Jazz for aficionados
*****The "soundtrack" is as shallow as a sidewalk puddle compared to "Brazil" on the LP, and that's what I meant.**** I get what you mean, but you are out of context. You cannot seperate the soundtrack from the movie. Jobim's version would have been a total flop as the soundtrack. You have to see the movie. As one reviewer said, the movie is like '1984' minus Big Brother. Instead we have a regime of deadly buffoons. This soundtrack is in the same class as the soundtrack of 'The Third Man'. Cheers |
Frogman, you're absolutely correct in regard to the Cuban thing. In regard to my likes and dislikes, I put them aside when I suggested going to the 30's and 40's. The computer enables me to take to take a more "pedagogical approach" through Wikipedia and you tube, and I will with your and Rok's help. For now, I will go back to the Cuban thing, and follow that up with the 30's and 40's. Enjoy the music. |
Some thoughts about recent commentary: I could not agree more with the comment that the thread loses focus and is not as enjoyable if the commentary jumps around too much; I think the reasons why are obvious. However, I think that this distinction needs to be made: I don't think that the act of jumping around, unto itself, is a bad thing or a distraction. It is possible and potentially interesting to touch upon and show examples of, for instance, a player from the '40's who influenced a player active in the '60's. The "influence lineage" is something that has been missing here IMO; and, there has been active resistance to it as well as active resistance to the music of certain eras such as 20's, 30's and even early 40's; specifically early swing, swing and big-band eras. The issue that I have with that approach is that not enough time is spent on any one topic (or artist) to really do it justice. I have felt this way almost from the beginning of the thread. A recent example is, in fact, the recent "new Cuban music" topic. O-10, I must say that I was surprised that after you proposed the topic and mentioned The Afro-Cuban All-Stars, that you did not post a single example of either that group or any other group; and, there was scant commentary about any of the postings until the subject was deemed exhausted a short time later. That is a great example of a topic that is abandoned way too soon (and I said so), especially given the huge numbers of musical examples available of that very rich musical heritage. I think that it's going to be a worthwhile challenge (but certainly not impossible, and certainly potentially rewarding) to take a more pedagogical approach to the discussions as opposed to the one that was the stated one at the thread's inception: that of discussing simply one's favorite artists. I certainly welcome (should not be surprising) a more comprehensive look at the various subjects and a more in-depth analysis (yup, that IS what is being proposed; like it or not). One can't have it both ways. In order to dig deeper into any one subject we have to (to a degree) put aside our dislike of certain genres and certain styles of playing for the sake of gaining a deeper understanding of how it all ties together; and it all certainly does. Another issue worth noting, and one that would become much more clear if the above approach is taken, is that I don't think enough distinction is made between great artists and important artists. This is not to suggest that the "merely great" artists should not be covered; obviously they deserve to be and "ties it all together". What I mean is that artists like Previn, Snow and Scott are great artists; however, IMO they are not important artists in the sense that they were not particularly influential artists. Determining wether they are important or "merely great", and the reasons why, can be one of the most enjoyable aspects of a thread such as this; personal "like" is a different matter. What makes an artist an important artist? Scott was an important artist from the standpoint of her contributions to civil rights (and what a beauty she was!), but as far a her contribution to music one has to be pragmatic and acknowledge that she was great, but she was no Art Tatum; her mentor and a truly important artist. IMO, the notion of the either undiscovered or under-appreciated artist is overly-romanticized and generally exaggerated. Of course there have been artists that for whatever personal (or otherwise) reason did not get his/her due; but, the art world has a way of "separating the wheat from the chaff". The truly important artists will (almost without exception) be noticed; sometimes in spite of themselves. Again, we're not talking about merely good/great artists, but the important ones. I think that this perspective can be a very good and useful backdrop for these discussions. |
Here's an interesting artist, "Lila Downs Sanchez". She was born September 9 of 1968 in Tlaxiaco, Oaxaca, Mexico. She is the daughter of Anita Sanchez, a Mixtec cabaret singer and Allen Downs, a British-American professor of art and cinematographer from Minnesota. From an early age Lila showed interest in music. At the age of eight she began singing rancheras and other traditional Mexican songs. She began her professional career singing with mariachis. At fourteen she moved to the United States with her parents. She studied voice in Los Angeles and learned the English language, which her father helped her to perfect. When she was 16, her father died, and afterward she decided to return to her native Tlaxiaco with her mother. One day while she was working in a store in the Mixtec mountains a man came in to ask her to translate his son's death certificate. She read that he had drowned trying to cross the border into the United States. This deeply affected her and has continued to influence her work. She talked about this in an NPR interview about her 2001 release entitled Border. Although today Downs is proud of her origins there was a time when she felt shame regarding her Native American roots. "I was embarrassed to have Indian blood. I was embarrassed that my mother spoke her language in public." This led her on a path to find herself, which included dropping out of college, dying her hair blonde and following the band The Grateful Dead. After some time Downs found herself back in Oaxaca working at her mother's auto parts store, where she met her future husband and musical collaborator, tenor saxophonist Paul Cohen. Downs studied Anthropology at the University of Minnesota and voice in New York. Later she attended the Institute of Science and Arts of Oaxaca to complete her studies. At 25, after completing academic and music studies, Lila decided to return to Tlaxiaco. Paul Cohen always encouraged her musical ventures, and she joined a group percussion called Yodoyuxi's Cadets. Because Paul Cohen had business in the United States she began to live in both Minnesota and Oaxaca. Here is one of my favorite cuts by Lila https://www.youtube.com/watch?v=0MtQY-gtdH4 Enjoy the music. |
*****To evade oppression in the United States, Scott moved to Paris in the late 1950s. ****** You read this alot in Jazz history. It's odd / strange, that black people, would 'flee', seeking racial justice, to a continent where Tens of Millions of people were murdered, based on race, a decade earlier. Cheers |
It could be that musical genres follow something like the Bell Curve. Start off at zero, the few creators, grows to a maximun output, with maximun participation, creativity and popularity, then fades back to zero, the talent, popularity and creativity declining over time. The main problem with geting involved with the 30s and 40s, is recording quality. Also, speaking for myself, as great as the music was, I don't own a lot of stuff recorded during that era. I think of my box sets of Bessie Smith and Robert Johnson. Great music with a great amount of noise. You LP guys probably have a higher tolerance for noise.:) Cheers |
*****For example; Velaida Snow has been mentioned several times, and compared with "Pops"****** Just to set the record straight, no one compared Valaida, bless her heart, to Pops. It was all said in jest. Even Pops was being facetious when he called the the second best Trumpet player. A way of messin' with her, and reminding everyone, as if they needed reminding, that he was, is, and always will be, The best. Cheers |
Frogman and Rok; this thread is most enjoyable when the three of us get on one time subject, and stick to it, as opposed to jumping from one thing to another. For example; Velaida Snow has been mentioned several times, and compared with "Pops"; why don't we just get into that "era" and cover everything surrounding it, or we can get into the 40's and 50's. I can think of an important reason for doing this; although almost everyone has stated there are reasons why the music is better at one time than another, they haven't been able to give any reasons as to why? When you substitute "prolific" for better, that narrows things down, and gives a better understanding of the underlying reasons why this may be so. An example of "prolific", is all of the hit music that came out in the 40's and 50's in all genres. That music is still around in various forms in "cross genres". What I mean by "cross genres" is when a tune that came out as jazz, and crossed over to pop. Another example is country and western crossing over to R & B. Don't misunderstand me, I'm not saying to get into C & W or R & B, I'm trying to define the word "prolific" in the way I'm using it; that's when people say the music was better at that time, when what they mean is there was a lot more of it in "all" genres. When you substitute the word PROLIFIC, for BETTER, that might give us some insight into why this was so. As a jazz aficionado, I feel there is no doubt in regard to "jazz" in the 50's and 60's; there was more of it. Maybe there was also more POP, more C & W, and more R & B, at the same time. Believe it or not, although we're talking about music, we're also getting into economics and disposable income, as well as numerous other factors; music doesn't happen in a vacuum. When there is more "disposable income", everything is better all cross the board. In our past discussions we knew what we were talking about because those artists are in our collections, and we are familiar with them. Our new discussions would revolve around a designated "era" or time period and be restricted primarily to that time. While we might have to resort more to "Wikipedia" and "you tube", we would learn a lot. For example, "Valaida Snow" was most active in the 30's and 40's, Pops was active in the 30's and 40's, therefore we would restrict our discussions primarily to the 30's and 40's, instead of hopping all over the place. While this didn't work to well on Cuba the last time, I believe not only will it work, but we'll learn a lot. Since Pops and Valaida have both been mentioned, I'm going to begin with some artist in the 40's; "Hazel Scott" sounds good. Instead of just music, I'm going to "Wikipedia" to find out about the person as well. Hazel had long been committed to civil rights, particularly in Hollywood. She refused to take roles in Hollywood that cast her as a "singing maid." When she began performing in Hollywood films, she insisted on having final-cut privileges when it came to her appearance. In addition, she required control over her own wardrobe so that she could wear her own clothing if she felt that the studio's choices were unacceptable. Her final break with Columbia Pictures' involved a costume which she felt stereotyped blacks. She also refused to perform in segregated venues when she was on tour. She was once escorted from the city of Austin, Texas by Texas Rangers because she refused to perform when she discovered that black and white patrons were seated in separate areas. "Why would anyone come to hear me, a Negro," she told Time Magazine, "and refuse to sit beside someone just like me? In 1949, Scott brought a suit against the owners of a Pasco, Washington restaurant when a waitress refused to serve Scott and her traveling companion, Mrs. Eunice Wolfe, because "they were Negroes." Scott's victory helped African Americans challenge racial discrimination in Spokane, as well as inspiring civil rights organizations ‘‘to pressure the Washington state legislature to enact the Public Accommodations Act in 1953. With the advent of the Red Scare in the television industry, Scott's name appeared in Red Channels: A Report on Communist Influence in Radio and Television in June 1950. Scott voluntarily appeared before the House Un-American Activities Committee Scott insisted on reading a prepared statement before HUAC. She denied that she was ever knowingly connected with the Communist Party or any of its front organizations, but said that she had supported Communist Party member Benjamin J. Davis' run for City Council, arguing that Davis was supported by socialists, a group that has hated Communists longer and more fiercely than any other. Her television variety program was cancelled a week after Scott appeared before HUAC, on September 29, 1950. Scott continued to perform in the United States and Europe, even getting sporadic bookings on television variety shows like Cavalcade of Stars and guest starring in an episode of CBS's Faye Emerson's Wonderful Town musical series. Scott's short-lived television show provided a glimmer of hope for African American viewers' during a time of continued racism in the broadcasting industry and economic hardships for jazz musicians in general. Scott remained publicly opposed to McCarthyism and racial segregation throughout her career. To evade oppression in the United States, Scott moved to Paris in the late 1950s. She appeared in the French film Le Désordre et la Nuit' (1958). She maintained a steady but difficult career in France and touring throughout Europe. She did not return to the US until 1967. By this time the Civil Rights Movement had led to federal legislation ending racial segregation and enforcing the protection of voting rights of all citizens; most African Americans in the South could vote again, after nearly 100 years of many being excluded from the franchise. Other social changes were underway. Scott continued to play occasionally in nightclubs, while also appearing in daytime television until the year of her death. She made her television acting debut in 1973, on the ABC daytime soap opera One Life to Live, performing a wedding song at the nuptials of her "onscreen cousin", Carla Gray Hall, portrayed by Ellen Holly. Here is Hazel on "Rhapsody in Blue", and also on on a "Foggy Day". https://www.youtube.com/watch?v=NtBMXE9mJV4&list=PL696650744F3E9A41 https://www.youtube.com/watch?v=NtBMXE9mJV4&list=PLC25026D86F95AAC9 Now that you know where I'm coming from, do your thing. Enjoy the music. |
The Frogman: Pops was just messin' with Snow, when he called her the second best. Her being somewhat of a novelty, i.e. Female Jazz Trumpet Player. Pops never said who the best was. He didn't have to. Brazil: yes, this Brazil fits the movie. I read what wiki had to say about the movie. I will have to watch it again. I am not exactly sure when he started undergoing torture. I guess his mind retreated into fantasy and this music. The movie is not about Brazil, the country nor the music. Does not take place in Brazil. Guess that says a lot about the power of the song. An antidote to horror. Cheers |
Today's Listen: Very eclectic album. From a player/composer of extraordinary intellect. If you like Jazz you will find something here to like. Every track a winner. https://www.youtube.com/watch?v=lZq70OblqXk My favorite 'interval' of all time!! I tired to listen to "Bill Evans At The Village Vanguard" after this, but I couldn't. Just tooooo much contrast. Will save Bill for later. https://www.youtube.com/watch?v=PYgow060zOg Cheers |
I have to agree with O-10 re Valaida Snow. A wonderful talent, great entertainer; entertainer in an era when "jazz" was SUPPOSED to be unabashedly entertaining. Of her many talents, I like her singing the best; the most convincing. Her trumpet playing was very good, but I don't think Pops had anything to worry about. "World's second best trumpet player"? I don't think so; a bit of hyperbole in the interest of entertainment and showmanship (showomanship?). Great and fascinating story! I have to disagree, however, about that performance of "Brazil"; great classic tune. I have not seen the movie "Brazil", but I have a sneaky suspicion that this version of the tune is supposed to somehow complement the movie. Taken on its own, I find this rendition cheesy (like the movie?) and the singing downright awful; sorry. BTW, I wrote the above just before reading Rok's comments about "Brazil". Eventhough mine appear to be much more negative, I think we are actually saying the same thing. Here is the composer himself playing his composition with a typically Brazilian vibe; joyful (Carnaval) and just a touch of melancholy. https://m.youtube.com/watch?v=V8goep7fVXk |
O-10: Donegan:Dorothy is not an innovator. She does not attempt to push the envelope. She is what you said, an entertainer. Which is not a bad thing. You go to hear her and party at the same time. With someone like Silver, you would have to give him your undivided attention. Another recommendation from Stereo Review. Brazil: The reason THIS Brazil is special, is because it is the theme from a very unique movie. I can't tell you exactly what happened in the movie, because, I am not sure I know. I have only seen it three times. I do know it seems to be a futuristic, comical, horror story. This is not your run of the mill Brazil. That's why I love it. Because of the movie. Besides, there is a lot going on in this version. Cheers |
Rok, although I've heard the name, she's not in my collection. As fantastic a pianist as she was, she didn't play my kind of jazz, but, she could have if she wanted to. She was primarily an entertainer, and they had to display "showmanship" for the crowd; this is what paid the bills. "Brazil" is such a beautiful and romantic tune, what is there not to like, and that version was especially so. Enjoy the music. |
Maybe you will feel more at home with the song "Jazz Police"! http://www.youtube.com/watch?v=RB8vzBcoEcg |
The Big Phat band, despite the name, was pretty good. In the video clip, they didn't appear to have the proper level of seriousness for a Jazz group. I also thought that having the Sax section out front would have been a lot more interesting. Four guys playing trumpet, dressed in all black, out front, should have done more with that opportunity. They were well dressed for the occasion. Cheers |
http://www.youtube.com/watch?v=6JacX51ihws I will have to read/listen to the last week and catch up, but this band is good! |
Today's Listen: Dorothy Donegan -- LIVE AT THE WIDDER BAR Awesome! Did someone mention 'Bombastic'? I think she, and Chucho had the same music teacher!! Once again, I could not find a Youtube of the CD, but this clip is typical of the content. https://www.youtube.com/watch?v=uQpJ8WP6_6c From back in the day. She had a long career. https://www.youtube.com/watch?v=KtMey-dcGPE Cheer |
Frogman, that clarinet solo is so beautiful, but short, that I repeated it several times in order to fully appreciate it. In Regard to "Offering", without a doubt it wouldn't be to my taste, or Rok's. Normally I wouldn't take the liberty of speaking for Rok, but this is one time I'll take that chance; from the description, and my memory, the only people in the audience, who liked those 35 extra minutes of "My Favorite Things", were musicians. As I recall, neither McCoy Tyner or Elvin Jones were too pleased, I judged that by the expressions on their faces and they way the quit even attempting to follow "Trane" on his flight to who knew where, (that's Trane) and chose to remain on solid ground. Since you're a musician, you might have a completely different take on "Offering". Enjoy the music. |
Gershwin: Wonderful piece. I have a couple CDs of Previn and the LSO, playing the same pieces. 'Rhapsody in Blue', just screams "Broadway"! It is what we think of when we think of NYC. Sadly, we can't buy CDs by orchestras the likes of Chicago, Philadelphia and New York. 99% of all my classical is by European Orchestra. :( Another TEST, is for flute players, playing 'William Tell'. Cheers |
O-10: Great clip of Valaida singing and playing with the dancers. Those guys had some great moves. Does wearing baggy pants help with the overall effect? Reminds of me those Latin guys dancing in baggy suits. Gotta love it. The Mills brothers are played every week down here on the local PBS station. Great singers. They were just cutting the fool on this clip. Did you notice the shoes the 'country gals' were wearing? I had always assumed Pops was joking, with his comments on sister Vallaida. After hearing her sing and play, maybe not. Could Pops have been worried?.... Naw! What am I thinking. :) Cheers |
O-10, "The Offering" will not be available until the end of Nov; 9/24, I believe, his 88th birthday. I may accept that nomination; maybe :-). It will be available on vinyl. Today's surprise: ****Today's Surprise!! World Saxophone Quartet -- DANCES AND BALLARDS**** First Stravinsky, now WSQ. See what happens when you hang out with the wrong crowd? :-) Seriously, not the most avante-garde "avante-garde" music by a long shot, but pretty adventurous stuff. That particular clip starts out pretty "inside" and then takes off. I am very partial to the sound of a saxophone quartet. It can be a thing of beauty particularly playing Bach where it can sound remarkably like an organ. I don't know if I can stand all this agreement: Kleiber. Clearly a subjective matter to a great extent, but without a doubt one of the very best. Perhaps the best. His Beethoven 5th is unparalleled. Corea. Beautiful record from a player with a very distinctive sound and sense of swing. "Ceora". One of my favorite tunes and one with sentimental value. One of the very first I learned after starting to play the saxophone as a kid; after first starting to play classical clarinet. So, in reality, while I never left jazz nor classical, a more accurate description is that I went back to classical. Previn. What can one add to what has already been said about him? Amazing musician and true giant; up there with the likes of Leonard Bernstein as an example of great versatility at an extremely high level. I agree with all that has been said about his playing; I particularly like the "less bombastic Oscar" comment. There have been a few, somewhat lower profile musicians who have "left jazz" to focus on classical. Two that come to mind are: Larry Combs, recently retired principal clarinetist with the Chicago Symphony who is (was) also a fine jazz saxophonist and former member of Chuck Mangione's jazz quintet; and Ron Reuben, recently retired bass clarinetist with the Philadelphia Orchestra. For the geeks: The opening clarinet solo in "Rhapsody" is, without a doubt, one of the classic "tests" of any serious clarinet player's mettle; right up there with a jazz player's ability to play over the changes to Trane's "Giant Steps". To be able to play the famous "s(h)mear" with great style and still sound controlled and not like one is about to "fall off the tracks" is incredibly difficult. Here is my favorite performance of that solo by the aforementioned Larry Combs in possibly the best recorded version of this great piece (in its original "jazz-band" version). Is it a coincidence that it's a great version of the solo and that Combs is also a jazz player? https://m.youtube.com/watch?v=KPL19IgsEHc&list=PLIoTSU58PJgr7GVXju5V-hr9RgHWX9Uve |
Today's Listen: Chick Corea -- SOLO PIANO STANDARDS Highly recommended. Could not find a youtube of the CD. I did find a youtube of my favorite selection from the Corea CD, which is also the theme from my favorite movie. https://www.youtube.com/watch?v=9HtHEgINHO0 Cheers |
Rok, I went back to Valaida Snow and found some real good entertainment; singing and dancing from the 40's, when life was a lot simpler. This was a time when the working man could find a job, all he had to do was get to Chicago or Detroit, and it also helped the small business man. I could look at this all day long, just bounce around and have a good time. https://www.youtube.com/watch?v=Vn3lJK2Egwo https://www.youtube.com/watch?v=14QEoEIvUuk Enjoy the music |
O-10: Today's Listen: Lee Morgan -- CORNBREAD All the tracks are great. With this line-up, they should be. This one, "Ceora", is mo' better great. https://www.youtube.com/watch?v=ECw3WAX41OA Cheers |
O-10: I once told you computers don't go on the fritz these days. Well, computers might not, but internet providers certainly do. Just got back online. Previn: Very nice clips. I love that type of playing. Like a slightly less bombastic version of Oscar. I have several Classical pieces with him as conductor or accompanist. At least one with his wife, the great German violinist, Anne-Sophie Mutter. I also have the DVD of "Christmas at Carnegie Hall" with Battle, von Sade and Wynton. He conducts the Orchestra. Towards the end of the concert, they gather around his piano for some solo singing of Jazzy Christmas tunes. The look of Previn's face said it all. This was the part he had been waiting for all night. The good stuff!! I think Jazz might still be his first love. I only have one Jazz CD with him as leader. "After Hours" with Joe Pass and Ray Brown. It is excellent. If you like Previn, you gotta have this one! The man is a prime example of what is meant by the phrase, 'accomplished musician'. Any genre he can not only play, but excel at playing. "After Hours" was his first Jazz recording in 27 years. You couldn't tell. Here is a clip. https://www.youtube.com/watch?v=s8KSBxVoF2M There are several more from this CD on youtube. |
Kleiber was voted Best Conductor ever, by one classical magazine. I don't remember if the vote was by the Editorial staff or the readers. I guess you could say he had a 'flowing' style. https://www.youtube.com/watch?v=cfbLpijCN3M Cheers |
Today's Surprise!! World Saxophone Quartet -- DANCES AND BALLARDS Amazing!! I could not believe how much I enjoyed this. Every track a winner. This is supposed to be Avant-Garde / Free Jazz. This is the best example of that genre I have ever heard. https://www.youtube.com/watch?v=PQ60abjwCPQ WSQ, another group I have 'Grown into'. Purchased several albums / CDs by WSQ based on positive reviews in "Stereo Review". They, SR, never steered me wrong. Sooner or Later, they were always proved right!! Cheers |
We have discussed almost every genre of music and type of musician there is except one; that's a jazz musician who became primarily a classical musician. Wynton Marsalis doesn't quite fit that bill because he's still primarily a jazz musician. Andre Previn is the only musician who fits. In the mid-to-late 1950s, and more recently, Previn toured and recorded as a jazz pianist. In the 1950s, mainly recording for Contemporary Records, he worked with J.J. Johnson, Shelly Manne, Leroy Vinnegar, Benny Carter, and others. An album he recorded with Manne and Vinnegar of songs from My Fair Lady was a best-seller (see My Fair Lady (Shelly Manne album)). As a solo jazz pianist, Previn largely devoted himself to interpreting the works of major songwriters such as Jerome Kern (recorded in 1959), Frederick Loewe, Vernon Duke (recorded in 1958), and Harold Arlen (recorded in 1960). Previn made two albums with Dinah Shore as arranger, conductor, and accompanist in 1960, and another, "Duet", with Doris Day in 1961. He made appearances on The Ford Show, Starring Tennessee Ernie Ford as well as The Dinah Shore Chevy Show. He collaborated with Julie Andrews on a collection of Christmas carols in 1966, focusing on rarely heard carols. This popular album has been reissued many times over the years and is now available on CD. His main influences as a jazz pianist include Art Tatum, Hank Jones, Oscar Peterson, and Horace Silver. Previn's more recent work also shows the influence of Bill Evans. Previn has recorded solo classical piano compositions by Mozart, Gershwin, Poulenc, Shostakovich, an album for RCA with violinist Erick Friedman of the Franck and Debussy violin sonatas, and many chamber works for piano. In 1967, Previn succeeded John Barbirolli as music director of the Houston Symphony Orchestra. In 1968, he began his tenure as principal conductor of the London Symphony Orchestra , serving in that post until 1979. During his tenure, he and the appeared on the BBC Television programme André Previn's Music Night. From 1976 to 1984, he was music director of the Pittsburgh Symphony Orchestra and, in turn, had another television series with the entitled Previn and the Pittsburgh. He was also principal conductor of the Royal Philharmonic Orchestra from 1985 to 1988. "Like Young" is my favorite by Previn, and I'll present two versions; a purely instrumental and a vocal. The vocal gives the time away by the language; it was "beatnik", they're the old hippys before the new hippys, "can you dig it". https://www.youtube.com/watch?v=EZKzTMr1M5E https://www.youtube.com/watch?v=xCZxvAG5wHg Enjoy the music. |
O-10 'Gris Gris' has been in my Amazon cart forever. I will order it now. It's supposed to be one of his best. This guy never makes a clunker. Marie Laveau is my favorite. I have it on this CD. Along with several other gems, such as the Monkey! Truth spoken here!! https://www.youtube.com/watch?v=KWUb5AR7W8M Cheers |
Should these tunes have gotten the glory instead?? https://www.youtube.com/watch?v=xAfYg8haw1s https://www.youtube.com/watch?v=ZEHUAMW5JD4 https://www.youtube.com/watch?v=_87wul09cuA Cheers |
How about a little "Dr. John" with his gri gri. https://www.youtube.com/watch?v=b4J8VrprrGE The doctor got a lot of good stuff. https://www.youtube.com/watch?v=kWvdO3l4_P8 Is this a change of pace or what? https://www.youtube.com/watch?v=Lb8DlC3utYE Enjoy the music. |
This seems like an appropriate posting. http://www.jazz24.org/2014/04/song-day-john-coltrane-my-favorite-things/ It was clear Trane was searching for something, although audiences sometimes couldn’t figure out what. He was known to play 20- to 30-minute solos, which often left people scratching their heads, at best, and running for the doors at worst. I read a story about Coltrane saying to Miles, “I don’t know how to end my solos,” and Miles responding, “Take the horn out your mouth.” This text was taken from the article in the clip. Don't you just love Miles' quip! Cheers |
For Frogman, and other adventurous souls who like "free jazz". "John Coltrane offering, live at Temple University", is the title; this is the frenetic expression of how much more Coltrane had to say on "My Favorite Things". This fits the description of the live set I went to, and it contains 2 CD's. With 45 minutes of "My Favorite Things", they probably needed 3 CD's, but maybe 2 was sufficient. I haven't tried, but I doubt if we can get a sample on "you tube", so somebody will have to buy and review "Offering" for the rest of us, and I nominate "Frogman". Since no one could maintain interest in Cuba, we can move on and keep Cuba on the sidelines. Enjoy the music. |
No problem moving on, but IMO there is MUCH more to add; it would be a mistake to think that there is no more new Cuban music worth exploring. Much of it may not be jazz (or even Latin Jazz; whatever that is) as we may think of it, but the musical heritage of Cuba is huge and practically inexhaustible. The Fox in the video of the bar band singing Girl From Ipanema is an OK singer, but it would be a shame to end the discussion of new Cuban music with that; nothing new about that music, and not a particularly good performance. I think this is much more representative of the kind of creativity that can be found in Cuba (worth noting is that in Cuban music it is very difficult to separate the dance from the music): https://m.youtube.com/watch?v=xJMTA3Ay5FI |
