Jazz for aficionados

Just to refresh everyone's memory

https://www.youtube.com/watch?v=FH10ndmE_8g

https://www.youtube.com/watch?v=CJkKNc0bP-o

Cheers

The importance of Russell's Lydian concept cannot be overestimated. What I alluded to earlier re the presence of Coltrane at the recording session of "Manhattan" has to do with the influence that this concept had on the shaping of the playing styles of giants like Trane and Miles. 1959 has sometimes been called the most creative year in recorded jazz, and while it's probably not possible to pinpoint one actual year, there is no doubt that during the late 50's there was a creative hurricane going on. Russell's Lydian concept would influence players like Trane and Miles, but I also have no doubt that Russell chose Trane for the session because of where his playing was going independent of anything else; kindred spirits of sorts. It is certainly no coincidence that Trane was chosen for the session (Stan Getz was also very hot during that time, but he was not chosen, nor would have been appropriate for the session). Modal jazz was one of the products of this creative revolution and the impact on the direction of jazz is huge. In answer to Rok's question "Where is modal jazz in today's scene?", the answer is: EVERYWHERE. First of all, the influence of Trane's playing style, a direct product of or use of modal theory, can be heard in the playing of just about every contemporary player today; especially, and obviously, in the playing of saxophone players; not necessarily in the playing styles of the "retro" players (LCJO guys) so much. Second of all, for whatever it may be worth to some, jazz–rock practically owes its existence to modal jazz. This is one of the best and easiest to understand explanations of modes and modal jazz:

http://www.scena.org/lsm/sm8-3/Modal_Jazz.htm

Russell's "Manhattan":

First of all! WHAT A BAND! The personnel list is amazing. Not only is Trane's presence interesting, but notice how he tamed his normally much more aggressive and brighter tone (even in the 50's) to better fit the musical vibe of the session. I hear the influence of Ellington in how Russell uses the different instrumental sections of the band; but, with a more modern harmonic sensibility in the chord voicings. The feeling that Russell's approach (modal) evokes is one of the music being "suspended" harmonically with less obviously forward movement (harmonically) and less obvious need to resolve harmonically. To my ears this is a characteristic of modal music in general and creates a "cooler" feeling. For a very simplistic example of this feeling sing: "Happy birthday to you, happy birthday to you, happy birthday dear O-10"; then, start the song again without finishing it with the last (and harmonically resolving) "happy birthday to you".

Some very interesting reading that relates to George Russell, the academic setting that was an integral part of the modal jazz movement, and one of this thread's favorite topics: the unsung hero:

http://indianapublicmedia.org/nightlights/tenor-saxophonist-david-young-rip/

http://indianapublicmedia.org/nightlights/when-russell-met-baker/

One of my favorite modal tunes. Dorian mode and as is typical in modal music, few chord changes (four chords in AABA form):

https://m.youtube.com/watch?v=hwmRQ0PBtXU

Love Hank Mobley; probably the most under appreciated tenor player ever. Great album of, yes, modal hard-bop tunes:

https://m.youtube.com/watch?v=ndqxk5J-VHQ

The Frogman:

Excellent Posts on Modal Jazz. I may have to take a class at the local community college.

I hope you know how much we appreciate the time and effort you take to be thorough and accurate. I did some reading and found a site with a list of modal tunes by many different people. I noticed there were no 'Standards' listed. Which leads me to what may be a stupid question.

Can be-bop tunes be played using the modal concept, and can modal tunes be played as be-bop. i.e., can we be-bop Maiden Voyage and Modal Tunisia? If this is stupid, just act as if O-10 asked the question.

Everything you ever wanted to know, and more, about Miles, Coltrane, Evans and modal. Nice short history.
http://www.wwnorton.com/college/music/jazz/ch/14/outline.aspx

Cheers

Frogman, "Ditto" on what Rok posted, you're very much appreciated here.

Rok, E. S. P. is one of the albums that's mentioned in regard to modal jazz, and there are a lot of photographs of miles shown while this music is playing.

https://www.youtube.com/watch?v=ajQsZPf2Mb4


Although I never met Miles personally, or talked to any of the musicians he played with, I knew a lot of people who grew up with Miles, and I didn't even know this until his autobiography came out. Vernon Davis's, Miles brother, was always out on the town and I knew him a long time before I knew he was Miles brother; although I used to wonder where he got all those way out clothes ( they were the same size).

I had an uncle who used to call me at 2:00AM when he was into his "Courvoisier" brandy, and talk through what was left of the night. Once he asked me if I was a Miles fan, when I responded yes, the next question was would I like to meet him. After he told me he could arrange that, I figured it was the brandy talking, and went on to something else.

It was only after reading Miles autobiography that I discovered they were "buddy buddy" when Miles was growing up, and he could have called and asked when Miles had some free time in New York, and arranged a get together.

As I'm looking at these photographs, I'm realizing Miles had a side to his personality that's never mentioned; he kept that side separate from the musicians he worked with and the public. All of the people I knew, who knew Miles, said he was just a regular person, no quirkiness or anything.

I guess every celebrity has that side that longs not to be a celebrity, but the guy you grew up with next door.

Enjoy the music.