Jazz for aficionados

I don't think i would characterize Norman Granz as a "robber"...stealing the "mystery" of the jam session, and exposing it to the public? In reality, few were privy to the "Jam Session" as it was the musicians domain,lets say the hunting grounds for the lions and tigers of the late night,feasting on the young and unproven musician who had to prove they could stand next to the kings of the Jungle.This is one thing that eventually eroded Jazz was the lack of public humiliation to make youyrself a better player.How do you think the young Bopper's matured so quickly?...they played.played,played! Thank goodness for the Harlem spots like Minton's Playhouse and Clark Monroe's uptown house, where nighly jams brought the older players to joust with the youngsters,albeit the Boppers were working on their own" alchemy" of variations on the "changes".The question became what older established players would get with the new and adapt, and forge, the way to the new music.Such is the way in the veldt...eat or be eaten.The "Jam Session" was a proving ground....the story aboput Bird being gonged off the stage by a cymbal being thrown....over ten years later a similar humiliation would be suffered by Ornette Coleman in Los Angeles.
What Granz did,among MANY things,was bring the excitement of this competion to the public with a new found dignity,a showcase for the myriad of talents within the music..Bird,Prez,Ella,Tatum...he took the greats of the music and brought them to your town.
An amazing look at the reclusive and innovative Norman Granz is ..."Norman Granz....The man who used Jazz for Justice" University of California Press 2011.Author Tad Hershorn spent years just getting the interviews with Granz and finally suceeded and opened the mysterious world of this man.Hershorn is a member of the Rutgers based Institute of Jazz studies,his is a multi-layered,scholary approach.The evolution of the "JATP" concept is a major part of this book,the tours,players,recordings and the fight for the dignity of the musicians of "color",not always easy in the 1950's.He shares the details of Granz' musical adventures with an ease and a flow that make this great reading.You will come away with a respect for the man who realized that Art Tatum needed to sit in the studio and record over one hundred solo performances.He was among the very first who listened to the artist and gave them freedom.You will lament the unfulfilled sessions (Lester Young with strings and Charlie Parker and Art Tatum duets)You will be amazed at what one man accomplished for Jazz.

Jazzcourier:

A very interesting and informative post. I don't agree with the following statement:

"This is one thing that eventually eroded Jazz was the lack of public humiliation to make youyrself a better player"

I don't think the 'public' was / is qualified to pass judgement on the players we are talking about. The Jazz players excelled in spite of the public, not because of it. And if the current public taste is any indication, it was a good thing. I think Jazz was 'eroded' by social change. (progress) Same thing that killed Boxing.

I did order the book about Ganz. It seems like it would be a good read. Thanks for the tip.

One of the JATP concerts was performed and recorded at the SYRIA MOSQUE. I could not believe it! Then I learned it was just a venue at which everyone from Sousa to Dylan to the Pittsburgh symphony had performed. Torn down and is now a parking lot on the Univerity of Pittsburgh campus. Never did get the name.

Cheers

BTW, I have all of Tatum's solos. Thank you Ganz. I think? :)

Lee Morgan, is one of the greatest "modern jazz" trumpet players ever in history. This is the consensus I've gotten after a lifetime of talking to other jazz aficionados. He was chosen when I picked Clifford Brown. I'll give you two of the many reasons why Lee Morgan has been chosen by consensus of many jazz aficionados: "A Night in Tunisia" and "Since I Fell For You".

http://www.youtube.com/watch?v=99U3Omgh8z8

Lenny Welch's "Since I Fell for You," reached number 4 on U.S. Billboard Hot 100 in 1963. That certainly ranks his version as one of the best. Lee Morgan's trumpet sings this song even better than Lenny Welch.

http://www.youtube.com/watch?v=iSeZ3rzxarU

Jazz musicians thrive on public acceptance,they need an audience,they need feedback,they need to test their mettle-constantly.Even the most anti-social,introverted musicians feel this way.One of the most private musicians i ever knew was Warne Marsh,a gifted (beyond words) saxophonist and an improvisor on par with the best.He was a man of few words,but when he did you know it was something of value and a life lesson.I asked him once what part the audience and listener played in his art and i was shocked by his reply..."It is everything to me.The listener is fifty percent of my world" We need to bethere as listeners,as an audience.For Art to suceed it has have it's audience.The value of discourse can't be discounted,and Art must have it's critics and it's public.
Jazz,like boxing,runs the peril of being dominated by lightweights.Where are the heavyweights?

Orpheus10:

I listened to both 'The Cooker' and 'Candy'. Both were excellent. The most amazing thing is that Morgan was only 19 when he recorded both.

On Candy, I agree with 'since I fell for you'. I also liked 'C.T.A.' The notes say this is his only recording with a Quartet.

On The Cooker, I liked 'night in Tunisia' and 'New-Ma 8:11'.
This was his 5th recording for Blue Note, and still not 20 years of age. WOW! Pepper Adams and Bobby Timmons were standouts on this CD also.

The notes say Miles and Gillespie were the only trumpet players ranked above him when he recorded these LPs. Still not 20.

Cheers