Jazz for aficionados

******For me, it's a pleasant nostalgic album*******

HERETIC: one who dissents from an accepted belief or doctrine : NONCONFORMIST

This be you!

Cheers

Rok, there's nothing like a live organ, and I say "live" because not even the best rigs can duplicate the "howls and squeals" a Wild man on organ can generate.

I've found the best examples I could find of "wild men", but they come up way short. Although these are the same organ players I heard "live", there is no way to duplicate what I heard. These guys could exhilarate, and mesmerize a crowd of people like you wouldn't believe. I know, because I was one of the "mesmerizees", and I can testify to that fact.

http://www.youtube.com/watch?v=sK3lNoHrkLc

http://www.youtube.com/watch?v=5vILXAc_eO0

Enjoy the music.

For me, it's a pleasant nostalgic album, and from what I remember, it was far more impressive to my friend who bought it; some people are more in tune to Miles music than others.

Lovely pictures of sweet memories flowed past in my mind like a movie of better times that I would like to relive when I heard the sweet sound of Miles horn, and I found the nostalgic aspect of this album to outweigh all others. In regard to the best ever, "I don't think so". That would be a different album every night for a week, depending on my mood.

"Otherwise Coltane's solos would be longer than the entire CD;" try 45 minutes of "My Favorite Things" live. McCoy Tyner, Elvin Jones and the bass man were trying to keep it together, while Trane went out into the nether regions.

Enjoy the music.

Today's Listen:

Miles Davis -- KIND OF BLUE

Davis(trumpet),Cannonball(alto sax), Coltrane(tenor sax), Wynton Kelly & Bill Evans (piano), Paul Chambers(bass), James Cobb(drums)

I assume everyone and their brother has this recording. It is considered one of the greatest if not the greatest Jazz recordings ever. I thought I would 'review' it and tell everyone WHY, it is, or is not, the greatest ever.

I listened to it several times. Each time I tried to write about it, the words seemed inadequate. I thought it was great without being to explain why I thought so.

I said, great tune selection, and not too many(5) or too few. Too many dilutes the playing, and too few leads to overblown very long solos.

I said the solos were complex but sounded simple and eloquent.
I said the soloist never played at the same time. In other words, no clutter and no filler.

I said someone(miles) was obviously in charge, otherwise Coltane's solos would be longer than the entire CD.

I said all the entire performance seemed to flow seamless. The tunes seemed connected by style and dynamic range.

The rhythm section was awesome. Essential support, but never in the way of the masters.

I think all this is true but does not make it the greatest ever. So I did some searching and found this review online:

*****In the documentary drummer Jimmy Cobb -- the only surviving participant -- stated that he didn't understand why KIND OF BLUE stands out above any of Miles' many other outstanding albums. Perhaps it is because the user-friendly music satisfies the listener at whatever level they prefer. If you want to get emotively involved with the music, it leads you there. If you're a musician looking to pick apart the music, you'll discover a level of sophistication attained by very few. If you want to relax, the music is soothing on its surface. If you want to hear memorable improvisations, Miles and his sidemen lead the way by avoiding the use of cliched phrases. If you want to hear teamwork, the musicians know how to create together (when to play and when NOT to play). If you want something timeless, the music's freshness has no expiration date. Yet if you have a nostalgic twinge for the cool, acoustic jazz of the 1950s, this album will take you back in time.******

I think this guy nailed it. But I want to hear what the AFICIONADOS that contribute to this thread think. I know you have it, so listen to it, and share your thoughts.

The greatest? Hmmmmmm, there's still 'Blues and the Abstract Truth' to consider. And others. I reserve comment for now. :)

Cheers

Here's something to stir your soul, this is my favorite trombone.

http://www.youtube.com/watch?v=7aeVlQtsaFE

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

Enjoy the music.

Are you dissing disco?

cheers

I enjoyed half of your change, the first half; that's Aretha's song. I really liked the way they dressed. Too many people look like "bums" wherever you go now. This is just the kind of change I was thinking about, but a little more in the jazz vein. Do you remember Eddie Jefferson, and King Pleasure, I was thinking about them.

Enjoy the music.

If I may, a slight change of pace.

http://www.youtube.com/watch?v=6I3QZIM7dNk

http://www.youtube.com/watch?v=TPwwaoShG-A

Cheers

Zoot Coltrane! I'm still laughing! Jutta Hipp is a name I remember, and I don't know where from. Between Horace Silver and Bobby Timmons, there's no way I would make a choice.

http://www.youtube.com/watch?v=PuM75h_vRC0

This is what I found on "you tube", but I still don't know where I remember the name from. Back in the day, we would go from one pad to the next, spinning albums, consequently I've heard many albums I can't remember.

Enjoy the music.

Zoot Sims seems to be good player, but I could never get past his name. I see ZOOT, and I think Vaudville. Some guy in a plaid suit. :) Silly but true. I understand that is not his birth name. He should have stuck with the birth name. Can you image a Zoot Coltrane!!

He did make a record with JUTTA HIPP. A female Jazz piano player from Germany. Eventually found her way to NYC. I have one of the few LPs she made. I think she only made three. I have her 'At The Hickory House Vol 1.

She quit Jazz because she suffered too much anxiety playing with the big boys. Horace Silver et al. She quit Jazz and became a seamtress!

I was listening to The Jazz Messengers last nigth. 'Jazz messengers at the Cafe Bohemia. With Horace Silver, Kenny Dorham and Hank Mobley. They made the set.

Cafe Bohemia must be quite a place. That's where the Mingus performance was recorded.

Cheers

Rok, when I was in El. A. In the early 70's, there was incredible jazz in lounges everywhere. While Zoot Sims was famous, most of the musicians I saw were unknown, but could jam as well as the best in our collections. From what I could surmise, they didn't want to go on the road and leave El. A.; besides, they were making a good living.

Although Zoot has better music, it's not on video, and this lounge gives you the feel of El. A. at that time.

http://www.youtube.com/watch?v=V1eqs3-5_A0

Here's the real deal, back in the groove.

http://www.youtube.com/watch?v=MEFaBKok1jg

Enjoy the music.

******* He quickly discovered that he needed tailor made musicians, those are the ones who could hear and play his music which was so radically different at that time. He tailor made Dannie Richmond's drums to fit his music, because a traditional time keeping drummer couldn't work with such radically quick shifting times.********

So true. Monk faced a similar situation. I think Charlie Rouse stayed with him for years. He understood Monk and his music.

Cheers

O-10:

Two of my favorites. I never thought ANYONE, could perform them better than the babes that sing with the Sergio Mendes group

Sergio who?? Makeba has made these songs her own.

She not only sang them well, if you listen closly to her tone and her phrasing on 'mas que nada' she actually made it African.

I will have to see what is avalabile on CD at Amazon. I have a lot of her on LP, but only one CD.

She was a favorite on mine back in my Joan Baez / Buffy Saint Marie, days.

Great recommendations.

Cheers

Rok, this is a diamond in the rough. It illustrates how fast Mingus learned because it's a long way from the polished diamond which is "Mingus Ah Um". He quickly discovered that he needed tailor made musicians, those are the ones who could hear and play his music which was so radically different at that time. He tailor made Dannie Richmond's drums to fit his music, because a traditional time keeping drummer couldn't work with such radically quick shifting times.

Now, I'm going to get back in another groove with one of my favorite female vocalist, Miriam Makeba. When she was young, like here, her voice just exhilarated me. I definitely don't have enough Miriam Makeba.

http://www.youtube.com/watch?v=oztzZu5zPzs

http://www.youtube.com/watch?v=F4dT7l7sWVg

This was when all the best female vocalists were in fine form, including the sexy Brazilians, and Miriam Makeba still stood out; she was "electrifying", and my body resonated in harmonic sympathy with the sound of her voice.

Enjoy the music.

Todays' Discovery:

Charles Mingus -- MINGUS AT THE BOHEMIA

features: Mingus(bass),Eddie Bert(trombone), George Barrow(tenor Sax), Willie Jones(drums), and Max Roach as special guest on drums.

The first step on the road to 'Ah Um', 'Oh Yeah', 'At Antibes' et al. Recorded at Cafe Bohemia, NYC DEC 1955.

Comments by Nat Hentoff, Down Beat, state that "This was Mingus' first recording with a working band of his own. The group was also the first to carry the Mingus Jazz Workshop Banner."

So this is very, very early Mingus. It you listen you can hear a little of what is to come. The music just sounds familiar. Now, not then. This was cutting edge stuff then.

Eight tracks. No throwaways here. 'Septemberly', 'All the Things you C#', and 'Jump Monk' feature exceptional playing.

Mingus does a very nice duet with Max Roach, on a tune called 'percussion discussion.' Mingus on Bass.

'All the things that you C#' contains elements of 'all the things you are' and Rachmaninov's 'prelude in C# minor' and a little dash of 'Clair de Lune.'

On the alt take of C#, he stopped the band, and restarted them after a little admonishment. hahhaha Gotta be Mingus! The guy was worst than Monk!!

Check it out. Any Mingus / Jazz fan has to have it.

Cheers

Rok, we agree on all counts. Although I have Mulligan on LP, I was wondering if it was the same one, and as far as I can tell it is. I hope the one I have is on CD, because the sonics are excellent. Since Amazon only gives "used" LP, I don't know; but there are also "down loads". Since that's the best cut on the LP, and none of the rest of them quite come up to "I'm Gonna Go Fishin", "down load" isn't a bad idea.

Enjoy the music.

O-10:
All three youtubes were very good. The Mulligan cut was let down by poor sonics, but great playing.

Peggy Lee? You don't have to say alot. She was one of the best ever.

Annie Ross? I have several of her with LH&R. The songs she sang here, I have played a zillion times. Joe Williams was an added treat. And did you notice, the Basie septet. :)

The word 'Hip' fits Ross and LH&R like a glove. Talk about 'sophisticated' Jazz. That would be Annie & Company.

Cheers

Rok, here's a real kicker by Gerry Mulligan's concert jazz band, these cats can blow.

http://www.youtube.com/watch?v=KLaRvL1wEeQ

Here's Peggy Lee singing that same tune.

http://www.youtube.com/watch?v=djXwNOrO5zg

Annie Ross is one jazzy chick, this is when "hip" was an everyday way of life; I'm so glad that I lived it.

http://www.youtube.com/watch?v=IYnmSAtZuB0

Enjoy the music.

For those who want to hear it as it's supposed to be done, look up the CD "Jazz in a R&B Groove vol 1" I could not find it on youtube. One of the best CDs I own.

But I did find one of the singers that appears on that CD. Irene Reid. See the link below.

http://www.youtube.com/watch?v=xaf0oPqtp8U

As Acman3 alluded to, and I have said many times, the group backing the singer is EVERYTHING.

That means the ultimate would be Ella backed by Basie.

But, do check out Miss Reid on the link. If for no other reason than to hear and see the Basie band.

On the 'R&B Groove' CD she sings 'what a difference a day make' instead of 'day makes'. Used to drive me nuts for a long time. I don't even hear it now. :)

Cheers

Chazro, thanks for the Bobby Mcferrin recommendation. I will look it up.

I like June Christy. She usually has a smoking band, and her coolness works for me.

http://www.youtube.com/watch?v=WYrgEi12EvY

And then there are the ballads. Definitly not Billie, but who is?

http://www.youtube.com/watch?v=13T2SiP6qRA

I enjoyed reading the lyrics more than I did hearing June Christy sing them. She is a good singer, but the music and her voice had no dynamic range. Didn't reach out and get my attention.

Chris Conners? Sometimes 'Cool' Jazz can be a little too 'cool'. There has to be a little fire and heat. Billie excelled at that.

Cheers

Been a big fan of Bobby's for decades! 2010's 'VOCAbularieS' is one of the greatest achievements in vocals-only music I've ever heard. Somehow, it feels like something so beyond acapella that I hesitate to call it that. Coincidentally, this weekend I picked up his latest; 'spirityouall' from my local library so I'm looking forward to giving it a listen later on during this wet Labor Day in Fl. on the main rig! Because don'tchaknow Bobby's music is always impeccably recorded and an audio treat!

I was listening to June Christy "Something Cool", and it hit me just how sad that song was; but before you can realize this, you must first picture the setting. It was at a time when people didn't have A/C at home, and the only places to cool off were at a lounge, or movie theater.

This attractive young lady just casually left home to pop into a lounge and cool off. She sat next to a young man who bought her a drink, as was the custom then; that's when she began running down her life story in order to impress him.

http://www.youtube.com/watch?v=jn8EtaxGJP0

Something Cool Lyrics

Something cool,
Something cool,
Something cool,
I'd like to order something cool!

Something cool, (something cool)
I'd like to order something cool, (something cool)
It's so warm here in town,
And the heat gets me down,
Yes, I'd like something cool! (something cool)

My! It's nice to simply sit and rest awhile,
Now I know it's a shame,
I can't think of your name,
I remember your smile!

I don't ordinarily drink with strangers,
I most usually drink alone.
You were so awfully nice to me,
And I'm so terribly far from home.

Like my dress? I must confess it's terribly old,
But it's simple and neat,
It's just right for the heat,
Save my furs for the cold!

A cigarette? Well I don't smoke them as a rule,
but I'll have one,
It might be fun
With something cool!

I'll bet you couldn't imagine
That I one time had a house
With so many rooms I couldn't count them all!
I'll bet you couldn't imagine
I had fifteen different beaus
Who would beg and beg to take me to a ball.

I'll bet you couldn't picture me
The time I went to Paris in the Fall,
And who would think the man I loved was quite so handsome,
Quite so tall?

Well it's true, (something cool)
It's just a memory I have, (something cool)
One I almost forgot
'Cause the weather's so hot!
And I'm feeling so bad (something cool)
About a date,
Oh wait!
I'm such a fool!
He's just a guy
Who's stopped to buy
Me something cool!

It's really a beautiful song until it get's to the end, that's when you realize how sad it is.

Next is another lady I like late at night, "Chris Conners". Her version's of "All About Ronnie" is my favorite.

http://www.youtube.com/watch?v=13T2SiP6qRA

Enjoy the music.

Bobby McFerrin is also well known as a huge supporter of his fellow musicians of all stripes. A very good guy as well as good musician.

I've been following Bobby every since I discovered he was an accomplished musician who uses his instrument, the same as any horn player; his instrument, which is his voice, is even more versatile than a horn. The soundtrack from the movie "Round Midnight" is another good display of Bobby McFerrins versatility.

Enjoy the music.

Bringing Bobby McFerrin into the conversation is like opening up an entire new genre. He does not fit in any box.

I have him with Yo-Yo Ma on the CD "Hush". Every track is unique.

He does "Spain" with Corea and "Another Night In Tunisa" with the Manhattan Tranfer. Both are exceptional.

That's one of the best things about mentioning any artist, it allows / reminds us to see what they have done lately. There is a lot more to McFerrin than "don't worry be happy"

In many ways he reminds me of Roland Kirk and Nina Simone. Kirk, because he is so uniquely compelling and Nina because, like her, he says so much, and says it with minimal accompaniment.

After visiting Amazon, I put a few of his in my cart.

Cheers

Rok, here's another interesting version of "Round Midnight" with Chic Corea.

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

Enjoy the music.

Chick Corea -- Solo Piano STANDARDS

The title says it all. Corea playing standards. Normally solo piano gets sort of tedious after a few tracks. Not this time. The recording, playing and piano are all top notch.

A lot of Monk and Bud Powell stuff here. I favor the Monk tunes : Monk's Dream, Blue Monk, Ask Me Now and 'Round Midnight. Corea also does a delightful interpretation of "Brazil" to close out the set.

Played at the proper volume, i.e. LOUD, this is an aboslutely wonderful record. Great dynamics.

This is the second CD of a 2-CD release. Th first one is entitled "solo piano Originals" I don't know why I didn't get it also. I will now.

Check it out. Not sure youtube will do it justice.

Cheers

Hang around this thread long enough, even a white boy like me could get educated. Yeah... I know. Not PC. Too bad. Heard a Euphonium for the first time live only recently. In church. Beautiful sounding instrument. The kid playing had great tone. Got to check out Roland Kirk. Heard the name don't know his music.

Acman3, thank you for pointing out Cedar Walton. Like so many musicians I have in my collection, his name didn't just instantly pop up, but after examining his "discography", I discovered he's very well represented in my collection, and now I'll listen exclusively for his piano.

Enjoy the music.

Freddie Hubbard- Forced my Dad to go see him when I was visiting my folks in L.A. My Dad played some trumpet in school and some local plays when he was young, but he had never heard Freddie. My Dad told me a while back that, when he thinks of his time in LA, 2-3 years, that night is his first memory.

Cedar Walton- For some reason, his loss hurts a little more than normal. One of my favorites. RIP.

http://www.youtube.com/watch?v=z9pccmxOn5c

Rok, I want your e-mail address. If you follow these instructions, I can copy it and take it down after I get it.

Go to http://wealthisbeingtranfered.wordpress.com/
Click replies
Click 'Enter your comment here' and fill out comment with email address
Enter email and name in form below
Click post comment

Enjoy the music.

Roland Kirk -- BLACKNUSS

What can one say? Some soul, some Blues, some R&B, some gospel, some other stuff and a whole lot of Roland kirk.

The man is a magical genuis. All of the songs except the title track are covers of well known songs.

All are done in a manner that could only be done by Roland. "ain't no sunshine" and "old rugged cross" are my favorites.

This youtube is an example of the 'other stuff'.
http://www.youtube.com/watch?v=PV4CBG6I58g
Done by Princess Patience Burton.

Cissy Houston also sings on "never can say goodbye".

It may not be Jazz as we expect it, but it is Roland Kirk, and that's good enough for me, and should be enough for any Jazz Fan.

Watch the youtube thingy. You'll like it.

Cheers

Orpheus, that was definitely on the bizarre side. Even more so, though, would be the recording with that group plus four trombones that was mentioned in the comment below!!

I'll have to ask our harp player if she has ever heard of Dorothy Ashby. I'm partial to Harpo Marx, myself. :)

Jimmy Scott -- MOOD INDIGO

A truly unique talent. The epitome of a Song Stylist. 10 songs, all well known standards, from Mood Indigo to How Deep is the Ocean.

Backing group includes Hank Crawford, Cyrus Chestnut, Joe Beck etc....Gregoire Maret does great work on Harmonica.

Crawford and Chestnut are the perfect type players for Scott's style of singing.

Scott had a rough time of it in the music business. He often times didn't even get paid. His trusting and honest nature seems to come thru in his voice. Great for his art, but very bad when dealing with the sharks in the music business.

Every Jazz fan should own some Jimmy Scott. I have several CDs and they are all exceptional performances without a weak track in the lot.

Give him a listen.

Cheers

Rok this is the first time I ever even heard of a "euphonium", and if it was the last time, my feelings wouldn't be hurt.

"Birdlike", certainly reminds me of Bird. Sometime ago, I told you I was looking for new music, this music is new all over again. My search has ended, let's find some more "new music".

Enjoy the music.

Take Two:

Freddie Hubbard -- READY FOR FREDDIE

Hubbard(trumpet),McKinney(euphonium)WTF???,Wayne Shorter(tenor Sax), Art Davis (bass), McCoy Tyner(piano).

As The O-10 previously pointed out,(stealing my thunder in the process), good straight ahead Bebop.

There was a time when I felt Miles Davis was the Alpha and Omega of Jazz trumpet. No more.

I was a little late 'discovering' Freddie Hubbard. My loss. He is for sure among the top trumpet players ever.

Three of the five tunes are by Hubbard and they are the best on the CD. The aptly named "Birdlike" is the best cut. It and "Crisis" rise above the typical BlueNote stuff.

I don't get the Euphonium, seems to me that if they wanted another horn, someone like, Al Grey on trombone would have been a better fit.

McKinney plays well, it's just that the tone of the instrument does not seem to add much to the proceedings.

Tyner is the consummate sideman. Giving just what is needed. I guess he learned to be low key playing with the biggest ego in Jazz, Coltrane.

Shorter comes close to stealing the show, esp on "Birdlike". I guess that would be fitting.

The rhythm section keeps everything moving, even the tuba guy. Elvin Jones is another great on drums.

Overall, a very good Blue Note outing. But with the talent avalabile during that time, it was sort of difficult to make a bad record.

O-10 says it's on youtube. Check it out. Esp "Birdlike"

Cheers

The most impressive 'pit players' are the guys that play for Ballets and Operas. IMHO, of course.:)

Last night, I watched and listened to The Nutcracker -- The Royal Ballet and Orch of the Royal Opera House. Miyako Yoshida danced the Sugar Plum Fairy.

To see the dancers movement and hear the band in the 'pit' is just awesome. Perfect sync.

Cheers

Today's gem:

Ray Bryant Trio -- POTPOURRI

Ray Bryant (piano),Jimmy Rowser (bass),Mickey Roker(drums)

Eight tracks, all standards. They aren't called standards for nothing. Great Tunes. My comments apply to each and every track.

Outstanding dynamics throughout the CD. No gentle Tinkling of the ivories or soft brush strokes on the cymbals, these guys make a joyful noise!!

They sound like a much larger group. It's hard to keep in mind that only three people are making these wonderful sounds.

Of course Bryant is just awesome. One of my favorite Jazz players and one of my first. "Slow Freight" was one of my first Jazz LPs.

What is unique about this set is that the Drum and Bass solos are of just as high a quality as the leader's solos. The bass player plays with outstanding intonation and articlation. Very effective and merges seamless with the tunes. Ditto the drumer.

Should be played at the proper volume for max effect and enjoyment.

Don't like this? Not a crime, just means you don't like Jazz, and that's not a crime either. It's a 'condition'.

Cheers

Leersfool, here's a must have for your collection, Dorothy Ashby, "Invitation".

http://www.youtube.com/watch?v=KCNIapijh8w

Enjoy the music.

O, I just wanted to encourage you to keep the thread open. There may be a lull in the action from time to time, but as we hear or rehear some great jazz, we can return to report what we have heard.

I have learned a lot from you Jazz Aficionados and am not ready for it to stop! I have seen a couple of interesting talents lately and will report further when time permits.

Rok, Frogman is the only person who can respond to the post about "Reedmen". I went to Freddie Hubbard on "youtube", good straight ahead jazz. That group on "Ready For Freddie" was really tight. I'm eagerly awaiting your reviews.

Enjoy the music.

Rok, like Lazarus, has returned from the dead, hallelujah! Why don't we pick up where Leersfool left off, and then go into your reviews? Glad you're back!

Enjoy the music.

DEAD?? As the world's foremost authority on Jazz, I find that very distressing.

And just what am I supposed to do with all my, as yet to be posted, 'reviews'?

My public, demands to hear my take on Ray Bryant's "Potpourri" and Freddie Hubbard's "Ready For Freddie" and hundreds of others.

I cannot be responsible for the backlash / outrage, if you silence my voice. Please reconsider.

Cheers

All good things must come to an end, and so it is with this thread. Without the Rok's input it's dead. I've had fun and I thank every one for their input.

Enjoy the music.

Rok, send me a bottle with a note in it, anything to let me know you're OK.

Hi Orpheus - studio musicians and pit musicians would have pretty much a completely opposite existence, musically speaking - they are not at all the same. A top Broadway pit musician, for example, will typically play the same show 8 times a week for sometimes years - over, and over, and over, and over again. A top LA film studio musician will never play the same thing twice. If the music is very easy, sometimes they will turn the recording light on right away before there is even any rehearsal. On a usual session, they would probably read through most of the music just once, and then start recording it. If the music is truly difficult, they may have a couple of readings, and some actual rehearsal, before recording it. But basically, they are incredible sight readers. I just wanted to clarify that there is a huge difference between the two types of work - opposite extremes, in fact. A symphonic musician, like myself, is something in-between. The amount of rehearsals we have depends on the type of program we are playing. For a symphonic concert, there would be typically four or five rehearsals during the week, and three performances on the weekend. For a pops show, there would typically be only one rehearsal, the same day as the first performance of the weekend. An opera orchestra will have several rehearsals before the production opens - the first few just the orchestra alone, then a few with the singers, but not in the pit, then a couple of dress rehearsals.

I will let Frogman answer your questions about the woodwind doublers you see in the pits of theaters.

Rok, while we're waiting for Frogman to expound on "studio players" or "pit musicians", as I referred to them; I'll explain how I have pristine sound in every room that I want it, generated from the play list on my computer.

I don't remember what sound cards I use, but I'm sure you've already taken care of that. let's begin with computer out to HRT Music Streamer II to Intelix Audio Balun, Max distance 2,500 ft, out to Cat 6 cable the distance of the house. This is fed to a balun at the receiving end, and interconnect to preamp. The "baluns" are available from "Parts Express", $55., and Cat 6 can be purchased cheaply in your desired length. 2 ft. of your favorite interconnect completes this pristine signal to the pre, and it's as good as a signal 2 ft. from the pre.

Enjoy the music.

Orpheus, you bring up a great topic for discussion. Unfortunately, I may be away from this board for several days - about to have one of the busiest weeks of my entire season. Also, you have now touched on Frogman's area of professional expertise, so I will leave this particular field to him.

I will, however, comment that many of the very finest players in the world right now are the ones you hear in the movies. The top studio players in LA are a very small group - only a pool of about 300 musicians total record most the movies you see nowadays. As Jim Thatcher, the top studio horn player told me once - "I go to work every day having no idea what will be on my stand - I just know that I will never see it again." These fantastic musicians literally spend their time almost totally sight-reading. They are very good at it, and have to be, otherwise they are wasting very valuable studio time. They are also the highest paid orchestral musicians in the world, the best of them making a MUCH higher amount per year than the very finest principals of the world's finest orchestras. Thatcher has had many famous horn solos in the movies written expressly for him by people like John Williams. One he is particularly fond of is a solo in the movie Always. Very long and lyrical, and also extremely high in register, making it infinitely more difficult. He once told me - "That's MY solo, and no one else will ever play it." A very different world/life from the average orchestral musician, that's for sure.

leersfool, as a jazz aficionado, it's only natural that I think jazz musicians are the best; I said "musicians", and not music, because that's too subjective. The best music is whatever the listener likes best.

However, there is another type of musician that deserves equal or higher status depending on how you rank musicians; and that is the "pit musician". I had the unusual, and unique opportunity of seeing one in action. They only appear at the best full production plays, as far as I know, and even then they're down in a sunken pit right in front of the stage; consequently the audience looks over and past them, they're out of sight.

My seat was up front and far left of the stage where I could look down into the pit. I saw these musicians seated in a row, side by side. Each musician had several instruments, of whatever type he played, in a rack; plus his sheet of music, in front of him. I was closest to "the reed man", he had every reed horn you can think of, including that strange one called a basoon in a rack in front of him.

Although it was a fantastic play (I had read the book), my attention was focused on "the reed man". His eyes never left the the sheet of music in front of him as he slid one horn out of the rack, and another in. While the music was spectacular, this was a dramatic play, and not a musical. The music flowed seamlessly with the action on stage, while the pit musicians were constantly changing instruments and sheets of music.

When what sounded like improvised jazz was called for, I watched the reed man blow like "Trane", and his eyes never left the music in front of him. If I closed my eyes, I would have sworn that I was hearing a jazz musician, maybe even "Trane"; but I could see the reed man blowing what was on the piece of paper in front of him. That told me that what sounds like "improvised jazz" can be written on a sheet of paper, I didn't know that.

Now that you and Frogman know what I saw, maybe you could further enlighten us.

Enjoy the music.