Music has to change, art has to change. It wouldn't make any sense for someone today to write like Haydn or maybe less so, like Art Tatum. Uri Caine seems interesting to me now. It's rewarding to listen to musicians playing Stan Kenton, Mozart, Billie Holiday but these are old ideas in terms of composition.
I'm not suggesting that musicians like Sonny Rollins write in the way that Cecil Taylor might. We should savor and respect what these musician/composers naturally developed into within the span of their careers, but all artists need to grow. Most accomplished jazz musicians write their own pieces. Musicians who make a living playing the music of Monk, Ellington, etc... are a different matter, as they can choose to invest in the works of their contemporaries or limit their repertoire to music of the past.
Composers, with exceptions being in rare cases, will try to avoid repeating what another composer has already written and since the rules of harmony have been stretched beyond all boundaries, the possibilities are endless. Since everyone is wired differently, every composer will create differently. Nevertheless Picasso said 'good artists borrow from other artists but great artists steal from other artists'. |
Rok, if the sound is good, I'm going to buy it. |
Yesterday I received The Three Sounds, 'Eight Classic Albums'.
I had wondered if the Eight Classic Albums sets were a good deal. If this set is any indication, they are a great deal.
I have listened to two, and the sound quality seems to be equal to that, of the one Three Sounds Blue Note CD I have.
Documentation is OK. The overall package looks good. Two albums on each of the 4 CDs.
This is a good way to get a lot of music from an artist you might like, but don't feel you need the individual Cds.
Cheers |
Based on someone's recommendation in this thread to consider Jimmy Giuffre,I just got the album "Jimmy Giuffre 3, 1961", 180 gram vinyl reissue by ECM, which combines the "Fusion" and "Thesis" albums both recorded in 1961 on the Verve label. Personnel was Jimmy Giuffre on clarinet, Paul Bley on piano and Steve Swallow on bass. Some of the songs, including Ictus, were composed by Bley's then -wife, Carla Bley. Amazing stuff! I am the first to admit I am not fond of most free verse stuff. However, this is accessible, at times very melodic and very beautiful sounding. A lot of use of space. The recording is first rate. It also is available on CD. Thanks for the recommendation. |
Ref: Lee Morgan, 'Live at the Lighthouse'. I don't have it, but I listened to a little online. I have no problem with it.
He evolved or was trying to evolved. It was sort of different, but still good. But, I guess Coltrane gets everyone in the end.
There is a difference from an established Jazz player evolving and someone right out of the gate making strange nosies.
It's now available from 'these sellers' for a few hundred.
Cheers |
Acman3, don't be sorry for the rant; put up or shut up. Now that we have "You tube", play like we're from Missouri and show us.
Enjoy the mmusic. |
People have been saying Jazz was dead since that delinquent Benny Goodman came along. Then it was really dead when Bird and those crazy boppers started going nuts. Then Coltrane planted jazz six feet under?Jazz is dead in the water? It just mutates to the next phase, but it will not sound the same as it did, until the keepers of tradition try to drag it back to where they want it to stay. Real Jazz.
Look where Lee Morgan had progressed to at the time of his death. He wasn't playing straight ahead soul jazz, but was challenging and stretching in new directions. His music on "Live at the Lighthouse" would be to radical for some on this forum to even be called Jazz. Sound familiar? Jazz will always move forward and challenge the artist and the listener. Btw, some these innovations will flop and some will be wonderful. I hear composers today and I think, that sounds like where Mingus or Monk would be today.
Sorry for the rant, but it strikes a nerve. |
One of my favorite jazz recordings is the album "Let My Children Hear Music" by Charles Mingus. It is a musiczal oddysey with compositions that shift moods and take you places that never get tiring. Sheer genius. |
Hank Garland, Jazz Winds from a Different Direction. The 1st jazz album (1961) by a Nashville session guitarist (patsy cline, everly bros, etc) recorded in Nashville w/a 17 yr old Gary Burton, Joe Morello & Joe Benjamin. A tragic life story but the incredible music lives on Forever. |
Agree we should be listening to our current crop of Jazz artists, not just the greats that have passed on. I'll start by throwing out a few suggestions. I have been listening a lot to Eric Alexander lately. Nice sounding tenor sax player, who has recorded some nice stuff on the Venus label. Roy Hargrove is someone I like a lot. Just got Charles Lloyd's new CD, Hagar's Song. He has a lot of great albums. Enrico Rava has some very interesting stuff. |
Why is everyone trying to bury Jazz? Sure a lot of the greats have passed on, but the same can be said of classical. And they have been dead for centuries!
I would suggest that the 'new masters' get a little more creative. They seem to be more intent on changing Jazz than playing it.
The Cds you recommended were great! Outstanding recordings. But, I did not think the music was Jazz or blues. I thought it was all sort of, Baez / Saint Marie- ish. Which is not a bad thing. The problem is, they will not attract the Jazz / Blues crowd.
for example, listen to 'don't let me be misunderstood', then listen to Nina Simone do it.
same with 'the thrill is gone' listen to B.B. King
'I just wanna make love to you' -- try Etta James.
A person would not think the tunes are from the same genre.
Supporting new Jazz artist is important, but they have a responsibility, to us the customers / fans, to play Jazz.
Cheers |
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"Jazz is not dead it just smells funny",No! Let's not forget that Jazz music is still very much alive,and it is not true that it just smells funny. but to make sure that it stays that way, we do have to keep updating our listening experiences.Let's not forget the old Masters but encourage new Masters as well. Check out these three audiophile albums on the small dutch label Sound Liaison. Carmen Gomes inc. 'Torn'..best Blues ballad album ever. Poul Berner Band 'Road to Memphis'.. beautifully told Elvis Presley "saga" and Carmen Gomes inc. 'Thousand Shades of Blue'..intimacy, the band is so well recorded that you can practically reach out and touch them,and there's an absolutely haunting version of Bruce Springsteen's I'm on Fire. http://www.soundliaison.com |
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(1) Dizzy Gillespie and his Orchestra -- AFRO
(2) The Original Mambo Kings -- An Introduction to Afro-Cubop
Most of the music on the Mambo Cd is by Machito and his Orchestra. At first I did not realize these two Cds have common music. Half of the Dizzy disc appears on the Mambo Kings disc, which is a complilation. Charlie Parker and Mario Bauza also appear on the Mambo CD.
Both are very good examples of what is called 'afro-cubop.'
I thought the Dizzy Cd was exceptional! We get so wrapped in these younger guys, we tend to forget why Dizzy is one of the true GIANTS of Jazz. I must listen to him more often. Just great trumpet playing. Gillespie seems to have a great affinity for latin music.
There is a lot of brass on both CDs, the difference is, on the Dizzy Cd, the brass is Dizzy! I think the brass was a little too much on some of the Machito cuts.
(3) Erroll Garner -- Concert By The Sea.
Great playing by a man who cannot read music. That's amazing. Mostly standards, but done very well and fresh sounding. Live recording with great ambience. Some hiss on the CD, but not a distraction. I understand this is one of the best selling Jazz records of all time! He appears with a trio. The sort of performance that makes you wish you were there.
Cheers |
I would agree that most Jazz musicians are serious practitioners. As a horn player, I can speak from experience that you cannot develop the chops needed to play without practicing-talent only gets you so far. Recall the story of Sonny Rollins, who took a three year hiatus from performing to practice 10 plus hours a day on the Williamsburg bridge (apparently he practiced there so he would not disturb his landlady) because he was unhappy with his playing. Extreme example but many other Jazz players had rigorous practice routines. Art Farmer and John Coltrane come to mind. |
This is one of the more interesting and informative threads on audiogon in a while.Orpheus, your friend very well have been an exception. The jazz musicians I've known put considerable hours into practice, serious practice.
Regards, |
Frogman, I looked at his Bio. and discovered he was self taught, which meant he was truly gifted.
Not long ago, I was telling another professional jazz musician that my friend was one of the best ever. "He was good, but he wasn't that good", was the musician's Reply. "I'll show him", I thought.
In order to prove my point, I bought every record and CD I could find by my friend, but none of them was as good as the music I remembered that summer. This caused me to reflect back on that time. He played like a man obsessed at every performance. I never have, and still don't like it when a musician plays a lot of notes/music like crazy, but when he did it, the music was coherent.
That was a long time ago, and I discovered he never recorded anything else after that summer, before he died. The music I heard, was new music that he was working on; the only place it's recorded is in my mind.
Enjoy the music.
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Hi Orpheus - I will second Frogman and say that your friend MUST have put in very serious hours. Also, the process of jazz musicians who haven't played together before but who sound like they have is not so mystifying as it may seem. Each jazz standard is usually performed in the same few keys, and with the same basic chord changes. What the discussions were about that were unintelligible to you were making sure everyone knew the tunes, what keys they were going to be played in, and anything that might not be standard, such as a different chord change than normal, for instance. Jazz musicians have what they call a "Fake Book" that has standard keys and chord changes for literally hundreds of standard tunes. They will often review such a book before a gig, especially when they are new to the group they will be performing with. Frogman will definitely have much more knowledge of that sort of thing than I, so please chime in on this if you wish. As an orchestral French horn player, the only jazz I have ever played is in a big band, where the parts were of course written out, or on a pops show where again, the orchestra parts are written out. |
I tried to stop doing my 'reviews', but the public outcry was so great, that I was forced to continue. So, by popular demand, todays listen.
'The Quintet' -- Jazz At Massey Hall
The Quintet consisted of: Charlie Parker, Dizzy Gillespie, Bud Powell, Charles Mingus and Max Roach. Therefore, the only comment to be made, is on the sound quality.
The concert was recorded by Gillespie and Roach on their personal tape recorder, so the sound is uneven. No hiss or noise, just not a professional job. Some players seem to fade in and out. Except Dizzy of course. After all, it was his tape machine. This is the concert where Bird played the plastic toy sax. Didn't seem to matter.
One of the highlights was when Bird referred to Dizzy as his 'worthy constituent' during the intro to 'salt peanuts'. There seemed to be bad blood between the two, which they expressed during their solos.
Took place in Toronto. May 1953. Same night as the Marciano / Walcott Championship fight. Affected the attendance.
A must have for any serious 'Real Jazz' fan.
Cheers |
Orpheus10, there are exceptions to every rule; as I am sure you would agree. Actually, Art Pepper was one, he seldom practiced. But, as a rule, jazz musicans practice, or practiced, a great deal. If your jazz musician friend is able to do what you describe, I am certain that at some point he put in the hours.
Thanks for the Bobby McFerrin links. Great stuff. |
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Pnmeyer, what's most astounding about my assessments and recommendations, is the fact that they are making me aware of all the CD's not currently in my collection.
Enjoy the music. |
"Rok, if the JATP is your concept of jazz, that was dead a long time ago"
Well, I guess I was duped into thinking it was Jazz. But it did say Jazz on the cover of the CD. And the reviews I read said it was Jazz. But the thing that really sucked me in, was the guys in the band!
I thought I read somewhere that Dizzy Gillespie, Roy Eldridge, Ella Fitzgerald etc.... were Jazz musicians. I guess not. Boy, I feel like a chump now.
But I do want to thank you for exposing me to some 'real' Jazz. That Youn Sun Nah is something!! And to think, I used to think Ella Fitzgerald could sing!! I see now I have been misled. I spent three years in Korea and never knew they did Jazz, let along at such a high level. WOW!!
Thanks O-10. I think, for the first time, I completely and truly understand your concept of Jazz. What can one say? (amadeus)
Cheers |
Frogman, A professional jazz musician lived in my apartment for 3 months and he never practiced. I wont mention his name because every time it's mentioned, some clown pops out of the woodwork with garbage. In regard to,"If I don't practice for a day, I know it. If I don't practice for two days, the critics know it. And if I don't practice for three days, the audience knows it".
For an entire summer, I chauffeured him and his lady friend to gigs at least 3 times a week. We were only at the apartment long enough to take care of the necessities of life, the rest of the time we were on a set, or digin a set. What astounded me more than anything, was when we arrived an hour before show time, and he was introduced to musicians he had never played with before. They would talk this musical gibberish, that meant absolutely nothing to me, "All right Mac, when I come in on the... and hit a chord on the piano, point to the drummer who seemed to know what he was talking about and go "Wham bang". They would do this for an hour, while I watched in fear of every thing turning out lousy.
When they played as if they had been together for years, I was all ways truly astonished. Those performances never failed to mesmerize yours truly. Each performance was uniquely different from the last one. I had surgery that summer, and he entertained me during my recuperation time, with stories about his life as a professional jazz musician; that was an unforgettable summer.
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Orpheus10,
Agree with your assessment of Lee Morgan-he was a great player. One of my favorites. I have the XRCD version of Candy and the sound is excellent. I was listening to his Tom Cat album yesterday, also the XRCD version, and it is very good. |
Frogman:
That was hilarious!!
When I opened it, I just happened to be listening to 'Boss Tenors' Gene Ammons and Sonny Stitt.
Cosby is one funny guy! Thanks for sharing it.
Cheers |
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A very insightful post; and I agree completely. This is one of two very common misconceptions about musicians held by many music lovers. This quote by Louis Armstromg addresses this point and shows that he cares deeply about what the audience thinks, and also touches upon the second misconception:
"If I don't practice for a day, I know it. If I don't practice for two days, the critics know it. And if I don't practice for three days, the audience knows it"
- Louis Armstrong
The second common misconception is the idea that jazz musicians don't practice relentlessly; that their art is just the result of inspiration and innate talent. Clearly, there needs to be a great deal of innate talent. But, the greats were incredibly dedicated to the rudiments of playing their instrument and for years spent countless hours "woodsheding". Bird, by his own admission, spent one period of four years practicing 8-11 hours a day (!!!). |
Orpheus10:
I listened to both 'The Cooker' and 'Candy'. Both were excellent. The most amazing thing is that Morgan was only 19 when he recorded both.
On Candy, I agree with 'since I fell for you'. I also liked 'C.T.A.' The notes say this is his only recording with a Quartet.
On The Cooker, I liked 'night in Tunisia' and 'New-Ma 8:11'.
This was his 5th recording for Blue Note, and still not 20 years of age. WOW! Pepper Adams and Bobby Timmons were standouts on this CD also.
The notes say Miles and Gillespie were the only trumpet players ranked above him when he recorded these LPs. Still not 20.
Cheers |
Jazz musicians thrive on public acceptance,they need an audience,they need feedback,they need to test their mettle-constantly.Even the most anti-social,introverted musicians feel this way.One of the most private musicians i ever knew was Warne Marsh,a gifted (beyond words) saxophonist and an improvisor on par with the best.He was a man of few words,but when he did you know it was something of value and a life lesson.I asked him once what part the audience and listener played in his art and i was shocked by his reply..."It is everything to me.The listener is fifty percent of my world" We need to bethere as listeners,as an audience.For Art to suceed it has have it's audience.The value of discourse can't be discounted,and Art must have it's critics and it's public.
Jazz,like boxing,runs the peril of being dominated by lightweights.Where are the heavyweights? |
Jazzcourier, Mintons, a small joint in New York city, could hardly be called a "Public forum". Rok, if the JATP is your concept of jazz, that was dead a long time ago. Some reasons for the death of jazz are quite controversial, some aren't, like economics for example. Beyond the death of jazz in this country, it has evolved in other parts of the world. Here's one example of the evolution of jazz. http://www.youtube.com/watch?v=O2iGwIl-qigEnjoy the music. |
Jazzcourier:
A very interesting and informative post. I don't agree with the following statement:
"This is one thing that eventually eroded Jazz was the lack of public humiliation to make youyrself a better player"
I don't think the 'public' was / is qualified to pass judgement on the players we are talking about. The Jazz players excelled in spite of the public, not because of it. And if the current public taste is any indication, it was a good thing. I think Jazz was 'eroded' by social change. (progress) Same thing that killed Boxing.
I did order the book about Ganz. It seems like it would be a good read. Thanks for the tip.
One of the JATP concerts was performed and recorded at the SYRIA MOSQUE. I could not believe it! Then I learned it was just a venue at which everyone from Sousa to Dylan to the Pittsburgh symphony had performed. Torn down and is now a parking lot on the Univerity of Pittsburgh campus. Never did get the name.
Cheers
BTW, I have all of Tatum's solos. Thank you Ganz. I think? :) |
I don't think i would characterize Norman Granz as a "robber"...stealing the "mystery" of the jam session, and exposing it to the public? In reality, few were privy to the "Jam Session" as it was the musicians domain,lets say the hunting grounds for the lions and tigers of the late night,feasting on the young and unproven musician who had to prove they could stand next to the kings of the Jungle.This is one thing that eventually eroded Jazz was the lack of public humiliation to make youyrself a better player.How do you think the young Bopper's matured so quickly?...they played.played,played! Thank goodness for the Harlem spots like Minton's Playhouse and Clark Monroe's uptown house, where nighly jams brought the older players to joust with the youngsters,albeit the Boppers were working on their own" alchemy" of variations on the "changes".The question became what older established players would get with the new and adapt, and forge, the way to the new music.Such is the way in the veldt...eat or be eaten.The "Jam Session" was a proving ground....the story aboput Bird being gonged off the stage by a cymbal being thrown....over ten years later a similar humiliation would be suffered by Ornette Coleman in Los Angeles.
What Granz did,among MANY things,was bring the excitement of this competion to the public with a new found dignity,a showcase for the myriad of talents within the music..Bird,Prez,Ella,Tatum...he took the greats of the music and brought them to your town.
An amazing look at the reclusive and innovative Norman Granz is ..."Norman Granz....The man who used Jazz for Justice" University of California Press 2011.Author Tad Hershorn spent years just getting the interviews with Granz and finally suceeded and opened the mysterious world of this man.Hershorn is a member of the Rutgers based Institute of Jazz studies,his is a multi-layered,scholary approach.The evolution of the "JATP" concept is a major part of this book,the tours,players,recordings and the fight for the dignity of the musicians of "color",not always easy in the 1950's.He shares the details of Granz' musical adventures with an ease and a flow that make this great reading.You will come away with a respect for the man who realized that Art Tatum needed to sit in the studio and record over one hundred solo performances.He was among the very first who listened to the artist and gave them freedom.You will lament the unfulfilled sessions (Lester Young with strings and Charlie Parker and Art Tatum duets)You will be amazed at what one man accomplished for Jazz. |
Lee Morgan, is one of the greatest "modern jazz" trumpet players ever in history. This is the consensus I've gotten after a lifetime of talking to other jazz aficionados. He was chosen when I picked Clifford Brown. I'll give you two of the many reasons why Lee Morgan has been chosen by consensus of many jazz aficionados: "A Night in Tunisia" and "Since I Fell For You". http://www.youtube.com/watch?v=99U3Omgh8z8Lenny Welch's "Since I Fell for You," reached number 4 on U.S. Billboard Hot 100 in 1963. That certainly ranks his version as one of the best. Lee Morgan's trumpet sings this song even better than Lenny Welch. http://www.youtube.com/watch?v=iSeZ3rzxarU |
Jazz is not a single dish, it's a banquet, and I'm going to give you a sampling of some other treats in this same time frame, and genre. Although everyone knows "Stan Getz", not everyone knows all the facets of Mr. Getz. "Focus" is his most unique album in my opinion. It just flows from one cut to the next. That continuity gives the complete album a certain "unity" as opposed to an album consisting of separate cuts. This is my favorite album by Mr. Getz, and I give you "I'm late, I'm late" from "Focus" http://www.youtube.com/watch?v=qAyrdlUcZIwWhile Mr. Yusef Lateef could play "stereotypical" jazz on the tenor sax as well as any man alive, his personal musical tastes were not at all "stereotypical"; he always gave jazz a different twist. Although Lateef's main instruments are the tenor saxophone and flute, he also plays oboe and bassoon, both rare in jazz, and also uses a number of world music instruments, notably the bamboo flute, shanai, shofar, Xun, arghul, sarewa, and koto. He is known for his innovative blending of jazz with "Eastern" music. This is from one of my favorite albums by Yusef Lateef, "The Blue Yusef Lateef". http://www.youtube.com/watch?v=McZsu4riOm8Next is "Ahmad Jamal", he influenced Miles; I don't think you can get a recommendation higher than that. Miles liked his use of space, he was never in a hurry. I liked the way he did standards, regardless how many times you heard one of these tunes, it always sounded new and fresh when Ahmad Jamal did it. First I give you "Moonlight in Vermont" followed by "Ahmads Blues". http://www.youtube.com/watch?v=P3Y0mUGp-bM http://www.youtube.com/watch?v=l7RIDZulyHAI hope you've enjoyed my presentations, and I'm looking forward to yours. Enjoy the music. |
Jazz At The Philharmonic: Best Of The 1940's Concerts
well, lets see, we have: Lester Young, Buck Clayton, Coleman Hawkins, Illinois Jacquet, Charlie Parker, Willie Smith, Roy Eldridge, Hank Jones, Ray Brown, Buddy Rich, Ella Fitzgerald, Nat 'King' Cole, Les Paul, Gene Krupa, Jo Jones, Billie Holiday, and company.
Why can one possibly say? The sound quality was very good, all things considered. It being live and the 40's.
Most of the soloing was great, and I felt like an 'Ellington/Gonsalves at Newport' moment would break out at any minute.
Ella was awesome and never sang one word of English or any other language. She is like another instrument in the band.
Billie was as good as any singer not named Ella ccould be.
The liner notes of this CD are very interesting. There seems to have been a little controversy surrounding the entire JATP thingy. Two excerpts from the liner notes:
"great storytelling is a matter of mastering structure and pacing, not divine intervention. In bringing the Jam Session to a mass audience, Granz robbed it of it's mystery, and some critics never forgave him for it."
"If people liked it, it wasn't Jazz. Jazz has a cult mentality and Cannot deal with mass acceptance without feeling like a whore."
I must do some research into the whole JATP thing.
Comments on the two quotes are welcomed.
Cheers |
Thumbs up on Barney Wilen.Rare,but now downloadable,is "Barney" from 1959 on French RCA with Duke Jordan and Kenny Dorham...great session.A little off the beaten track,and a record that has bounced around to a few labels under different names is "Movie themes from france" from 1989.This is a quartet with Mal Waldron,Stafford James and Eddie Moore.You can pretty much guess the tunes and they are played in an almost calmly seductive manner.He was one of the poster boys of the French new wave cinema Jazz soundtracks.Of course,as mentioned,The Miles soundtrack is a masterpiece.I bought the dvd of the film with the bonus footage of Miles playing to the soundtrack and have to confess i have yet to watch it.I will do that this week and report back.First saw that film on the late,late show as a teenager when it played in the U.S. under the name "Frantic",which may have been the name of the novel it was based on.Hats off to Barney who slipped away in '96. |
More on Warren Vache.The best Vache/ John Allred recording is "top self" Arbors ARCD 19399 This a a well thought out session with Tardo Hammer on piano(check out his own recordings,especially the Tadd Dameron collection) and leans to a tighly arranged program of some good lesser known tunes by Blue Mitchell and Clifford Brown and some more well known works by Cannonball,Golson,and Bud Powell mixed with some standards.This is a hot band leaning towards a definite Bop slant.The Vache/Allred "Live in Bern" Arbors ARCD 19369 is almost all standards and is a great blowing session,again with Hammer, and this time they work in two Horace Silver pieces into the program.Straight ahead blowing you could hang your laundry on,pardon me if i'm swinging!
Vache's most recent work is on the English Woodville label (WYCD 132)with a small group of Brits led by label ownwer Alan Barnes."The London session" is a terrific outing of mainly standards played expertly.Barnes is almost totally unknown in the states and is a wonderful multi-reed player with the alto and clarinet being his babies.I like his alto playing,a touch of Benny Carter and a bit of Art Pepper(he recorded a tribute album to Pepper a few years ago)he is a world class player waiting to be heard.The Woodville label has some great recordings but has no distribution in the U.S. so they have to be purchased directly from Alan,who will likely send you an email"Off to the post,enjoy the music!" you gotta love that.Vache is on fire on this session,these are good,but unknown players...unless you live in the U.K.
"Ballads and other cautionary tales" (Arbors ARCD 19430) is from 2011 and finds Warren again with Tardo Hammer and this time the much under rated Richard Wyands on piano.Houston Person is a guest on tenor on three tracks(a great rapport) and John Allred guests on a track.This is cornet playing of great emotional depth.Sentimental,ironic,a little wistful,passionate and full of the technical whoha to pull in off.Have not heard this kind of playing since the Miles/Red Garland sessions.
Warren Vache stays in his big boy pants for all these recordings,they are devine. |
Jazzcourier,
Thanks for introducing me to Warren Vache, I'll get some of his recordings. Frogman thanks for the audio clip, Bill Charlap I'm familiar with and have seen him live twice in my town.
A really good Kenny Barron recording is "Live at Bradley's" there are two different CDs covering various sets . He's joined by Ben Riley and Ray Drumond.Exceptional playing and well recorded.
A lesser known but fine pianist is Tardo Hammer, he beautifully pays tribute to the wonderful music of Tadd Dameron.The CD is "look, stop and Listen" this is well played and very well recorded.
Regards, |
O-10. Again thanks for the cool, serene, happy music. I know it is called jazz but there is some peaceful soul in there. Thanks again for your sharing really sublime music. |
Jazzcourier,
I second the appreciation mention of Warren Vache. I am always looking for overlooked jazz players and I plan to take a listen. There are just a lot of good players that are overlooked. I got turned on to French sax player Barney Wilen about a year ago, who recorded a couple of albums with Miles in the late '50s in Europe, including the Elevator to the Gallows soundtrack, and also with Art Blakey. He has some excellent recordings on the Venus label as a leader. |
Rok, together we have answered a consistent question of Foster_9's. Why can't he ever find a CD or LP of the live performances? Everything we want is before CD's, and LP's had very constrictive time restraints, consequently, those live performances that went as long as 20 minutes on one song, could not be comfortably accommodated.
Switzerland or Germany, I'm glad I got to see that extended performance of "Jive Samba", and Joe Zawinul, does an incredible solo on "Angel Eyes". This was a very fortuitous mistake.
Enjoy the music, and keep em comin. |
Rok, to further confuse things, the CD you have doesn't have all the tunes I heard on the concert, but believe me "Switzerland and Germany" are the same in regard to the music, year, and musicians. It's just like they picked up the band and moved next door, they even had on the same type of clothes, no more confusion.
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Rok, It's my fault that you're confused. When I said the man on that horn was not "Yusef Lateef", I meant it was him, playing music that was prescribed, and not his music; but that all cleared up later on when the "real" Yusef Lateef (according to my musical conception) appeared when he played the flute on "Angel Eyes".
In regard to "Switzerland or Germany" there was no difference in personnel. I looked at both on You tube, and you couldn't even tell the difference. I hope that clears everything up.
Enjoy the music. |
Orpheus10:
You have me confused now. You seem to be sayiong that Yusef was not in the group. Julian announced him by name on the Cd. He is listed in the notes. The youtube you sent was a concert in Germany. The one I 'reviewed' took place in Switzerland. You may have the two different performances confused. I realize groups often 'pickup' guys while touring overseas. Esp in Europe which at one time had a lot of American expatriates.
Jazzcourier:
Thanks for your input. I just love to read details like the ones you related. It adds so much to the music, when you know the history. Thanks.
Cheers |
Jazzcourier, Thanks for mentioning Warren Vache. I have been wanting to pick some of his music for a while. What is your opinion regarding his music with John Allred? I have heard good things about both men. |
