Jazz for aficionados

Happy New Year to all!

Rok, I think you missed the sarcasm in my previous post.  It comes down to the first sentence in the last paragraph of that post: "Jazz is different things to different folks".  Since its a new year and a new year is a time for resolutions,  I resolve to be more direct in my postings 😊.  One of the things that I appreciate about what jazz is to you is that you like jazz that is fairly straightforward and stays fairly close to an obvious blues-based structure (as I have pointed out before, most of what you post is twelve-bar blues), uses fairly traditional instruments and and is not very complex compositionally or improvisationally.  Jazz is much more than that.

"Hyperbole"?  No way.  From a technical standpoint alone what Mehldau does is pretty astounding.  "Filler"?  From an artistic standpoint, what you consider filler is development.  Again, no way; IF one gets beyond the "unwashed" mentality (and limitations).  After all, what does the fact that the unwashed happen to know Julie Andrews and ONE Colrane performance prove?  I hope you are not suggesting that because Coltrane's "MFT" is recognized by a few, that in the scheme of Coltrane's overall contribution, that it is more important than, say, "Giant Steps".  It isn't.  

As I said, different things to different folks; and tastes do mature.  Just remember, and in keeping with my New Year's resolution, the first time I posted something by the great Phil Woods, the only thing that you could say about him was "he has a big stomach" 😉. 

*****  I think you missed the sarcasm in my previous post.*****

No I did not.  I knew you would not seriously consider getting rid of half  of your Spike Jones Elcassettes.

*****  It comes down to the first sentence in the last paragraph of that post: "Jazz is different things to different folks". *****

I posted an article several days ago that was blocked by Audiogon.  Copyright issue.   It was from an early interview by Wynton.  He was accused of distancing himself from the word 'Jazz'. He agreed, saying, because now days,  "Jazz is anything, Jazz is everything.  If they think it will help sell it, they call it Jazz.

Some of the non-Jazz folks he called by name, Quincy, Miles and Sanborn.   He did allow that Miles USED to play Jazz.

So your statement is true, but not valid.   If that makes any sense.

Cheers

*****  I hope you are not suggesting that because Coltrane's "MFT" is recognized by a few, that in the scheme of Coltrane's overall contribution, that it is more important than, say, "Giant Steps".******

This entire discussion revolves around the performance of one tune. MFT.   That's all.  Recognized by a few"??   From Hyperbole to Understatement.

***** After all, what does the fact that the unwashed happen to know Julie Andrews and ONE Colrane performance prove?*****

It proves that those two struck a chord with the public.   Think of what a unique thing that is.  To be able to reach millions of people.   Complete strangers.   Most players would kill for that ability.

***** the great Phil Woods, the only thing that you could say about him was "he has a big stomach"  *****

Well, I didn't lie. :)

Cheers

Lazarus came back from the dead, and so did Orpheus; as a result of hearing the highest Blasphemy possible in the "Jazzasphere", someone has dared to compare St. Coltrane's version of "My Favorite Things", to some relatively unknown version of this same tune.

Let us not forget, Orpheus saw Coltrane, McCoy Tyner, and Elvin Jones at a small club, about this time of year in 63. (I recall the ride to the club in a brand new Buick, on wet streets glistening with the reflection of multicolored neon lights) "My Favorite Things" was performed with the extended version that included a preview of the sacred music St. Coltrane was to perform later on in his career.

While the tinkling of ice cubes and audience chatter can be heard behind live recordings of other artists, if this recording was made live, non of that would have been heard; the audience was as silent as in a recording studio while these artists were performing. As normal, everyone was having conversations before the music began; but after the first note was heard, the background noise was a silent as in a tomb, everyone came under the spell of that hypnotic "Soprano Sax". McCoy Tyner, and Elvin Jones, were as one; weaving in and out of the East Indian sounds of the most melodic "Soprano Sax" any one has ever heard.

I urge you to play this twice, and just focus on McCoy Tyner and Elvin Jones; you will hear what the audience heard. When listening to music of this caliber "live", time stands still, and your hearing plays beautiful tricks; one instant your listening to "Trane", and the next instant your Listening to McCoy Tyner, and Elvin Jones. Your mind and hearing does mysterious phase shifts, hearing one while excluding the other, and then combining the two.

When you close your eyes at a live performance in a small club, it can seem like the hypnotic "Soprano Sax" of "Trane" is in your ear, and mysteriously changes to McCoy Tyner and Elvin Jones. McCoy Tyner and Elvin Jones are as one; you'll hear this the second time around.




Enjoy the music.  

O-10:

I thought you would be threading water by now.   The way they are talking about the flooding 'Heading South', reminds me of the talk I heard about "27 high water".

Glad you are OK.

Cheers