Jazz for aficionados
Milton Banana Trio - Milton Banana Trio (1969, Album) ’Album from the Odeon phase of the Milton Banana Trio. Excellent work by one of the best samba jazz groups in Brazil.’ Translated from Portuguese. Yep, even with the rough scratching sound of the stylus on the album... |
Amazonas (Keep Talking) · Som Três Som Três Show ℗ 1968 EMI Records Brasil Ltda Released on: 1968-01-05 Producer: Milton Miranda Associated Performer, Piano: Cesar Camargo Mariano Associated Performer, Bass: Saba Associated Performer, Drums: Toninho Pinheiro Composer Lyricist: João Donato Composer Lyricist: Lysias Ênio |
WEATHER REPORT LIVE 1972 - Zawinul Shorter Vitous Gravatt Romao Joe Zawinul fender rhodes, piano & effects Wayne Shorter tenor & soprano sax Miroslav Vitous double bass & fender electric bass Eric Gravatt drums Dom Um Romao percussions & berimbau Live concert at Molde Jazz Festival, august 1972 venue Molde Kino, Norway
And for years, I thought Dom Um Romao was from either north or south India! Imagine my surprise when I found out he was from Brazil! |
Thanks for sharing. I understand what you mean for sure. Your last sentence is spot on no doubt. Booker wrote about this subject. You may find some of it here in his quotes that sort of approach the subject gently. https://jazzprofiles.blogspot.com/2013/09/booker-little-1938-1961.html#:~:text=“I%20can't%20think%20in,must%2C%20how%20to%20resolve%20them. This is such a rich topic to explore overall., I wish we could sit down and have strong coffee and rap. I love it. To kick off (and of course this is obvious) ... Louis Armstrong Hot Fives and Sevens - one of, if not the first time, true improvisation was documented and extended in that limited time of a jazz 78. He went off, and thus, his legendary bandmates were encouraged to do the same. Bewildering and revelatory (even if Jellyroll Morton was doing the same.) The days of King Oliver's strict arrangements and tyrannical control over his bands was over. It was the King or the highway (as Louis found out for himself!) Personally, I believe this manifested itself later in Lester Young's solos on the Kansas City Seven sides, where he would lay down lines that were basically all improvised within the melody. Hypnotizing. Of course that leads to Bird's Dial sides to Monk's early BN's, and on. Sorry for stating the obvious here. In the end you are totally correct. It is generational when the "new thing" appears. Where shall we have coffee :)
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@msbel , interesting comments. Not sure I understand your disagreement with “……some feel contributed to heralding in the early "new thing" among other musician extending at the time”. I’m not familiar with what Booker had to say about this notion. What was the disagreement or objection to others feeling that his music was, in fact, heralding in a new thing? Intended or not, in many ways that was precisely what his recordings from that period were doing. |
Thanks for those further Booker L. recommendations. I'll have to check them out. Really know nothing of his discography (other than, now, this Out Front). Other work with Eric Dolphy definitely intrigues me. I admire ED greatly though I struggle with his well known "solo" albums. Enjoy him most as side man. I'll see what the ED albums w/BL hold. Re DAC/Streamers...a service like Tidal is a great way to find and sample new music. But if the recording is a keeper, then I'll buy the physical medium...mainly CDs these days but some vinyl too. If the 'net goes down, I won't be stranded. |
Hi - nice to hear you are getting into Booker Little. Booker and Eric Dolphy recorded a lot together. The most known are probably the 5 Spot sessions in 1961, which some feel contributed to heralding in the early "new thing" among other musician extending at the time. However I strongly disagree. That was not their intent. Booker spoke extensively about this, as did Dolphy. They do stretch. Booker is a central part of Dolphy's "Far Cry" session as well. Another earlier Booker Little session I love is self titled on the Time label. Super melodic focusing on his tone within a more structured ensemble. Also, Craft also just reissued "Booker Little 4 and Max Roach". He was also on many of the early Max Roach + 4 sessions, as well as Africa Brass with Coltrane, Anyway, I gush. Thanks for the tip on Tidal. Have not really stretched out to the streamer/DAC arena, Love to though (I think :) That's for another thread eh?
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I discovered Byrd Tallis and Purcell when i was 20... Engraved in my soul as hot iron which never cooled since ... Stile Antico as few others groups are like bread and wine ...
When i listen jazz very often for sure i felt great pleasure and surprize...It make me feel more dynamical... The sound texture is enebriating... But choral music convey pure love and goes way deeper in the soul till we reach sometimes pure contemplative spirit as a boat on a calm sea lulled by voices from everywhere and nowwhere in a space with no dimensions but only meanings. |
No apologies needed... It's this kind of cross pollination that leads to new types of music and enjoyment. FWIW, in March I'm going to see/listen to Stile Antico. |
My deepest respect and dont hesitate to communicate to us if you discover a choral music album that please you a lot... I apologize to speak of choral music on a jazz thread ...
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Bought it. Gosh, what tone (those sustained notes in the opening phrases of Man of Words). I was pleased to find Eric Dolphy in the quintet. I wonder how much he influenced the melodic but slightly dissonant themes in various of the compositions. Some odd-ball chords for sure ;-). Really enjoying the drumming (and I have a soft spot for trombone).
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Thanks for the Booker Little recommendation. New to me but then so is most everything in this genre. FWIW - the Out Front recording is on Tidal. It's remastered and sound quality is excellent. Listening now. Enjoying his compositions and playing of the quintet. Did jump ahead to "Man of Words". That one carries a load of emotion. Thanks again. |
Or maybe something lighter on touch but not musicality. https://www.youtube.com/watch?v=zelyz_5b19g |
I would see these guys at Mcdonalds https://www.youtube.com/watch?v=CfE5wDUKWhc |
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Jazz is no more just American. It is a world wide phenomenon. It does not disapeared , it metamorphosed itself because it is a deep language able to be spoken on many levels.. Jazz was a caterpillar in the beginning so beautiful it was. it became a butterfly... Now no musicians on earth can ignore jazz...None... The fact that consumers dont buy jazz a lot is like lamenting that most readers dont read Dante or Rabelais or Dostoievsky... They need an education... Who buy choral works from the Franco Flemish school ? It is so deeply genius words fail... But without education no one will discover it...
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Not a chance. If, by “resurgence” you mean the level of popularity that Jazz was enjoying when that pic was taken. Jazz had already started to wane in popularity by then. During the decades preceding the date of that pic, Jazz was THE Pop music of the time. R&R and related Pop genres changed everything. The culture changed, the music changed. Having said all that, the “demise” of Jazz has been exaggerated in more recent times. Jazz has been alive and well, but as a (much?) smaller percentage of the total music consumption by the general public and certainly different in many cases. |
Tamba Trio - Tempo - 1964 - Full Album On the Tamba Trio - Tempo 1964 - Full Album I could not find separate songs of this particular album on YouTube, only a full rip, so anyway, please enjoy!
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Wow -- lucky you! I grew up in the lower Hudson Valley (Middletown) but was too young to drive at that point.
I don’t think this comes easily for anyone.
I’d suggest this requirement is not limited to Jazz.
I heartily concur.
I don’t view a tendency to reserve one’s deepest admiration for the class of artists you describe as purely an expression of romanticism, but it’s possible I’m a romantic, too, and as such simply don’t recognize the associated bias in my own perceptions. There have been, of course, many excellent artists in all genres who’ve hewed to tradition -- both in terms of aesthetics, conception and ways of working. Who’s to say that "renegades" are objectively superior to "academic" artists? Well, I do. . . so it would seem we’re in the same camp! ;o)
@ezywind
Fair enough. I’m not a deadhead and don’t pretend to understand that world or the "ragged but right" aesthetic/ethos. I value more mainstream conceptions of musicianship -- playing in time, in tune, etc. More to the point, you’d be mistaken if you’re assuming I’m not aware that audiences can and do significantly contribute to such "elevated" interludes during live musical performances! |
"The Grateful Dead coined the phrase "the music plays the band" to refer to this phenomena and it seems as good as any. Once experienced, it’s unmistakable and when musicians access this state, there’s no way the audience won’t be swept along." As a veteran of nearly 100 Dead shows, I can attest that it was more than just the audience being "swept along." Members of the Dead have acknowledged many times that it was a two way street and that they fed off the energy of the audience, without which the music would not have been the same. Of course, the Dead may have been somewhat unique in that regard. I've attended countless shows by other bands and performers from various genres, and similar experiences have been rare, at least from my perspective as an audience member. The Allman Brothers had something like that going on with their audiences, but I can't think of any others. |
Im thinking my days of buying of physical media might be over. I only bought one CD this year and only listened to it maybe twice. I have close to two thousand CD’s and about triple that ripped on a NAS. We have Qobuz and Amazon HD, so I can listen to most anything I want and if the album isn’t on either service, then I’ll buy a copy. And Happy Happy-Merry Merry to you and yours. |
Chet Baker's album, Chet, was recommended to me as truly stunning by a few members of this forum, and I wholeheartedly agree. I don't have anything close to the depth of jazz knowledge that many of you have, but I love this album and it's now part of my regular rotation. Thanks for all the new recommendations! |
619 pages of aficionados’ jazz about jazz recordings with a pleasant overlap with psychological and physical links that exhibit between performers and their audience....👍 Please, carry on....I just fell in the door, and it’s easy to continue to call it a day.... Or night....*L* Or just over ’n out.... ) ( No, I haven't read it all....) |
Great post! i concur with your analysis according to Buber... Between musicians and the public there is a mystery space, where the musicians do not enter nor the public but the 2 are transformed by the felt space of meaning, spontaneously created, by those playing and by those listening, a space from which their consciousness is excluded .
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@stuartk If we consider an art as a form of expression (that later becomes 'validated' as such thru different reasons, standards, morals and time) and by looking in many forms of it, it seems to me that there many possible conclusions, as well as there are many different men, (artists) why and how people choose to express themself .(thru some art form). Every art form at some point in time was considered as a 'modern' art and not necessarily excepted, neither by public or by critics, so I think that it would be interesting to know what inner forces exactly drove some of the great artist that made them endure in their work despite all odds. As we all know, there are many of them who failed to gain any recognition during their life and still they did not change the way they create. Of course, there are many others who are or were the opposite example. I admit, I am always more intrigued by the ones who lived and created things following their own rules or mindset, but thats probably because of my romanticism. Blame it on my youth. |
@mahgister. Your comment that between musician and audience is very often not related I suppose could apply to any creative work! And I would agree. The in between time-space that Martin Buber speaks to in “I Thou” and his I It I think convincingly expresses that mysterious experience where both participants are changed as a result, but not in any preconceived way. Being unrelated is in my opinion not only true oftentimes but also irrelevant. |
@stuartk Thanks again for your insights from a musician’s perspective! BTW I was at the live Allman Brothers Fillmore East concert and from my memory it was like walking into an alternate reality that I didn’t want to end and which is a great example of what I was trying to communicate in my rather awkward choice of words. At least for me trying to put words to non-verbal experiences is challenging and in my comments it was hurriedly written. So thank you very much again for taking your time to respond. |
Hmm. . . I’m not so sure, now that I’ve had more time to reflect. I found performing equally rewarding and frustrating and for me, that phase was short-lived. However, I’ve known guys who would most likely not play at all were they not able to gig! Performing is where most of the enjoyment lies, for them. On the other hand, one must garner sufficient enjoyment from playing alone in order to accrue the skills necessary to play out and not be laughed off the stage. So this brings us back around to pleasing one’s self. |
Any artist listen to his inspiration and is moved or motivated sometimes by other artists but not the public. Save small artist in need of recognition. But when he create any artist must be oblivious of anything else, even of fellow artist work. But improvising jazz with fellow musician is a collective work. The musician must listen the other one or the result will be unbalanced.
Thanks for the Blake anecdote by Huxley... I admire Blake beyond almost anyone... I think he was a prophetizing archangel raging to walk without wings.
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There is a story, I believe written by A.Huxley, where he writes that at one point in time W.Blake met young Constable who was just finishing one of his paintings. Blake, very impressed seeing it, said that painting is a pure inspiration, on which Constable replied that he ment it to be a landscape. I would dare to say that relation between artist, or his work and audience is often not related |
