Jazz for aficionados

If I said anything to give you the identity of my "jazz friend", I would appreciate it if you just forgot it. His heirs, who I respect, might object to my revelation of the fact that he never practiced.

Maybe Frogman, or Learsfool could tell us how he selected the musicians to accompany him on what they called "pick up gigs". Although none of them were famous, they were accomplished jazz musicians. These sets were always in what I call "deep in the pocket" jazz clubs, no requests of standards, all improvisation, where the musicians had to really be down with it. "If you can't git down, don't git up".

That last note reminds me of a local jazz musician I knew. When I asked him why he wasn't famous, he explained that he preferred the life of a family man to being on the road, and then he opened a large album of photos which contained photographs of him accompanying many very famous musicians when they came to town.

The last time I saw him, he really put on a show. Since he knew all my favorite tunes, not only did he nail them, but he added his own licks which indicated, not only did he have what it took, but that he knew he had what it took.

I recall an interview of Horace Silver by a famous DJ, where Horace was telling him about problems with his bass player. "He told me that he was tired of playing that same old "beeng bong", I told him that's what makes my sound, I've got to have that "Beeng bong". he wanted to stretch out and make it known that he could play more than "beeng bong". I don't recall how Horace resolved that issue, but if you listen to the 1956 version of Senor Blues, with Hank Mobley, tenor sax; Donald byrd, trumpet; Doug Watkins, bass; Louis Hayes, drums; you'll hear how "beeng bong" blends in with the piano and makes that jam so spectacular. Maybe Horace gave him a raise, I don't know, but this is a remarkable revelation to both sides of that "beeng bong" coin.

I think that it is importantly to stay on focus in these discussions. I said nothing about "formal" training being a prerequisite for anything. To understand what "form" is in a tune, and to be able to explain the rudiments of improvisation is something that, even if one doesn't "study" it, is one thing that becomes part of any competent musician's (any genre) sphere of knowledge simply through assimilation, and what the process of (for instance) memorizing a tune demands of a musician. I think that you are mistaken about this. I have met many non-musician music "geeks" without any "formal" music education who have a very deep understanding of all this and much more. All I am saying is that it is a very worthwhile pursuit, and that (going back to the issue of the romanticizing of the process) there is no need to fear the learning; it will do nothing but heighten the enjoyment of the music.

****but I am surprised you would use that, because a lot of the Jazz that you have presented on this forum,as being your favorites, has no blues element at all****

Are you kidding me? What was the very first recording I recommended in my first post to this thread? "Blues And The Abstract Truth"; and many others have their roots in the blues. Focus, man, focus :-)

****But in the end, it is the non-musical, the non-artistic, who are the final arbitrators. They decide who is great and not so great. They decide who is saying something and who is not. Lack of knowledge of the blues notwithstanding.****

Really? Two words; well actually one word and one letter:

Kenny G

OK, that was trite; sorry. Look at it this way: if it weren't for the scene itself (the players) promoting certain players who they like to play with, and who the established cats feel will be important voices, the corporate dudes would not know who they are. Obviously, at some point the politics of it all starts to take on more and more importance, but usually by then the foundation has been laid out by the scene itself; not the other way around. With some exceptions as to merit; of course. Again, two words......

********"Are you kidding me? What was the very first recording I recommended in my first post to this thread? "Blues And The Abstract Truth"; and many others have their roots in the blues. Focus, man, focus :-)"*******

After considerable focusing, I Seem to recall certain folks talking about, and singing the prasies of the ARAB and the SPANISH and the AFRICAN influences in Jazz. Seems like I remember YOUTUBES of examples of these 'influential' folks flying back and forth. The term 'World Jazz' was used a lot.

Some how, Southwest Pakistani Folk 'Jazz,' comes to mind.

All in all, not exactly hotbeds of the blues.

Could I have imagined it all???

Cheers

The last paragraph in your post. I have no problem with it, if you mean:

The players sort themselves out, declare someone DA MAN, then the kingmakers weigh in, and select the ones that they think can make it all the way, and make money for everyone, then I agree.

BUT, if the anointed ones do not impress the public, then the process starts all over again, until they find a more acceptable candidate. Not more talented, not more respected by his peers, but more acceptable to the ignorant, fickle, know nothing, public.

So in the end it still comes down to the public. (me) Musicians / Artists HATE this. Too Bad! That's the way of the world when it comes to the Entertainment / Music business.

BTW, I am not a musician, so I find it curious that you think I would be offended by not knowing the details of music theory.

Cheers