Jazz for aficionados

Great tune, Nica's Dream; aka Orpheus' W..... nah, I better not ;-). Thanks for sharing.

Came across this when listening to Nica's Dream. Check out Blue Mitchell's solo; holy cow! If you want to get geeky, check out 1:26. He plays this little motif, repeats it transposed to fit the changing harmony and then the magic happens at 1:29 with the most unexpected, strange but perfect note choice. These guys were brilliant.

http://m.youtube.com/watch?v=73pex5SGd0Y

BTW, there were no takers, but the trumpet player on the "Bebop" clip was Jon Faddis; from his tribute to Dizzy album.

Frogman, the high notes should have been a giveaway on Faddis.

The Blue Mitchell cut reminded me of this trumpet player….

http://www.youtube.com/watch?v=3rMj463qkyg

Fabulous! It really doesn't get a whole lot better than that; thanks for the clip. Phil Woods is fantastic and Tom Harrell is without a doubt one of the unsung heroes of the trumpet; a beautiful player. Checkout his flugelhorn playing sometime; he has an unusually introspective and warm sound on flugelhorn. Great clip!

Loud, fast and empty! Thrombosis alert! Always check the audience's reaction, that will tell you what's going on.

Cheers

Empty!?! Empty!?! Damn! At first I thought you were referring to the "Bebop" clip; "loud, fast and empty" was exactly my reaction. I didn't say that because... well, like my grandmother used to say.....You seemed to like the "Bebop" clip, even if it wasn't by Diz.

But, wait!, you mention the audience; so, you must be referring to either the Horace Silver "Cool Eyes" or the Phil Woods/Tom Harrell. Now I am really confused. On the Horace Silver clip the Dutch audience looks like they don't know what hit them and seem totally uninvolved; in spite of the great music. On the Phil Woods/Tom Harrell clip what I can see of the audience is mainly two gentlemen who are clearly digging the playing (big smiles of appreciation on their faces), and there is big applause and hollering after the solos. But, that tune IS faster and louder; so that must be the one you refer to.

First of all, I didn't think "loud" or "fast" was ever an automatic disqualifier. But, empty? This must be the first time that I have heard Phil Wood's or Tom Harrell's playing referred to as "empty": complete mastery of the language of bebop and its harmony, great swing (yes, fast and relentless; but, that is the point of the tune: "Tenor Of The Time") from some of the acknowledged contemporary masters of the music, especially Woods and Harrell. So, in the spirit of enlightenment and sharing can you expound on that a bit? What is it the makes it empty for you; what is lacking? Better yet, what do you hear in the "Bebop" clip that you don't hear in the "Tenor Of The Time". Perhaps the music was better than you think, and had the intended impact on you simply because a very good argument can be made for the tenor of our time being "loud, fast and empty". But, the playing? No way!