Jazz for aficionados

Nina Simone

Merry Christmas to you and everyone here, O-10.  

While I'm not sure that I'm prepared to say that that great clip of "Night In Tunisia" is the ultimate jazz, it sure is a great clip.  I would, however, be willing to say that an argument could be made that bebop is the central point in the evolution of jazz.  To me, the development of bebop is probably a bigger departure from what came before it (swing) than any other earlier or later stylistic move in that evolution.  Hard bop is obviously a logical extension of bebop, modal jazz a logical extension of hard bop on its way to free jazz and fusion.  Bebop could be seen as the "eye of the storm" and there were probably more "what the fu@k?"'s uttered when first hearing bebop than at any other point; if only because there were probably more jazz listeners at that time than at any other.  Even Louis Armstrong, the granddaddy of jazz, famously said "Bebop is Chinese music".  

From this standpoint, I can understand how one of the greatest bebop performances by the best practitioners of the style could be considered the "ultimate jazz".  That clip is fantastic and Bird's solo break alone could make it the ultimate.  Another "ultimate" moment:

https://m.youtube.com/watch?list=PLC9h9deIXsDsBiB50lJRZjdPkU51c1gfF&v=h6NCx0wcrC4

That picture on the album cover of "Giant Steps" is vividly painted on my memory, I can still remember when I bought that LP.

Someone commented negatively on the "stereo imaging" of that LP. When that LP was made "Stereo" was relatively new, and they had albums in "mono" or stereo; stereo LP's cost a dollar more at that time, and I don't recall there being any reference to such a thing as "sound-stage". The present crop of audiophiles will have to take what the get and shut the f--- up; but since they rarely come this close to music, I don't think it should matter.

"Trane" was a new step in the evolution of jazz, and with this LP he made a "Giant Step"

2-11-2016 10:09am


Ghosthouse, in some ways, jazz is almost like a religion, especially the standards. Since I'm one of the leading proponents of this faith, I consider it sacrilegious when an artist defiles one of the sacred tunes by playing it all wrong to the extent that the tune loses it's original meaning, and empathy with those who it was meant for.

I made that statement to "Ghosthouse" in humor, and I think he would have taken it that way, but what does Frogman say:
12-11-2016 11:41am
**** jazz is almost like a religion ****

This is true; for some. I would then ask that we consider all the single-mindedness, upheaval, hatred and violence that a strict and rigid interpretation of religion has wrought on humanity. With the exception of the violence and hatred (I hope), I think that the parallels to some of our discussions (?) about music are pretty obvious.


The statement I made to "Ghosthouse" was in humor, so I thought; but Frogman's trolly jumped the tracks in a big way on a statement that was made to Ghosthouse; I don't see where he even needed to respond to the statement.

Next he says I'm being contentious, after he's jumped in a conversation not even meant for him; how does he know what interpretation the person who the statement was meant for would have made? I don't think Ghosthouse would have taken the statement in that direction.

His statement in regard to religion was not my statement, yet he makes this as though it was something I was thinking.

Why does he always do this to a statement I made to someone else. When I make a statement to Rok, the same statement could mean something entirely different as when I make the statement to Ghosthouse. But how can Frogman get the right interpretation when the statement is addressed specifically to another person?

After Frogman draws me into one of his "diatribes" he wants to keep it going forever, and say I'm the one whose "contentious".


I tried to change the subject and the mood, but I didn't succeed; therefore I feel I should give my version of the incident.