Jazz for aficionados

Learsfool:

Wow!! You are in a tough arena!! You answered the question I asked and all the ones that arose from that answer. very thorough! left me question-less!

I suspected it was as you said. A person has to be really dedicated and be able to earn a living until, say, the guy on third trumpet keels over.

Comparing it to acting is very accurate. Thanks for your time and sharing your expertise with us all.

Can't wait to read how one becomes a conductor. I will find it facinating that one system could accomodate such a wide variety of personalities. With folks like Bernstein and Karajan on the loose, How did a guy like Bohm get a job. :)

Thanks again

Cheers

Rok, now that we got our Gurus back, all is right in "Jazz Aficionado Land".

Frogman, When I bought "Mingus Ah Um" in 59, I was the only person I knew with an album by Mingus, and I simply bought the LP because I liked the cover. Once my group heard it, they were hooked on Mingus.

Even noise was music to Mingus; tugboat horns on the river, bird calls, and all sorts of other sounds. "A Modern Jazz Symposium of Music and Poetry" is an album that reminded my mother of me, "Why don't yall just let me be cool"! Here's the Wiki low down on the album.

http://en.wikipedia.org/wiki/A_Modern_Jazz_Symposium_of_Music_and_Poetry

Here's "New York Sketchbook" from that album.

https://www.youtube.com/watch?v=nZTR60YlDtg&feature=c4-overview&list=UUERycULxw1_NJ4ux2nh-qgQ

Enjoy the music.

I was walking past the "Pershing Lounge" in Chicago, when I saw a bunch of people gawking at a car parked out front. Although it was an automobile we hadn't seen before, they were gawking because it was Dinah Washington's car, she was performing at the Pershing; this was in the summer of 56, and the Continental Mark II was so new, no one had seen one in the flesh. While I never saw Dinah Washington in the flesh, I still remember her car.

http://en.wikipedia.org/wiki/Continental_Mark_II

I'm treasuring that memory, as I listen to Dinah; she could sing it all, and do it like no one else. While most of the other Diva's are best known for: gospel, pop, blues, or jazz; Dinah could do it all.

"What a Difference a Day Makes", was her pop contribution.

https://www.youtube.com/watch?v=RhaBIlWPxfo

Her voice had a quality of deep longing, "Saudade" is the word in Portuguese. It has no direct translation in English, but suggests a deep melancholic longing for an absent something, or someone that one loves. It also carries the repressed knowledge that the object of longing will never return.

While no matter what genre your preference is, you'll probably find something you like by Dinah; my favorite is "Invitation".


https://www.youtube.com/watch?v=iyp1yvSBq5I

Picture this, you're at a bar you come to and listen to music to unwind. About four stools down there is an intriguing lady that attracts your attention. In order to be unobtrusive, you look in the mirror behind the bar at her reflection, and your eyes meet; that's when you smile. This intriguing lady finds you equally so .....

"Stardust", is one of the most popular songs I can think of, but when Dinah sings the song, it takes on a new persona; here's "Stardust" by Dinah. What are you're favorite tunes by Dinah Washington?

https://www.youtube.com/watch?v=sopS-c1ca4E

Enjoy the music.

*****Here's "New York Sketchbook" from that album.*****

I like it. Sounded like NY to me. Which is amazing, considering I've never been there, save JFK. Maybe the Gershwin effect, An American in NY? :) But once you know it's by Mingus, you know there is something there, and the playing will always be of the highest order. All the listener has to do is pay attention.

I don't have that Album or that tune. I thought I had EVERYTHING by Mingus.

Cheers

HI Rok - as far as conductors go, the first thing to be understood is that this works quite differently nowadays than it did in the past. In the late 19th through say the middle of the 20th century, there were many little orchestras and opera houses all throughout Europe, especially in Italy (opera) and Germany (both). There were many places that conductors could go and sort of apprentice with someone, and learn on the job. This is how all of those famous conductors learned their trade. The last few decades, they just haven't had the opportunities to get that sort of training, with very rare exceptions. Every big orchestra does have an assistant conductor, but they rarely get to actually do much, mostly just kiddie shows. If they are lucky, the music director will work with them quite a bit, and be a good teacher.

They do go to music school, just like instrumentalists, but even there, they rarely get to step in front of the orchestra and actually conduct live musicians. So unlike instrumentalists, they rarely get to actually practice what they do. All they can do is study (often at the keyboard), learn scores, practice beat patterns, etc. Then when they get thrown to the wolves in the real world, they also have to deal with fund raising, etc., things they are not really taught in school. It is no wonder, given all this, that there are not many very good ones. It is a very strange set of skills required, almost none of which are easily taught.

And frankly, it is almost always a drag for the professional orchestra when a young conductor gets on the podium. All of us have much more experience with whatever piece is being played than the conductor does. So not only do they rarely get opportunities, when they do, the attitude of the group is not very good, normally, unless it is an unusually talented individual who is actually pretty good. It is usually very intimidating for them, and most don't handle that well, since they are of course supposed to be the leader.

A very interesting book to read is Norman Lebrecht's The Maestro Myth, by the way. Some very good bios in there of some of the really famous conductors through the years, too.