Jazz for aficionados

Today's Playlist:

Jon Hendricks -- Freddie Freeloader
Jon Hendricks -- Boppin' at the Blue Note
In a sense, these two CDs are TEST discs. You can use them to test if you like Jazz or not. Don't like these, then you don't like Jazz. Could save you a lot of time and money.

Nothing to figure out. Just sit back and enjoy! STARDUST and FAS' lIVIN' BLUES are standouts. I like the Boppin' slighly better than the FREELOADER. With lines like 'take it easy greasy, you got a long way to slide' what's not to like!! Al Grey on board! Too many others to list.

Duke Ellington -- Black, Brown and Beige
With Mahalia Jackson. One the Duke's masterpieces. Jackson sings of course. You may have heard, she could sing.

Les McCann & Eddie Harris -- Swiss Movement
One of the all time great Jazz records. I went thru two LPs, and now have two CDs. 'Compared to what', gets all the hype, but I am partial to 'You Got It In Your Soulness'. I remember where I was the first time I heard the LP. Ain't got it? Git it!

Jackie McLean -- Bluesnik
with Freddie Hubbard-trumpet, Kenny Drew-piano, Doug Watkins-bass, Pete La Roca-drums.
I never knew Jackie was this accessible. But I guess the blues is for everyone! Every tune a blues number.
The liner notes writer, Ira Giter, said Jazz without the Blues is like a body minus it's spine. I would go further and say, Jazz without the Blues is like a body without a Skeleton! Just a shapless blob.

Wynton Marsalis & Eric Clapton -- Play The Blues
A wonderful CD. I don't listen as much as I marvel at the playing. This is how ARRANGING for Jazz band is done!! Some folks like to dis Wynton, but this guy knows his business. Professionals at work! Ain't got it? Git it!

Cheers

****This guy was in all types of music. From Classical Orchestras, to the Cuban Army Band. I am sure this background influenced his approach to Jazz. **** - Rok2id re PDR

Bingo!

Paquito's first and most important influence was the music of his native Cuba; not to mention the influence of the culture of that country in general. He came to jazz from that direction, as opposed to the many players who were jazz players first, and later discovered Latin music and incorporated it into their repertoires. There will be a clearly identifiable flavor in the playing of musicians depending on what their primary influence was. It is a little like the accents of the spoken word of people of various nationalities; a person for whom Spanish was their first language will, more than likely, speak English (even if perfect English) with a Spanish accent.

Not only do I agree with Chazro about Paquito being a great player, but I would also point out that he is a very accomplished composer in various genres including chamber music. I bring up the above in order to possibly explain why he is not generally considered one of the greatest; not as a criticism. While I agree about the exuberance that Paquito demonstrates on his first records, this exuberance is more than anything, a reflection of simply who he is; he is a very exuberant individual in general. This exuberance, and the influence of his Latin music background in general are things that are often pointed out by die-hard jazz players as qualities that are questionable. IN GENERAL, Latin players play jazz with a unique, and readily identifiable, swing feel. There is a bit of a "ball rolling down the stairs" feel; they play much more on the front side of the beat than American jazz players who generally play with a more laid back (back of the beat). Please remember that these are generalities and certainly don't apply to all players and all circumstances. Conversely, jazz players generally bring their own unique approach to Latin music; I have been in playing situations where great jazz players had trouble sounding convincing with the unique syncopations of Latin music.

When we talk about who "the best" are, we are setting an extremely high bar. Players like Paquito, Wynton, Eddie Daniels, and others who are extremely competent in a variety of styles and genres deserve their well-earned respect, but it takes something really special to be in "the best" category; IMO.

With a combination like Jon Hendricks, Al Jarreau, George Benson, and Bobby McFerrin doing Miles Davis's music, what's there not to like. It's on order.

Less McCann "Swiss movement" is also on order.

As you know by now, I'm not a "traditionalist", consequently I can live without Wynton; but that's just me.

Chazro, I enjoyed your write up, but the music didn't grab me; and I had to stop and ask "Why not"? Paquito didn't grab for the same reason Wynton doesn't grab me; both are too "stereotypical". I've listened to jazz all of my life, and as soon as someone plays the same phrases I've heard so many times before, I'm gone. Miles realized that a long time ago, which is why he kept re-inventing himself.

Enjoy the music.

I truly appreciate the thoughtful responses about PDR as they've honestly provided food for thought. I've never thought about the comparison between PDR and Wynton Marsalis. While I understand the basis of the comparison, I'd say that a primary difference between the 2 is PDR plays with passion and fire, words I've never heard associated with Marsalis. I'd add that while there are those that feel WM's style to be a little too cool for school (at the Jazzsites I visit just the mention of WM brings out some fierce haters!). I've never subscribed to that train of thought, while not being a big fan of his work, I do own a few of his records. Like I said, after giving it some thought, I'd have to agree the comparison is valid EXCEPT for for those 2 little words; passion & fire. I'm off to my Latin Jazz chatroom with a new subject line comparing PDR with WM, thx for input!

Frogman:

I have a question. I don't know if it's legit, or just my imagination. But if I hear a trumpet playing Mexican Music, just a note or two, I can tell immediately that's it's Mexican music. Not because I recognize the music, but just by the sound / tone of the trumpet. I think this might be true of some other genres as well.

Does this make any sense? If it does, what is the musical explanation for this. Talk about it.

Thanks
Cheers