Jazz for aficionados

Today's Listen:

Cannonball Adderley  --  CANNONBALL AND THE POLL WINNERS

The poll winners were Ray Brown, Wes Montgomery and Cannonball.

This grouping came about almost by accident,  Cannonball was playing in SF at the Jazz Workshop,  Oscar Peterson, with Ray brown, was at the Black-Hawk, also in SF, and Wes was across the bay in Oakland.
All that talent by chance within a stone's throw of each other.  there was such depth in Jazz at that time.  Made the polls fun.

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

https://www.youtube.com/watch?v=JE5ozZro9Ng  

https://www.youtube.com/watch?v=C1Tg7S9T5E8

Can you imagine the poll contenders for Sax and Trumpet back in the late 50's and early 60's.

Cheers

Ahmad Jamal now makes his home in Marseille; speaking of live music, my budget will not allow me to fly to France.
(when are the French going to learn how to spell; that's pronounced "Marsay".)

Anyway, he's made a bundle off "Poinciana".



          https://www.youtube.com/watch?v=Ev-3kIXlEGA


          https://www.youtube.com/watch?v=cytUz9KkK9M

With respect, you’re twisting some of what I wrote.  First, I did not say Wynton is not significant.  He is very significant (“Fabulous legacy”).   He is insignificant as far as being part of where Jazz has been going for quite some time.  His stuff with JALC is very significant as is much of his other work.  I also did not say that new jazz is not being recorded.  I said little of it is being recorded relative to how much is going on live and certainly relative to how much was recorded in the past.  This is not news; we know this.  

The argument that there is no good new Jazz simply doesn’t hold water.  Any given listener may not like new Jazz for stylistic reasons and that is fine.  But there is plenty out there and and some of it is being recorded.  The idea that no new Jazz is happening at a very high level is simply nonsense; doesn’t mean everyone will like it.  When was the last time you wore your purple bell bottoms?  My objection to the constant pessimism is that it does the art form a disservice in more ways than are obvious.  Moreover, what is the point, on a more human level, of constantly putting down what others, who are obviously not idiots, find value in; other than to try and put oneself on some sort of pedestal?  Btw, Frank Wess and players like him don’t promote younger players like Robinson because they need opportunities to play.  They do it because they believe in their artistic vision and where they are taking the music. 

Poinciana:

A good example of the later version, with better everything, being  actually better.   I have the Pershing Disc, who doesn't, and on my copy you can the audience talking throughout,  Also, the applause was very perfunctory.   Like, oh he's finish, I guess we should applaud.

The Paris one is better, but I just wish they would stop trying to speak French.  They all do it.   It just encourages the French.

Cheers

Frogman, we have no disagreement.   And I don't dislike the people involved,  or dis their efforts.  We are discussing how Jazz has changed.  All the people are just fine.   After all, If they can play middle C, they can out play me.

And some music will prevail and continue, and it will be called Jazz.  It will gain many followers, mostly young, and it will lose many followers, mostly older.    That's life.

Cheers