Thanks for the words of support, Learsfool and Chazro. One of the more interesting aspects of being a music lover is that, ironically, since music touches the most personal parts of our beings, it also tends to make some very resistant to new ideas and viewpoints; even when those ideas are clearly rooted in fact. IOW, "How dare anyone question that which I love so much; how can they possibly not see (hear) what I see?" Even the players themselves fall victim to this. Some prominent jazz players during the swing era thought that the birth of bebop would be the end of jazz. And Coltrane? Well, how many players first felt about his style is well documented.
I think the biggest challenge for a lot of the members of this forum is to not let their own personal music favorites take on undue importance in the scheme of the vast general scope of the art. We all have our favorites and may not be interested in being open to other musical viewpoints, wether they be by way of a different playing style or difficult compositions; as short sighted as that may be, it's ok. But, when one starts to make proclamations about this or that being fact, or that this or that style or performer is "the best", one should be able to back it up with a clear and factual argument and analysis, IMO. Art is human expression, and humans will always find a way to express the current human condition through art. To figure out for ourselves wether we are reacting to what the art is saying vs. wether we think it is good art or not is the biggest challenge; and the one with the biggest reward if we can arrive at an honest conclusion.
Anyway, returning to the regular programming:
If there ever was a cult figure in the world of jazz tenor players it was Tina Brooks. Not too many listeners have even heard of him, and to think that only one of his five Blue Note recordings was released during his lifetime is unbelievable. Just as an aside: it is a common and natural dynamic among musicians (in any genre, not just jazz) that when they show up to a gig they "size each other up" by how they warm-up. Some players take out their horn (or whatever) and start playing a million notes; everything but the kitchen sink. Other players will take the horn out, play a couple of notes and that's it; no big fanfare nor need to impress. Experienced players know that it is oftentimes the "quiet types" that will play the best; when it's time to get serious, what they do is just right. Tina Brooks strikes me as one of those players: not a particularly beautiful or well developed tone, some pitch issues here and there; but, in the context of the music he is playing everything is just right. This recording is highly recommended.
http://m.youtube.com/watch?v=Dtx8rsp44tc
About time some big band favorites get mentioned. Thad Jones/Mel Lewis big band live at the Vanguard. Talk about swinging. The band during this time included, among others, Joe Farrell, Eddie Daniels, and the great Pepper Adams.
http://m.youtube.com/watch?v=an6_DJRy-Ts
I think the biggest challenge for a lot of the members of this forum is to not let their own personal music favorites take on undue importance in the scheme of the vast general scope of the art. We all have our favorites and may not be interested in being open to other musical viewpoints, wether they be by way of a different playing style or difficult compositions; as short sighted as that may be, it's ok. But, when one starts to make proclamations about this or that being fact, or that this or that style or performer is "the best", one should be able to back it up with a clear and factual argument and analysis, IMO. Art is human expression, and humans will always find a way to express the current human condition through art. To figure out for ourselves wether we are reacting to what the art is saying vs. wether we think it is good art or not is the biggest challenge; and the one with the biggest reward if we can arrive at an honest conclusion.
Anyway, returning to the regular programming:
If there ever was a cult figure in the world of jazz tenor players it was Tina Brooks. Not too many listeners have even heard of him, and to think that only one of his five Blue Note recordings was released during his lifetime is unbelievable. Just as an aside: it is a common and natural dynamic among musicians (in any genre, not just jazz) that when they show up to a gig they "size each other up" by how they warm-up. Some players take out their horn (or whatever) and start playing a million notes; everything but the kitchen sink. Other players will take the horn out, play a couple of notes and that's it; no big fanfare nor need to impress. Experienced players know that it is oftentimes the "quiet types" that will play the best; when it's time to get serious, what they do is just right. Tina Brooks strikes me as one of those players: not a particularly beautiful or well developed tone, some pitch issues here and there; but, in the context of the music he is playing everything is just right. This recording is highly recommended.
http://m.youtube.com/watch?v=Dtx8rsp44tc
About time some big band favorites get mentioned. Thad Jones/Mel Lewis big band live at the Vanguard. Talk about swinging. The band during this time included, among others, Joe Farrell, Eddie Daniels, and the great Pepper Adams.
http://m.youtube.com/watch?v=an6_DJRy-Ts