Jazz for aficionados

Learsfool, his musical style aside, how did you feel about Jack Teagarden as an instrumentalist; as a brass player? Thanks.

Rok, my feelings about "free" jazz have not changed for quite some time. I seem to recall a couple of earlier discussions about it. But, to be clear, I don't consider ALL free jazz to be bullshit; quite the contrary. If I am not mistaken, one of those discussions was about Coltrane's "free" period. I would never consider that to be bullshit. My comments were about some players who jumped on the "free" bandwagon without having any mastery of the traditional. Occasionally, a genius comes along whose innate musical vocabulary is so different that he has something to say even without any substantive roots in the traditional vocabulary, so there is real value. Many others...; well, I think I have used up my quota of that word for a while. IMO, of course, and I am sure some more "open minded" consider that opinion to be....

Frogman, love your BS comment. I agree wholeheartedly that there is too much PC going on in the music world, especially in jazz, but also in classical.

Today's Listen:

Lou Rawls with Les McCann Ltd. -- STORMY MONDAY

Rawls(v), Les McCann(p), LeRoy Vinnegar(b), Ron Jefferson(d)

Lou Rawls' first recording. Recorded in 1962 on BlueNote.
13 tunes. Mostly blues. The Count Basie, Joe Williams type of blues numbers.

This is a young Lou Rawls. You can hear it in his voice. It would get better as he aged.

The Les McCann Trio provide good backing. No weak tracks. Most are well known tunes like: 'God Bless the Child', 'See See Rider' etc... My favorite is "I'd rather drink muddy water"

Willie Dixon said "blues is the truth", if that is true, and it is, then they recorded this session with one hand on the Bible, swearing to tell the truth, the whole truth, and nothing but the truth.

Lou Rawls -- AT LAST

This is Rawls 27 years later. Still on Blue Note. Sort of like a complilation. Lou is joined by Dianne Reeves, Ray Charles, Stanley Turrentine,David 'fathead' Newman and Bobby Hutcherson.

A more sophisticated outing. Better arrangements and much larger band in support. I like the singing on this one best. He seems to be into the songs to a degree he was not in the first disc. Experience? This is the mature Lou Rawls that we all know.

11 Tracks. All good. He does a duet with Ray on, 'That's Where It's At' and with Dianne on 'At Last'. Great stuff.

For Rawls fans, both are must haves.. His first, and close to His last.

Cheers

BTW,
The avant-garde,and Free Jazz, Bullshit!?!?!! Why I never heard of such a thing!!! You can add Southwest Pakistani folk Jazz etc... to the list also.

Where were you two, when I was saying the same thing? All I got for my trouble were attacks from all sides.

You just can't keep the truth down, you just can't do it! :) Welcome to the light, and the fight.

Frogman, "Many so-called "free" or "avant-garde" players have been shown to be nothing more than imposters since "musical political correctness" has been reluctant to call their playing what it is: bullshit."

I mistakenly bought some of that "bullshit", and sold it the next day. I wont mention who the artist was, but someone commented that he sounded like someone was stepping on his feet.



After you pointed it out, I took note of how "Idle Moments" relaxed toward the end. During that recording session, Rudy was supposed to stop Joe after 7 minutes, but every one was entranced with his solo, and Rudy decided to let him blow, consequently they had to drop another intended cut.

Enjoy the music.

Grant Green seems to be one of the artists I'm in resonance with; that's when sympathetic vibrations occur, and the music reaches you consistently. I think we're on the same fundamental wave length. I rate musicians by how much I like their version of "Round Midnight". If they don't have one, that excludes them from the top echelon of musicians. I like Grants version of "Round Midnight".

http://www.youtube.com/watch?v=eIrYlh_oq14

Enjoy the music.

O-10, "Idle Moments" has been on my list of "to buy" for literally years ever since a friend played that cut for me. It was of particular interest because it was, as you said, one of Joe Henderson's earliest things on record. Thanks for the reminder. That recording is absolutely incredible with a beautifully relaxed feeling. As you said, all the solos are great, but Joe.....wow! There is a saying among jazz players that "you can't play outside until you know how to play inside". What they mean by that is that a player has to master improvising "inside" the tune's harmony in a traditional (easily recognized by the listener) way before he can leave that harmony for more "adventurous" note choices "outside" those traditional harmonic constraints. This has been an area of considerable controversy. Many so-called "free" or "avant-garde" players have been shown to be nothing more than imposters since "musical political correctness" has been reluctant to call their playing what it is: bullshit. Joe Henderson is a master at leaving the traditional harmony in a beautiful, organized and CONTROLLED way as a way of EXTENDING the harmony, and not simply destroying it in the spirit of being "free". Two moments in his solo that demonstrate this harmonic mastery are 8:35 and 9:45; it's a kind of harmonic spiciness.

If all that wasn't "geeky" enough: Joe Henderson plays with a very distinctive and uniquely warm sound. Part of the reason for this is his choice of mouthpiece. One will notice that tenor saxophone players play either a metal or rubber (plastic) mouthpiece. During the "swing" and early "bop" eras most players played rubber mouthpieces. As players developed more aggressive styles in the "hard-bop" eras and beyond, they sought the louder and brighter sounds that a metal mouthpiece gives the player. Joe Henderson is a notable exception to this trend. Not only did he choose to play a rubber mouthpiece, but it is a mouthpiece normally used by classical saxophonists who require an even more rounded and less edgy sound.

Another interesting thing about this recording is how the tempo relaxes even more from beginning to end. Sometimes this is intentional; it usually isn't and is just something that happens in the performance. In this case things start to relax a lot during Hutcherson's solo. Notice how much slower the tempo is by the time the melody returns at the end (13:12); it's not a subtle difference.

The day after the night before of frivolity, is when everyone has the blues in Maude's flat. Grant Green captures this mood on "Blues In Maude's Flat"

http://www.youtube.com/watch?v=WuJKFQ-OqPo

Enjoy the music.

O-10:
Once again you bring to my attention music I already own. Great clip. I will listen to the entire CD tonight.

My CDs always seem to sound just a little better if blessed by O-10.

Monk is Monk! hahahhah

Cheers

Here's one of my favorites by Grant. While all the solo's are beautiful, Joe Henderson's solo on tenor, put him on the map. This particular cut went overtime because Joe was sounding so good, that Rudy Van Gelder, the engineer, didn't want to stop him.

http://www.youtube.com/watch?v=gwaFDFP7m_E

Enjoy the music.

Nica asked Monk, "If you were given three wishes, what would they be?"

He was pacing back and forth, and he paused for a moment to gaze out across the river at the New York skyline. Then he gave her an answer.

And she said, "But, Thelonious! you have those already!"

He just smiled and began pacing again.

1. "To be successful musically."

2. "To have a happy family."

3. "To have a crazy friend like you."

Enjoy the music.

Today's Listen:

Big John Patton -- GOT A GOOD THING GOIN'

Patton(organ), Grant Green(g), Hugh Walker(d), Richard Landrum(conga)

Soul-Jazz at it's best. Patton and Green made several records together. This is one of their best.

The music and playing rises to a level above just covers of pop/R&B. Two Pop covers 'ain't that peculiar' and 'shake'. There is some serious playing here from both Green and Patton.

Blue Note label, recorded in 1966. Check it out.

Cheers

I suspect, Nellie 'didn't play that'!

Cheers

Thanks Rok, that was quite an article. Rumors about her and Monk, were just that, "Rumors", unless Monk's wife Nellie was in on the affair; but you can never stop "animalistic" people from having such thoughts. She was a very special lady.

Enjoy the music.

Interesting woman. Born a Rothschild. This article tells of her relationships with various Jazz players.

http://www.icrates.org/baroness-nica-the-musical-legacy-of-pannonica-de-koenigswarter/

Cheers

Rok, I was inspired by the book "Three Wishes", to find songs written in honor of "Pannonica De Koenigswarter" . Although there are twenty songs written in her honor, and I'm sure everyone has many different versions of "Nica's Dream" written by Horace Silver, I could find only one other tune that I liked. Maybe you or Frogman can find other songs written in her honor that you like.

"Pannonica" by Monk captures the essence of a beautiful fluttering butterfly, which is what the lady of jazz was named after.

http://www.youtube.com/watch?v=aSHkPCW8dN4

Enjoy the music.

Today's Listen:

Various -- THE SMITHSONIAN COLLECTION OF CLASSIC JAZZ

This is the 'Revised' remastered edition, released in 1987. The original was released in 1973 on LP. The sound quality on this set is much improved.

This is a 5 CD set. Starts with Scott Joplin and Jelly Roll Morton, and ends with Ornette Coleman and The World Saxophone Quartet.

The sound quality on the early stuff is AMAZINGLY good. The later stuff is good also.

The package is typical Smithsonian. Well done with many nice touches. Great detail on all the tracks. Includes the soloists, and the order of their solos. Date and place recorded and personnel.

A 102 page booklet. Repeats the liner notes of each disc and includes great pictures. The historical information is priceless in itself.

They didn't miss many of the greats. Below is a link to the tune list.

http://www.discogs.com/Various-The-Smithsonian-Collection-Of-Classic-Jazz/release/457754

The sound on the 1973 release was not good. The Scorr Joplin tune 'maple leaf rag' is a recording of a piano roll made before electric recording. Sounds just fine here.

No filler. All great tunes. Even includes two(2) versions of O-10's favorite, 'East St. Louis Toddle-Oo' by Duke Ellington! :)

All Jazz people should have this.

I am becoming a fan of these complilations. Like the '50 Greatest Jazz Tunes' I posted about earlier. Sometimes you just don't feel like an entire CD of Coltrane, or anyone else.

Cheers

O-10:

Alice Coltrane:

I liked the "Blue Nile' the best. Probably because of the guys playing on the set. Both cuts were easy on the ears.

I have noticed that if you use the mouse to skip ahead on the music, you find that one point sounds the same as any other point. Like you are not missing anything.

No Beginning, middle, or end.

Her harp is nice. I like it.

Cheers

Hey guys - I finally got a chance to listen to half of the box set I had picked up of Jack Teagarden. It is a really fun set - great lyrics to the songs, great dixieland style band.

Acman3, you really tied it together. Trane was on a spiritual journey that he was beginning to express through his music. I believe Alice Coltrane, his wife, exemplified the destination Trane was trying to reach. Her music is filled with Trane's spirituality just before he died. Here we can hear it:

http://www.youtube.com/watch?v=L2HwbFLh5j0



Since leaving the music we've been into, and going to Alice Coltrane is like stepping out of hot water, and then getting into cold; you have to listen to more music in that groove in order to absorb it.

http://www.youtube.com/watch?v=smisXZ7KVpo

Like it or not Rok, this is where Trane was headed, he took some way out trips on live sets; that's where he played music that was totally unfamiliar to fans of the "old Trane", that music was a preview of things to come.

Enjoy the music.

One of my favorite modern trumpeters, Dave Douglas.

http://www.youtube.com/watch?v=DpK69hHcfKw&list=PLA989DAB13E7299B7

Acman3:

There was a tuba on the Mingus Big Band CD I posted. I meant to mention it, but forgot.

Guess they are more common than I thought. Now all we need is a full CD of solo Tuba! I could put it right next to my CDs of solo Harp and solo Bassoon!

Thanks for post. I have that CD by Coltrane. Now I will listen to it.

Cheers

HeHeHe,Talk about tying it all together, Coltrane, Africa, and for ROK, 4 French horns and a tuba. Conducted by Eric Dolphy.

http://www.youtube.com/watch?v=8J4YZwFa_1w

Great tune, classic Trane; thanks. There's a beauty about much of Trane's playing, a certain sense of melancholy that is hard to describe. This is a personal reaction, but its a certain happy/sad quality that I find beautiful.

Rok, I'm a Mingus fan from way back, but I never bothered with anyone else's interpretation of Mingus; now I see that was a mistake, because under the direction of "Sue Mingus", this has to be fantastic. The CD is on order.

Enjoy the music.

Frogman, here again we agree on "Trane". When I saw him live, he even lost McCoy Tyner and Elvin Jones. Miles said that Trane played for Trane on live sets; while that was true, talk about the pot calling the kettle black; when I saw Miles I didn't know what he was playing; but when Trane was with Miles was the time I liked both of them best. Jazz musicians used live sets for experimentation, and that made a lot of sense when you think about it. Those were gigs at small clubs, and not like Carnegie hall, what better places to experiment?

This is "classic" Trane on a tune I like a lot.

http://www.youtube.com/watch?v=Dt0D40JTCBY



Enjoy the music.

Today's Listen:

Mingus Big band -- QUE VIVA MINGUS

Too many players to list.

This CD is a tribute to Mingus' love of, and use of, Latin rhythms in his music.. 10 tunes. All by Mingus. The tunes' Latin rhythms range from Columbia to Mexico To Cuba.

A few tunes were 'latinized' such as 'eat that chicken'. very nice although the vocals were better on the orginal. But the tune works!

There is nothing I could possibly add to the liner notes. Excellent and very detailed review of each tune. Among the best liner notes I have ever read. Written by Sue Mingus. I wish I could do that.

She did use this quote from Composer/historian Gunther Schuller speaking of Mingus' compositions.

"there is nothing quite like them in the avant-garde or European Classical music. Mingus himself considered his music to be outside category, neither Jazz nor Classical. "It's 'American Music'," he once said. "Or better yet, just call it Mungus."

Relates to our previous discussions.

The entire brass section shines on this CD. Esp Randy Brecker. As a bonus, a photo of the entire group with names to ID them.

You know you want it!

Cheers

O-10:

I will check out the 'three wishes' book. I just love to read tidbits like that. I am also going to break down and finally buy a book of Jazz photos. Both of the players and the LP covers.

The Ike Quebec tune was great.

Cheers

Here is my favorite cut from "Sonny's Crib". The artists are: Donald Byrd, trumpet; Curtis Fuller, trombone; John Coltrane, tenor sax; Sonny Clark, piano; Paul Chambers, bass; Art Taylor, drums.

I believe all of these artists have photographs, and appear in the book "Three Wishes", Pannonica De Koenigswarter. Sonny Clark's three wishes were:
1. "Money"
2. "All the bitches in the world"
3. "All the Steinways in the world"

This is one of the most beautiful versions of "Speak Low" I've ever heard.

http://www.youtube.com/watch?v=prHxoFepR0A

Enjoy the music.

Agree, classic Blue Note. And my favorite period for Coltrane, just a couple of years before "Giant Steps"; his sound was not yet quite as "edgy" as it would soon get. Great record.

In my opinion "Sonny's Crib" is one of the best albums of all time, what more can I say.

Enjoy the music.

Rok, even Sonny Clark Knew about voodoo; but on a more serious note, "Deep In A Dream" is my favorite cut on that CD.

"Ike Quebec respects the beauty inherent in the song, at the same time investing it with his own personality. This perfect balance really brings the message across".
I repeat "Respects the beauty inherent in the song".

Here's my favorite tune by Ike, "Heavy Soul"; he was dying from terminal cancer when he recorded this.

http://www.youtube.com/watch?v=jwc1bTn7Fd8

Enjoy the music.

I meant to write this 'review' last night, but I had this terrific headache. I NEVER have headaches! Then I thought, maybe The O-10 is messing with those Voodoo dolls of his. In the future, I will be more prudent when addressing The O-10. A hint to the wise!

Today's Listen:

Sonny Clark -- LEAPIN' AND LOPIN'

Clarke(p), Ike Quebec & Charlie Rouse (ts), Tommy Turrentine(t), Butch Warren(b), Billy Higgins(d)

Clark's last session as leader. Some feel his best effort.
This is a thoroughly enjoyable CD. The playing and the the tunes are just spot on.

Tommy Turrentine, older brother of Saxman stanley, is a find for me. Excellent trumpet playing and tone. Had not heard him before. And We all know about Rouse with Monk, but there is a lot more to him than that, as his soloing on this CD demonstrates.

I think Clarke died when he was 31/32. What a waste. I love his playing. When you think of all the greats we lost in their 20's and 30's, it's just a shame. What could have been.

Ike just sits in on the tune 'deep in a dream'. The only ballard and maybe the highlight of the CD. That and 'voodoo' were my favorites.

This is one of the better hard bop Blue Note sessions. Everything was just 'right'. Absolutely no irritants.

If you are a Sonny Clark fan, then you must have this. It is for sure him at the top of his game.

If you just like Jazz, then you ought to have it. Along with his, 'Sonny's Crib' and 'Cool struttin'

Cheers

*****Well, it's pretty obvious to me****

Me also. I just thought the 'high-end' would have made a better showing.

Actually I didn't think that. It's just that, given the results, why ask the question and/or do the 'test' in the first place. Given that they 'published' the results, I thought it would demonstrate how close the two were. As you said, no contest.

Cheers

Well, it's pretty obvious to me; the winner is the live ensemble. First of all, the recording is slightly softer in volume so that will affect our perception. The recording sounds slightly muted in the highs, and has less rhythmic "verve". No brainier, even over an IPad.

Just a short break from the usual.

And the Winner is ???

http://www.youtube.com/watch?v=_lmXi1y1fzs

Cheers

Thanks Frogman, those nightclubs were as incredible as the movie sets; so they did exist.

Frogman, that essay corroborates the most important point, "I told yall to stop beatin them damn drums", but don't tell Rok. Yes, that was a very important and serious essay, thanks loads for the information.

Enjoy the music.

Rok, I just got a book every jazz aficionado should have, it has photos of all the musicians we've discussed, and then some. This book includes the intimate thoughts and wishes of all the greats.

The title of this book is "Three Wishes"; compiled and photographed by Pannonica De Koenigswarter, in it she asks the jazz greats if they could have three wishes fulfilled, what would the be? There is a beautiful photograph of a young Lee Morgan, sitting up sound asleep. The baby fuzz on his smooth face, and jet black hair tell his age. His three wishes were:

1. "To be held in high esteem by my fellow jazzmen, as well as the audiences-I mean jazz public."

2. "To make oodles of money, and use it wisely."

3. "To make a wonderful husband and father."

It's for certain his first wish was fulfilled, he's still my favorite on trumpet; but his life was cut too short for the last two wishes.

Miles Davis is madder than a march hare; his photos are the most outrageous in the book, and his one wish was "To be white". Ironically his life fulfilled most of the other musicians wishes, which were fame and fortune. Although there is no photo of "Bird", all of his colleagues are well represented. As I said, this is a must have for serious aficionados.

O-10, fascinating account of your trip to Haiti. This is an interesting essay that addresses, and corroborates, some of your points:

http://www.africa.kyoto-u.ac.jp/kiroku/asm_normal/abstracts/pdf/21-2/45-54.pdf

Frogman, I was in Haiti about 3 years after this movie was made, and Haiti was very much like the movie, "weird beyond belief". In regard to the voodoo music, it's like the air they breath; we were riding up a mountain trail on a half ass (that's a cross between a horse and a donkey) in "Cap Haitian", and on the side of the road, one kid was beating out this voodoo rhythm on a metal shovel that had been left by a road crew, while other kids were dancing to the music like their bodies had no bones. They did this to amuse themselves, it had nothing to do with tourism or anything else.

I only saw the movie many years after I had gone to Haiti, had I seen the movie first, I would not have gone to Haiti. Movies can come very close to reality.



http://www.youtube.com/watch?v=TOoFiCgcprU

O-10:

I did answer your question. You just have to fill in the details. Let me put it this way:

Nothing, and I mean NOTHING, survives contact with American Culture!!! That's the answer to your question O-10. The details of the musical part of it, I leave to The Frogman.

A few folks doing some so-called voodoo thing in Nawlins, is not the same as saying African music has survived in this country. A lot people in Nawlins are from the Islands, not American at all. Even to this day.

Neither the Slaves nor any music they may have had, survived the culture clash. Hell, slavery itself could not survive it. The millions of Europeans immigrants of the 19th century did not survive.

For example, the French know this, but, because of their arrogance and illusions of grandeur, are fighting a losing battle against it. The rest of the planet has happily succumbed.

Worried about Chinese Power? You needn't. We have The Stones on Tour, Buick is the most popular car, and the Golden arches and KFC are everywhere. You can feel free to sleep like a baby.

The slaves and their music never stood a chance. This was not a beating on a log type place. They lived in a 'European' country. Cuba and Brazil were colonies 'administered' by Europeans. There is a difference.

Just a few things to ponder.
These slaves did not all come from the same village. Hell, they didn't even have the same religion or language!! And once here, they were displaced all over the South. Sort of hard to mantain 'traditions' in that enviroment.

How large a 'population/concentration' of people is required to sustain a culture? EVERYONE was not a musician or even cared about music.

And lastly, an inferior culture will always succumb to and try to adapt to a superior culture. That's just human nature. Beating on a log or western music? Who do you think is gonna win that one.

Also. America was the land of oppourtunity even by slave standards. Maybe not so much in Cuba or Brazil.

The Frogman was on target with his comments.

Cheers

Suggested reading: 'Guns, Germs and Steel' and 'The Diary of Mary Chesnut'

Acman3, this is the real deal all the way live, "makes me want to get up and boogie".

http://www.youtube.com/watch?v=ErZnMmYJlE8

Enjoy the music.

Frogman, this is from the movie, compare it to Voodoo around the world, including New Orleans to this on "You tube", and notice the similarities.

http://www.youtube.com/watch?v=Js0CAjUXv58

Canonical story[edit]Eurydice was the wife of Orpheus, who loved her dearly; on their wedding day, he played joyful songs as his bride danced through the meadow. One day, a satyr saw and pursued Eurydice, who stepped on a viper, dying instantly. Distraught, Orpheus played and sang so mournfully that all the nymphs and deities wept and told him to travel to the Underworld to retrieve her, which he gladly did. After his music softened the hearts of Pluto and Persephone, his singing so sweet that even the Erinyes wept, he was allowed to take her back to the world of the living. In another version, Orpheus played his lyre to put Cerberus, the guardian of Hades, to sleep, after which Eurydice was allowed to return with Orpheus to the world of the living. Either way, the condition was attached that he must walk in front of her and not look back until both had reached the upper world. Soon he began to doubt that she was there, and that Hades had deceived him. Just as he reached the portals of Hades and daylight, he turned around to gaze on her face, and because Eurydice had not yet crossed the threshold, she vanished back into the Underworld. When Orpheus later was killed by the Maenads at the orders of Dionysus, his soul ended up in the Underworld where he was reunited with Eurydice.

Enjoy the music.

I should also have added the fact that in the USA, slaves had fewer rights (legal marriage, for instance) than slaves in other countries; consequently, they lost their connection to the past more readily.

****Nothing is being merged****

Of course it is. The depiction of "voodoo music" in a Hollywood film like "Black Orpheus" is no more accurate than the depiction of nightclubs in films. I would go so far as to say that the way nightclubs were depicted is more accurate; that's the nature of the film industry. There are very few places on our planet where indigenous musics still exist unadulterated by modern society to some extent; and if they do, they are certainly not part of the mainstream. If the question is: why is African native music as heard in places like Brazil closer to that of the African slaves (and I say "closer" because I suspect that there a many places in Africa where it is still fairly close to what it was 200 years ago) than in the USA? The answer is obvious: the more a country becomes industrialized, modernized, whatever one wants to call it, the less "pure" any one native art form will remain. Isn't that exactly what has been happening to jazz?

****Especially since that music was retained and survived all of those hundreds of years, every place, except here.****

Really? Besides Africa itself, where? Perhaps, to a degree, in places like Haiti and remote parts of Brazil where the above comments apply; and even in those places the indegenous musics have "merged" with it. And BTW, here in NYC there at still places where one can buy live chickens; and NOT because fresh tastes better. The point is that it has survived to varying degrees everywhere, but in a country like ours it is much more "fringe" than in others.

BTW, to be clear, I suspect you and I share the same feelings about internationalization. What I said poorly in my last post was that the music we love is the result of internationalization and all it's influences, creating a uniquely American mix.

Rok, this has nothing to do with jazz, this is exclusively about music from Africa. We can conclude that the only surviving music from Africa in this country was "Voodoo music", and the only reason it survived is because it was so secretive.

I've heard this very same music in movies, "Black Orpheus" from Brazil is one example. I'm sure that movie can be found on "You tube". The part where Orpheus goes to a ceremony in search of Eurydice is where you hear this music, including the same words and music that can be heard in New Orleans. These words are not Portuguese for Brazil, nor are they English for New Orleans, they are African. These words came with this music from Africa, and that was the only thing African that survived slavery in this country.

Now we can go back to our regularly scheduled program of jazz.

Enjoy the music.

****efforts to internationalize 'MY' music****

Why is that a bad thing? America is the epitome of internationalization; no?

Re the music, you might find this interesting reading:

http://books.google.com/books?id=ulLJUDmptFMC&pg=PA349&lpg=PA349&dq=blue+notes+in+african+music&source=bl&ots=i1Ef8qb7Vk&sig=XqtXhhXVwANNGPOQB9aNPz9_vQQ&hl=en&sa=X&ei=0rR5Upm1F6nasASoo4L4Bw&ved=0CCkQ6AEwADgK#v=onepage&q=blue%20notes%20in%20african%20music&f=false

Cheers.

The Frogman:

*****There IS African in American music; but, there is no such thing as "African-American" music. It is uniquely American.****

My Response is "Numbers Count". So, while your statement is true, it is not true for real. As in, it does not reflect reality. I also charge you with using Jedi word tricks! :)

I just knew you and our distinquished OP would renew your efforts to internationalize 'MY' music. Help me Jesus!

Cheers