Jazz for aficionados

pjw, I thought it showed you think about the most important things and I was impressed.
They were scientists in uniform . Like all Imperial countries the USA had their eyes on them for a long time and we planned to bring them to USA
ASAP after the war . Imperial country is not an insult per se , it means a nation
that controls important decisions of other nations .Brits being #1 at that .USA had considerable experience at that as well , after the Spanish American war we controlled the Philippines , Puerto Rico and Cuba .As well as Hawaii and Guam.There ourselves not with puppets , our usual MO .

As well, in various ways, every country in South and Central America save Brazil .All the Imperial Countries have Staff Plans for at least 50 years out as to how who should control others . They worked in the White House and Pentagon, just on that,
all during WW II . USA and UK never saw Germany as the main enemy ,
our ally Russia was that .

Again this is not unique to USA nor is it something new . Columbus sailed
because of one .

It took me a long time to “get” Sam Rivers. Tenor player who was prominent in the “avant garde” or “free” Jazz scene. However, he was one of the few who could also play credibly in a more structured setting. Many free players violate one of Jazz players’ most important “rules”: You can’t play “outside” the harmony until you know how to play “inside” it. Many “free” players simply don’t have the command of harmony to sound convincing in a more traditional setting. Sam Rivers could do it....in his own unique way.

In 1964 George Coleman left Miles’ band and Sam Rivers would fill the teno slor for just a few months since Rivers turned out to be a little too “out” even for Miles. Wayne Shorter would then come in to round out what would be my favorite Jazz quintet of all time.

This recording of a concert in Tokyo that Rivers played with Miles is one of my favorite Miles records and one that seems to stay under the radar. Miles sounds wonderful and the rhythm section shows why it is my favorite rhythm section of all time. Tony Williams sounds incredible with that light touch and amazing ability to propel the music forward. To my ears there has never been a rhythm section who was as responsive and interactive with what the soloist is doing as this one; and did it as a unit. The tempo changes and decreases/increases in energy that compliment the shape of the solos is fantastic. He was no Wayne Shorter, but I find Rivers’ playing interesting on this recording. Takes it out harmonically often, but doesn’t stray to far. Unusual tone. I used to think it was ugly, but has grown on me. Great record with lots of surprises including an unusually fast take of “So What”.

https://youtu.be/ogOBeYvdC2U

https://youtu.be/-xkiPPSVRvE

https://youtu.be/4YzC76cwJwM

https://youtu.be/NFQVXp5dFdg

https://youtu.be/FOydWldAyvc

Notice the very appreciative Japanese audience.

There's always a "showman ship" stereotypical jazz quality to the music when the artist is in Japan; it's not about the music, but pleasing the Japanese audience; "So What" played too fast ain't cool.

Japanese think in "group" not "me" in almost everything they do .
Like a good Japanese audience, in the intro they clapped a bit more for the
’little guys" ’than the world known icons . And exploded for the group which is always the most important thing, to include the music itself .


For the money you can make in Japan who wouldn’t want to please the audience ?And Sony no baloney .