Jazz for aficionados

I looked up Jackson and Alvin. I think you are right, not my cup of tea.

Interestly, of the reviews on Amazon, from fans of Jackson, most held back from giving his stuff unqualified endorsements. Red Flag! The snippets I heard, I didn't like.

But I am sure a lot of people think the stuff I like stinks, or worst yet, is too OLD!

Thanks for the posts.

Cheers

O-10:

I have no clue on downloads. If I like certain music, then I want the physical item that I can touch and read.

I always wondered why some out of print stuff is so much more expensive than others. I can make do with Harris without the three sounds. They weren't THAT great. But never hard on the ears.

Gene Harris is my favorite.

I have a lot of his stuff including the best of the Concord years. I do have one CD of the three sounds, but a lot more on LP.

You using the word 'Audiophile', did give me a headache. When I am in the gym on the treadmill, listening to my Sony CD walkman thru Koss'sportapro' phones, I am in audio heaven, :) and the most 'high-end' guy in the gym.

Cheers

"Desmond Blue" is one cool tune. Leo Cheers, a jazz DJ in St. Louis, used it for his theme song. When I heard it, around midnight, I knew to look forward to the best jazz on radio.

I recall seeing Dave Brubeck at a free concert he gave at "Our Lady Of The Snows shrine". It was on the most picture perfect fall day I can recall, red, green, and yellow leaves dotted the scenery, while the weather was sunny and just right for a sport coat. He came up a winding road in a limousine and he still looked good for his age.

I don't recall him saying anything as he sat down at the piano on stage. Modern dancers in colorful pastel flowing gowns began moving to the music as he played. I was spell bound and in awe of the man; especially since everybody he had played with and all of his contemporaries were dead, I don't even remember the music, but I'm certain it wasn't anything I'd heard before. While I spotted some "old boppers", many of the people there just happened to be at the shrine on that day.

In regard to your statement about the audience, this wasn't that kind of jazz, it was more "cerebral", the kind of music you contemplate as opposed to reacting to; and that's how it affected me.

http://www.youtube.com/watch?v=tBa2zKHe9Ig

Enjoy the music.

****Beware of any music with a prefix. Esp, modern, free, avant garde and contemporary, etc... Just use the prefix ' NON ', that would be more accurate. ****

I think there is more truth in that comment than many realize; or are willing to admit.

"Desmond Blue". Beautiful does not do it justice. One of my very favorite records. Interesting that this clip should follow the "Last Exit" clip. I can't think of two more different approaches to "jazz"; and, yes, I think the Last Exit performance can probably be, fairly, be called jazz by virtue of the fact that it is about 95% improvised. In answer to Rock's questions: no this music was not written down. What were they thinking about? As little as possible; that's the point, and the goal. It's visceral, high-energy, let it all hang out, however the moment moves you improvisation with the most sparse musical outline established ahead of time: short drum intro, 24 bars of "free" ensemble improvisation, followed by a series of improvised solos and more ensemble playing all in the same minor tonality with no harmonic changes. High energy, exciting (to some) and basically a jam. Music like this often walks a fine line between art and bullshit; the individual listener decides. If anyone is interested the instrument that Brotsmann plays besides tenor saxophone is the Tarogato, a Hungarian folk instrument which even though is referred to as a "tenor clarinet" in the credits is really more like a wooden soprano saxophone.

O-10's description of Desmond Blue (and his personal story) is perfect; jazz that is about contemplation instead of visceral reaction. There is an unbelievable amount of subtlety and introspection in this kind of jazz, and Desmond and Hall were two of the masters. There is constant dialogue between the players and with the orchestration. Desmond was a master of thematic development; all done in the simplest of ways. Listen to how he takes a simple melodic fragment and develops and transposes it to fit the changing harmony; all in the most logical way possible and always harkening back to the melody of the tune and using the least amount of notes possible. One particularly beautiful moment happens at 2:16. While Desmond improvises there is a simple little melodic statement by the winds in the orchestration, Desmond immediately reacts and "answers" it with a statement of his own having the same shape as that in the orchestration, and incorporates it into his improvisation in the most perfect way. This is really great stuff. Thanks for the link.