Jazz for aficionados

Rok, here's another Classical piece that I like.

https://www.youtube.com/watch?v=-ip64cG7gK4

Enjoy the music.

O-10:

I listened to this yesterday. Ms Fischer is a great player and a FOX!
http://www.youtube.com/watch?v=B56njjw1qtk
Highly recommended.

I also played Bach's Complete Brandenburg Concertos and the Complete Violin Concertos. Played by I Musici. One of my favorite groups. Has Maurice Andre on Trumpet. :) This is one of those Philips Label TWOFERs I spoke of earlier. Great music and a Great bargain!

Clair de Lune? Again, it's one of the most beloved tunes. Great clip, but short. If I have it, it's on some sort of complilation. Stop cherry picking and git yourself into some Bach! He may have been the first Be-Bopper! Or first 'Third Streamer'?? :)

Cheers

Frogman, I alerted my son to your video; he had no idea the sax he used to blow was so intricate. We both agreed that must be the world's most beautiful sax.

Enjoy the music.

O-10:

Also listened to CD7 of the 100 best set. You are right about the sound quality.

I heard bass on Jimmy Smith's 'Sermon' that actually startled me. :) I was at 'realistic' levels.:) I didn't think my Yorx's had it in them! Great tune, even if Coltranesque in length.

Mingus' 'Better git it in your Soul' Wow! How does he do that! He should rank at the top of Jazz composers. Right up there with Ellington.

And why don't we ever talk about Dinah Washington when discussing Jazz Divas? She has a very distinctive voice.

Ray Charles was Ray Charles!

The set gets better as time goes on. I now stay on the look out for similar sets.

Cheers

****He should rank at the top of Jazz composers. Right up there with Ellington.****

You're in good company.

Gunther Schuller on Mingus' "Epitaph":

"a musical summary of one of the great jazz composers of the century"

****How does he do that?****

You may find this of interest; by John DeCarlo (Jazz.com)

"Mingus' compositional style matured in New York City during the 1950s. His recording ventures and regular workshops allowed him to thoroughly explore new musical territory, and to bring ideas to life that undoubtedly had been stirring in his mind.

Like Ellington, Mingus saw the need to develop extended forms in jazz. He began to experiment by modifying conventional forms and finding ways to create the sharp contrasts and variety that became trademarks of the Mingus style. Examples of Minguss range and eclecticism can be heard in �Haitian Fight Song� and �Ysabel's Table Dance.�

One of his trademark techniques as a composer was to create rhythmic contrast between sections of a piece by manipulating the time feel and groove. This technique can be found in many examples of his work, and can range from switching between walking bass lines to doubling every note, to more complicated metric modulations and superimposed rhythms.

An element of his compositional style is the blending of measured against unmeasured space in music, to extend forms and create contrast. He often followed precise written and rehearsed passages with sections of undetermined length, employing set musical cues to provide a malleable departure from an established section. This is an idea that is quite prevalent in contemporary compositions, and often one of the only ways for a composer to achieve the desired balance between improvised and composed elements without jeopardizing the cohesive flow of the music.

Another technique Mingus used often was layering many parts consecutively to build tension. In this practice, sections of a given composition consist of layered vamps or repeated musical phrases. One musician leads, providing an introduction, while the others gradually add their respective layers. This creates steady development and flow without departing from the original material. It also leaves standard devices for developing a composition untouched and reserved for other important moments. This technique can be heard on �Moanin�.

Mingus used collective improvisations as a form of written texture. He would give his band members some kind of musical guidelines for a given situation, and essentially have them improvise counterpoint. While this technique may sound to some listeners as a contemporary device, it harkens back to the early forms of improvisation found in New Orleans jazz.

What make this idea seem so fresh in Mingus' music are the arrangements and the musicians' more modern approach to improvisation, sometimes in an atonal context with complex rhythmic variation. He used this to increase tension and support the progressive nature of his forms. Into the early 1960s, Mingus continued to experiment with incorporating free improvisation, rich textures and color and variety through orchestration."