Jazz for aficionados

Frogman, if you and Learsfool find me and MY THREAD so distasteful, START YOUR OWN THREAD. I've even got a classy title; Jazz Meets Classical, how's that for a start?


Enjoy the music.

Frogman, an "aficionado" is someone who likes and knows a lot about something; jazz aficionados know a lot about jazz. This thread established "posting" music from "you tube" at the very beginning; it's not necessary to speak your musical language; an "aficionado" can listen and decide for himself, anything, and everything you could describe in your "musical language"; for example, Acman rarely posts two paragraphs, but since he's posted the music, I know more than I would if he had posted a long diatribe.

When I said you were "Phaking the Phunk", I was referring to the fact that you seem to be unable to hear the "essence" of the music, the "flow" that Dizzy Gillespie referred to, in the music; and you demonstrated this when you stated that "Like Young" by Andre Previn sounded no better than Kenny G on elevator music.

After you discovered he is one of the worlds greatest musicians, you tried to clean it up, but it was too late. We can all disregard that one incident, because when I said "Phaking the Phunk", I was thinking of a very long history of incidents, when you failed to hear "the flow".


Frogman, this is what you posted;


6. O-10, let me be clear: I DONT think the "problem" is that you are not interested in learning about music. I am, believe it or not, perfectly ok with that. The problem is that you don’t want to allow others to speak the language of music; not a reasonable expectation. You, yourself, want to be able to critique others’ music choices and use terms with negative connotations like "soulless", "intellectual", "stereotypical jazz" etc., but you don’t want to hear why others feel the way they do about music that you like. Not a reasonable expectation. Please try to recognize how just about every recent post by you is laced with at least one snide or negative comment or insinuation; that approach will achieve nothing positive and will certainly discourage anyone from interacting.


"I don't want to allow others to speak the language of music; to be quite blunt; "I don't know what the hades you're talking about?" That paragraph is null and void; I never use the word "intellectual" in reference to music; that's Rok's word, who you happen to be sucking up to presently, but who you used to trash at every turn.

Back to "Phaking the Phunk"; when you cannot hear the "soul" of the artist, you go into that "musician nit picking bag", and evidently that's what you want everyone to learn, although you can count me out, I don't know how many times I've stated it's fine for Rok and Acman, and that I have no objection to you teaching them, and any one else who wants to learn; but you and Learsfool go into this "Phase lock loop" and repeat the same thing over and over, and I know you will continue to do it until the cows come home in St. Louis.

"Soulless" and "stereotypical" are my two favorite words; that means to hook together well worn jazz cliche's, that I've heard a thousand and one times, that you think are really cooking; when they even sound mechanical, like they're trying to imitate "Bird", which is totally impossible.

How can I prove you are "phaking the phunk" if I tell you to leave the thread?



Enjoy the music.

Acman3, fabulous clips of James Blood; very soulful and funky.  The clip with George Adams was a big surprise.  I've never heard George Adams play like that before.  Great stuff, thanks.

Rok, I continue to amazed buy the Horace Silver clips. So many great records! Had not heard "The Gringo" either. Once again, great tune with his stamp all over it. Great soloing, especially Blue Mitchell who sounds amazing on this cut. The Village Gate! Blast from the past for me. Last time I went there was to hear Nat Adderly’s group shortly before the place sadly closed down. Nat was one of those players who could be very inconsistent sounding absolutely brilliant as on the record with his brother Cannonball and Nancy Wilson, and other times sounding not so good. I have a feeling that he was one of those trumpet (cornet) players who suffered from chop problems. Here he is in top form:

https://m.youtube.com/watch?list=PLBKaAMksEpBvQKZr76feeW_6YUDKxhnkT&v=HTXUHSHmziA

https://m.youtube.com/watch?list=PLBKaAMksEpBvQKZr76feeW_6YUDKxhnkT&params=OAFIAVgI&v=bTmiCq...

Hi O-10 - I went back and found the Andre Previn jazz piano clip you say your "controversy" is about.  "Elevator music" is a pretty good description, actually.  For me, the best that can be said of it is that it is very light entertainment, and while there is nothing wrong with that, it is certainly not great art.   The string accompaniment is pretty cheesy stuff.  Previn is a musician who could do a lot of different things very well, but no one of them truly great, and I mean by that world class, on a consistent basis.  There are certainly much better examples of his piano playing, both in the jazz and classical idioms, than the ones you have posted here.  I heard a record of his jazz playing that was pretty cool once, but I just checked, and I don't own any of it, so unfortunately I can't tell you what the title of the album was.  

I am also not understanding why you felt the need to post the entire Wikipedia entry on Previn a couple of times??  I am very familiar with who he is and what he has done in his career in a general sense, as is Frogman.  I have never met or worked with him; I don't know if Frogman has.  I am not so familiar with much of his recorded output as a pianist. Being an orchestral musician myself, I am naturally therefore more interested in him as a conductor than as a pianist, and I am much more familiar with his work in that field, where again I would describe him as good, not great.  

I own only seven or eight classical albums where he is the conductor - most of them where he is conducting the music of British composers, which he was justly well known for.  In particular, he recorded much of the music of Ralph Vaughn Williams with the London Symphony on RCA, and I have a few of those.  There is also a good recording he did of William Walton's Belshazzar's Feast, also with the London Symphony, on Angel.  That one has an interesting cover, too.....