Jazz for aficionados

Been very busy lately, but wanted to chime in on the trumpet talk, being a horn player. I concur with everything Frogman says about the mariachi style, and I grew up hearing a ton of it. Interestingly, they also often use a tuba in the bass, with the same "punchy" style of articulation, as Frogman put it. Kind of hilarious, really, but fun.

I also get very tired of folks who try to claim Wynton is somehow "not musical." These type of comments are almost never backed up with a genuine argument, and smack of anti-intellectualism to me. A very similar victim of this in the classical world is the great pianist Alfred Brendel. I strongly object to the attitude that someone who is very smart and educated and a great teacher can't possibly have any soul as well. His education didn't get him to where he is at the top of the jazz world, though of course his intelligence helped greatly - it was his playing and yes, his soul. One simply couldn't develop the incredible musical versatility he possesses without soul.

For some disclosure - I have met and spent some time with him, actually outside of the music world, interestingly enough - I never got to play with or for him, though we talked music. It was a long time ago now, and he probably wouldn't remember me, but I spent enough time with him then to realize that he is a very passionate, soulful individual. And a heck of a basketball player, at least at that time, which was slightly more than twenty years ago now.

Frogman:

I 'assume' you think the Freddie and Clifford playing was better. I might agree, on this one instance, but I am sure they could all play it many, many ways. that is one of, if not THE, essential component of Jazz. Improvisation.

The classical piece was great. I have Wynton with the great soprano, Kathleen Battle, on 'Baroque Duet'. I also have him doing Trumpet Concertos by Haydn, Hummel and L. Mozart. Great playing.

As I have said before, he is more than just another Jazz player. He is a multifaceted Musician. At home in any genre. He can play Cherokee anyway you want it. Or he wants it.

Cheers

Charles1dad, although we don't agree on Wynton, this has been the best jazz thread ever, and I appreciate everyone's contributions, even the very few that I disagreed with.

I've expanded my collection with some boss jazz. Shirley Scott is an organist that I like very much, and I'm glad you reminded me of that fact.

Learsfool,
I really appreciate your comments and insights concerning Wynton.It must have been so much fun spending time with him.I hope you do get a chance to play with him one day.
Frogman,
Thanks for those clips, I enjoyed them.I liked Clifford Brown's version the most.Wynton was just beautiful playing the Carnival of Venice.

O-10,
What moves us is purely personal and unique, it's impossible to expect unanimous agreement on what musicians we like and don't like.The point is jazz is a extraordinary form of art and I'm just happy there are others here who love it as much as I do.
Regards,

Frogman:

I was just listening to the CD, 'UGETSU', Art Blakey and the Messengers live at birdland. This is the 'review' everyone has been clamoring for me to write, and surely awaits with bated breath.

Outstanding Cover photo. But the club seems to be very small. However, any and everyone who is, or, has ever been anyone, has played there.

So, my question is, how does a group make money, playing in a place that small. Then I started thinking about who makes or made money in Jazz. And how much, i.e. how high a standard a living? Say, from the golden era of bluenote to the present.

Based on your personal experience and knowledge, can you speak to this? Of course in a gerneral sense.

Thanks

Cheers