****I was going by the recording date. 2010. Surely you and the OP cannot be critical of anything recorded that recent.****
Focus, people, focus!!!! :-)
This is one of those times when I wonder wether we are just spinning our wheels without focus. The issue is not the recording date, but the music's style that defines what era we are talking about. I think that this may explain some of the disagreement about some of the players we talk about. The Wynton clip is a fine study of this; at least from the standpoint that I'm coming from. This is not meant as yet more Wynton bashing since a player that accomplished can't be bashed; but, we talk about the very best of the genre on this thread. Wynton is an incredibly versatile musician and fabulous trumpet player (two different things), he can play modern and traditional jazz, and Classical. He does it all well with the kind of trumpet skill that is almost unheard of. But, I listen to that clip of "Sweet Georgia Brown" and I hear along with Wynton two players (Vignola and O'Connor) who have made that style of traditional jazz ("hot jazz") their thing and their thing only. They don't (can't) play modern or Classical. They have lived and breathed that idiom and understand the language in a very deep way. I guess I don't have to say whose solos are the most coherent and idiomatic. The most obvious way to tell is always by imaging that we didn't hear the "head" (tune) at the top, that there is no rhythm section playing and one is just hearing the solo, then ask yourself the question: would I still be able to tell what tune they are soloing over? Can we follow the tune? Wynton sounds impressive as hell, but he can't help but resort to some pyrotechnics and playing around with the time in a way that is not idiomatic. Vignola and O'Connor (especially Vignola) are inventive and very idiomatic.
Great clip, fun, great feel, great playing all the way around; but......
