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
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