Jazz for aficionados

O-10:

John Handy:

Both clips were very good. The 'If Only We Knew' was the better of the two. The rhythm section on the clip 'Love Rejoycing' was a little too monotonous for my taste.

The 'if only we knew'clip was just irresistible. I came to these with an attitude, but the second clip just over powered my preconceptions. Great buildup. You can't wait to hear what happens next.

The violin was great. Sometimes that instrument can sound out of place, here, it seemed to be the most natural thing in the world. Electric!

What kind of reedman is he?? He played with MINGUS!!
Next Question.

I only have one CD by John Handy, "Excursion In Blue". I have more on LP. I will get the 'live at monterey' if it is still available.

Thanks for sharing.

Cheers

Paul Desmond:

Got my October issue of BBC Music magazine yesterday. The Jazz 'page' has a nice review and synopsis of Paul Desmond.

Snippets include:

'Composed 'Take Five''
'epitome of cool'
'the antithesis of bebop' (I knew something was wrong with him)
'the world's slowest alto player' (he couldn't play with Tito)
'disciple of Lester Young' (from Mississippi), :) 'admired Charlie Parker'

The CD they recommend is 'Blues In Time' 2CD set. Desmond with others, no Brubeck.

Also the Christian McBridge Trio CD, 'Out Here', got 5 stars for performance and recording. Check it out.

Cheers

****I knew something was wrong with him****

You crack me up; that was very funny. I am sure you have heard the story about Desmond being asked how he got that sound and he replied that he "tried to sound like a dry martini". Gotta love it.

Re Rahsaan:

Yup, his nose; that was his "nose flute". Come to think of it, Desmond and Kirk were probably as diametrically opposed as two players of the same instrument can be. Desmond: statetly, meticulous and dignified in his approach to jazz; Rahsaan: wild, raw, umpredictable and with a touch of humor. Both great, and for that, a testament to the greatness of the art form.

Anyway, the instrument that he is playing is the "mansello" (he named it). His mansello was a modified "saxello" which was a straight alto; a rare but production horn by the Conn Co. You will notice that it sounds kinda like an alto and in the same range as the alto. Imagine taking an alto and straightening it out so it no longer has the curved bell. Rahsaan, as you obviously know he would sometimes do, modified it by attaching that extra large bell on it.

One of the things that makes his playing on that clip so remarkable is that all those rare and unusual saxophones that were manufactured in the 20's-40's were very aukward in their key mechanisms and usually terribly out of tune. Not many were manufactured so they were not perfected nor refined like modern horns. Truth is that the modern horns really helped facilitate, to a degree, the great technical playing strides made after the "swing era". The way that Rahsaan gets around on that bizarre horn, and with pretty good intonation, is simply amazing. A little bit like a sprinter winning the 100 yard dash wearing army boots.

****"tried to sound like a dry martini".*****

I had not heard that before reading the article. It was mentioned in the BBC column.

Kirk:
Roland has to be given much credit just for having the audacity to show up on stage with a horn like that.

Cheers

Today's Listen:

Egberto Gismonti -- SOL DO MEIO DIA

I played this with the intention of 'reviewing' it, but I cannot. I wouldn't know where or how to start.

This is more in the bailiwick of The O-10 and The Frogman. So feel free to weigh-in.

I did like it, in spite of myself.

Cheers