Jazz for aficionados

Just want to let others know of the absolute best straight-ahead Jazz band and label (for music in the last 25 years). They are the New York Allstars (led by Randy Sandke) and they have done amazing work of Ellington, Basie, Armstrong, Biederbeck, among others on the label Nagel Hayer. The recordings are of amazing jazz, all recorded live and the sound quality exceeds Mapleshade, Chesky, or Reference Recordings (each of which record well sonically but record second and third-rate music). Nagel Heyer, in general, is 1st rate music amazingly well recorded --- and the New York Allstars are the best of the best.

Hi Rok - I'll address the cuts thing first. In reading what you quoted, it is obvious that in the Rabin recording, the cuts are NOT from the soloist, but from the conductor - the passages in question are in the orchestral tuttis, when the soloist isn't even playing. The writer does not know why these cuts were made, and clearly hasn't done any homework in trying to find out - you can take what he said about "no rhyme or reason" with a grain of salt. They may not be particularly good cuts, but obviously they at least work, or they wouldn't/couldn't be made. If they were made specifically for the recording project in question, it almost certainly had to do with the timings of the LP side. That would be my best guess as to why the cuts were made, something this writer obviously didn't even think of (perhaps he is reviewing a remastered recording on CD).

Quite a few people would also argue that one doesn't necessarily need to hear every note Paganini wrote, since he wasn't the greatest composer, but that would be a whole different debate.....clearly every note of the solo part is heard on that recording in question, in any case.

And yes, cuts are made all of the time, especially in operas and ballets, for all of the reasons I listed in my previous post and more. Opera and ballet composers in general expected their works to be cut or rearranged to suit the performers/directors. The idea of the score being sacrosanct did not even exist until the middle of the 19th century at the earliest. In the world of the symphony, really the first composer to make tons of markings in the parts was Mahler, and he was certainly the first to expect that they would all be followed very literally. In the 18th century and earlier, a very great deal was left up to the performer. To give an example from my own instrument - there are absolutely no articulation markings in the solo part of any of the Mozart horn concerti - the performer articulated the part as he saw fit, and any articulations in modern editions of them are editor's markings, not Mozart's. The performer was expected to be consistent in what they were doing, but that sort of thing was generally left up to them. Remember, in that era, the composer was pretty much always a performer writing for themselves, anyway. This is just one of many examples. There are also many other types of musical decisions that are left to the performer, for instance whether or not to repeat certain sections of music in certain musical forms, and there are raging debates on this issue among musicians to this day. That's probably a clumsy sentence, but it is a little complicated to explain. I hope this answers your question, though I realize it probably brings up several others....

Hello again Rok - yes, the principals of each section in the orchestra are the section leaders. They have the final say on how the section blends together, how it balances, how it articulates together, and the overall sound of the section, sometimes dictating what types of equipment will be used (some horn sections or trumpet sections or trombone sections will all play the exact same make and model of instrument). The rest of the section also always tunes to the principal as well. As a section horn player myself, my principal is my most immediate "boss," though this term is only used in jest. It is my job as a section player to follow the principal's lead. String principals do have more work to do - they have to do all of the bowing markings, making sure that everyone is bowing everything the same way. The concertmaster always does this first, then passes the bowings along to the other string principals, who make sure they work for them (meaning say the principal cellist might slightly change something because it doesn't work as well on cello as it does on violin, etc.), and then the librarians put them into all the other string players parts. The section leaders will sometimes make part assignments as well - for instance, say every piece on a particular concert only requires two horns, but there are say four players in the section - usually this program would be split among all four players, two of them playing some of them, two others the rest of them, and the principal would decide who played what, usually subject to music director approval, though most of them wouldn't mess around with it too much. Hope this gives you some idea....

Terrific explanations from Learsfool; thanks.

****Once he comes out of his latest 'Pouting' episode****

Rok2id, pay close attention now. I realize that understanding things that go beyond surface level are not always your forte; and, I do feel flattered that my three day absence from this thread causes you concern. But, really, was that comment necessary? I hope that you are able to see that in order to avoid (if that is what you want) the silly bickering that you often bring to the table, that it is this kind of passive aggression that puts things on the wrong track. All together now..... ha ha ha ha.

O-10, will check back with some comments re your postings.

Robsker, thanks for the heads up. Randy Sandke is a terrific traditional jazz player out of the Bix Beiderbeck tradition. I second the recommendation.

Cheers all.

Learsfool:

Excellent Posts. Very educational. After all this, I think I will play my Paganini CDs today. I only the '24 Caprices'. One CD by Fischer, and one by Midori. I appreciate the time you took to respond in such detail. I am beginning to have a much better understanding of the workings of an orchestra. I assume you realize, that you and The Frogman have the best jobs in the world.

I don't know why I was so determined to get to the bottom of the 'cuts' thingy, after all, I always get the 'highlights' versions of Operas. But I did learn something.

If you ever have the time you might go a little more in depth concerning the 'bowing' of the string parts. The Frogman mentioned this some time ago, but did not get into it. If it's somethinmg that can be explained to a non-musician.

Thanks.

Cheers