Frogman, you're a musician, I've been to a number of jazz sets with musicians, that's because they always made the major sets. This was at a time when we sat at tables, as opposed to seats in an arena, and I always seemed to be seated at a table with a musician. Yall hear differently; when I got lost, the musician would tell me what was going on, but it was like water off a ducks back; nothing's changed; "Behind the beat, in front of the beat" doesn't seem to make any difference to me. Someone said Art Blakey was always behind the beat; behind the beat, in front of the beat; whatever, I like Art Blakey. Although it's good to know such things if you're a musician.
Enjoy the music.
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Taylor and Harper:
Loved it!! Maybe we don't need new music, we just need new players to play the classics.
How is the other Harper Brother doing? The drummer seems to have a nice career.
Cheers |
Frank Wess:
Awesome. A good example of what The Frogman says about playing soft and slow. Just watching him makes you realize that.
Cheers |
Antonio Hart -- Harper Brothers -- Roy Hargrove -- DD Jackson -- Javon Jackson -- James Carter, and others of their time. A lot of promise. A strange time in Jazz. D.D. Jackson -- PAIRED DOWN vol one https://www.youtube.com/watch?v=Ta7b0Hl0ZJUIt's ok to laugh. I did. Love it. Who is Hugh Ragin, and why have I not heard of him? Cheers |
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On "Caravan" and Billy Taylor; "Give the drummer some"; I bet his favorite drummer is Art Blakey. I had to see and hear that twice.
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"In the pocket" is an expression used by musicians to describe a player who has a particularly good sense of rhythm; who plays very deep in the groove; this is independent of musical genre. There is good sense of rhythm and then there is GOOD SENSE OF RHYTHM. Sometimes it is a stylistic choice to play around the time, and other times it's just a less developed sense of time which causes a player to sound like he is rushing (too far ahead of the beat) or dragging (too far behind the beat). If you think of a metronome's clicking as being "perfect" rhythm, there is a certain degree of latitude on either side of the beat that would be considered acceptable and part of a player's musical personality. Some musicians have the ability to play/sing with metronomic precision and still make it FEEL good and not sound like a machine. Satchmo had it, Ray Charles, Miles, Sonny Rollins and others. Examples of players who tended to play on the front side of the beat would be Cannonball, Trane. A great example of a player who tended to play on the back side of the beat would be Dexter Gordon. Best example of "in the pocket" that I can think of would be James Brown. Imo. |
Maybe Donald Byrd said all he had to say in the jazz idiom. The Harpers were just OK, and that's because anything less than outstanding, sounds just OK. After listening to jazz all my life, I'm only impressed by something that's outstanding.
Although Donald Byrd produced many outstanding pieces of work over the years in jazz, he felt it was time to change grooves, and while I didn't agree with him at the time, now I understand his motivation and point of view a lot better. As a listener, I feel the need to change grooves from time to time, maybe that's why I can tread lightly into Donald's new groove.
Horace Silver is someone who withstood the test of time and never changed grooves completely; his music stayed somewhere in the broad jazz arena, while borrowing from other cultures from time to time; this is what kept his music fresh. With the approval of the rest of the aficionados, I would like to move on to Horace Silver after we have finished with Donald Byrd.
Enjoy the music.
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*****
Very "in the pocket" playing *****
was bedeutet das?
guten tag |
Harper Bros.: I liked "Remembrance" A LOT; really great composition and equally great playing. I liked "Artistry" less so. Great trumpet playing and I’m really impressed by this player. I frankly find him to be a more interesting player than Hargrove; but that composition ("Artistry") is a little weak, imo. I think the answer to the question of why these guys didn’t last is, for me, summarized by these two tunes: a bit inconsistent and, by way of example, how many times can he quote "A Night In Tunisia" in a single solo? I counted about half a dozen. Don’t be so friggin’ obvious! (Or, maybe he doesn’t dance as well as Hargrove ☺️) And this (minus the crack about dancing) is, I think, emblematic of the major problem:
We can debate the validity of this kind of thinking till we’re blue in the face, but I am left with the question: Why? When we have so much classic and superior hard bop to listen to? I think this writer pretty much sums it up:
Artist Biography by Scott Yanow
+++One of the most hyped jazz groups of the late ’80s, the Harper Brothers (co-led by drummer Winard Harper and trumpeter Philip Harper) symbolized what was right and wrong about the "Young Lions" movement. The musicianship in this hard bop unit was excellent and the young players respected their elders, but strong originality was lacking (they were largely revisiting the past) and the Harper Brothers received an excess of publicity at the expense of more innovative players. Still, during its five years, the group produced four enjoyable bop albums for Verve, and its sidemen (altoist Justin Robinson, tenors Javon Jackson and Walter Blanding, pianists Stephen Scott and Kevin Hays, and bassists Michael Bowie and Nedra Wheeler, among them) all had strong starts to their career. Both Winard and Philip Harper have grown musically since the band’s breakup.+++
Speaking of Hargrove (again): Watched to the "Crisol" video again and confirmed my initial reaction re the soloists. I find Sherman Irby to be the best soloist in that band and confirms why Wynton snatched him up. Very "in the pocket" playing and I love his use of space (silence) in his solos. He doesn’t feel the need to fill up every second with lots of notes and practiced licks and there’s a sense that he is really "developing" a solo . Great player!
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After I got over the initial shock of Byrds changeover (it only took 20 years) I began to like some of his new music. Once I accepted the fact that it ain't jazz, I listened to it for what it is. While most of this new music is geared to someone much younger than me, I'm not so old that I done forgot what it's like to have wild hormones; that's what "Rock Creek Park" is about.
Enjoy the music.
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Byrd sounds superb on "Here Am I". Great cut and great composition. One of the things that should be mentioned is Byrd’s beautiful tone on the trumpet. He was a really great trumpet player from a technical standpoint whose tone didn’t get fuzzy when he played softly. I love the clarity of his tone with just the right amount (for me) of brightness. One gets the sense that he could play in the stratosphere if he wanted to (not all trumpet players can) but refused to resort to gimmicky playing and gratuitous "high energy". Because of this restraint in his playing I find some of his genre choices later in his career especially curious. |
Frogman, glad you're back with a most concise post, plus I've posted something you were unaware of; that's a first. (no rib intended)
Roy Hargrove: That is the most energized group I've ever seen; I think they had enough percussionists, those guys really propelled the music. Without a doubt, I will have to add Roy Hargrove to my shopping list.
Enjoy the music.
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Rok, I concur on Byrd; everything with Pepper Adams is the best, and I'm sure you'll like it.
When Byrd's trolley first jumped the tracks, I was offended, "How could he do that"? I sold it, then years later decided it wasn't so bad, and now I'm buying some of it back.
Enjoy the music.
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Donald Byrd: there is one cut that's an absolute must, and that's "Here Am I". https://www.youtube.com/watch?v=CewhwrPi044Maybe you already have it. Speaking of Miles; a long time ago when Miles was still alive, I ran into someone who loved him like a brother, and I asked him if he had Miles latest, he looked me straight in the eyes and asked "Have you" I had to laugh because he knew what I thought about the electrifying new Miles. I don't think Byrd went as far off the reservation as Miles. Enjoy the music |
A good attempt at a Donald Byrd retrospective recently. His most creative period was conspicuously given short shrift, imo. As Rok points out, he strayed off the jazz reservation quite often. Most of his work during his more "commercial" period doesn’t do it for me, and the stuff bordering on "disco" I find to be kinda lame and was considered at the time and by many hardcore jazz fans to be "selling out". I will leave the validity of that criticism to others as this was a crticism directed at many of the players that went in that direction (think CTI) and the period did produce some interesting projects. I do think that this thread’s "jazz police" is showing a kinder, gentler side 😌; a good thing, I think. What is interesting about that period of Byrd’s, as O-10 points out, is the apparent influence he had on Herbie Hancock; something that wasn’t clear to me previously. I do think that Herbie went on to do far more interesting and sophisticated things in the jazz/funk vein (Headhunters). For me, the very best work by Byrd was connected to his affiliation to the great Pepper Adams; and this work was squarely in a more traditional or straight-ahead bag; both as sideman and as leader: https://m.youtube.com/watch?v=HCPv54Js3akhttps://m.youtube.com/watch?v=YKyMVrIvKfEhttps://m.youtube.com/watch?v=xNk3qtzNM_shttps://m.youtube.com/watch?v=Y23YPy-8o7cThis last clip relates to Roy Hargrove. The best test of a jazz player’s mettle is the ballad or the slow blues; iow, music in which "high energy" can’t be used to hide behind and the player’s ability and creativity is laid bare. I like Hargrove and think he is a very good player. He has been discussed before and my contention has always been that his place in the pantheon is pretty much where it belongs; he is very good, but not of the caliber of a Donald Byrd. The second tune in the Hargrove video is a ballad and the contrast between what he and Byrd can do is, for me, pretty obvious. Even more obvious is how the young tenor player Sanchez sounds good when he plays fast and furious, but falls flat when he tries and play simple figures. Perhaps time and maturity will help. Byrd and "Stardust": https://m.youtube.com/watch?v=cdrypHFVq8A |
Donald Byrd:
'Rising Sun' and 'Black jack' were good. This guy does seem to stray off the Jazz reservation quite often. 'Black jack' may have been one of his last Jazz efforts
Since I don't buy CDs based on one or two tracks anymore, I think I'll stick with the complete BN CD. All his good stuff is there. I think he quit Jazz and went into Funk. Pulled a Miles on us.
Thanks for the clips.
Cheers |
Roy Hargrove: I think I lost 10 pounds just watching it. I loved it in spite of myself. Some familiar faces. https://www.youtube.com/watch?v=p5HSKRzNKzk&list=RDp5HSKRzNKzk#t=5 Sherman Irby on alto. He's with Wynton at JALC now. Featured on their Christmas CD. Chucho (the pulverizer) Valdes on piano. I wonder how many pianos does he go through in a year. You won't go to sleep on him. All in all, very entertaining high energy Jazz. I loved Hargrove's playing on the opening number. I noticed that mic was inside the bell of his trumpet. Wondered how that sounded to the audience. I was about to say, it's good to see young folks today playing Jazz, then I realized this was 20 years ago. Where does the time go? Where have I been? I never thought Hargrove was as big as he should / could have been. I always thought of him as the next Morgan. But, it could have been just the decline in the popularity of Jazz in general. He should have been at BN in the 50/60s. Thanks for the tip. Cheers |
Second,
Roy Hargrove- Cristol. |
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On page 112, near the bottom of the page there's a run down on Byrd that can help you decide. I selected "spaces and places" plus black byrd, and I'll have to give the rest of them a listen on "you tube".
The 100 best has sound quality better than my original LP's. No music is better than music with lousy sound quality. That Blue Note edition is a good buy.
Moving in this organized fashion, we wont leave anything behind that we should have bought.
Enjoy the music.
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It seems as if the '8 classic', 'Complete Blue Note' and these sort of box sets will be the final resting place for the players of the 'Golden Age' of Jazz.
Its the same with Classical Music. The best players, and the best performances ever played are dirt cheap, while the new noise, errrr I mean new music, costs $20 per CD. Go figure. Oh, to be just starting out on this journey.
Cheers |
When I checked out the Byrd stuff on Amazon, all sorts of wonderful stuff came up. Box sets by Morgan, Brown and Silver. All dirt cheap. But I have most of the single CDs.
Byrd:
'8 Classic CDs' does not contain 'A New Perspective' or 'Black Byrd'. And after reading all the reviews I sensed that the sound quality was just ok. At my stage of the game, no music trumps bad sound.
The '8 classic' sets also have no notes or booklets. I hate that. '100 best jazz Tunes of the 1950's' remains the best value ever. Excellent sound, great tune selection, and notes / photos / booklet.
'The Complete Blue Note' seems to have better reviews as far as sound quality. After all, it is Blue Note. It does contain 'A New Perspective'. I think I might try it instead of the two single CDs.
Cheers
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Yo Rok, are you out there? I found 8 classic Albums Donald Byrd $6.52 used, must be something wrong with it, 8 cd's $16.00 new.
Places and spaces, $9.00 new, $5 used; The Definitive Classic Blue note Collection, $17 new $10 used; Black Byrd $8 new, $5 used.
You can check em out, and tell me what you think.
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Well fellas you are right. One of my dealers recently died and had the greatest system I ever heard but in this world with the streaming and Bluetooth stuff it's not the thing for some folks. His system was crazy expensive. They don't listen the way we listen. He had a audio bucket list. Most people think we are nutty. |
Somebody is always asking dumb questions as to why young people are not interested in "High End" audio. We meaning "audiophiles" are so self centered it's not even funny. They don't realize we're as extinct as those creatures in Jurassic Park; only old people with money to burn, and dummies like us, are buying the stuff, which is why they advertise stuff where price is no object.
Just yesterday I managed to repair my Technics reel to reel; other wise it was going to bite the dust. That stuff costs a fortune to get repaired, and only geezers have any use for one; does that mean I'm a geezer; that wasn't suppose to happen to me. I'm sure AARP has found a new word for "Geezer", I notice they never use it.
Enjoy the music.
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Legacy:
When we pass on, I think all this gear and music, will be in the pawn shop before we are in the ground.
Cheers |
Rok, I'm hitting pay dirt with the "Byrd". I hope you're doing the same. I "only" choose music that I think is going to be good for a replay. We don't have to take chances like we did for them stinking LP's.
Right now I've got stacks of them suckers that I don't know what to do with. My son says he knows what to do with them. I told him that was my legacy that I'm leaving to him; all of a sudden a sly grin broke out on his face.
Enjoy the music.
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Ok fellas. 2 albums
1. Roy Hargrove "Crisol"
2. Miguel zenon " alma aldenteo The Puerto Rican songbook"
tell me me what you think? |
Calling all aficionados: I'm trying to get organized on this "New music hunt". This time, we go through a musician phase by phase, evaluating each change as we go. Hopefully I have Donald Byrd in order so that we can go year by year, happy listening.
Donald Byrd: Low Life
From Fuego (Blue Note, 1959)
I could have started with a song far earlier in Byrd’s career but my point here is to establish his bop/post-bop certifiers with a spry, swinging tune that reminds me of Bobby Timmons best work.
Donald Byrd: Cristo Redentor
From A New Perspective (Blue Note, 1963)
Byrd + gospel choir = sublime. And cinematic, no? Couldn’t you imagine this in some spaghetti western where our hero walks atop a sand dune, the sun setting at his back? Have I been watching too many Leone films?
Also: best cover ever.
Donald Byrd: House of the Rising Sun
From Up With Donald Byrd (Verve, 1964)
The best known song off this album is probably the cover of Herbie Hancock’s “Cantaloupe Island” but thanks to US3, I can’t really bear to listen to it much. I do like this cover of “House of the Rising Sun” though. No only does it draw from the same choral backing that we heard on A New Perspective but you can begin to hear the hints of the coming soul-jazz movement. It’s the small, subtle things in the rhythm that you’ll hear even more so on…
Donald Byrd: Blackjack
From Blackjack (Blue Note, 1967)
And here we are. It’s not upside your dome funky but clearly, it’s working in that vein, especially with the hard hammer of Cedar Walton’s piano. But heck, let’s take it a step further and let the drummer get some.
Donald Byrd: Weasil
From Fancy Free (Blue Note, 1969)
The first thing that strikes you is that Duke Pearson is tickling the Rhodes on here, apparently the first time Byrd allowed an electric piano to roll in. Combine that with the more aggressive breakbeats by drummer Joe Chambers and “Weasil” belongs firmly in the soul-jazz era that’s since been enshrined through comps like Blue Break Beats and Jazz Dance Classics.
Donald Byrd: The Little Rasti
From Ethiopian Knights (Blue Note, 1972)
To me, Ethiopian Knights represents the deepest Byrd got into this era of the soul-jazz sound before moving more towards proto-disco fusion style. Nearly 18 minutes long, nothing “little” about this.
Donald Byrd: Where Are We Going?
From Black Byrd (Blue Note, 1972)
With this album, Byrd minted a smash and established himself as one of the masterminds of a sound that blended jazz, soul, funk and disco. Black Byrd was, in many ways, a total blueprint for the next five years, not just of Byrd’s career, but the direction of jazz and R&B as a whole. For me, I definitely hear some What’s Going On? elements at play but the sheer smoothness of the track also hints at what you’d hear with yacht rock by the late 1970s. It’s all right here.
By the way, I’m going to skip over Street Lady even though it was an important/successful album, yada yada. The only thing I want to say is that the title track is an interesting “throwback” to Byrd’s sound from about five years before. It’s like a retro-hard-bop tune.
Donald Byrd: Wind Parade
From Places and Spaces (Blue Note, 1975)
The Mizell brothers era of Byrd’s career is perhaps his best known to most hip-hop fans given the sheer number of samples that emerged from it. Anyone up on my site should already have “Wind Parade” in heavy rotation but this is one case where I can’t not include it in here. Any song that helps power one of the greatest remixes in hip-hop history deserves that much.
The Blackbyrds: Mysterious Vibes
From Action (Fantasy, 1977)
At some point in the early 1970s Byrd landed a production deal with Fantasy Records and from that, he assembled a group of former Howard University students and they became the Blackbyrds. By the mid 1970s, though Byrd was still recording on his own, he was arguably experiencing more success in producing other groups, especially the Blackbyrds who had a string of hits I’m sure all of you are familiar. “Rock Creek Park” remains a constant staple for any good disco set but I threw in “Mysterious Vibes” here because 1) I like the name and 2) it’s groovy.
The 3 Pieces: Shortnin’ Bread
From Vibes of Truth (Fantasy, 1975)
The 3 Pieces were a short-lived group from the D.C. area that Byrd also produced, albeit not to anywhere near the same success as the Blackbyrds. Pity since the album yielded at least two strong cuts: the jazz dance track above as well as the more mid-tempo crossover track, “Backed Up Against the Wall.”
The Blackbyrds: Wilford’s Gone
From Cornbread, Earl and Me (Fantasy, 1975)
This seems as good a place to close out: the dark, moody, melancholy groove of “Wilford’s Gone” from the soundtrack of Cornbread, Earl and Me. Yet another gem shaped by the hand of Donald Byrd.
Enjoy the music.
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Rok, you got that right, all way's good for a repeat; I never get tired of it.
Since "soul and funk" is the next phase, see what you can find that you like in that category, and I'll do likewise. We'll reap big rewards going after new music in this fashion.
Enjoy the music. |
Shearing and Wilson:
Have only one by Shearing (walkin'). Big time guy in British Jazz. Harmless enough.
Only one by Wilson (with Cannonball). She is great but, maybe a little too sophisticated for my ears. Unless seen in person of course. I saw her once at Constitution Hall in D.C.
Donald Byrd: A New Perspective
Well, the OP finally stumbled into posting a 'must have'. Jazz and Gospel, a match made in Heaven? I think I'll get 'Black Byrd' also.
Thanks.
Cheers |
Round Midnight:
Nice enough, for electrons.
Cheers |
Donald Byrd was the most successful jazz artist when it came to different phases or changes, and still maintain fundamentally what I call jazz. Byrd was best known as one of the only bebop jazz musicians who successfully pioneered the funk and soul genres while simultaneously remaining a jazz artist. As a bandleader, Byrd is also notable for his influential role in the early career of keyboard player and composer Herbie Hancock. Let's begin with "Fuego". It is an album by Byrd recorded in 1959 and released on the Blue Note label in 1960 as BLP 4026, featuring Byrd with Jackie McLean, Duke Pearson, Doug Watkins and Lex Humphries. The Allmusic review by Michael G. Nastos awarded the album 4 stars; "Hard Bop" is the core of this music. A New Perspective is a 1964 album by jazz trumpeter Donald Byrd released on the Blue Note label as BLP 4124 and BST 84124. The performances are mainly in a hard bop style, but the recording also features a gospel choir. rack listing "Elijah" (Byrd) - 9:21 "Beast of Burden" (Byrd) - 10:07 "Cristo Redentor" (Duke Pearson) - 5:43 "The Black Disciple" (Byrd) - 8:12 "Chant" (Pearson) - 7:31 Personnel Donald Byrd – trumpet Hank Mobley – tenor saxophone Herbie Hancock – piano Kenny Burrell – guitar Donald Best – vibraphone, vocals Butch Warren – bass Lex Humphries – drums Duke Pearson – arranger Donald Byrd's music went through so many phases and changes, that the only way to cover them all, is to discuss one or two of them at a time. for now we are going into hard bop, and Byrd with voices, which is the album "A New Perspective". Next we'll go into the funk and soul phases. https://www.youtube.com/watch?v=T0LDIxfHXTI&list=PLB25D698B474055D9Although we went through Byrd once before, I don't think "you tube" was as complete then. Now we can investigate thoroughly, and might even discover a new album we can add to our collection. The search for new music is what motivates me. When we use this method for investigation, we'll know for certain that we have everything worth having by that particular artist. After Donald Byrd, someone else can submit another artist, and we'll investigate what's available by that artist. New music is our life, it's what makes jazz aficionados tick. Enjoy the music. |
In Re to Tsuyoshi Yamamoto and the "blues"; after someone hears the blues, and attempts to play the blues, they quite often come up short; that's because one has to "feel" the blues in order to play the blues; otherwise it comes across as an imitation of the blues.
I can only compare that to me preparing a Japanese dish from a recipe in a cook book, and a Japanese chef preparing the same dish; while mine might be acceptable, the chef's would be so much better. Since you're accustomed to eating the same dish prepared by the chef, mine might not even be acceptable.
From a technical point of view, Mr. Yamamoto's is quite good I think; but a lot of jazz requires "soul"; that's the indefinable something that separates the best from the rest.
In my humble opinion, Japanese jazz musicians sound best, when they incorporate Japanese soul into American jazz.
Enjoy the music.
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calvinj, thank you for the introduction to Tsuyosi Yamamoto; I was not familiar with this player. ****Tell me what you think everyone.**** Some may balk at this idea, but in my opinion, because jazz is a uniquely American creation, jazz players of a different nationality will inevitably bring their own cultural flavor to the music. This is certainly not to say that there aren’t very good non-American jazz players; quite the contrary. However, in my opinion, the best non-American jazz players don’t try to sound "American", but instead embrace the broader spirit of jazz; freedom of self-expression and creativity while embracing their own unique cultural flavor. I’m not sure Yamamoto accomplishes this. From a technical standpoint, Yamamoto is clearly well versed in the language of jazz. He favors the highest registers of the piano keyboard. His time feel is not always consistently relaxed and there is a sense of "rushing" through the music at times; especially when he, as he is prone to do, repeats a single note several times. His attack is a bit "hard" at times, going back and forth between deliberate and obvious "delicate" attack of notes and hard percussive attacks. From a stylistic standpoint, I find his playing most convincing when he is NOT playing the blues and plays standards like "I’m A fool To Want You". When he plays the blues, and in keeping with my previous comments about not trying to sound "American", his playing is full of blues cliches. The main feeling I am left with is that he sounds pretty good at any five seconds in time, but there is no sense of "the big picture" of a solo. A great player always gives the listener a convincing sense that the solo is going somewhere, of shape, and that one "lick" is somehow and logically connected to the one that came before it and the one the follows. When I listen to Yamamoto playing the blues it sounds like a bunch of unconnected blues licks giving the music a strangely static feeling; like it’s not going anywhere. Glad to have been introduced to his playing; but I think I’ll pass. https://m.youtube.com/watch?v=ax4HFrdwm50https://m.youtube.com/watch?v=Ka8GEJ_ed04 |
Tsuyoshi Yamamoto "midnight sugar" jazz piano. Tell me what you think everyone. |
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We always seem to have the same music.
Cheers |
I thought the baritone really set Randy Weston's "Little Niles" apart from most other versions. Kenny Barron's version comes closer to Randy Weston's,and since I like them both, it's hard to choose one over the other; Kenny Barron's piano work makes his very interesting. That tune highlights Abbey's voice to a greater extent than "Little Niles", and I think I have that album. This definitely one of my favorite tunes "Delilah". I think I have it by just about everybody that has one, including Nat Cole; this one is by Milt Jackson and Wes Montgomery. https://www.youtube.com/watch?v=oPBqjfA6KcwEnjoy the music |
Randy Weston’s "Little Niles" has become a kind of modern jazz standard. Beautiful and very interesring tune in 3/4 that lends itself well to different approaches in interpretation. Comparing an instrumental version to a vocal version is not really a fair comparison for me and I couldn’t begin to pick a "favorite" between the two. Weston’s version of his own tune is wonderful with a subtle underlying Latin feel and some of the best playing by Cecil Payne that I have heard (not my favorite baritone player, but perfect for this setting). Abby Lincoln sounds sublime singing this tune and the slower tempo and more subtle approach give the tune a Kurt Weill flavor. Art Farmer interjects some tasty touches on flugelhorn as does Benny Golson on tenor. Great stuff! Although I would be hard pressed to pick a favorite between Weston’s and this other instrumental version, for me, a more relevant comparison might be to: https://m.youtube.com/watch?v=ibLAar4BafEAbbey Lincoln singing Kurt Weill, and one of my very favorite songs and favorite lyrics: https://m.youtube.com/watch?v=wwV01ddvLtoHappy Easter to all! |
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Rok, they're so close, that if you leave the words out of some blues, with minor modification, it will be jazz.
Enjoy the music.
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