Jazz for aficionados

Great posts all; thanks.  Alex, thougthful commentary as always.  

****, or else man could fall in trap of dislaking some work of art for a sake of dislaking artists personality.****

Agree, but there's another trap:  liking some work of art because we like the person and what that person represents to the extent that we overlook the flaws in the art.  Why I think a certain amount of objectivity is important.  I agree about Baker having "that certain thing".  For me personally, the "tortured soul" persona wears a little thin sometimes.

acman3,

Rene Marie.  Whoa......  Fine stuff there.  Very fine.

Bob

Acman3 and jzzmusician, thanks for the great clips.  Beautiful alto sound and tasty attitude from Leon Parker; not he kind of tone one usually hears in that kind of groove with just the right amount of "modern".  Liked it a lot.  And beautiful and heartfelt singing from Rene Marie.  Good stuff, and, as always, no reason that the new can't mix with the traditional.  Which goes to Alex's comments about the public's attitude toward art today.  I have some thoughts that need simmering.

Every town used to have a "town crier". I propose that Jafant be given the designation "jazz crier"'with his short and concise interjections and mentions of artists and factoids; sometimes serving to diffuse the silliness that creeps in here from time to time.  Before "Summertime" became the beautiful jazz standard that it is, it was:

https://m.youtube.com/watch?v=O7-Qa92Rzbk

“The Moving Finger writes; and, having writ,
Moves on: all your Piety or Wit
Shall not lure it back to cancel half a Line,
Nor will all your Tears wash out a Word of it.”


    https://www.youtube.com/watch?v=0kxuAZictJ4


"The Rubaiyat of Dorothy Ashby" might be her greatest moment, I certainly know it has been my most listened to record.

The words are so true, and everybody who has participated on this thread has been subjected to "The Moving Finger", for they have left a record that can not be altered; that is the way of The Moving Finger.

Frogman's record is right here for everyone to see; while it began very good, somewhere along the way he was seduced by "The Imp of The Perverse", and became hostile; first it was Rok, and later on me.

I mentioned something I observed in the Summer of 69, when a jazz musician who was a friend of mine, lived in my apartment; this was in regard to his practice habits which were nonexistent for that summer, although he performed professionally, three times a week. It meant zit to me whether he practiced or didn't practice, but Frogman, and Learsfool went on and on telling me how necessary it is to practice. Why did they go on and on about practicing, as if I was an advocate of not practicing. Although what they were talking about had absolutely nothing to do with me personally, they went on and on like two great "Energizer Bunnies" as though I was an advocate of not practicing, and they were so convincing, that they gathered more "Energizer Bunnies" along the way who went on and on; now I got a whole troupe, or tribe of them coming after me daily.

The musician under discussion died in 71. He was not in good health the last time I saw him, and none of his "new" music was recorded; consequently, since I couldn't prove anything in regard to this music, revealing his name was pointless; but that didn't stop them from going on and on, recruiting new "Energizer Bunnies" along the way telling me how essential practice is, when they all should have gone to where he was buried and preached to him; he was the one who didn't practice. As silly as this was, there were no mirrors available for them to see it.

After that, it became something about learning music. I don't know A-flat from B-flat, and not only that, I don't want to know. As an "Aficionado" of jazz records, knowing how to make music is not on my resume. I stated that they (Learsfool and Frogman) were free to teach, and those who wanted to learn were free to learn; but that wasn't good enough, I had to learn. None of those long diatribes had any thing to do with the music from an "Aficionado's" point of view in regard to collecting the best jazz records.

Here again they collected new "Energizer Bunnies", all of them telling me that I should be eager to learn whatever Frogman and Learsfool were trying to teach. Can you imagine a whole flock of "Energizer Bunnies" deriding me for not wanting to learn, when nobody knew exactly what it was that I was supposed to learn, or they were trying to teach.

Check Frogman's long diatribe on 03-10-2016 9:11 PM page 108,and tell me what that's about? That is followed by "Leersfool's" comment:

"I am merely trying to correct a few of your most obvious misperceptions. I know you do not care about this, but it is not about you - it is for others that read this thread and who are interested in how music and musicians really work, of which there are clearly plenty."

Frogman and Learsfool attached so many perceptions and misperceptions to me, that it wasn't even funny; when they got through with all those long diatribes about who I was, I had to look in the mirror to make sure I had not changed to the person they said I was. You can read on pages 107 and 108 how rediculous and absurd they became; especially when you consider what this thread was initially about; it's spelled out at the top of each page.

This thread began in 2013, and went along just fine until Frogman and Learsfool thought it should encompass learning music, that was just fine with me, but I have learned all the music I want to know, and it beats the heck out of me why that's not good enough for them, even when they can teach anybody else who wants to learn. Their new "Energizer Bunnies" went on to state they didn't understand why Frogman and Learsfool should continue wasting their time trying to teach me. Whatever they were trying to teach, I didn't even ask to be taught in the first place. (How absurd can you get?)



Enjoy the music.