Rok, Jackson and Hutcherson were twice as nice the second time around. Bags seemed to be saying more with fewer words, especially on "Bags Groove". Did you notice how well coordinated the color scheme on their attire was.
"Delilah" on the CD "Skyline" by Bobby is exquisite, I bought the CD just for that cut, although it was all good. The artists were: Kenny Garret, alto sax; Geri Allen, piano; Christian McBride, bass; and Al Foster, drums.
Bags vibraphone had a pedal and seemed more complex, also I liked the tone better; but I never would have noticed if you hadn't mentioned there was a difference. Yes, this was better than the double piano because both artists were "deep in the groove" on this one, wish I had been there.
Enjoy the music.
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Frogman to the rescue! I had to look at Bobby and Bags for a third time in order to confirm Frogman's post. Since Bobby is my man, I certainly didn't look at this with any bias; but Bags is the greatest ever, and when you read between the lines, both he and Bobby are acknowledging that fact.
Enjoy the music.
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That's so sad. He's very well represented in my collection, although mostly flute. I'll play what I have tonight in tribute to Frank Wess. The one's who are most special to my concept of jazz seem to be leaving. He will be missed.
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Unfortunately everything I had by Frank Wess was on LP, and who knows where that went; but I found this, and I thought I would share it with you and Rok, http://www.youtube.com/watch?v=703LlU1pwX4Bobby McFerrin made me feel like I was in church in Mound Bayou, Mississippi; way back when. Enjoy the music. |
Very wise decision Frogman. |
Rok, Frogman; do either of you know if there were ever any night clubs with that kind of ambiance, or were those just movie sets. I've been around, but never to a night club with that kind of setting; maybe they were just in New York, and before my time?
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Rok, and Frogman, with your help I would like to take a very interesting historical journey; we'll do it "audibly". I want to trace African music from slavery to the present, beginning with music from Brazil. Baden Powell is an artist who was the favorite of a professional jazz musician I knew, his music has stood the test of time in my collection, and it's the just right blend of Afro Brazilian jazz that stands repeated listening. "Canto De Ossanha" is one of my favorites. http://www.youtube.com/watch?v=JgS16Ipnr2ENext is a very languid version of "Lemanja".
I would like for us to explore Afro Brazilian the same way we explored Afro Cuban, we didn't skim the surface, but went deep; bypass the commercial, there is a wealth of this music we haven't heard before.
I've noticed a big difference between the different Afro Blends. Afro- Cuban, is quite different from the Brazilian. The most unique aspect of Afro Brazilian music is the berimbau. Here is the website that gives a description of this instrument.
[url]http://en.wikipedia.org/wiki/Berimbau>http://www.youtube.com/watch?v=IcpfHAJZagE[url]
I would like for us to explore Afro Brazilian the same way we explored Afro Cuban, we didn't skim the surface, but went deep; bypass the commercial, there is a wealth of this music we haven't heard before.
I've noticed a big difference between the different Afro Blends. Afro- Cuban, is quite different from the Brazilian. The most unique aspect of Afro Brazilian music is the berimbau. Here is the website that gives a description of this instrument.
[url]http://en.wikipedia.org/wiki/BerimbauSlaves in Brazil escaped and set up a free community in Brazil called Palmares that lasted for almost 100 years; that's why the "Afro" in Afro Brazilian is so pervasive. This was a historical secret for quite some time. While the "berimbau" was one of their favorite instruments, nobody knows precisely where it came from, that's what I mean when I say "Afro Brazil" is unique. While there is "Afro-Cuban", there is no "Afro-American"; slave masters evidently told them "I want yall to stop beatin them damn drums, ya hear me", and they quit. Slavery in this country was by far the cruelest. African music came to this country from Cuba or Haiti, it was not passed down from the African slaves. Nothing African, that's audible, came my way before Dizzy Gillespie, and that was from Cuba. The only thing that survived was the "Voodoo music" in New Orleans, and it would not have survived if it had not been kept secret. While this religion and it's music are one inseparable package, we want to focus exclusively on the music. Here is some accompanying music from New Orleans, check "New Orleans Voodoo" on you tube, there is no doubt about it's origin; "Africa"! If you go to Haiti, you will hear this same music; kids can beat this out with a rock in each hand banging on a metal shovel, while others dance to the music. This same music and rituals can be heard anywhere in Brazil if you are invited to one of the secret meetings, and I'm sure the same goes for Cuba; but this isn't about the rituals, this is exclusively about music from Africa that survived through that horrible thing called slavery. Enjoy the music. |
Here's the music from Nawlins, it's the same as the music in Haiti or Brazil. It came to this hemisphere with the slaves, and survived all of those centuries "unchanged"; that's what I call a history without a history book. http://www.youtube.com/watch?v=2EJUWRThg-c |
Rok, they came from Africa, what happened to the music?
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Acman3, you're definitely into the swing of things, this is history by ear and nothing else. This music came from Africa with the slaves, and was suppressed, that's why we didn't hear it. http://www.youtube.com/watch?v=2EJUWRThg-c Enjoy the music. |
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While the music in Africa, which was the point of origination, evolved; the music in Brazil, in Bahia for example, could be the same as when it left the continent of Africa hundreds of years ago. I find the Afro Brazilian music more pleasing to my musical sensibilities than the music of Africa, and some of it could be the African original, since it's traditional. http://www.youtube.com/watch?v=_3ORkB1eKWEThis music "Pops" like nothing I've heard recently. Enjoy the music. |
Rok, this time it's about the evolution of music from Africa since the time of slavery, and how it's represented in this hemisphere; that would also include a comparison of evolution in the reverse direction, meaning from here to Africa.
It's really beautiful when you think of artists like Hugh Maselela, and Miriam Makeba where the evolution went in the reverse direction of my original post.
Enjoy the music.
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Rok, I've always liked the "Voodoo music", just as much as I liked "Cherry Pink & Apple Blossom White". (No one could have been in taller cotton) And I put as much religious connotation on Voodoo music as I put on "Cherry Pink & Apple Blossom White". There are elements of the Voodoo drums in much of African music, that's why I want to strip the music from the religion as much as possible.
This is an "audible" excursion, we are judging everything by ear.
Enjoy the music.
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Frogman, I definitely agree on the beginning, and although that music came from Africa, it may longer exist in Africa in it's truest form, but only in Brazil.
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Rok, if this drum nonsense is "nonsense", explain why it was retained everywhere slaves were imported except here. Remember, all arguments must be supported "audibly".
Enjoy the music.
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Nothing is being merged, we are talking about the origination of slaves and their music, this has absolutely nothing to do with the different races who came before or after. At this juncture, before we get back to our regularly scheduled programming of jazz, the question is what happened to the slaves music after they were imported to "America"? There is nothing in your post that answers this question. Especially since that music was retained and survived all of those hundreds of years, every place, except here.
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Rok, this has nothing to do with jazz, this is exclusively about music from Africa. We can conclude that the only surviving music from Africa in this country was "Voodoo music", and the only reason it survived is because it was so secretive.
I've heard this very same music in movies, "Black Orpheus" from Brazil is one example. I'm sure that movie can be found on "You tube". The part where Orpheus goes to a ceremony in search of Eurydice is where you hear this music, including the same words and music that can be heard in New Orleans. These words are not Portuguese for Brazil, nor are they English for New Orleans, they are African. These words came with this music from Africa, and that was the only thing African that survived slavery in this country.
Now we can go back to our regularly scheduled program of jazz.
Enjoy the music.
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Frogman, this is from the movie, compare it to Voodoo around the world, including New Orleans to this on "You tube", and notice the similarities. http://www.youtube.com/watch?v=Js0CAjUXv58 Canonical story[edit]Eurydice was the wife of Orpheus, who loved her dearly; on their wedding day, he played joyful songs as his bride danced through the meadow. One day, a satyr saw and pursued Eurydice, who stepped on a viper, dying instantly. Distraught, Orpheus played and sang so mournfully that all the nymphs and deities wept and told him to travel to the Underworld to retrieve her, which he gladly did. After his music softened the hearts of Pluto and Persephone, his singing so sweet that even the Erinyes wept, he was allowed to take her back to the world of the living. In another version, Orpheus played his lyre to put Cerberus, the guardian of Hades, to sleep, after which Eurydice was allowed to return with Orpheus to the world of the living. Either way, the condition was attached that he must walk in front of her and not look back until both had reached the upper world. Soon he began to doubt that she was there, and that Hades had deceived him. Just as he reached the portals of Hades and daylight, he turned around to gaze on her face, and because Eurydice had not yet crossed the threshold, she vanished back into the Underworld. When Orpheus later was killed by the Maenads at the orders of Dionysus, his soul ended up in the Underworld where he was reunited with Eurydice. Enjoy the music. |
Frogman, I was in Haiti about 3 years after this movie was made, and Haiti was very much like the movie, "weird beyond belief". In regard to the voodoo music, it's like the air they breath; we were riding up a mountain trail on a half ass (that's a cross between a horse and a donkey) in "Cap Haitian", and on the side of the road, one kid was beating out this voodoo rhythm on a metal shovel that had been left by a road crew, while other kids were dancing to the music like their bodies had no bones. They did this to amuse themselves, it had nothing to do with tourism or anything else. I only saw the movie many years after I had gone to Haiti, had I seen the movie first, I would not have gone to Haiti. Movies can come very close to reality. http://www.youtube.com/watch?v=TOoFiCgcprU |
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Rok, I just got a book every jazz aficionado should have, it has photos of all the musicians we've discussed, and then some. This book includes the intimate thoughts and wishes of all the greats.
The title of this book is "Three Wishes"; compiled and photographed by Pannonica De Koenigswarter, in it she asks the jazz greats if they could have three wishes fulfilled, what would the be? There is a beautiful photograph of a young Lee Morgan, sitting up sound asleep. The baby fuzz on his smooth face, and jet black hair tell his age. His three wishes were:
1. "To be held in high esteem by my fellow jazzmen, as well as the audiences-I mean jazz public."
2. "To make oodles of money, and use it wisely."
3. "To make a wonderful husband and father."
It's for certain his first wish was fulfilled, he's still my favorite on trumpet; but his life was cut too short for the last two wishes.
Miles Davis is madder than a march hare; his photos are the most outrageous in the book, and his one wish was "To be white". Ironically his life fulfilled most of the other musicians wishes, which were fame and fortune. Although there is no photo of "Bird", all of his colleagues are well represented. As I said, this is a must have for serious aficionados.
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Frogman, that essay corroborates the most important point, "I told yall to stop beatin them damn drums", but don't tell Rok. Yes, that was a very important and serious essay, thanks loads for the information.
Enjoy the music. |
Thanks Frogman, those nightclubs were as incredible as the movie sets; so they did exist.
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Rok, even Sonny Clark Knew about voodoo; but on a more serious note, "Deep In A Dream" is my favorite cut on that CD. "Ike Quebec respects the beauty inherent in the song, at the same time investing it with his own personality. This perfect balance really brings the message across". I repeat "Respects the beauty inherent in the song". Here's my favorite tune by Ike, "Heavy Soul"; he was dying from terminal cancer when he recorded this. http://www.youtube.com/watch?v=jwc1bTn7Fd8Enjoy the music. |
In my opinion "Sonny's Crib" is one of the best albums of all time, what more can I say.
Enjoy the music. |
Here is my favorite cut from "Sonny's Crib". The artists are: Donald Byrd, trumpet; Curtis Fuller, trombone; John Coltrane, tenor sax; Sonny Clark, piano; Paul Chambers, bass; Art Taylor, drums. I believe all of these artists have photographs, and appear in the book "Three Wishes", Pannonica De Koenigswarter. Sonny Clark's three wishes were: 1. "Money" 2. "All the bitches in the world" 3. "All the Steinways in the world" This is one of the most beautiful versions of "Speak Low" I've ever heard. http://www.youtube.com/watch?v=prHxoFepR0AEnjoy the music. |
Frogman, here again we agree on "Trane". When I saw him live, he even lost McCoy Tyner and Elvin Jones. Miles said that Trane played for Trane on live sets; while that was true, talk about the pot calling the kettle black; when I saw Miles I didn't know what he was playing; but when Trane was with Miles was the time I liked both of them best. Jazz musicians used live sets for experimentation, and that made a lot of sense when you think about it. Those were gigs at small clubs, and not like Carnegie hall, what better places to experiment? This is "classic" Trane on a tune I like a lot. http://www.youtube.com/watch?v=Dt0D40JTCBY Enjoy the music. |
Acman3, you really tied it together. Trane was on a spiritual journey that he was beginning to express through his music. I believe Alice Coltrane, his wife, exemplified the destination Trane was trying to reach. Her music is filled with Trane's spirituality just before he died. Here we can hear it: http://www.youtube.com/watch?v=L2HwbFLh5j0 Since leaving the music we've been into, and going to Alice Coltrane is like stepping out of hot water, and then getting into cold; you have to listen to more music in that groove in order to absorb it. http://www.youtube.com/watch?v=smisXZ7KVpoLike it or not Rok, this is where Trane was headed, he took some way out trips on live sets; that's where he played music that was totally unfamiliar to fans of the "old Trane", that music was a preview of things to come. Enjoy the music. |
Rok, I'm a Mingus fan from way back, but I never bothered with anyone else's interpretation of Mingus; now I see that was a mistake, because under the direction of "Sue Mingus", this has to be fantastic. The CD is on order.
Enjoy the music.
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Rok, I was inspired by the book "Three Wishes", to find songs written in honor of "Pannonica De Koenigswarter" . Although there are twenty songs written in her honor, and I'm sure everyone has many different versions of "Nica's Dream" written by Horace Silver, I could find only one other tune that I liked. Maybe you or Frogman can find other songs written in her honor that you like. "Pannonica" by Monk captures the essence of a beautiful fluttering butterfly, which is what the lady of jazz was named after. http://www.youtube.com/watch?v=aSHkPCW8dN4Enjoy the music. |
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Thanks Rok, that was quite an article. Rumors about her and Monk, were just that, "Rumors", unless Monk's wife Nellie was in on the affair; but you can never stop "animalistic" people from having such thoughts. She was a very special lady.
Enjoy the music.
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Nica asked Monk, "If you were given three wishes, what would they be?"
He was pacing back and forth, and he paused for a moment to gaze out across the river at the New York skyline. Then he gave her an answer.
And she said, "But, Thelonious! you have those already!"
He just smiled and began pacing again.
1. "To be successful musically."
2. "To have a happy family."
3. "To have a crazy friend like you."
Enjoy the music.
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Here's one of my favorites by Grant. While all the solo's are beautiful, Joe Henderson's solo on tenor, put him on the map. This particular cut went overtime because Joe was sounding so good, that Rudy Van Gelder, the engineer, didn't want to stop him. http://www.youtube.com/watch?v=gwaFDFP7m_EEnjoy the music. |
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Grant Green seems to be one of the artists I'm in resonance with; that's when sympathetic vibrations occur, and the music reaches you consistently. I think we're on the same fundamental wave length. I rate musicians by how much I like their version of "Round Midnight". If they don't have one, that excludes them from the top echelon of musicians. I like Grants version of "Round Midnight". http://www.youtube.com/watch?v=eIrYlh_oq14Enjoy the music. |
Frogman, "Many so-called "free" or "avant-garde" players have been shown to be nothing more than imposters since "musical political correctness" has been reluctant to call their playing what it is: bullshit."
I mistakenly bought some of that "bullshit", and sold it the next day. I wont mention who the artist was, but someone commented that he sounded like someone was stepping on his feet.
After you pointed it out, I took note of how "Idle Moments" relaxed toward the end. During that recording session, Rudy was supposed to stop Joe after 7 minutes, but every one was entranced with his solo, and Rudy decided to let him blow, consequently they had to drop another intended cut.
Enjoy the music.
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Lou Rawls had a long and very successful career; he's well represented in my collection.
I just received "The 100 best jazz tunes of the 50's", and I only quit listening to go to bed. This compilation is the perfect compliment to the book "Three Wishes". Bird's photo does not appear in the book, I believe the thought of Bird and the way he died in her apartment was too painful for Nica; but all of the other musicians in this compilation, also have photos in the book.
While I already have 90% of this compilation, I still find it a great asset; my record collection is totally unorganized since I primarily rely on CD's for my listening pleasure, that makes finding an LP a really big job. At this time I'm in a jazz aficionado's heaven.
Enjoy the music.
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Rok, I just found time to give Lou Rawls the serious consideration he deserves; review coming tomorrow. |
Lou Rawls has a resonant voice that sounds musical when he's just talking; that's why it's so recognizable. He also has the deepest respect for the classic songs; for example, "Summertime" becomes even more "Summery" when he sings it, each song he sings becomes more of what it was when he sings it. "Don't Explain", the tune made famous by "Billy Holiday", becomes even more heart wrenching. when Lou sings it, we can see him pacing the floor all night long waiting for his lady to come home. It's 6:AM, and the Sun is shining bright when she finally walks through the door with all kinds of explanations as to where she's been all night. That's when he calmly says to her "Don't Explain". As he gazes upon her radiant beauty, where she's been or who she was with is so unimportant; once again he's in the presence of her magic charms that fill him with a joy he's never known before. http://www.youtube.com/watch?v=C1SoDpej7-MEnjoy the music. |
Jon Hendricks gets my vote for "The King of Scat". I bought "Jon Hendricks and Friends" after you recommended it Rok. Ursula Dudziak is a very unusual vocalist I've been enjoying lately, and she's not new, I just discovered her again while browsing through my old LP's. Since she doesn't like words, this is Ursula. http://www.youtube.com/watch?v=d1W-Tr5dzyIEnjoy the music. |
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Rok, I've got three books by and about "Nica". "Three Wishes" is the only one worth the freight. From a story book point of view, her life was far more interesting before she became "The Jazz Baroness".
The rumors that she was intimate with "black" jazz musicians constantly swirled around her; especially after Bird died in her apartment, and she never attempted to stop any of them; with so many musician friends, it would have been pointless.
In regard to her intimacies, including with Bird, no one has evidence of "any". Everyone who knew, including Bird, said their relationship was purely platonic. The alleged musicians, beside Monk of course, said they wished the rumors were true.
Stop and think about it, she was a 42 year old Baroness with 5 kids when Bird died in her apartment. While it's not uncommon for people of different races to become intimate, "Class" is another matter. Once people get past their animalistic youth, they take a great deal more consideration into "intimacies". A 42 year old Baroness would have instilled requirements in regard to someone she chose to become intimate with. It's my opinion, and I stress that fact without one iota of evidence, that none of the musicians, black or white met her instilled requirements for intimacy.
Musicians put it differently, they said that after having 5 kids, she wasn't interested in such things. Now you can scratch the other two books off your list.
Enjoy the music.
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Rok, "Nica's Dream", has been my favorite tune for ages, my favorite jazz musician died in "Nica's" apartment, and until recently, I didn't know any more about her than you or Frogman.
Although she was disowned by the family, she got her share of the money. Nica traded a long Rolls in for the sport Bentley in order not to lose any races down 5th Avenue around midnight. Picture a long cigarette holder, a mink coat, a sport convertible Bentley, and you got Nica.
I was trying to present Nica's point of view, but you made me realize, I'm still quite "animalistic". The fact that the only person she was alone with was Monk's 9 year old son, when he was with her on mercy missions to help other jazz musicians; rent, food, and she even nursed Coleman Hawkins when he refused to go to the hospital; might account for her lack of intimacy.
The lady soaked in a tub with only a cigarette in that long cigarette holder to keep her company, while she listened to some of the very same musicians we just acquired on "The 100 best tunes of the 50's", having a jam session downstairs. (They always gave "The Baroness" the respect they felt she was entitled to, whatever she did)
Nica lived for the moment, and her life after she became "The Jazz Baroness" was one continues set. She told one of her nieces to meet her at a club: "How will I recognize the club"?
"Look for the car" was Nica's response. The niece instantly recognized the club, it was the the one with the badly parked Bentley in front, that had two winos lolling around on the leather seats. "They keep anyone from stealing the car", she was told after finding Nica. This was in a tiny basement club, where Nica was the only white person in the joint.
"Smoking a cigarette in a long black filter, her fur coat draped over the back of a spindly chair, Nica gestured to an empty seat, and picking up a teapot from the table, poured something into two chipped china cups. We toasted each other silently. I'd been expecting tea. Whisky bit into my throat; I choked and my eyes watered. Nica threw back her head and laughed."
"Thanks", I croaked. She put her finger to her lips, and nodding at the pianist on stage, said "Sssh, just listen to the music Hannah, just listen", as she swayed to the sounds.
Now you know why I'm so fascinated by Nica.
Enjoy the music.
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Rok, there was one odd pea in the patch in that compilation we got, and his name is "Django Reinhardt". The book says 'Nuages' reflects his interest in bebop; I can't hear it. While I like Django's music, it's certainly vastly different from the rest of the 99 tunes. “The Quintet of the Hot Club of France” was a jazz group founded in France in 1934 by guitarist Django Reinhardt and violinist Stéphane Grappelli, and active in one form or another until 1948. One of the earliest and most significant continental jazz groups in Europe, the Quintette was described by critic Thom Jurek[1] as "one of the most original bands in the history of recorded jazz." Their most famous lineup featured Reinhardt, Grappelli, bassist Louis Vola, and rhythm guitarists Roger Chaput and Joseph Reinhardt (Django's brother) who filled out the ensemble's sound and added occasional percussive effects. Maybe Frogman and Leersfool can chime in on "Django". While I could listen to his music all night, it's different from "American jazz", that's my only point. http://www.youtube.com/watch?v=DY0FF4iR9Cw http://www.youtube.com/watch?v=sCJ5E8AnlWkEnjoy the music. |
"Gypsy Jazz"! Just when I thought I had heard it all, Acman3, you come up with something new; I like it.
Enjoy the music.
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Wolf_garcia, I'm glad you brought that up. Music can not be created in a vacuum, the musician must have something to inspire him, he has to feed on the broader society and other musicians, creativity does not come out of thin air, as so many people believe.
The overall quality of life outside of your perfect listening room, in this country, has been deteriorating for years, and that's reflected in the creativity of the musicians, or more specifically the "music". In the past, there was so much more to feed the musicians creative muse, as well as many more creative musicians. This is reflected in today's music. While the musicians today, might be as good as the musicians of yesterday, the music just ain't there. No one has searched harder for new music than me. Every year I'm left with the option of something new and boring, or going back to the past.
Brad Mehldau is very good, but his music just doesn't convey the living emotion of jazz musicians in the past. I would love to spend an evening out listening to his music live, but in my listening room, I could do so much better, that it's doubtful Brad would get much play.
Even the best musicians who are still alive from better times in the past, don't seem to do much better than Brad Mehldau; consequently my search for the best music always takes me back to the past in hopes of finding something I haven't heard before. Although I'm in what's called a "phase lock loop", I will give every musician you mentioned a thorough listen.
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Before I go to another record, I want everyone to know how much I've been enjoying listening to the music from their lists.
When we put that record on the TT or that CD in the player, we're in the present, not in the past. At this moment, "Lee Morgan" is in the house, and "Search For The New Land" is on the TT. Lee Morgan, trumpet; Wayne Shorter, tenor sax; Grant Green, guitar; Herbie Hancock, piano; Reggie Workman, bass; Billie Higgins, drums.
On most of my records, it's the aggregate contributions of the individuals that make the whole album. That's true on this record as well, except on the cut "Search For The New Land", it, the composition takes center stage, and the musicians become actors playing their parts in a play. This music was way ahead of it's time.
It opens with Wayne Shorter's deep tenor sax, evoking for me, a vision of choreographed dancers searching for the new land. They're taking long steps to the beat of Reggie Workman bass, and Billie Higgins drums, using their hands for visors as they search. They continue moving in rhythm to Workmans pounding bass, as Lee's piercing staccato trumpet joins in momentarily, drums and pounding bass set the steady pace, while Grant Green's sinuous guitar joins in. Workmans bass keep the dancers moving as Herbie's piano comes in providing an exotic setting.
When you have musicians as fantastic as these together, all of the music has to be equally fantastic, but after a composition like "Search For The New Land"; as exceptional as the rest of the music is, it's anticlimactic. This is one album no serious collector should be without.
We're blessed to be audiophiles and have this caliber of music in our collections. Few people can derive the pleasure from music that we do.
Enjoy the music.
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I appreciate everyone's effort to stick within the confines of "classic jazz". I've been down this road before, and the conversation falls apart as soon as we get outside of well known parameters. I consider this conversation highly beneficial when something new is added to my rotating play list, it's almost like an equipment upgrade.
Believe it or not, occasionally someone introduces me to a new artist within the confines of "classic jazz"; for example I had never heard of "Ahmed Abdul-Malik, who played jazz double bass and oud. There are still new discoveries to be made within these parameters, and there is always music by your favorite old artists that you haven't heard. I know I'm going to be doing my best to help broaden your collection.
Enjoy the music.
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I recall reading about the day he met the rhythm section in his autobiography. Since I can't talk too much about Art Pepper without getting sad, I won't, but that's a real nice CD.
Buena Vista Social Club, goes all the way back to "Cubano Bop", which is what Diz called it when he had Chano Pozo with him on "Manteca". That jazz was so far ahead of it's time that it took the rest of world 20 years to catch up.
Today, I've been on two tracks; first I want to give those who want new music, Pat Metheney & Anna Maria Jopek; "Are you going with me?" This can be seen on "You tube". Although it won't meet the definition of "classic jazz" for some aficionados, it's the best new music I've heard this year, and I'll have to let everyone else classify and define it.
The second track is for classic jazz aficionados, it consists of two different sides of Wes Montgomery. Before he became famous, his music was introspective and in a deep jazz groove. The Wes Montgomery Trio, Round Midnight, is an example of that phase of Wes's career. This warm intimate version of "Round Midnight" is my favorite.
"Bumpin On Sunset", exemplifies the other phase of his career after he became famous. This can also be found on "You tube". Music is synonymous with my memories, while I wasn't "Bumpin On Sunset", I was bumpin everywhere else at that time. "Why is youth wasted on the young?".
Sharing music like this is almost like a social visit.
Enjoy the music.
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Rok, I wracked my brain (not hard to do) and I don't recall you mentioning Carmen McRae. I know that's got to be wrong; just checking. |
Learsfool, "Blue Train" is my number one train, along with my 101 train. I like your list, and most of those CD's are in my collection.
Frogman, New York Voices do a real nice vocal of "Stolen Moments" from "Blues And The Abstract Truth". I go to sleep on "Clifford Brown With Strings", and dream about Nancy Wilson With Cannonball Adderly. Anything on your list that I don't have, I will certainly give it a listen.
Rok, Dee Dee Bridgewater is truly smokin on that CD, her voice becomes another jazz musical instrument.
Gz3827, "Prime Cuts" is a CD that had been hiding in my collection until just recently, it's fantastic.
Acman3, New Tijuana Moods is an old favorite of mine. I've been a Mingus fan since "Mingus Ah Um". I was attracted to the album cover.
Pnmeyer, I have 5 of the CD's on your list, and it's for sure I'll give the ones I don't have a listen.
Enjoy the music.
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