Jazz for aficionados

And BTW, that solo is a model of telling a story in a clear, logical, and concise way. Just a few bars, no excess, and gives a clear sense of direction; we KNOW he's going somewhere without knowing exactly where. It can stand on its own as a melody just as much as the melody of the song itself; and improvised on the spot. How do great jazz players do that?! That's art! And you know what? Does the great Phil Woods shun a pop tune by this young pop artist? No, the genre doesn't matter to a great musician, he recognizes a good tune with a good chord progression and is able to bring his best game even if outside his home turf. Gotta love it!

Hi Frogman - agree with you that Marsalis is more "derivative," though that is perhaps a little harsh. However, I would also say that he is one of the greatest jazz trumpeters ever. I guess this is what I meant by the Richard Strauss analogy. He ended up very conservative musically, but should this detract from his sheer ability as a composer? Should he be considered "lesser" because of this? I would say no. Same with Marsalis, for me. Just because he hasn't pushed the boundaries as much as some does not detract from his sheer ability and music making and personality and heart.

Right there with you on Stravinsky. He is in my personal top five, right along with Mozart. I had forgotten about that comment of Rok's, LOL! Stravinsky was the Picasso of music, for sure - meaning he was a musical chameleon, could do anything in any style with ridiculous ease. Those two were very close friends as well.

By the way Rok, I'm really not picking on you - I have been rightfully accused of the same sort of "attitude" on subjects I didn't know much about, so I kinda regret the attitude comment, but also kinda don't, as I see that which I complained about in myself as well. Attitude is not really the right word here anyway, I suppose, but I'm too tired to come up with a better right now. Peace.

Acman3, try this music for size, and tell me what you think; it's guaranteed to pump your woofers.


Lets walk on the wild side, and do the Bombay boogie.

[url]http://www.youtube.com/watch?v=4vE2lYOzqYE>http://www.youtube.com/watch?v=MnrH-7URvpc&list=PLB51B9F03730BB557[\url]

Lets walk on the wild side, and do the Bombay boogie.

[url]http://www.youtube.com/watch?v=4vE2lYOzqYE

Enjoy the music.

Frogman, that's been one of my favorites since it came out; the words to that song offer so much insight into living with the opposite sex, and it's so beautiful. Phil Woods sax solo is fantastic, it made that song a hit.

Enjoy the music.

Learsfool, great comments and we have no fundamental disagreement. I love the Picasso/Stravinsky comment; perfect! Don't mean to go round in circles re Wynton; no question that he is an amazing musician. I think the difference of opinion is really a question of degree and where one personally draws the line crossing over to greatness. Again, time will tell if, fifty or one hundred years from now, jazz lovers will buy his recordings alongside those of Clifford and Miles; and if jazz students will be transcribing his solos. Which brings up an aspect of all this that is related to your other great comparison; Wynton/Strauss, and why I think we are drawing that line in different places. As you know (especially being a horn player), Strauss wrote not only some amazing horn parts, but some of the most beautiful, rapturous and almost impossibly gorgeous music. If ever I have a criticism of his music (especially when playing it) is that it is almost too much beauty. This is something that is difficult to put into words and is almost like eating two portions of some incredible dessert; incredible, but after a while you just have to put the fork down. No composer was better at prolonging a harmonic resolution. Because of this my favorite Strauss tends to be the shorter operas (Salome, Elektra) and his tone poems. Still, and in spite of all that beauty much of which, as you point out, is derivative I can hear just a few bars of even unfamiliar Strauss and know that it is Strauss; either because of the shape of the melodies or (usually) those wonderful chord voicings and the sudden and unexpected dissonances. Likewise, it is easy to know, after only a few bars of a solo, when it is Miles, or Morgan, or Hubbard playing; they all had clear and unique voices stylistically. I don't hear as much of that in Wynton's playing; but truth be told he can do a lot of things as a trumpet player that none of those other "greats" can even approach. He really is amazing.