Jazz for aficionados

O-10, there is an important difference between setting out to "teach" and simply correcting misstatements in order to keep a discussion relevant.  I hope you are able to understand that distinction at some point.  No, I don't think you are "bad,bad, Orpheus hindering" anyone.  I don't think about these things that way and anyone participating in one of our discussions can choose to ignore my point of view, or not.  However, just as you are free to express yourself about this stuff, so is anyone else, myself included.  Whether you want to accept it or not, what I write about music is not "talking smack"; I do know what am talking about.  I hope you will at some point stop being so reactive and simply take this as an opportunity to, if not learn, have the satisfaction of knowing that you are presenting ideas that are factual.  Please try and read what write a little more carefully: I never said that there was a "standard" framework for improvisation; my comment was:

****and then there are various formulas which are used as the FRAMEWORK for improvisation. I'll stop there unless you want to know more.****

The last sentence goes to the fact that there can be different frameworks and that if you want to know more I would be glad to explain.  I look forward to your stories about Art Blakey.

I hate to disappoint you Frogman, but the Art Blakey story is a sad one and I've had my fill of sad stories. I think I'll even switch genres today, how about some "World Music".

How about "Jai Uttall", what a name; although he grew up in New York City (you might have known him Frogman) Indian music touched him at 17, and he moved to California where he studied under the famous Sarod player, Ali Akbar Khan. He later began regular pilgrimages to India, living among the Bauls; they're wandering street musicians.

He became deeply absorbed in the practice of kirtan, the ancient yoga of chanting, or singing to God. This form of prayer became the core to Uttal’s musical and spiritual life.

I have this CD "Beggars and Saints" of his that appeals to me. Here's "Be With You", it speaks of long lost love, the kind one never forgets.


                  https://www.youtube.com/watch?v=_VyIlINNME4



Now we get into the real deal, "Shiva Shankara"; anytime you hear the name "Shiva", you know you're deep into it.



            https://www.youtube.com/watch?v=bnMbMxQFk40


This music will make you forget whatever ails you, it might even cause you to go into a state of transcendental meditation and never return.

                    https://www.youtube.com/watch?v=fHIgJlDH2dM


Enjoy the music.
 

Now that I'm out of that state of transcendental meditation, it's time to get back to the state of jazz, where the word on the street in the late 50's and early 60's was "Lee Morgan" was the best trumpet ever; he certainly got my vote. Right now I'm examining this box set. For once I'll have to ask Frogmans advice.

Frogman, what do you think about Lee Morgans "Blue Note" box set
The one where you get 6 CD's for $15.00?

When I look at these box sets, I see too much that's missing, and I think the recording quality might be better by just buying the CD's with favorite tunes?

              http://www.amazon.com/dp/B00QR1JYUI/ref=pd_lpo_sbs_dp_ss_1?pf_rd_p=1944687442&pf_rd_s=lpo-top-st...



Can I get the Frogman's invaluable opinion?


Enjoy the music.

Lee Morgan!

Frogman, when I saw Trane in 63, this is about how long he played "MY Favorite Things". They began just like it sounds on the album and they continued after that. Trane went on until he lost McCoy Tyner and Elvin Jones. They decided to stay together and let Trane come back to them. The lady I was with, wanted to know if Trane was on something, but the musician at the table assured us he was clean.

Right now I'm trying to find some music that resembles what Trane was playing, and this is it.

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


This is "The Olantunji Concert", This is what Trane was playing after he had worked "My Favorite Things" as far as it would logically go. This was recorded in 1967 and it 34:38 long. This is what Trane sounded like when he lost Elvin Jones and Tyner in 63.

I said it once, and I'll say it again, he should have stopped before he got this far out because he was pleasing no one but himself as far as I can see; but I know you being the "alpha musician", scratch that "the consummate musician" can enlighten us farther, and explain how this was the way to go.



Enjoy the music.