night" The King Flemming Trio, is a must have but very little is available. I will look into an LP for $29.


Thank you.

orpheus10,

Brazilian music of all kinds definitely has African roots. The city of Salvador, in the province of Bahia, was the original capital of Brazil as it was here that the first coastal trading hub into the interior of Brazil was constructed after Pedro Álvares Cabral discovered the continent of South America and claimed it for Portugal. Although no longer the capital of Brazil, Salvador Bahia (that is the proper way to say it - the city then the province), is still an important city there and my favorite to visit.

I have been to Brazil a dozen times. Rio 3 times and Savador, Bahia 10. Rio and Salvador Bahia is like comparing apples to oranges. In Salvador Bahia the population is a 50/50 mix of black people and white/mixed. Since slaves were bought and sold in Salvador Bahia they settled there after slavery was abolished. The many cultures of Africa still exist in the city and province from food to music. A favorite dish of mine, called Moquecca, is available in just about every restaurant. Its made with Dende (palm leaf) oil. There is also a unique religion that exists there that's kind of a mix with Christian and African orgins.


frogman,

You are right about easily recognizing Jeff Beck with just a few notes. I mentioned that upthread. I can also recognize Jimi with the same quickness. McLaughlin, as you said, is not so easily discernable.

Orpheus, is it this one?

King Fleming trio

https://youtu.be/d7o4j1vqxsM

https://youtu.be/KkcNUxien4Q

Damn, What Have You Done and The Worst Thing left me speechless...

For you Acman;


    https://www.youtube.com/watch?v=nA4DLhWTrIw

Acman, that music was nice, but I don't think it fit Kenny Garret as well as this;


      https://www.youtube.com/watch?v=AaPIrXF60og


      https://www.youtube.com/watch?v=oerVRwErQjE


Without a doubt Kenny Garrett is boss.

Inna, maybe it was the recording quality; since I upgraded the analog, I have gotten quite picky; one must listen intently to what one has paid for, whether one can afford it or not.

Alex, could you post that album with a picture on the cover that was taken from a Chicago rail road yard at night?

Look around you and you will see that quite a number of people are in slavish relations, some throughout their lives, at times this brings out art in them, including music.
But this is not a very good place to talk about these things.
As for that sensual piece, I think music is adequate. There can always be something better.

If I don’t respond to someone like Sonny Rollins, it’s because I’ve been listening to him for all of my adult life, and still listen to him intently; what is there to say?

Inna, what you found is downright erotic and sensual, although the music is not as good as it could be; after all, you and I are "audiophiles" and more critical in regard to such things; this music is what we live.

Inna, we have had some brilliant people to come and go; this thread is fortunate that the Frogman has stayed.

Inna, everyone who listens to Brazilian, Cuban, or Afro Cuban jazz explores Sub Saharan rhythms.

Music is not a zebra, or an elephant; it has no habitat, it exists in the minds of people.

I was speaking specifically of the rhythms that came from Africa, primarily the drum rhythms. African American musicians had to go to Africa to discover them. I did not say back to Africa because they had never been to Africa in the first place; they were descendants of slaves who had been brought to America involuntarily in slave ships.

While they brought the drum rhythms with them, they were forbidden drums because the slavers said they used them to communicate, and I can't give any examples of Sub Saharan drums in early African American music, but they exist in Cuban, Brazilian, Haitian, and other South American music; there must be a reason.

"Daily interactions with white people. Not all slave owners were bad or mostly bad, but interaction even with bad can give a lot."

Slaves lived on plantations in Mississippi and other Southern States, what daily interactions with white people, the one's with the whips.

I'm sure you can give plenty examples of "good slave owners'".

I was thinking..there are almost 1.5 million views of this thread. The contributors did a lot to 'spread the word of gospel'. This is the most important thread on Audiogon.