A blowing session????


I’m a pretty big jazz fan.I truly enjoy Bop and jazz from this era. Question, and perhaps this is not truly accurate/appropriate, is ----how much of this stuff is simply a ’blowin’ session from the artists who are playing the brass instruments, particularly the sax??

IOW, if you have heard one great blowing session, maybe you have heard them all?

 

Listening to ’Trane, Miles, Parlan, Vick,et al, what are your thoughts?

128x128daveyf

@daveyf

IOW, if you have heard one great blowing session, maybe you have heard them all?

Sure, I guess, if you’re not much of a fan of the genre.

It’s not as though we can easily place all Jazz recordings into one of two categories.

There are plenty of albums that feature strong original compositions by leaders but also include a simpler bluesy/funky vehicle for improvising/"blowing". Many Blue Notes come to mind!

One could also argue that there are "blowing sessions" that are equal to some well rehearsed recording dates. Both the quality of the material and its execution/interpretation are important. Great players can take a simple progression and "off the cuff" make it transcendent. Middling players can rehearse more complex compositions and be less compelling. 

Let’s not oversimplify.

 

 

daveyf

 

Bop, Hard Bop and Modal Jazz will give the listener many blowing sessions. Freddie Hubbard, Coltrane and Miles are tops in my book. Check out Clifford Brown, Dexter Gordon and Houston Person as well. These discs are going to sound very sweet with your DV-60 player.

 

Happy Listening!

daveyf

2nd Note;

More modern Jazzmen like the Marsalis family, Joshua Redman and Nicholas Payton carry the torch.

 

Happy Listening!

daveyf

 

3rd Note;

Art Pepper and Chet Baker. After you have had time to delve and explore my suggestions, I will propose the Avant Garde session of Players.

 

Happy Listening!

@jafant Thanks for the suggestions. I have just about every OG Blue Note produced. So, i am familiar with these folks works.

My OP was wondering more along the lines if the particular genre at the time...mostly Bop, was pretty much a ’blowing session’ for a lot of these musicians. Which would lead me to my next question, perhaps this is why Miles Davis ’progressed’ into the discovery ( if you can call it that?) of fusion. Maybe ( and I don’t know this as a fact) he felt that these ’blowing sessions’ were somewhat limited in their scope and wanted to move the genre of jazz forward. This would be my guess, maybe someone knows more definitively about this theory??