Jazz for aficionados
Gene Harris is a musician Rok and I both admire. This is something I found on "you tube" that I liked, and since this is one of Rok's favorite musicians, maybe he'll write his review on it; especially since we all like his reviews. http://www.youtube.com/watch?v=eATnDPvzN_s Enjoy the music. |
As always, The Frogman has restored order. I found nothing to disagree with in your comments on the 'last exit' clip. You explained it perfectly. Thanks for the info on the 'tenor clarinet' thingy. My sense is that these guys play primarily for themselves. The audience / public can take it or leave it. I guess all artist play for themselves to some degree. I just think that the successful ones, make an effort to take the audience along with them on the trip. ****Music like this often walks a fine line between art and bullshit; the individual listener decides**** Well said!! Nothing to add to that!! I will now read your thing on Desmond Blue. This might take a while, going back and forth to the clip etc... :) Thanks for taking the time to be so thorough in your answers. Cheers |
*****In regard to your statement about the audience, this wasn't that kind of jazz, it was more "cerebral",******* CEREBRAL: 1 a : of or relating to the brain or the intellect b : of, relating to, or being the cerebrum 2 a : appealing to intellectual appreciation *cerebral drama* b : primarily intellectual in nature *a cerebral society* Hell, no wonder I don't GET IT. Every since I had my lobotomy, (in a vain attempt to be able to hear wire), I have noticed Brubeck's music has lost it's appeal. Now all is clear. Cheers |
"Desmond Blue". Beautiful does not do it justice. One of my very favorite records. Interesting that this clip should follow the "Last Exit" clip. I can't think of two more different approaches to "jazz"; and, yes, I think the Last Exit performance can probably be, fairly, be called jazz by virtue of the fact that it is about 95% improvised. In answer to Rock's questions: no this music was not written down. What were they thinking about? As little as possible; that's the point, and the goal. It's visceral, high-energy, let it all hang out, however the moment moves you improvisation with the most sparse musical outline established ahead of time: short drum intro, 24 bars of "free" ensemble improvisation, followed by a series of improvised solos and more ensemble playing all in the same minor tonality with no harmonic changes. High energy, exciting (to some) and basically a jam. Music like this often walks a fine line between art and bullshit; the individual listener decides. If anyone is interested the instrument that Brotsmann plays besides tenor saxophone is the Tarogato, a Hungarian folk instrument which even though is referred to as a "tenor clarinet" in the credits is really more like a wooden soprano saxophone. O-10's description of Desmond Blue (and his personal story) is perfect; jazz that is about contemplation instead of visceral reaction. There is an unbelievable amount of subtlety and introspection in this kind of jazz, and Desmond and Hall were two of the masters. There is constant dialogue between the players and with the orchestration. Desmond was a master of thematic development; all done in the simplest of ways. Listen to how he takes a simple melodic fragment and develops and transposes it to fit the changing harmony; all in the most logical way possible and always harkening back to the melody of the tune and using the least amount of notes possible. One particularly beautiful moment happens at 2:16. While Desmond improvises there is a simple little melodic statement by the winds in the orchestration, Desmond immediately reacts and "answers" it with a statement of his own having the same shape as that in the orchestration, and incorporates it into his improvisation in the most perfect way. This is really great stuff. Thanks for the link. |
O-10: I have no clue on downloads. If I like certain music, then I want the physical item that I can touch and read. I always wondered why some out of print stuff is so much more expensive than others. I can make do with Harris without the three sounds. They weren't THAT great. But never hard on the ears. Gene Harris is my favorite. I have a lot of his stuff including the best of the Concord years. I do have one CD of the three sounds, but a lot more on LP. You using the word 'Audiophile', did give me a headache. When I am in the gym on the treadmill, listening to my Sony CD walkman thru Koss'sportapro' phones, I am in audio heaven, :) and the most 'high-end' guy in the gym. Cheers |
I looked up Jackson and Alvin. I think you are right, not my cup of tea. Interestly, of the reviews on Amazon, from fans of Jackson, most held back from giving his stuff unqualified endorsements. Red Flag! The snippets I heard, I didn't like. But I am sure a lot of people think the stuff I like stinks, or worst yet, is too OLD! Thanks for the posts. Cheers |
++++What was the player thinking? +++ Just look at their faces. They were having a blast! As far as the other questions, I don't know. I's about emotional reaction, just like Bop. That"'high" is what makes us all listen to music. I have been listening to Ronald Shannon Jackson music, since I heard he had died yesterday. Been a fan for 30 years. Sonny Sharrock died almost 20 years ago. Very good players, but in a style most won't get.That's OK. I mostly do. On a different note, You may want to check out a Phil Alvin record I was listening to. Phil Alvin plays with the Blasters, but in 1984, while the Blasters were split, up he put out a solo recording of mostly pre 1940 songs, and enlisted the support of Sun Ra and the Dirty Dozen Brass Band. It shows where Jazz roots come from, The only song on Youtube is without these bands, but will give you a taste. It was out on CD for a while, but may be a little scarce. |
Acman3: Well, it was non-jazz. Very Good? I think so, because great non-Jazz should be as far from Jazz as possible. This was. When I hear/see stuff like this, I always wonder, what is the player thinking. Where is he going with the improvisation? Is this music written down on paper? Do they rehearse? Is it possible for one of the band members to play a wrong note?? Inquiring minds wanna know!! Thanks for sharing Cheers |
"Desmond Blue" is one cool tune. Leo Cheers, a jazz DJ in St. Louis, used it for his theme song. When I heard it, around midnight, I knew to look forward to the best jazz on radio. I recall seeing Dave Brubeck at a free concert he gave at "Our Lady Of The Snows shrine". It was on the most picture perfect fall day I can recall, red, green, and yellow leaves dotted the scenery, while the weather was sunny and just right for a sport coat. He came up a winding road in a limousine and he still looked good for his age. I don't recall him saying anything as he sat down at the piano on stage. Modern dancers in colorful pastel flowing gowns began moving to the music as he played. I was spell bound and in awe of the man; especially since everybody he had played with and all of his contemporaries were dead, I don't even remember the music, but I'm certain it wasn't anything I'd heard before. While I spotted some "old boppers", many of the people there just happened to be at the shrine on that day. In regard to your statement about the audience, this wasn't that kind of jazz, it was more "cerebral", the kind of music you contemplate as opposed to reacting to; and that's how it affected me. http://www.youtube.com/watch?v=tBa2zKHe9Ig Enjoy the music. |
O-10 The dancers were awesome!! In that sort of performance TIMING, is everything. Miss a beat and a person could leap into the air and kiss the floor, or get his head kicked in. My favorite growing up was 'pine top' boogie woogie. I think that was the name. One of the things that stood out about the dancers was that, there were no fat folks. I guess this was before the 'heavy' or 'a few extra pounds' era. Not too many young folks can fly thru the air like that these days. And these dancers were not that young!! I have a dvd about the temptations. Several shots of 'Band stand' and other scenes of young people dancing. Not a fat girl to be seen. Reminds me of my school days. I bet you could not find 10 guys in NYC that could fit into the outfits worn by the temptations. :) Thanks for sharing Cheers |
*****Rok, I'm beginning to like this "old" music****** It ain't old O-10, It's just Jazz. People(like me), who listen to Mozart, never say they are listening to 'old' classical music. Not even Bach is called old, Just great muaic. Beware of any music with a prefix. Esp, modern, free, avant garde and contemporary, etc... Just use the prefix ' NON ', that would be more accurate. Cheers |
Calling all Aficionados!! I just received this from Amazon today. An 8 CD set titled "The 100 Best Jazz Tunes Of The 1950's" Someone posted the track listings and I have re-posted them below. The song lineup is beyond criticism. The only possible concern could be the sound quality. I have only listened to the first CD and the Sound Quality was top notch. Nice packaging. Thick Booklet with excellent pictures and info about the music and artists on each CD. Each CD is in a cardborad case, like a LP case, with an aboslutley wonderful picture of a Jazz great on the outer cover. That alone, is worth the asking price. How much is that price? $15.77 I am sure you all have some and maybe most of these, but altogether with pics, booklet, and for less than 20 dollars??? How can a body refuse or resist. All this magic for less that a tenth of the price of a half-way decent 'high-end' hi-fi fuse!!! Christmas is coming up. Jazz lovers on your list?? Check out the play list. Did I mention the pictures??? Of course the Pictures on the first three CD covers were Bird, Miles then Trane. According to the liner notes, medics were on hand for the Brubeck stuff. :) Cheers And here is the track list: CD 1: Bloomdido - Charlie Parker Subconscious Lee - Lee Konitz Bouncing with Bud - Bud Powell My Funny Valentine - Gerry Mulligan The Surrey with the Fringe on Top - Ahmad Jamal Au Private - Charlie Parker Straight No Chaser - Thelonious Monk Lullaby of Birdland - George Shearing Almost Like Being in Love - Lester Young Black Coffee - Peggy Lee Nuages - Django Reinhardt Django - Modern Jazz Quartet Walkin' - Miles Davis Caravan - Dizzy Gillespie If There's Someone Lovelier than You - Tal Farlow On the Sunny Side of the Street - Johnny Hodges Lover Man - Sarah Vaughan Joy Spring - Clifford Brown CD 2: Doodlin' - Horace Silver Confirmation - Dexter Gordon Afrodisia - Kenny Dorham New Rhumba - Ahmad Jamal Round Midnight - Miles Davis Misty - Errol Garner St. Thomas - Sonny Rollins Blue Monk - Thelonious Monk The Champ - Jimmy Smith I Was Doing All Right - Carmen McRae Avila and Tequila - Hank Mobley Guarachi Guaro - Cal Tjader April in Paris - Coleman Hawkins Route 66 - Nat King Cole Have You Met Miss Jones - Art Tatum & Ben Webster CD 3: Senor Blues - Horace Silver I Remember Clifford - Lee Morgan Mack the Knife - Louis Armstrong The Kid from Red Bank - Count Basie The Maids of Cadiz - Miles Davis Blue Train - John Coltrane Funk in a Deep Freeze - Hank Mobley I Want to Be Happy - Stan Getz Birk's Works - Dizzy Gillepsie They Say It's Spring - Blossom Dearie Russian Lullaby - John Coltrane Well You Needn't - Thelonious Monk One O'clock Jump - Lambert, Hendricks & Ross CD 4: Line for Lyons - Gerry Mulligan Playful Flute - Yusef Lateef Billie's Bounce - Red Garland Come Fly with Me - Frank Sinatra Haitian Fight Song - Charles Mingus Soulville - Ben Webster Dial S for Sonny - Sonny Clark I'll Close my Eyes - Kenny Burrell `S'Wonderful/They Can't Take That Away from Me - Anita O'Day You'd Be So Nice to Come Home To - Art Pepper Farmer's Market - Art Farmer Landslide - Curtis Counce Group CD 5: Whisper Not - Benny Golson My Baby Just Cares for Me - Nina Simone Stockholm Sweetnin' - Quincy Jones Dawn Ray - Ray Charles Dimineundo and Crescendo in Blue - Duke Ellington Poinciana - Ahmad Jamal Trio Summertime - Louis Armstrong Milestones - Miles Davis Way Out West - Sonny Rollins Autumn Leaves - Cannonball Adderley CD 6: Moanin' - Art Blakey & The Jazz Messengers Hip Strut - Jackie McLean Do It the Hard Way - Chet Baker Cherokee - Johnny Griffin Let's Face the Music & Dance - Ella Fitzgerald Ginza Samba - Cal Tjader In the Wee Small Hours - Ben Webster You've Changed - Billie Holiday The Night We Called It a Day - Chris Connor Along Came Betty - Art Blakey & The Jazz Messengers Cheek to Cheek - Ella Fitzgerald Peace Piece - Bill Evans It Ain't Necessarily So - Oscar Peterson CD 7: Cool Struttin' - Sonny Clark The Sermon - Jimmy Smith Here I Am - Donald Byrd Let the Good Times Roll - Ray Charles Better Git It in Your Soul - Charles Mingus Manhattan - George Russell What a Diff'rence a Day Made - Dinah Washington The End of a Love Affair - Wes Montgomery Polka Dots and Moonbeams - Chet Baker CD 8: So What - Miles Davis Lonely Woman - Ornette Coleman Take Five - Dave Brubeck Keep It Moving - Wynton Kelly Ramblin' - Ornette Coleman Goodbye Pork Pie Hat - Charles Mingus Blue in Green - Bill Evans Naima - John Coltrane Blue Ronda a la Turk - Dave Brubeck Giant Steps - John Coltrane |
Rok, I hate to get into that "audiophile thingy", but Gene Harris is probably the most subtle and nuanced jazz pianist I can think of, which is why the crazy people pay so much for some of his records, especially with the Three Sounds. You can get around that "very expensive" audiophile thingy with HD downloads, but here you must follow precise rules in order to get what you want. I have WAV and that's not working out so good. This is the reason we had the disagreement about the "Three Sounds" CD's. I only mention this because I know how much you like Gene Harris. Enjoy the music. |
O-10, thanks for the Lou Donaldson links. Beautiful player! I hadn't listened to anything by him in a while; will have to pull out his LP's. When I listened to "Blues Walk" the first thing that came to kind was "sounds like Gene Ammons on alto". Then, looking at his discography I noticed that he recorded a record with Gene Ammons; will have to look for it. Rok, Miles Davis is quoted as saying that one can well wether a musician can play or not by the way he carries his horn's case. |
****The smoking babes are definitely digging it.**** Curses!!! Foiled again!! I will admit that, after placing a loupe on the monitor, I did detect movement. I wonder how they would have reacted to Mingus and his band doing, 'hog calling blues'? But this was a 'Playboy' crowd. Hog calling might have stunned them!! Let's not even mention Roland Kirk and his arsenal. Cheers |
****A person could suffer from a thrombosis in the legs at a Brubeck concert. Could not find a shot of Brubeck in concert himself with a shot of the audience.**** http://m.youtube.com/watch?v=j9GgmGLPbWU The smoking babes are definitely digging it. |
Rok, I'm beginning to like this "old" music, it's familiar, and it harkens back to a better time. The "boogie woogie" was the music of my childhood, and I recall music clips of the "jitterbug"; that's what "Jumpin At The Woodside" brings to mind. http://www.youtube.com/watch?v=D91IBtXARbM http://www.youtube.com/watch?v=VdWgHtTau48 Enjoy the music. |
The cover of the Lou Donaldson LP shows him walking with his AX in a case. Have not seen that in ages. :) I have his CDs, 'hot dog' and 'alligator booaloo'. I always associated him with 'soul' Jazz. The bell ringers were great. I was just showing how the audience didn't seem to be moved. Not even a head nod. A person could suffer from a thrombosis in the legs at a Brubeck concert. Could not find a shot of Brubeck in concert himself with a shot of the audience. Cheers |
Today's Listen: Lionel Hampton and Stan Getz -- HAMP AND GETZ Getz(ts), Hampton(v), Lou Levy(p), Leroy Vinnegar(b), Shelly Manne(d) 'Fiery' Founder meets 'Cool' Giant!! And the winner is: A Delightful Draw! These two met on the set of 'The Benny Goodman Story', this Recording date was a result. As unlikely a pairing as you will find. But it works. Hampton is not so fiery and Getz is not so cool. It's a 'Goldilocks' merger. This is an excellent CD. 7 tracks including one alternate take of 'Gladys'. 'Cherokee', 'Jumpin' at the woodside' and 'Gladys' are the standouts. But all are just beautifully played. This is all Getz and Hamp. The rhythm section gives great support, but does not intrude. Hampton is truly a founder of big band / swing, and what followed it. The guys who have played in his bands Includes Mingus, Dexter Gordon, Clark Terry, Art Farmer, Dinah Washington and Joe Williams. Kennedy Center Award winner. He is also one of those people who never made a bad recording. If you like Jazz at it's best, played by two of the best, you must have this one. Cheers what's up with this 'alternate take' business?? |
"Lou Donaldson" is a musician I liked before I even knew definitively what jazz was. "Blues Walk" was his first tune that captured my attention, that was followed by "Peck Time". While my tastes in music have evolved considerably since then, I still like Lou Donaldson. http://www.youtube.com/watch?v=tNR7822K_40 http://www.youtube.com/watch?v=Mh0rmzefIhM Here's a little gospel and jazz that's really soulful. http://www.youtube.com/watch?v=_2ERGSEyBeM Enjoy the music. |
O-10: *****This album is quite beautiful at times, boring at others. It's like winding up in a Brazilian wonderland with Alice, strolling down a path through the jungle; you never know what's going to happen next, but with this unusual aggregation of musicians, you know it's going to be different.****** You nailed it!! I agree completely. This is the only CD I own by Gismonti. I also have one by Nana Vasconcelos. I never listen to either. I just took a chance based on expert 'review'. Cheers |
Parting Point. I am not suggesting these folks can play at Brubeck's level. It's just a fun thing. There are many like it on youtube. Some doing 'Blue Rondo Ala Turk'. My main point in presenting this, is to watch the audiences. This is my main problem with Brubeck 'Jazz'. http://www.youtube.com/watch?v=m9sjnSWSH7o Cheers |
"SolDo Meio Dia" is an album I acquired after watching a Brazilian film festival that included capoeira, which always includes the berimbau; that's the instrument Nana plays. This album is quite beautiful at times, boring at others. It's like winding up in a Brazilian wonderland with Alice, strolling down a path through the jungle; you never know what's going to happen next, but with this unusual aggregation of musicians, you know it's going to be different. While I have Nana Vasconcelos, Jan Gabarek, Ralph Towner, and Collin Walcott on different albums in my collection, all of them go in completely different directions; I guess that's what gives this album such a unique quality. Here's some music reminiscent of the film festival. http://www.youtube.com/watch?v=hpP5poqFq4E&list=RD02jAxjdYDBK4c Enjoy the music. |
Rok, I completely forgot he played with Mingus, that say's it all; especially when Mingus brought out the best in whoever played with him, and he selected only the best. Here's "Wednesday Night Prayer Meeting", with Handy on alto. http://www.youtube.com/watch?v=kG6ydLYG4uY Enjoy the music. |
****I knew something was wrong with him**** You crack me up; that was very funny. I am sure you have heard the story about Desmond being asked how he got that sound and he replied that he "tried to sound like a dry martini". Gotta love it. Re Rahsaan: Yup, his nose; that was his "nose flute". Come to think of it, Desmond and Kirk were probably as diametrically opposed as two players of the same instrument can be. Desmond: statetly, meticulous and dignified in his approach to jazz; Rahsaan: wild, raw, umpredictable and with a touch of humor. Both great, and for that, a testament to the greatness of the art form. Anyway, the instrument that he is playing is the "mansello" (he named it). His mansello was a modified "saxello" which was a straight alto; a rare but production horn by the Conn Co. You will notice that it sounds kinda like an alto and in the same range as the alto. Imagine taking an alto and straightening it out so it no longer has the curved bell. Rahsaan, as you obviously know he would sometimes do, modified it by attaching that extra large bell on it. One of the things that makes his playing on that clip so remarkable is that all those rare and unusual saxophones that were manufactured in the 20's-40's were very aukward in their key mechanisms and usually terribly out of tune. Not many were manufactured so they were not perfected nor refined like modern horns. Truth is that the modern horns really helped facilitate, to a degree, the great technical playing strides made after the "swing era". The way that Rahsaan gets around on that bizarre horn, and with pretty good intonation, is simply amazing. A little bit like a sprinter winning the 100 yard dash wearing army boots. |
Paul Desmond: Got my October issue of BBC Music magazine yesterday. The Jazz 'page' has a nice review and synopsis of Paul Desmond. Snippets include: 'Composed 'Take Five'' 'epitome of cool' 'the antithesis of bebop' (I knew something was wrong with him) 'the world's slowest alto player' (he couldn't play with Tito) 'disciple of Lester Young' (from Mississippi), :) 'admired Charlie Parker' The CD they recommend is 'Blues In Time' 2CD set. Desmond with others, no Brubeck. Also the Christian McBridge Trio CD, 'Out Here', got 5 stars for performance and recording. Check it out. Cheers |
O-10: John Handy: Both clips were very good. The 'If Only We Knew' was the better of the two. The rhythm section on the clip 'Love Rejoycing' was a little too monotonous for my taste. The 'if only we knew'clip was just irresistible. I came to these with an attitude, but the second clip just over powered my preconceptions. Great buildup. You can't wait to hear what happens next. The violin was great. Sometimes that instrument can sound out of place, here, it seemed to be the most natural thing in the world. Electric! What kind of reedman is he?? He played with MINGUS!! Next Question. I only have one CD by John Handy, "Excursion In Blue". I have more on LP. I will get the 'live at monterey' if it is still available. Thanks for sharing. Cheers |
Speaking of jamming, this is unbelievable! How does one explain genius? http://m.youtube.com/watch?v=-on4qQYDGVA Rahsaan is on fire. Tete, brilliant as usual. |
Rok, I don't disagree with you except for two things. First is that I don't believe one ever knows too much. Or, at least, don't assume that knowing means there's no jamming :-) . The second, well.... its really not worthy of disagreement; it's personal preference. Tito's version is better for you. Of course, that is cool. For me the original is better not because its the original, but because I like and appreciate the chamber-jazz feel of it, the coolness if you will; and Desmond, that sound.....! Cheers. |
The Frogman: I agree with your comments on scatting. I was trying to say some what the same thing about Dee Dee. Her voice becomes harsh when she does it. With some singers, it has become the 'obligatory' scat break. Most often, adding nothing to the performance. Ella was in another league and I thought she could 'solo' with players. Not all perhaps, but certainly some. It's almost unfair to compare anyone to her. Cheers |
I told The Frogman some time ago, that he knew too much. This proves it. While The O-10 and I were jamming to Tito, in blissful ignorance, The Frogman was keeping time. Of course he is correct. But, no one is suggesting Tito's version supplant Brubeck. The original will always be just that, The First! But it is possible for susequent artist to do any tune 'better'. Happens every day. Better recording techniques, better instrumentation, better arrangements, better players etc... I think Tito is better not because of any time uniqueness, but because of the Latin flavor and the percussion. It was faster! It made me wanna move! Brubeck never made me move. It was a Nice tune, melody, a great drum solo and Desmond's tone. I know the TIME thingy, but that's not why I like it. I suspect, only the pros and his peers, realized the significance of the TIME thing. And last but not least, I could SEE Tito and his guys playing. On a CD, I might not have been as impressed. But both versions are great. I own LPs and two CDs of 'Take Five' by Brubeck, none by Tito. Brubeck did a lot of experiments with time. Some more successful than others. 'Take Five' was popular because of the melody and the unique sax(tone) and drum playing. So can we say, I like Tito's "take Four', better than Brubeck's 'Take Five'. Sort of like preferring Mongo Santa Maria's 'cloud Nine' to any other. Brubeck's version is on the local PBS FM station's playlist. When it comes on, the wife cranks the volume all the way up. The only Jazz tune she likes. :) I wonder what Tito could do with 'Blue Rondo A La Turk' I bet that would be something! Thanks for your informed input Frogman. You are a vital asset to this thread. Cheers |
The challenge for singers when they scat is that, no matter what, they will be judged according to the standard set by the great instrumentalists; those are VERY big shoes to fill. Only a handful of singers, Ella being at the top of the heap, even approach the fluency of good instrumental improvisers in the harmonic language of jazz. They usually simply gloss over the complexity of the harmonic changes of a tune. Among instrumentalists speaking about other instrumentalists, that limited command of the harmony is usually referred to as "bullshitting". A smart singer keeps scatting to a minimum. Re "Take Five": Tito's version is great; very exciting. Like Rok says "a really right Latin Jazz band is hard to beat". Thanks for the link. But, and not meaning to, in the least, take away from the enthusiasm that my esteemed fellow aficionados have for this cover of this classic tune, for me there is no way Tito's version can supplant the original as the definitive version. Most importantly, they are almost not even the same tune. The melody is the same; almost. What makes Desmond's (he wrote it) "Take Five" unique and ground breaking, particularly for the era when it was written, is that it was written in odd-meter; in five, of course. I don't kow if anyone noticed, but Tito's version is IN FOUR !!!! It should more correctly be titled "Take Four". Still, a great and exciting cover. |
John Handy is an artist I don't think we've mentioned. Consistency is not his dominant trait; I'm not referring to whether or not he was good this time and bad the next, but his choice of what music to play seemed to be all over the map. Here are some of his works in my collection that get a lot of play. http://www.youtube.com/watch?v=MeQv3cWJnxA Here's a spiritual tune by John; although not as in the gospel sense, it's spiritual still. The title "if Only We Knew" convey's the intention of this music. It's best listened to in the middle of the night after waking up and trying to go back to sleep. It's long and deep, in that eastern spiritual sense; too long for the Gon. http://www.youtube.com/watch?v=lJhp43v-yd8 As far as where he ranked as a reed man, we'll leave that to the Frogman. Enjoy the music. |
O-10: 'Take Five' by Tito Puente. WOW!! Dave who???? I like this better than the Brubeck version. A really tight Latin Jazz band is just hard to beat. The percussion was awesome. I have said before that I think the drum solo on Brubeck's 'Take Five' is one of the few drum solos in Jazz that does not distract or interupt the flow of the music. Well, Tito has surpassed that. Paul Desmond and Joe Morrello can now move aside. This tune has been taken away from them. For some reason after hearing this, I think the Brubeck tune should have been Latin. Or maybe it was. Great clip. Cheers |
O-10: The Leon Thomas version was good. A lot slower tempo than either Dee Dee or Silver. His 'scatting' sounded as if he was trying to scat while being smothered with a pillow. But it was a nice take on the song. I wish he had dressed for the occasion. I have several CDs by Dee Dee. The Tribute to Silver is her best work. IMO. Not a weak track on the disc. However, when she scats, it sounds just a little bit strained or forced. With Ella, it was as if the song was written that way. So effortless. I think it's very hard to be a great Jazz Diva. We have / had, so few. Cheers |
Rok, as much as I like Dee Dee, I don't like the way she treats the standards; while I admire her ability to scat, she does it too much on the standards. Now here's a tune where it's very appropriate; as a matter of fact, I like everything she does on this CD. Here, she can do no wrong, and I'm sure Horace Silver would agree. http://www.youtube.com/watch?v=otcHh-90eo4 Here's another version of that same song. http://www.youtube.com/watch?v=xh7aZ_Q6ibw&list=RD02otcHh-90eo4 Enjoy the music. |
