Learsfool (and others), I was playing a disc the other night and I though of you - not your horn but I'm sort of indiscriminate (so I'm told). Andre Previn and Thomas Stevens play a classic american songbook on DRG. This may not be more than some beautiful dinner jazz, but for me anyway that's enough.
Makes me think more about the evolution of jazz and its 'apparent' demise to many after Miles Davis came along and did his thing. I didn't really gain interest in jazz until the late 80's. My interest then was an intellectual thing . I really didn't have a musical connection to the jazz of the 50's and 60's. When I investigated the recommendations from jazz enthusiasts most of the music was from the 50's and 60's and, to me anyway, much was inaccessible. A lot of disconnected notes. Like Berg and Schoenberg in modern classical music, aka just 'noise'. Getting into this jazz was hard work! Almost too hard.
I didn't start to appreciate jazz after until I heard the 'dinner jazz' (a softer jazz perhaps) of musicians such as Previn, Person, Ron Carter, Byrd, Pass, and Peplowski, just to name a few. For me this was a pre-coital kiss. The rest came more naturally after this adaptation.
I don't know if my experience has any universality but if it does could not the frequent whine of the demise of jazz actually have more to do with it than the actual, and continuing natural evolution of a music form?
This thinking thing is too hard - I'm glad that unlike you and Frogman I don't have to do it for a living. :-)
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"Outstanding late night romantic jazz", that's a perfect description; right now the sun is shining very bright, and it's a long time since I've been in a romantic mood. After it gets dark, if I can find anyone to get in a romantic mood with, that just might work; but seriously, I checked a few cuts, and I think it's a nice album.
Enjoy the music.
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Frogman (an others?), I just played a 'Latin Jazz' recording that I thought you might enjoy if you haven't already heard it. On the down side it did win a Grammy and it is relatively recent. Charlie Haden's (an excellent bassist IMHO) recording on Verve "Land of the Sun". Gonzalo Rubalcaba plays the piano. Outstanding late night romantic jazz, I think. The devil made me do it! :-) |
When People think of John Coltrane, they seldom think of his sentimental side; "Coltrane for Lovers" exposes a side of "Trane" that's rarely explored. All tracks have John Coltrane playing tenor saxophone. 1. "My One and Only Love" 2. "Too Young to Go Steady" 3. "In a Sentimental Mood" 4. "It's Easy to Remember" 5. "Dedicated to You" 6. "You Don't Know What Love Is" 7. "After the Rain" 8. "My Little Brown Book" 9. "Soul Eyes" Mal Waldron 10. "They Say It's Wonderful" 11. "Nancy (With the Laughing Face) The recordings compiled for Coltrane for Lovers initially received criticism for Coltrane's stylistic move from complex jazz compositions of the free jazz form to a simplistic formula of ballads and blues. Following the initial controversy, the album's recordings gained a legacy as one of Coltrane's most popular recordings and significant in the genre of romantic jazz. https://www.youtube.com/watch?v=r594pxUjcz4 https://www.youtube.com/watch?v=JrwSuy6ZBjI Here we have "In a Sentimental Mood" and "You Don't Know What Love Is" Enjoy the music. |
I was just reading about "Live Trane: The European Tours" ; Trane, tenor and soprano sax; Erik Dolphy alto sax, bass clarinet, flute; McCoy Tyner piano; Reggie Workman bass, Jimmy Garrison, bass; Elvin jones drums. This set contains music from nine concerts that took place between November 61, and November 63 ( I saw Trane, McCoy Tyner, Elvin Jones, and Jimmy Garrison, in the dead of Winter 63, must have been in January)
The sonic quality of this set is 2 1/2, while the performance is rated 5 out of 5 stars. There are five versions of Mr. PC, four of "Naima" and six of "My Favorite Things", ranging from 14 to 25 minutes. I saw the 25 minute version; fortunately there was a musician seated at our table who thoroughly enjoyed the extra time on my favorite things, while the rest of us were somewhat bewildered. I'm sure that Frogman, and Learsfool would have appreciated that extra time, because they're musicians.
A case can be made that "Live Trane" documents the crucial transition in Coltrane's artistic development, when he moved from chord-based "vertical" improvisation to open ended "horizontal" melodic invention based on scales and modes.
Carlos Santana states, "John Coltrane broke through to the other side. He found "The Light", and for a time, he became "The Light". This concert contains eight hours of music, you glimpse what it was like to be in the presence of Coltrane when he lived.
I think that last paragraph sum it all up.
Enjoy the music.
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Perhaps something Freudian involved (not!), but I got the protagonists of my trombone joke backwards. Should be:
Q: How do you make a French Horn sound like a trombone.
A: Take your hand out of the bell and lose all sense of taste.
☺️
Another fave:
Definition of "perfect pitch":
You throw the trombone in the lake and hit the viola.
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How many sax players does it take to change a light bulb?
Sixty. One to change the bulb and fifty-nine to talk about how much better Michael Brecker would have done it.
Cheers |
Kenny G gets on an elevator and says “Wow! This rocks!”
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A group of terrorists hijacked a plane full of tenor players…
They called down to ground control with their list of demands and added that if their demands weren’t met, they would release one tenor player every hour.
Cheers |
Q: How do you make a trombone sound like a French Horn?
A: Take your hand out of the bell and lose all sense of taste.
Q: What's the difference between a tenor saxophone and a lawnmower?
A: You can tune a lawnmower.
😊
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Frogman reminds me that I never answered that question about what is the hardest when I went off on my mellophone rant, LOL! He is absolutely correct that each instrument has it's own problems. Among the brass, though, as I think I have said before, it is usually said that the horn is the hardest - we have to cover the largest range on the smallest mouthpiece, which means we are using less surface area, and therefore taxing the muscles more. We also are regularly called upon to produce a wide variety of tone colors in the orchestra - some consider the horn the most versatile of orchestral instruments, in fact (the cello perhaps being the most versatile solo instrument in the orchestra). We are called upon to do many different types of things, and to regularly blend with the woodwinds just as much, in fact often more, than we do with the rest of the brass. It definitely requires a particularly good musical ear to play the horn professionally. The horn also has perhaps the best solo repertoire of all wind instruments, though the clarinet has some really nice solo rep as well, certainly the best among the woodwind instruments. (And some consider the clarinet the hardest to master of all the woodwinds, too. It used to be much more common than it is now, but there are still a few schools that offer a master's degree in woodwind specialty - some of the doublers we have talked about on Broadway have this degree - do you, Frogman? Those who have done such a degree are usually in agreement that the clarinet was the hardest one to play a really good recital on, and that the saxophone is the easiest by some distance; in fact I don't think I have ever heard anyone disagree that the saxophone is easiest among those who have actually played them all.)
We also talked some about the trombone and how the slide makes it, in the words of one of the best orchestral trombone players, both the easiest and the hardest instrument to play in tune. Easy because you can fix your tuning extremely quickly with the slide, but hard because it is extremely difficult to nail it exactly, again because of the slide. The tuba is not the easiest one to play, either - it requires moving the air quite differently from the rest of the brass. What is usually considered the easiest brass instrument to play is the euphonium, it is sort of like the sax in that way, and I would agree with that. Except it is much more financially lucrative to play sax, since the sax has such a big place in jazz and in musical theater. The euphonium doesn't have a big place anywhere.... |
Today's Listen: Ron Carter & Jim Hall -- TELEPHONE Just Guitar and Bass, but it works just fine. Speaking of nimble!! https://www.youtube.com/watch?v=L2Omlufc2rwThanks to The Frogman for the insight on 'take Five'. We all know what we like and don't like, but The Frogman tells us why we do and don't. Cheers |
Pirius, two of my very favorite players, Dexter and Herbie. But, you don't mention Herbie's "Taking Off" which features Dexter himself and the always brilliant Freddie Hubbard: https://m.youtube.com/watch?v=7wcYrx4d3Jg |
Re "Take Five": Good catch by Rok re the absence of Morello’s solo on the video and interesting comments about his timing which go to the heart of the tune and to Tito Puente’s version (yes, they are all connected 😉) . Morello was undoubtedly a brilliant drummer, but the reason that he "strikes in unexpected places" in his solo on the original version of the tune is because the tune is in 5 (hence the title). Being in 5 (five beats to the measure) the accents at the beginning of a measure or phrase feel "unexpected" in comparison to a tune that is in the much more common 4/4 time. Which leads me to Tito’s version: the heart of the tune is missing. Tito’s version is done in 4/4 and consequently sounds and feels very awkward. A melody composed in 5/4 is "forced" to fit ino a Latin 4/4 rhythm. Btw, notice how much faster the tempo is on Brubeck’s live video version vs the album version. Interesting interview; Paul Desmond interviews Charlie Parker and speak about practice and schooling: https://m.youtube.com/watch?v=UvsqYo9r_dE |
Excellent and informative post by Learsfool. In response to a related question, and I certainly don't want to answer for him as concerns the relative difficulty of playing the different brass instruments: as concerns woodwinds, it is common to proclaim one instrument as being more difficult to play than another; the oboe being a common recipient of the "most difficult to play award". Having had experience with all the woodwinds, something that I strongly suspect also applies to brass instruments, is that they all have their own unique set of diffiuculties and it is impossible and pointless to try and deem one more difficult than the other. It is true that at the beginning stages of the learning process some instruments are probably somewhat easier to make a decent sound on, but to achieve mastery of an instrument their own unique and equally difficult technical idiosyncrasies have to be conquered.
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Fans of Dexter and Herbie should own the Complete Blue Note 60's boxed set by each artist. Happy Listening! |
Learsfool:
Thanks for the info. Yes I am familiar with Mellophones in marching bands. I played Bass Trumpet in the marching band, and Fluglehorn in Concert Band. Jack of all trades, Master of none. :)
Cheers |
Hi Rok - first of all, "mellophonium" is actually a strange name. Perhaps Conn called their instrument by that name as a marketing thing. Usually, the instrument is referred to as a "mellophone." They are still very much in use in marching bands all over the country. What that article means is that Conn does not make one any more. There are plenty of other makers of mellophones, unfortunately.
Basically, a mellophone is most similar to a trumpet, except it is in a lower key, more similar to the range of the French horn. So in jazz, like in Stan Kenton's band, they were played by trumpet players. This is actually what the instrument was invented for - a "mellower" instrument that a jazz trumpet player could use. Think of it as an alternative to the flugelhorn, except the flugle horn became much more popular with the trumpet players. My guess would be that it was actually a trumpet player in your article, since he was part of a jazz group, I think you said?
However, in high school and college marching bands everywhere, there is always a mouthpiece extension fitted to the mellophones, so that French horn players can play them with their French horn mouthpieces, instead of the trumpet players. I had to play one of those things for two years in a high school marching band, and hated every minute of it. They are poorly designed instruments that do not play very well in tune, and don't have a particularly interesting tone quality. They are used by the French horn players in marching bands because they are bell front instruments - as you know, the French horn bell faces backwards, and it is much easier to march and play a mellophone than a French horn.
Another key difference is that mellophones are cylindrical instruments, like the trumpet (like I said, they are basically big fat trumpets) and trombone, as opposed to conical, like the French horn and the tuba. This accounts for the brighter tone quality, closer to a trumpet in sound than a French horn is.
I have had to play some of those Stan Kenton charts in the past on pops concerts, though of course we played them on French horn, which made them much harder, since they were definitely written for trumpet players playing mellophones - they are very high parts, and though I made it through that week, I actually injured myself doing it - the first time that had ever happened to me in my career. I hope I never have to play them again.....I should explain that my specialty on the horn is the low register - I play the bottom part in the section, I am the bass of the quartet of horns, if you will. So those screaming high Stan Kenton mellophone parts were especially difficult for me personally. If you go on YouTube and look for videos of the Stan Kenton band, you can see the difference between the trumpet and the quite a bit larger mellophone. They are trumpet players playing them there. It is much more common in marching bands for horn players to play them, though, and that is about the only place you ever hear mellophones anymore. They suck, and just about all horn players hate them with a passion. They also confuse the kids, because since they are actually big fat trumpets, they are fingered like trumpets, instead of like the French horn. So the students have to use one set of fingerings in marching season, and another set when they go back to their French horns for concert season.
I believe you live in Texas somewhere? If so, you have definitely seen mellophones at pretty much any high school or college football game on the marching field at halftime. And it is definitely the poor horn players that are forced to play them, sigh....my junior year, I escaped to finish high school at an arts academy, and never had to play one of those damn things ever again. Never had to play in a marching band ever again, either. That is terrible for the embouchure - it ruins many, many brass players. |
Rok, it's getting so bad that I have to look in the mirror, and pinch myself to make sure I'm still here. While looking for that pianist friend of mine, I just discovered the nightclub owner of the place I described as where the "Peacocks" hang, has gone on to that big club in the sky. http://stljazznotes.blogspot.com/2015/03/rip-gene-lynn-singer-and-nightclub-owner.htmlIt's so bad I'm expecting to see my obituary next. Enjoy the music. |
Rok, here's another local jazz vocalist I saw a lot. The reason I'm looking up all these St. Louis musicians, is because I can't remember the name of the pianist I've mentioned so many times, who could play Silver's tunes as good as the man himself. The last time I saw him, he was at a lounge where all the "Peacocks" went; the men were as vain as the women, and were always meticulously dressed in the most expensive attire. Everyone came to see, and be seen, almost no one was listening to the music. When I came in, I was alone and I came to hear him play. He knew I liked Horace Silver, and that's when he would jam "Nica's Dream", or "Senor Blues". Most of the time I came in before he started playing so we could rap. I've already mentioned his photographic portfolio that had him playing with the musicians we have discussed so much when they came to St. Louis and needed keyboards. (watch Frogman chime in and say "You told us that before") When everybody you knew is dead, that's a scary feeling, but that's the price one pays for getting old. I'm glad Jeanne Trevor is still around. Here's the link for Mae Wheeler, I really had some good times at the places she entertained. http://www.riverfronttimes.com/musicblog/2011/06/19/jazz-singer-mae-wheeler-passes-away-updated-with...Enjoy the music. |
Pirius, I have a number of those same albums you have by Dexter Gordon and Herbie Hancock. I noticed you didn't mention Herbie's fusion albums, and I'm curious about them; albums like "Head Hunter" for example?
Enjoy the music
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HERBIE HANCOCK: a virtuoso musician, an innovator and a link to so many evolutionary changes in jazz. These are my favorites:
Maiden Voyage 1965 Blue Note
The Prisoner 1969 Blue Note
Fat Albert Rotunda 1969 Warner Bros.
Herbie Hancock Trio 1977 Columbia
VSOP: The Quintet (Live album) 1977 Columbia
VSOP: Tempest in the Colosseum (Live album)
An Evening with Herbie Hancock & Chick Corea: In Concert (Live album with Chick Corea) 1978 Columbia
Feets, Don't Fail Me Now 1979 Columbia
VSOP: Live Under the Sky (Live album) 1979 Columbia
CoreaHancock (Live album with Chick Corea) 1979 Polydor
Herbie Hancock Trio 1981 Columbia
A Tribute to Miles 1994 Qwest/Warner Bros.
1 + 1 (with Wayne Shorter) 1997 Verve
Gershwin's World 1998 Verve
River: The Joni Letters 2007 Verve
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DEXTER GORDON: IMO, the most-under appreciated tenor in all of jazz. Faithful, prolific yet always pushing the Bebop envelope. My favorites
Doin' Allright (1961), Blue Note
Dexter Calling... (1961), Blue Note
Go! (1962), Blue Note
A Swingin' Affair (1962), Blue Note
Our Man in Paris (Paris 1963), Blue Note – with Bud Powell
One Flight Up (Paris, 1964) – Blue Note
Dexter Gordon with Junior Mance at Montreux (Prestige, 1970) – with Junior Mance
Generation (1972) with Freddie Hubbard, Cedar Walton and others – Prestige
Swiss Nights Vol. 1 (SteepleChase, 1975 [1976])
Swiss Nights Vol. 2 (SteepleChase, 1975 [1978])
Swiss Nights Vol. 3 (SteepleChase, 1975 [1979])
Something Different (SteepleChase, 1975)
Bouncin' with Dex (SteepleChase, 1975)
Homecoming: Live at the Village Vanguard (Columbia, 1976)
Sophisticated Giant (1977) with 11-piece big-band including Woody Shaw, Slide Hampton, Bobby Hutcherson – Columbia Records
Gettin' Around (New York, 1965)
The Squirrel: Live at Montmartre (1967)
Both Sides of Midnight (Black Lion, recorded on July 20, 1967, released in 1988)
Take The "A" Train (1967)
A Day in Copenhagen (MPS, 1969) – with Slide Hampton
The Tower of Power! (Prestige, 1969) – with James Moody
Round Midnight (1986), Columbia Records
The Other Side of Round Midnight (1986) Blue Note Records
Awakenings (1990)
Live at Carnegie Hall (1998), Columbia Records – Recorded in 1978
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cleeds:
*****
I think the French horn is, hands down, the most difficult to play of all of the brass instruments. That's because the same valve fingering can produce multiple, often closely spaced, notes. *****
That's what I thought also. That's why I could not imagine anyone playing it as a solo instrument in Jazz. At least any 'cookin' Jazz.
Thanks for the post
Our Classical oracle will speak soon.
Cheers |
Rok, thanks a lot for that supporting link on Oliver Sain. He looked the same as he looked on that interview the last time I saw him; he was in the hot tub looking fit as a fiddle (however fit that is) and we talked for a long time about when he was on the bandstand, and I was in the club where he was playing, having a ball. Although we didn't know one another during those times, we were in the same space at the same time, that made us feel like long lost friends; especially considering those times spanned so many years.
(pardon me if I pass on that absurd question) Half of the south is named 'Sonny Boy'
He was so easy to talk to that he felt like a long lost friend. Late 90's is as close as I can get to the last time I saw him. Thanks again for that link.
Enjoy the music.
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rok2id " ... Could you list in order of
difficulty to play, the brass instruments in an Orchestra. And speak a
little about what makes them more or less difficult."
I think the French horn is, hands down, the most difficult to play of all of the brass instruments. That's because the same valve fingering can produce multiple, often closely spaced, notes.
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Oliver Sain:
Wow! A lot of names from the past. I remember people talking about Willie Love in Greenville. 'Living Blues' magazine did a nice article on him a few centuries ago.
Most of the people you mentioned crisscrossed my neck of woods in their heyday. Little Milton was a regular.
You do realize there were many guys named Sonny Boy Williamson.
That's part of the charm of the blues. Everyone is buried in several different places. Killed by several different means. Charley Johnson has at least three tombstones in three different places.
And of course US Highway 61 will carry you to Chicago, New Orleans, Los Angeles or New York. What a road.
Welcome to the Land of The Blues.
Cheers |
Learsfool:
Article in the local paper about a Local jazz duo, consisting of Piano and Mellophonium.
The horn player talks about how difficult the horn is to play. He calls his, 'Attila The Horn'. It was designed to bridge the gap between Trombone and Trumpet. Stan Kenton used them in his band.
It reminded me of the exchange we had about the French Horn and how 'nimble' it was to play, which was my way of saying it could not be played fast. You corrected me.
Could you list in order of difficulty to play, the brass instruments in an Orchestra. And speak a little about what makes them more or less difficult.
The article goes on top say the Mellophonium has not been manufactured since 1977. Made by Conn. They said that like it meant something.
Thanks
Cheers |
Oliver Sain was another local musician who was in popular demand around town, and one I had the good fortune to have a long chat with. He was sitting in the hot tub at the spa, and I recognized him. Since I had gone to the clubs that he played down through the years, we had a lot to chat about; before and after he hit the big time with Fontella Bass. He told me how nice it was living large in the house on the hill, but he knew when it was time to sell, and come back down. We talked about wild times at some of the clubs he played before hitting the big time; he even invited me to come see him where he was performing at that time, but I didn't make it. Oliver Sain (born March 1, 1932, Dundee, Mississippi – died October 28, 2003, St. Louis, Missouri) was an American saxophonist, songwriter, bandleader, drummer and record producer. As a performer and as a producer, Oliver Sain exerted an influence on the evolution of St. Louis and R&B that is rivaled only by that of his close friend and infrequent collaborator Ike Turner. Sain was the grandson of Dan Sain, the guitarist in Frank Stokes’ legendary Memphis blues act the Beale Street Sheiks. In 1949, Sain moved to Greenville, Mississippi to join his stepfather, pianist Willie Love, as a drummer in a band fronted by Sonny Boy Williamson, soon leaving to join Howlin’ Wolf where he acted as a drummer on and off for the following decade. After returning from the United States Army draft he took up the saxophone. Sain is credited with launching the career of Little Milton, who became a vocalist in Sain’s band, and discovering Bobby McClure and Fontella Bass, whom he originally hired as pianist for Little Milton. He is also associated with the discovery of Kim Massie, who was largely unknown until she was heard sitting in with his band. Sain wrote "Don't Mess up a Good Thing" which was a number one hit in the US for Bobby McClure in 1965. The song was later covered by Greg Allman of the Allman Brothers Band, on his solo album Laid Back. In the mid-1970s, he recorded his own disco records such as "Bus Stop", "Booty Bumpin' (The Double Bump)" (1975), "Party Hearty" (1976) and "Feel Like Dancing" (1977). Sain died on October 28, 2003 from bone cancer, which followed on from previous bladder cancer. He was well known and liked by everybody in St. Louis. https://www.youtube.com/watch?v=Bt1VjRpBMjsEnjoy the music. |
That's the one! I was just about to send it. Some things just can't be improved upon. Morello just fakes you out with his solo. He never strikes where he is 'supposed' to. Try to play along with him. (Air Drums) Got more moves than MJ. Must be that time thing.
On of the few drum solos that is vital to the tune. Most are just "lets let the drummer play for a while" type things. Distractions.
Cheers |
That first one we saw was probably due to some "Hissy fit" Paul Desmond was having about Joe Morello. https://www.youtube.com/watch?v=XpZHUVjQydITrane at his best. When you hear any of the top 100, you don't have to ask "WHY"? Enjoy the music. |
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Rok, you're right on time, I wandered the exact same thing.
I'm going to find another one, back in a minute
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Take Five:
Didn't sound 'right'. Now I know why. Where is Morello's solo. It ain't Take Five without it.
KOB:
I never realized that KOB is not represented in the 100 Best of the 50's box set. Interesting.
Cheers |
Rok, I was comparing Nica's book to the 100 best jazz tunes of the 50's, and noticed there is an incredible, almost 1 on 1 correspondence to the two; practically all of the people in her book, are represented in best jazz tunes of the 50's. I didn't know it, but both of yesterdays tunes, "Moanin" and "Along Came Betty" appear in the 100 best jazz tunes. That's unusual for 1 album to have 2 tunes in a best of compilation like this. KOB does not have even 1 cut in this book; whatever that means, I'll let others decide. While yesterdays selections were coincidental, today I'm intentionally choosing two selections from that compilation. Miles 'Round Midnight' and Dave Brubeck, 'Take Five'. https://www.youtube.com/watch?v=GIgLt7LAZF0 https://www.youtube.com/watch?v=PHdU5sHigYQEnjoy the music. |
Keaggy & Pachelli and Adrian Legg:
It is very hard for a professional player to sound 'bad' on solo or duet acoustic guitar. But try and visualize the same music being played on Trumpet or Saxophone.
Sort of like playing vibes, a lot of routine unexceptional playing, and players, can hide behind certain instruments.
Solo guitar sounds very life-like on high end stereo systems. We can hear the fingers pluck the strings, seems as if we can hear the individual vibrations. Close your eyes and they are in your living room. No orchestra can make you feel that way with Beethoven Symphonies.
But what are they saying? My take? Not much. Very simplistic music. Neither the Players nor the music was as good as it sounded at first listen.
Of course neither clip was Jazz.
Cheers |
Closer to St. Paddies, so maybe I'm on the sauce.
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Hi Orpheus - I have a couple of questions, and a comment. First, I for one am very puzzled by your use of the term "wire-worshipers." If this is a reference to something on this thread, I must have missed it. What do you mean by it? I am assuming this is not a reference to speaker wire??
Second - this is a repeat of a question in my last post - just how do YOU think that all these jazz greats we have talked about on this thread became so good? I really would like to hear your honest answer to this.
Third - I for one am not "complaining" about you. I applaud you for your love of music, and for starting this thread, which is one of the best I have ever encountered online. I am merely trying to correct a few of your most obvious misperceptions. I know you do not care about this, but it is not about you - it is for others that read this thread and who are interested in how music and musicians really work, of which there are clearly plenty. |
Acman, I had to check the calendar to make sure it wasn't "April fool day". Since that's not it.... I'm going to pass on this one, and let Frogman make the judgement.
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O-10, speaking for myself, I can deal with stubborness, close-mindedness, rigidity, illogic, anti-intellectualism, sarcasm and even plain bone-headedness; however, most disappointing of all (after three years of participation and seeing and overlooking the many signs) is the realization that you are not a person of good will. If it weren't for the silliness in behaving like a petulant child who doesn't get his way it would be even sadder than it is; and, with your sarcasm and cynicism, you simply create more rancor and exclusion. You consider yourself an aficionado and champion of the music and you are so self-serving in the place that you hold for it in your own personal sphere (agenda) that you don't see how you let that personal agenda and the resentment of not getting your way color your perception of the very music that you claim to love so much. You let it influence your perception of what is worthy and what is not simply based on whether your "opponent" (in your mind) thinks that it is, or your "friend" thinks that it's not; just as you refuse to even consider information presented to you in good faith that could help you appreciate your musician friend even more than you do because it would help you understand more the depth of what is required to do what he did. Sad indeed.
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Rok, I have seen more complaints about me than you can shake a stick at. Is this thread titled "What's wrong with Orpheus" or "Jazz For Aficionados"? If it's the first, a lot of people are batting 100, but if it's the latter, they have failed to contribute anything.
Who ever has a complaint about this thread can change it any way they want to; do you want the latest in jazz? Fine, link it up and let us hear it. Do you want Classical? That's good to, I have no objection? If you want Hill Billy ( post it on another thread) OK, but I can't promise I'll listen.
See how easy it is to have it any way you want it.
Enjoy the music.
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Moanin' & Along came Betty:
Listening closely to each note of great Jazz, has been known to bring on severe cases of spontaneous smiling.
Cheers |
Rok, have you ever noticed that the people who complain about what I talk about, never have anything to talk about themselves. Right now I'm listening to "Moanin". The same one that's on the album, the album that's better than KOB. Every time Bobby Timmons strikes a piano key, I hear something that I've never heard before, although I've heard this tune a million times. I can stand to listen to Benny Golson's solo on "Along Came Betty" forever; if they (KOB people) feel half of what I feel when I hear Blakey's album "Moanin", I can understand why they buy so many copies. Here's the link just in case you haven't heard it for awhile. https://www.youtube.com/watch?v=Cv9NSR-2DwMThis is "Along Came Betty" https://www.youtube.com/watch?v=CTzRHq_cH5E Benny Golson's sax is as smooth as silk; where can you find something like this on KOB? Enjoy the music. |
*****
was it from a movie?*****
I am not sure. Maybe some war / military movie of the '1941' type.
cheers |
