Jazz for aficionados
Eddie Harris, "A Child Is Born", this is one beautiful tune. That reverberation makes the sound come from far away, and it just knocks me out. I had "reverb" in a 66 Electra 225 that made all the music sound this way; it was like riding in a cave. http://www.youtube.com/watch?v=_N1mPWwxgRI Enjoy the music. |
Bobby Hutcherson is an artist I don't think we touched on. In regard to his recognition as a top vibraphonist, his biggest problem has been "Milt Jackson". While many others compare everyone to the "jazz giants", I listen long and deep to each individual artist's contribution to jazz. In the case of Bobby, I give you "Delilah". http://www.youtube.com/watch?v=amgLychKCMY That was most certainly a treat for my ears. Enjoy the music. |
Onhwy61 "The most beautiful yet sad and haunting jazz compositions that I have ever heard. This was written by Billy Strayhorn for Ellington's band and was his last composition. He was dying from cancer and finished it while in the hospital. Johnny Hodges is simply incredible on this." This was written by Billy Strayhorn for Ellington's band while he was dying of cancer. It's totally 100% impossible for anyone other than Johnny Hodges to embody the essence of what Billy Strayhorn has written better than, "Johnny Hodges". The way Billy Strayhorn, Duke Ellington, and Johnny Hodges went together, your statement in regard to "opinion" is almost sacrilegious. I gave you the benefit of the doubt when I stated it was possible that Getz version sounded better. Opinion means nothing in regard to this, and Ted Gioia's review was no less irreverent than your statement. Case closed. |
Consistent with the power of great music, the subject of "Blood Count" has elicited some very strong feelings. I don't think I can add anything to what I have already stated concerning my reasons for considering the original version to be the best other than to encourage all to consider that context (historical or otherwise) is very important when "judging" any art. I invite and encourage Onhwy61 to tell us why he considers Getz's version to be superior. Not to take him to task, but simply as an attempt take this discussion beyond simple statements of "I like this better", and learn what exactly he means by stating that Getz "embodies" the tune. I realize that putting feelings about a performance, and art in general, is not an easy task. But, surely, some commentary should be possible; if only something as simple as "I prefer the sound of the tenor saxophone", but hopefully something beyond that. Having said all that, and since Gioia's review was cited as support of Onhwy's particular viewpoint (or, at least, how his comment was interpreted), a couple of observations about the review: Interestingly, Gioia never says that Getz's version is superior at all. He never says anything about Getz playing it better than Hodges nor that Getz's quartet renditions are better than Ellington's. Notice that I said "his quartet's rendition's"; this goes back to my previous comments about musical context and the need to look at the entire composition/orchestration, not simply the melody. What he actually does say is "Getz owned this song". What does he mean by this? I doubt Gioia is lurking on Agon in order to tell us, but I think we have some important clues. Again, context; historical context: Strayhorn wrote it, Ellington/Hodges performed it and recorded it (once). After Strayhorn's passing (and adding poignancy to the whole matter) Ellington never played it again out of respect for Strayhorn. Many years later, Getz makes the composition a staple of his repertory and plays and records it beautifully; and, by all accounts, probably much more frequently than any other artist. THAT is what I believe Gioia meant by "Getz owned this song". Not, that he played it better than Hodges did. I believe Gioia (or any credible jazz writer) knows better than to say something like that, while fully understanding the reverence held for Ellington, Strayhorn, Hodges, and the circumstances around that composition. Speaking of reverence and the other "review" that is cited (Scott Albin). First of all, I find it conspicuous that he uses the same language that the far more credible writer (Gioia) used; that Getz "owned" the tune "FROM THAT POINT ON" (1982). I would not argue that point. However, he also said that Getz "outdid Hodges". While I definitely don't agree with that assertion, I think that he, also, misses the point about needing to consider the entire composition and not just the tune. Now, the part about reverence, and I admit that any conclusion about this is conjecture on my part, but it decreases this particular writer's credibility in my book: I find highly suspect this writer's assertion that Getz had never heard the Ellington/Hodges recording of "Blood Count" prior to recording it fifteen years after Ellington recorded it. First of all, Getz had a great fondness for Strayhorn tunes; to the extent that he recorded an entire album of the music of Strayhorn, as well as performing many of the compositions live on a regular basis. A great jazz player with a fondness for a particular composer would be familiar with just about all of that composer's work. Additionally, given the prominence of Ellington, Strayhorn, Hodges and the circumstances around the composition, the story is the kind of thing that travels like wild fire within the jazz community. It is difficult to believe that Getz had never heard it. Obviously conjecture on my part, but I think it points to the use of hyperbole by that particular writer. Not that Ohnwy61 needs anyone's opinion to support his own; he doesn't. But, personally, I would appreciate knowing why he has it. |
