Jazz for aficionados

I do mind and I will try once again to explain why. First, the thread is intended to be about music and I think that this is why most visit and participate. Politics and social consciousness topics sometimes relate to the subject of music and I think it is usually fairly obvious when it makes sense and is appropriate to delve into those areas as they relate to the subject of music. The problem is that not everyone shares the same political point of view and these topics can be very provocative since they sometimes touch upon issues that are very personal. It is highly unlikely that these complicated topics can be discussed in a productive and meaningful way on a forum such as this and that the limitations of a forum like this and limitations of our own writing skills can do justice to these important and complicated topics. So, it becomes little more than an exercise in self-indulgence, assumptions, and proclamations or insinuations about the moral superiority or higher level of compassion of one individual over another; as if it were possible, given how little we really know about each other, to make truly meaningful comments. The irony for me personally is that to not be able to recognize the futility of all this points to an absence of depth of thought on the very topics on which anyone of us may be trying to claim the higher ground. The end result of all this is, as I have pointed out before, that there probably has not been a single instance when going down that road has not resulted in arguing, contentiousness and deleted posts. Personally, I wold much rather spend my energy discussing the music.

The question is moot, therefore the answer is moot as well; however, moving right along, here is a little "Roots Reggae" for Rok;



            https://www.youtube.com/watch?v=7Znh0OM9jiA



            https://www.youtube.com/watch?v=EzS-Jis7kfA

FWIW - I mind too.
I don’t inflct my neo nazi (just kidding) political views on anyone else. Prefer not to be subjected to their views whatever side of the aisle they are from. Only 2nd generation born in the USA. Poor Italian immigrants for whom the country has been a real blessing; our family has prospered here. Don’t see things quite the same as some with longer family residency and special insider knowledge. Come here to share enjoyment of and learn about a certain kind of music, not for aggravation. (Here endeth the lesson.)

pryso, re your game. Cover of another tune from KOB. As in your G Russell clip (which I really like; very funky) in which the horn section plays Miles’ solo from the original “So What”, on this one each of the solos on the original “Freddie Freeloader” are scatted by a different singer. Bill Evans’ solo by Bobby McFerrin, Miles/Al Jarreau, Trane/Jon Hendricks and Cannonball/George Benson:

https://m.youtube.com/watch?v=blOHUcM

The original:

https://m.youtube.com/watch?v=RPfFhfSuUZ4

Another cover that I like. Manhattan Transfer’s cover of the classic and Coleman Hawkins’ milestone (pun intended) recording of “Body And Soul”:

https://m.youtube.com/watch?v=Ofbnfmlhw4o

The original:

https://m.youtube.com/watch?v=zUFg6HvljDE

nsp, thanks for your comments re Thompson/Hawkins. I chose “Body And Soul” in part as part of my response to those comments. First, I think we should consider which Coleman Hawkins we are talking about. Like most great players his style (and Thompson’s) evolved quite a bit over the years. His solo on “Body And Soul” is considered a classic and a very important solo because it points to the move in the evolution of jazz toward bebop and away from swing which is where Hawkins’ style was rooted. His handling of the fairly complex harmonic changes of that tune was revolutionary at the time. That solo was recorded in 1939 and his career had started in the early 20’s. He was firmly rooted in the swing tradition. While much has been made of his stylistic move toward bebop after losing popularity due to his dated style (swing), to my ears he never became a great bebopper and always retained the sound and rhythmic feel of the swing players. Lucky Thompson was a younger player who came up during the era that bebop was already firmly grounded as a popular style. Your point is well taken in that Thompson never really followed the Charlie Parker bebop mold and instead developed a modern style that was his own. Whenever I hear Hawkins (even his later stuff when he recorded with known beboppers) I always hear a player rooted in the swing style; whereas, when I hear Thompson I hear a player rooted in a more modern era eventhough there are fewer obvious “bebopisms” in his playing. I think Thompson was one of the most underappreciated players in jazz. You are correct in your comment about how Trane did more to popularize the soprano. That is kind of my point about Thompson not being appreciated enough.

To me Lucky sounds much more modern than Hawk:

https://m.youtube.com/watch?v=kTMmWaZf2Sc

https://m.youtube.com/watch?v=LORFZYMD6r8

Alex, I removed my own post as I decided it did not belong in this Jazz forum. I can go on hundreds of sites if I want to argue about politics. Seems people are more interested in arguing about symptoms instead of the causes. 

I come here to get away from that mess. Life is full of drama without creating more. I may run for President on that position, but I have made some mistakes and therefore I am not eligible. :)

An earlier soprano.

https://www.youtube.com/watch?v=t7MT3OvivVM