Jazz for aficionados
BTW, by old and new, I do not refer to the date it was played, written or recorded, but to the type of 'Jazz' it is. A lot of great Jazz being played today. A few examples are, Dee Dee, JALC, Branford, Gregory porter, Christian MacBride, and a host of folks from the New Orleans scene. There are many other recent greats, but I am not sure they are still with us. It seems like never a day goes by that we don't lose someone. Cheers |
Emmanuel Pahud: Debussy/ Syrinx, is hauntingly beautiful. Lew Tabackin's "Pyramid" is likewise, ever so beautiful. Today is a good day for music; https://www.youtube.com/watch?v=fE0qBOhVsiM Old versus New, is not the issue; what I like and don't like is the issue. From my vantage point there has been as much "old" jazz (I dislike "jazz-jazz") posted here that I would consider mediocre or even sub-par as there has been "new" jazz that I can say the same about. This goes to what I think is a key question that never receives a satisfactory answer in the endless debate about old vs. new jazz: While I agree with what you posted, it seems that I'm supposed to like jazz because it's new as opposed to "music" to my ears; whether it's new or old, either I like it or I don't like it. I feel like I'm "short timin" and I don't have enough left to evaluate for any length of time. I don't recall being a fan of Wynton? Maybe part of your post applies to someone else who I refuse to name. Enjoy the music. |
Herby Mann, sure is sounding good today. "Comin Home Baby" https://www.youtube.com/watch?v=RJEjFh2FOzA "Norwegian Wood" https://www.youtube.com/watch?v=RJEjFh2FOzA I bought a record "Common Ground" by Herby, and I liked the music, but not the recording quality; later on I discovered he couldn't hear too well. Does anybody have that with good recording quality? Enjoy the music. |
****Do you think New Jazz is always better?**** Read my comments and you will note that I have never said anything remotely like that. **** Do you think it is equal to the original? **** Some of it is not only the equal of "the original", some of it is better. Now, please note the use of the word "some". **** Do you think there is no difference in artistic quality?**** Sometimes there is. Sometimes it's better. Please read my comments again, and the previous answer and please note "sometimes". Why do you think that the type of jazz it is defines how good it is? So, mediocre or bad old jazz is, by definition, better than any new jazz? ****I say one era is light years ahead of the other in both quality and quantity. Others may disagree.**** Ok, so what? If you can't find any value at all in music that is the product of and relevant to the time that you are living in, that is your issue, not mine. The simple fact that it is jazz of today is something that, by definition, gives it relevance and validity as a vehicle for creative expression. Whether you like it or not is a different matter. As far as quantity goes there is no doubt that you are correct; plenty of reasons for that. However, again, so what? How does that fact automatically make all of what IS there "bad" (noise)? As always, no problem with not liking something, but why bother attempting discourse about music if there won't be a bare minimum of civility by, at least, not calling what someone else may like "noise"? ****I do think, that if there was not a constant attempt to keep real Jazz in the conversation, it would NEVER be talked about on this thread.**** Not quite sure what you mean by that. If you are suggesting that it is YOUR attempt only, you would be incorrect and aren't paying attention. Speaking for myself, I have posted at least as much "real" (by your definition) jazz than new jazz. Furthermore, who's stopping you from talking about it? Talk away. If you are suggesting that we should not talk about new jazz at all, well, I think you know better. Hey, today is Dolo Coker's birthday. One of the truly unsung heroes of the piano. Here's some "real" Jazz for you; enjoy: https://m.youtube.com/watch?v=efyQylrJm3U https://m.youtube.com/watch?v=M1adP_dhbfg |
O - I listened to Tabackin’s "Pyramid" that you had posted. Also spent time with "Jazz at the Castle"...a live recording of the Lew Tabackin Quartet. This features him mainly on tenor sax but does include one piece of his flute music, "Return of Pan". His flute playing is very good and even to my ear seems to reflect classical training as noted by Frogman. I was impressed with his sax playing on Jazz at the Castle. The style seems very modern as opposed to "old jazz" though I’m guessing the tunes are more old school. Not Free Jazz (that mostly does seem like noise to me) but his solos do have a more abstract less structured quality than the tight, well structured solos I associate with hard bop, be bop or cool jazz. Some of his playing reminded me of something I’d hear from one of Frank Zappa’s bands (Ian Underwood, specifically). One of my realities is that the instrumental work and musicianship are NOT what I don’t get or like about old style jazz. It’s more that many (but not all) of old style jazz songs themselves just don’t grab me. They just aren’t interesting no matter how inventive the solos. And that’s said with all due respect to the thousands and thousands of jazz fans for whom the various well-regarded pieces DO make a big connection. I prefer a more contemporary sound song-structure-wise. That’s the best way I know how to describe my jazz tastes. Wish I could provide more music theory detail about what that means. I only recognize it when I hear it. Don’t know enough to predict it up front. Some of Weather Report’s "oeuvre" represents what I like; Tony Williams Lifetime, too; the Pat Martino Joyous Lake that Frogman recommended works for me BUT absolutely NOT ALL his stuff (e.g., that work with Joey DeFrancesco); a good bit of Pat Metheny - but not his more traditional jazz recordings. I didn’t bring up Jazz Pistols so they could be an object of ridicule (sorry for those that think that way) or even a touchstone of the best in modern jazz - I’m not that ignorant...there’s only going to be one Coltrane (or Miles or Evans). I do raise them (as well as Neil Cowley and Snarky Puppy) as examples of contemporary musicians - whether you call it jazz or not - whose compositions hold my interest AND who I also happen to think are, objectively, very good musicians. So, that’s my meditation triggered by Mr. Tabackin’s flute playing. |
