learsfool, you are a classical musician. You think and speak like a classical musician. By now you should realize that "all" musicians don't even live in the same world, even when they only live blocks apart.
I'm sure the jazz musicians I knew had to learn their skills somewhere, but they did not practice. As often as they performed, they didn't need to. Yes the kind of musician I knew was rare, but I have no reason to fabricate.
Your world as a musician, is so different from the the jazz world, that you're having a hard time accepting it. You stated that all the musicians you knew were into the high end. Now I know why, "Classical music sounds like noise when it's played on less than high end equipment", but that's another subject. According to Branford Marsalis, he was the only jazz musician he knew who was into the high end. John Lee Hooker had several homes before his death, and he had Kenwood rack systems in all of them, he said he liked a "funky" sound. Musicians I knew were either working on a gig, or digging a set, and rarely sat down to listen to recorded music; of course we were both young then.
Wynton Marsalis could be one of the most perfect "Classical" trumpets ever as a result of all the things you have stated about musicians, and he could be the best "side man" ever. If you call that "Wynton bashing", so be it; but I'm using him as an example of what you think the most accomplished musicians have to be.
Erroll Garner was self taught and remained what's called an ear player. Learsfool, you are imposing your reality on a world that's foreign to you. We all do that at times.
Enjoy the music.
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Orpheus10 wrote: "No amount of practice, school or many other musical attributes will enable a musician to mesmerize a crowd of people with his improvisational skills on his chosen instrument night after night. "Only" jazz musicians can do this, and not all of them; it's a gift that's reserved for those who are recognized as being at the very highest pinnacle of musicianship."
There are a couple of things not true about this. Leaving aside the statement that only jazz musicians could do this, which is frankly insulting to a great many professional musicians, and not deserving even of the mention I give it here, I want to reply to the first part of the statement. No amount of talent, no gift, no matter how great, will be of any use whatsoever if the musician does not work VERY hard, all through his whole schooling and subsequent career, to develop these natural abilities. Period. Yes, there are geniuses, in all fields of music. But every single one of them has worked, and continues to work extremely hard to continue to develop and maintain the craft you are speaking of. The ones you mention who mesmerize audiences night after night are these individuals. For every one of them, I guarantee you there were many others equally gifted, who did not have the work ethic, or the discipline, or the drive to make it. I have known many incredible players and musicians in my life of whom this was the case, and I am sure Frogman does too. I know, Orpheus, that you think you are complimenting these artists by talking of their gifts, but many of them would consider it insulting that you are belittling their very hard work, because THAT is the reason they are at the very highest pinnacle of musicianship, without which their natural gifts would avail them nothing. |
This is the prefect example of why Wynton is under attack.
http://www.thedailypage.com/daily/article.php?article=29820
It has nothing to with his playing, it has to do with his definition of Jazz. That's what they cannot stomach. He does not cave to the free / avant garde / world, crowd. He sees them and calls them for what they are. The want politican correctness, they get brutal honesty.
At the risk of sounding like a broken record, he is defending the music!
Read this article carefully. Really carefully. And then tell me what is this guy's complaint. He speaks for all the Modern, free, and world, noise makers.
The envy and the hatred is almost palpable!!
With this article as evidence, I rest my case. He says it all. I assume all he said about the awards etc.... are correct.
He made the case FOR Wynton in the process of trying to discredit him!!! Desperation!!! hahahahahah
Cheers |
When I first heard Wynton Marsalis, "We've got a new worlds best trumpet player" are the thoughts that ran through my mind. Wynton was playing with Blakey at that time.
After he went on his own, I bought every album as soon as it hit the record store. I had acquired 5 of his albums before realizing, I didn't really like them. Although I couldn't put my finger on exactly why I didn't like them, why bother? I sold 4 of them at a good price and I still have one. It's been so long since I heard it, that I've forgotten what it sounds like.
When you sit in your listening spot, you're the king, and it should not matter what I think.
Enjoy the music.
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Tenderly, Love For Sale, Summertime, Laura, Round Midnight; those are songs somebody wrote. They've been around for ages, and played by jazz musicians, popular musicians, rock musicians, and possibly even country and western musicians. A person can go to school, practice, and perfect his skills on his chosen musical instrument, learn how to play all of those songs perfectly in his chosen musical style; but none of that will enable a person to write one of those songs.
No amount of practice, school or many other musical attributes will enable a musician to mesmerize a crowd of people with his improvisational skills on his chosen instrument night after night. "Only" jazz musicians can do this, and not all of them; it's a gift that's reserved for those who are recognized as being at the very highest pinnacle of musicianship, Charles "Yardbird" Parker for example.
One step down from this pinnacle, are the musicians who have successfully led groups of other musicians over the years and written music as well; Horace Silver, Thelonius Monk, Dave Brubeck, and Art Blakey come to mind. And last on this ladder of success are musicians who have simply excelled on their chosen instrument. Since this group is so arbitrary, I won't give any examples because there is too much disagreement as to how we should rank them overall as jazz musicians.
If a "jazz" musician can excel on his chosen instrument, and play someone else's music better than it's ever been played before, that's fine; but it drops him down a notch if he can't create "original" music of his own that excels in the ears of other "jazz" musicians and aficionados.
Fame and fortune might be the determining factors in other endeavors, and music even; but not in "jazz". If that were the case, Kenny G would be "Da man". Unlike any and everything else, the high priests of jazz are determined by aficionados and other jazz musicians. Charles "Yardbird" Parker, the recognized high priest of jazz, was relatively poverty stricken.
While it's almost impossible to compare current and past jazz musicians because of the generational gap, one of the most important factors is the stability of current musicians who also reject drugs and alcohol. That certainly helps their economic success. "Jazz" musicians are still rated the same way now, as they were when "Bird" was blowing his horn, they're rated by other jazz musicians and jazz aficionados, not by Newsweek, Time, or MSNBC. Jazz is the only anything, where the unofficial word on the street is the last word.
"They've had no real experience with the real essence of those guys (Miles, Trane and Monk) -- the way they help their instruments, the way they acted, what really caused this music. Most of the cats trying to play hardcore contemporary jazz don't have their own style. Or there are some people like Wynton [Marsalis] who play the horn, but don't play no hip jazz. They're just into playing the instrument good. They're not creating ideas." That was a quote from Freddie Hubbard and my own personal opinion as well. His statement and my opinion have absolutely nothing personall to do with Wynton Marsalis, that's just the way it is.
Enjoy the music.
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Live broadcast from the New orleans Jazz fest:
Wayne Shorter, Dee Dee Bridgewater and otherss are on today. Check it out. Last day I think.
WWOZ 90.7 FM New Orleans.
http://www.wwoz.org/blog/218226
Cheers |
Isochronism, could you give us your favorites by Freddie Hubbard? |
Frogman: Why isn't Freddie Hubbard mentioned more often"
The CTI recordings introduced me to Freddie. Some feel that the CTI recordings do not represent "real" jazz. They do in my book and in front of my speakers.
He is my favorite trumpeteer'. (yes,I just made up that word for him) |
"I didn't like the "Timeless" I found;"
The title of the CD is 'Essence' the group is called the timeless all-stars. Hope you followed the link.
You are right about these guys getting old. I always think of them as they appear on the CD covers, some of which are almost 30 years old. All my Hutcherson CDs show him which a full head of hair. Not gray either.
Cheers |
Rok, although I'm a big Bobby Hutcherson, and Harold Land fan, I didn't like the "Timeless" I found; however, I did find "Delilah" by the Bobby Hutcherson quartet. This music is absolutely amazing. It's current, that's what makes it so amazing. While the bass player is young, he's making his own unique sound and contributing to the whole. Although Bobby Hutcherson is old, he sounds young and fresh. My albums by him go all the way back to when he was young with curly hair. He sounds as good now as he did then. http://www.youtube.com/watch?v=amgLychKCMYEnjoy the music. |
When you sent me the post on Mardra & Reggie Thomas, you sort of made a comparison of her style with McRae and Ella.
It occurred to me how tough it must be to be successful in the music business. One of the major reasons being, the Great artists never really go away. They are still here, on LP and CD.
So if a current player is talented enough and lucky enough to record for a major label, their CD goes in the bin right next to the Ella's and Coltrane's' of the Jazz world. A new artist is always in direct competition with the greats of the past.
I guess classical composers suffer the same way. Of course this is stating the obvious, but your post just brought it home for me.
BTW, I am not sure that 'ESSENCE' is the Timeless All-Stars' best work. But it is good. 'These Sellers' want mega bucks for their other stuff.
Cheers |
O-10:
http://browse.delosmusic.com/Essence-The-Timeless-All-Stars-p/de%204006.htm
This is the one. recorded in 1986 Delos label 4006 |
I found three similar CD's with different release dates, and Harold Land looked old on one of them. I need numbers for the exact CD you have. |
Today's Listen:
The Timeless All-Stars -- ESSENCE
The all-stars are: Bobby Hutcherson,(vibes), Harold Land,(ts), Curtis Fuller,(tb), Cedar Walton,(p), Buster Williams (b) and Billy Higgins.(d)
I have had this one for decades. A great CD to use as an introduction to high quality Jazz playing.
Improvisation at it's best. All playing and songs are of the ideal degree of complexity. They grab your interest and hold it.
The Bass player, Buster Williams, is awesome throughout. Very intelligent playing as soloist and in support. I am sure his intonation would even meet the approval of The Frogman.
Most of the tracks were written by members of the group. 'Messina', by Hutcherson, is my favorite. Excellent sound. All digital. No Hiss.
Higly recommended. Check it out.
Cheers |
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O-10,
Very nice singing. I listened to every snippet and they all were well done. The two songs written by her husband were good also. As you said very nice voice and a good song selection.
I youtubed and googled them. They do a lot of good stuff exposing and teaching young people to Jazz. This in itself is most important thing. He is also a faculty member in the Jazz Studies Dept at Michigan State. Also works with Lincoln Center projects. Impressive. We need more people like this at the grass roots level.
I noticed they are from the St Louis area. Same as Trio Tres Bien. Is St Louis your stomping grounds also?
http://music.msu.edu/faculty/profile/reginald
Cheers |
Rok, I've been listening to a CD that I don't even know how it got into my collection, but I like it. Nowhere do I even remember purchasing "Mardra & Reggie Thomas"; but now, her soothing vocals take me places, and even her selection of songs are the one's I like best.
Mardra's vocals are not "seductive", like Nancy Wilson's, or sexy, like Carmen McRae's, or jazzy like Ella Fitzgerald's; her voice is soothing, like one I've heard before, like the girl next door who understood me, and she's singing to me for me. The more I hear Mardra, the more I like her.
Now that this CD has gotten my highest recommendation for a new vocalist, (new to me) it's time for the master reviewer to give it a listen, they have it on Amazon. Tell me what you think.
Enjoy the music.
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Latest Listen:
Nat Adderley Sextet -- AUTUMN LEAVES (live at sweet basil)
Sextet includes two(2) Alto Sax Players. Sonny Fortune and Vincent Herring. I guess it took that many to replace Cannonball.
Only four numbers. They are long, but do not get tiresome. They will hold your attention. The sextet is totally engaged on all the songs. No throwaways, filler or blowing just to be blowing. That is getting to be the highest compliment you can give these days.
All solos are excellent. Well constructed and played. Esp the Saxophones, but I am not so sure about their tone. Seems like they squeak and squawk a bit. But fine playing all around.
Nat does take the lead role (muted) on the title track.(autumn leaves)
Good, but brief, liner notes. Talks about the Adderely brother's Southern roots.(florida) How the church influenced their musical development. I didn't know that, but I always felt it in Cannonball's music.
Although they were Episcopalin, it seems as if they were most influenced by the Baptist church, as a result of just passing by it on sundays and hearing the music within. hahahahahahaha Now, that's INFLUENCE!
All in all an excellent effort. One of Nat's best.
Highly Recommended.
Cheers |
Rok, this would have to be placed into a category I don't even have; "feel good music", although I could sure use it about now.
I saw the musical "Ain't Misbehavin" performed locally, and I left all smiles. It's for sure Fats Waller's music had that ability to make one smile and feel better. In these times that are trying men's souls, I'm sure we could all use a mood changer, I know I could.
When you mix Louis, and Fat's, that's got to be a mood changer, it's on order, and I'm looking forward to feeling better.
Enjoy the music.
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Thanks for the kind words O-10. With you onboard, my readership has just doubled!
Today's Ray of Sunshine:
Louis Armstrong and his Orchestra -- SATCH PLAYS FATS
SACD only CD. Not a Hybrid.
Louis Armstrong Plays the music of Thomas 'Fats' Waller. In this realm of Jazz, King louis Rules. He don't need no stinking bebop!!
All of Fats' best known stuff is here. All have vocals. Is this New Orleans Jazz? Fats waller Jazz? Speakeasy jazz? Harlem jazz? No matter what, it's great, feel good, party music. Oustanding Booklet insert.
Of course Louis has the most unique voice on the planet. He can convey feelings like no other. Every song he sings becomes his own. We learned that from 'Hello Dolly'. Velma Middleton duets on some songs.
Half of the tracks are 'bonus' tracks. Alternate takes. Some from the 30's. Normally a turn off to me, but not in this case. The more the better. Great sound quality.
This SACD sells on Amazon new for 4.99! Hard to believe, esp when you consider the prices of all the noise and static on sale there.
For Armstrong / Waller fans, this is a MUST HAVE. For any other Jazz fans its an ought to have. For $4.99 what's there to think about? We have all spent a lot more for a lot less.
Cheers |
Charles1dad, Jack Sheldon was primarily known on the West Coast; good musicians could make a living, and never leave the LA area. Yes, he had a beautiful tone.
Enjoy the music.
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As far as trumpeters respected by brass players more so than the casual jazz fan I'd add Kenny Dorham and even the lesser known Jack Sheldon.
When Jack was paired with Harold Land in the Curtis Counce band Sheldon's tone and playing was really good.
Regards, |
Frogman, I did not know that about the end of Hubbard's career. That's every brass player's worst nightmare. I really enjoy Hubbard's early stuff - brass players definitely know who he is and talk about him quite a bit. Lee Morgan is another one like that - you don't hear many casual jazz fans talk about him, but the brass players do. |
I've been out of town for a day, but I'm going to catch up and not slight anyone's posts. Rok, your honesty is what makes your reviews so good; "you calls em like you sees em".
I thought, without listening for myself, "Jazz At The Pawnshop" was one of the best recordings ever; the hype was all I had to go by. As you know I like good sound, but without good music, you can keep it. As for your reviews, "keep em comin"
Enjoy the music.
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The frogman:
"Also, a serious lip injury caused his playing to be sub-par during his last active years."
I hope he was not another victim of Mingus' right hand.
Cheers |
Today's Listen
Hugh Masekela -- The Best Of Hugh Masekela
Most of his greats are here. Including one I could have done without (grazing in the grass).'Chileshe', 'Don't Go Lose It Baby', 'Nelson Madela', 'Mama' and of course the madatory 'Stimela' and others. No filler. All very good. Good happy infectious music. The blowing and the vocals.
Masekela has one of the most beautiful tones I have heard. I could listen to his Flugelhorn all day. He has a very unique voice also.
The Frogman once enlightened us on the unique sound of Mariachi trumpet. I wonder if he or anyone else could do the same with African Vocals. The singers have a very unique sound, esp the background singers. Ladysmith is a good source to hear that.
The liner notes include a one paragraph synopsis of each song. I like that. I think these are the best of his recordings for CBS/Columbia. Production quality is high. Great sound.
I am sure The frogman and O-10 already have this, they being such stalwart champions of third world music/Jazz.
Highly recommended. BTW, His stuff on youtube has horrible sound quality.
Cheers |
****If nothing can be perfect, then it's just FLAWLESS!**** - Rok2id re "Blues And The Abstract Truth".
Well, I suppose that the fact that it was in the No.1 slot in my first response to this thread says all that I need to say about how I feel about this record. I have long felt that this record, not Kind Of Blue (in spite of all it's excellence), should be the audiophile-go-to jazz recording. Before I get skewered, let me say that KOB is clearly the "more important" recording with the presence of Coltrane and all that he precursed, as well as the "Modal Jazz, here I am" vibe that the record is so rightly admired for. BATAT features some incredible playing and arranging. I can't imagine a more perfect hard-bop solo than Freddie's solo on the title cut. For comments re Oliver Nelson's improvising style see my comments a few posts back (if anyone cares :-). Dolphy's presence on the record is like a splash of cold water on the face after a great workout; talk about unique. Evans? What can possibly be said that hasn't already be said about his beautiful lyricism. A great record; and, oh yeah, great sound too.
****Why isn't Freddie Hubbard mentioned more often, when people talk of the Jazz Trumpet ****
Well, we tried; didn't we? Trumpet players talk about Freddie all the time. Jazz fans? Well, I suppose his stint with CTI records caused him to lose some credibility among the elite at a time when jazz, clearly waning (in a way) was starting to move in a direction that punished (intellectually) anyone who sought commercial success. Success; can't have that! Also, a serious lip injury caused his playing to be sub-par during his last active years. |
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Dexter Gordon's 'One Flight Up' album is a must-have in your jazz collection. The cut 'Tanya' is a monster jam.
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For a number of years I've felt that "Jazz at the Pawn Shop" was representative of the quintessential audiophile Creed, the sound means more than the music being performed. |
Assorted Swedes -- Jazz at the Pawnshop 2CD set SACD
After listening to both CDs, I have two questions.
1. what was all the brouhaha about?
2. WTF was I thinking when I bought it?
I have owned this forever. Listened once and put it back on the rack. I Fell for all the 'audiophile' hype.
I never even stopped to see who was playing and where.
For years I just assumed that the Pawnshop was a club in NYC. Well it turns out its in Stockholm Sweden. And the players are locals (I assume).
This is much ado about not much. Even the vaunted sound quality is not that special given the current state of the art. This is an example of Sound over Substance
I thought the sound was great. As I listened it occurred to me that seldom does great performance and great sound come together at the same time. That seems to be true across all genres.
I thought that this recording expertise could have been put to better use on other performers and performances.
I checked the reaction on Amazon, and one reviewer said the same thing. I guess we both wished we could get Charlie Parker recordings of this quality. It feels great to have similar thoughts with other Jazzers.
And not content to inflict this one outrage on the Jazz public, there are vols two and three!!! Due no doubt to the 'audiophile' element amongst us. They even assaulted Brubeck's 'Take Five'!!! Where there no Jazz police there???
I am sure the players are nice guys, and they play well. They are just missing that certain Something. Hard to define, but I know when it's not there.
Ain't got it? You don't need it, BUT, if you absoultely, positively have to have it, 'these sellers' will have it in your hands next week for a measley $90. $122 for the HD version! Good Luck!
Cheers |
Hi Frogman,
I`m glad you enjoyed it.I play it fairly regularly. I love "Chan`s Song" with that beautiful con arco bass introduction by Mcbride.The duet "Kiss" just catches my ears every time.Herbie could write some beautiful music.
Regards, |
Regina Carter -- Rhythms of the Heart
One of the few Violin players in Jazz. Very enjoyable CD. 'Oh, Lady, Be Good' / 'Mojito' and 'Papa Was A Rolling Stone, with Cassandra Wilson on vocals, are the standouts. But, ALL is good. Supported by Kenny Barron, Rodney Jones and others.
After hearing this, it's hard to understand why the violin is not more common in jazz. Check it out!
Stephane who?
Cheers |
My sights are set on Fingerpainting. With that lineup it can't miss. Thanks. |
'Ray Charles & Milt Jackson -- Soul Brothers / Soul meeting'
After listening to this CD at a more appropriate volume, It's even better than I previously stated.
Cheers |
Charles1dad, thanks for the recommendation of "Fingerpainting". Listened to it last night and enjoyed it very much. I love the concept of Herbie's music minus piano; a very daring one, IMO. The idea of trying to capture the spirit of a jazz composer's music without using the very instrument that, in many ways, has always defined those compositions takes some huevos. The concept could fall flat on it's face, but not only doesn't it do that, it works very well with only a very occasional "samy" quality. Great vibe throught the record, and very intelligent choice to not do Herbie's most popular tunes (Maiden Voyage, Watermelon Man...). "Chamelon" kills! Payton sounds wonderful; no "but" here. |
Rok, as good as your reviews have been, this is the best yet. Although it's almost impossible to know who's playing what, it's all good. Ray has not played jazz this good before, nor since; he had so much soul, and he was young then.
The blues, jazz comment is right on. This music mixes them so well, that bluesjazz is the only appropriate word for it. In regard to who's playing what, I just found out that Skeeter Best is the guitar soloist on "Blue Funk".
Enjoy the music.
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Complete 'Review'
Ray Charles & Milt Jackson -- Soul Brothers / Soul meeting
Purchased this on the recommendation of O-10. It was a good buy. If you like Blues in your Jazz or Jazz in your Blues, this is it. 2 CD set.
Ray plays piano and alto. Milt plays Vibes, piano and guitar. Sometimes it hard to keep track of who's playing what. But it's all good. I have never heard Ray play Jazz like this.
Quite a few big time people on board. Oscar Pettiford stands out. This guy is no Shrinking Violet. You always know he is there. I think O-10 may have a point about Pettiford.
The liner notes are really interesting. Sort of hard to follow, the tunes are not talked about in order, and the additional tracks are not mentioned at all.
However he, (Bill Randle) discusses the playing in great detail. Uses phrases like "Billy Mitchell sounds like Charlie Parker blowing through Coleman Hawkins' embouchure" or "plays tatum piano riffs". hahahahahahha Great stuff. hmmmmmmm his writing style does seem familiar!
Great laid back stuff. Late night with that special someone? Recorded in 1957 & 1958. Pettiford died in 1960. This must have been one of his last recordings.
Recommended.
Cheers |
Hog Calling Blues? We should also give a shout out to Mingus on Piano. I always zero in on that, have since the first time I heard it. To my ear, he was the continuity throughout the whole wonderful thing.
And the rhythm section was awesome. Hell the whole tune was great. No sense trying to disect it.
Why is the CD cover art of my 'oh yeah' different? It's lame also.
Cheers |
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Roland Kirk is not an imposter, he is the real deal. He is one of those players who can play "free" or "outside" because he can also play inside and within the tradition. There have been many imposters whose playing consists of squeals, honks, and "energy" only, and who have managed to gain notoriety because of fickle critics and some gullible listeners, eventhough what they are doing is nothing more than bullshit.
I think that Kirk is brilliant on this cut. Notice how he never strays from the tradition for too long; no matter how far he goes in the direction of cathartic honks and multiphonics, he always returns to home base with a swinging blues-infused phrase. He always reminds the listener that he knows what he is doing.
A player's intonation can serve a certain purpose. While the great players don't necessarily make a conscious decision to play a little flat or sharp, they may hear what they want to say a certain way because of the mood it can create. Notice how Kirk plays consistently a little on the flat side of the pitch. This highlights the bluesy attitude of his solo, and adds to the rawness and looseness of his playing in general. In case anyone wondered, the percussive sounds at 4:50 are "slap tonguing"; a way of hitting the reed with the tongue while stopping the air stream in short burts.
His playing fits the mood of the piece perfectly; they are calling hogs, after all. |
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Cymbop, "Favela" is my favorite cut on that LP.
Enjoy the music. |
Thanks for the very nice words, Rok. Will listen to the Mingus cut (it's been a few years) and get back to you. |
last of Today's Playlist:
Oliver Nelson -- Blues and The Abstract Truth
featuring: Paul Chambers, Eric Dolphy, Bill Evans, Roy Haynes, Freddie Hubbard and George Barrow
If nothing can be perfect, then it's just FLAWLESS!
But I do have a few comments:
Everytime I hear Eric Dolphy, his passing seems even more of a devastating loss to Jazz. What a Talent!
Why isn't Freddie Hubbard mentioned more often, when people talk of the Jazz Trumpet greats?
I have this on LP from back in the day. The liner notes / booklet with the CD is an outrage. Especially considering the importance / significance of this performance. Just a folded piece of paper with micro print.
You won't find better playing, writing or arranging anywhere else. If you ain't got it, the question is, why not??
Cheers |
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Today's Playlist:
Charles Mingus -- Oh Yeah
with/ Booker Ervin, Rahsaan Roland Kirk, Doug Watkins, Jimmy Knepper, Dannie Richmond
On this set, Mingus plays piano, not bass. I think they needed him on piano.
I suspect there are a lot of 'tongue started notes' on this one. This is one of my favorite CDs by Mingus. This guy really has a good time and it is infectious. If you don't like this CD, you are beyond help.
How can a group have both Booker Ervin and Roland Kirk on tenor sax? Dosen't that violate some law of nature!! Of course Kirk plays everythiong else also.
Quebec might know what is coming after every phrase, I am not sure these guys know or even care! But it is great!
I would like to hear the Frogman's take on the Sax playing on 'Hog Calling Blues'. There was a time, (a lifetime ago) when I would just dismiss it as confused noise, now I hear it as just awesome!! No Filler!! Every tune a winner.
The last track is Mingus being interviewed by Nesuhi Ertegun. Your guess is as good as mine.
If you call yourself a Jazz lover, you gotta have it!
Cheers |
Jazz Aficionados:
I feel that I understood all the comments The frogman made about Ike Quebec's Playing technique.
The Frogman is a great teacher. His descriptions paint such detailed and vivid pictures of the points he is making. We can all be glad to have a person with his expertise in this discussion and forum.
Cheers |
When I watch a youtube 'video' with just a still shot of the artist, I think of the movie '1984,' and the pictures of Big Brother. Words being spoken but he never moves! hahahahahahah I felt like Ike was watching me!
Cheers.
'Heavy soul' did not get missed. That's why Ike is the topic of conversation. The Frogman and I commented on it. And I even listened to his work on the Blue Note Swingtet CD. Pay attention O-10. :) |
Some jazz artists I've known personally, were gifted, as opposed to talented, or practiced hard. They could improvise on their chosen musical instruments and mesmerize a crowd on any given night. I decided not to name them, because I'm going to give you the reasons they didn't become rich and famous. One word, drugs!
I can say with confidence, there was absolutely no linkage between the drugs and jazz; they would have been drug addicts whether they were musicians or not. From what I could ascertain in these particular cases, there was some "unspeakable" psychological pain they had endured, and drugs was their only means of escape. This also applied to Billy Holiday if you read about the psychological trauma she endured as child.
Miles Davis would not have become rich and so famous, had he not kicked his drug habit. He was a copycat drug user, he did it because he thought it was hip. There was no "unspeakable" psychological event that ever occurred in his life, and that's why he was able to kick the habit.
The musicians who I watched shoot themselves, didn't know how I sufferd when they did it. Since we had become close friends, I could also imagine being part of their "guaranteed" wealth and fame. No matter how gifted an artist is, if he can't get up and go to work, there is no way he can be successful. No, drugs did not help them play better, as a matter of fact, they just wouldn't show up on a gig if they were wasted. When I asked them why, they simply looked off into space.
None of the current crop of musicians can remotely compare to the musicians I knew personally. You'll have to take my word for this, or not take my word; but the linkage between rich and famous, as opposed to relatively unknown is not necessarily how good of a jazz musician the individual is.
Enjoy the music.
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