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Discussion in 'Miscellaneous [BG]' started by twinjet, Feb 11, 2018.
OK...you sold me.
$2.81 at Amazon for the Disc & the Auto-Rip.
New stuff today. Traded in a few CDs for this new batch.
Keiko Matsui wasn't bad. It's like smooth jazz/easy listening.
Patricia Kaas is good stuff so far, but I'm having problems with the disc.
Glenn Miller I'm sure will be good.
Bumping this up. Here are a couple of Youtube channels with a variety of recorded live jazz concerts from over the years.
Here are a few bass oriented cuts
I watched an episode of Star Trek: Deep Space 9 tonight, a jazz-laden episode called "His Way". In it, a lovestruck Constable enlists the help of a hologram, singer and frontman Vic Fontaine (James Darren), to help learn the ways to a woman's heart.
The episode features three great tunes:
Come Fly With Me
The Way You Look Tonight
(Unable to locate specific clip)
I enjoyed the episode immensely both for ST fanboy reasons and for jazzman reasons. Sure is great when tunes you know are featured!
Just because I'm a dumbass rock'n'roll bass player doesn't mean I don't listen to the masters. In two hours, I'm going to the Village Vanguard to see/hear Barry Harris. He's 88 this year, a year for every key, I guess...
Good for you...
It was. He played some Ellington, some Mingus, asked the audience to come up with some numbers and found a melody for a 3-7-5 progression and, contrary to all my expectations, anyway, got a crowd to sing along, clap off the beat, and various other amazing feats. Including kicking away his cane and walking across the stage on his own two feet to the piano, which got him a big round of applause at the beginning of his set and again at the end.
Of course what it was really all about was getting a huge amount of music and musical feeling out of a piano/bass/drums trio. They weren't just tight; they were accurate. This is what I love about this music: On the one hand, they were almost casual in their approach, and yet almost every note sounded like it had been carved in stone. If that makes any sense. Leroy Williams has been playing drums with Harris for 50 years; Bassist Calvin Hill has been on and off with Harris since the mid-50s. The interplay between these guys is telepathic.
And, believe it or not, this relates to my job playing in a bar band. It's all about constant communication; we look at each other. It's the thing that disturbs me the most when I sit in on an open mic or jam: when nobody looks up, there's no chance of doing that.
I don't have a lot of stuff with Calvin Hill...this one, though, blows me away-
Alphonse Mouzon on drums, Sonny Fortune on sax.
"Rebirth" is an apt title
Erskine's Dr. Um Band gets little attention around here...Ben Shepherd gets no love, either.
This is amazing:
That first bassline on Man With The Horn is awesome! Marcus was the one who talked Miles out of retirement. MIles holed up in his NYC apartment, took drugs and forgot to take the garbage out for several years.
Love deez guys
Jazz, and classical, are both genres that I want to like on an intellectual level. The art and technical ability that goes into getting them right is impressive. I like complex arrangements and dense soundscapes. On an emotional level, I have trouble connecting to it.
I didn't know I was listening to some jazz when I was growing up. My Dad listened to Weather Report and I didn't know it for decades until I picked up Heavy Weather and said "Oh shoot, I know these songs." He actually complimented my taste once when I was listening to Stanley Clarke.
Most of the jazz I listen to is because of the bass- Marcus Miller, Stanley Clark, Jaco, Christian McBride; and then there is the jazz-adjacent stuff like Victor Wooten, Bela Fleck and the Flecktones, Mike Manring. Strangely, when I started a thread a week ago asking for jazz suggestions, even though I said I like these things, very few of the suggestions were in that vein. Most of it was in the Miles Davis, Mingus vein. I have albums by them, but I get bored with them quickly.
I guess there are things I don't "get" about certain types of jazz. I don't understand the obsession with old sounds, equipment, and styles. Nothing is more dated to my ears than the keyboards that seem ubiquitous to the genre. So much of it seems like it wants it to be the mid 70s.
Because the vast majority of it is upbeat or very laid back, I have trouble latching on to the vibe. After a song or two I want something with more sonic and emotional girth. I can't stand spazzed out jazz that sounds like the combination of a tooth ache and LSD. It feels weird for the sake of weird. I have that problem with other forms of music too.
I'm a jazz wannabe, I suppose.
It took me a long time to start liking swing. From a young age, my dad always played music from South America. There was stuff I began to enjoy, but didn't know what it was or that it even had a label. I later came to know it as Latin Jazz.
When I got into it jazz band in school, it wasn't my favorite because it wasn't what I was used to. I didn't know how to appreciate it. It took a lot of playing the right tunes and hearing the right artists to really get me into the genre. Nowadays I love hearing the classics because it's elementary. It's an example of how it was meant to be played, with class and absolute mastery.
I feel more now than before. It's a joy to listen to. I shudder at times. I laugh. I experience shock, even terror (Crisis -- Jaco Pastorius ). I thoroughly enjoy it. Depending on what I'm listening to, of course. I also enjoy it on a technical level because I have a much better understanding of how bass works within a jazz setting now than when I first started in high school. I suppose being able to enjoy jazz on both fronts makes it easier, though I've had those *** moments too (Bitches Brew, anyone?).
Sometimes you have to listen beyond the musical constructs as we know them and examine the music for what it is. Bitches Brew is an excellent example. I've listened to that album exactly once. I have yet to want to listen to it again since buying the album over half a year ago because there wasn't anything for my ear to latch onto. But what made the album interesting was considering where jazz had come from, seeing what guys like Davis and McLaughlin we're doing. Listening to how the sound of jazz was evolving at that time. Considering how the sounds of the genre we're changing, considering where it would eventually go (Weather Report, for example) and where it has landed. I guess you really need to be the overthinking kind of person.
Back to classics, though. Maybe they aren't your thing. Maybe you like newer stuff like Christian Scott, Esperanza Spalding or the Hiromi Trio Project. Liking that doesn't make you a heretic!
So far, the one act that has clicked the most is Snarky Puppy. I can listen to a whole album of that, and it is memorable. There are melodies that stick with you.
One aspect of jazz the blues that both impresses and baffles me is the performer's ability to remember long strands of seemingly random phrases. Even if they aren't random to the performer, the fact that they can commit that much unique "text" to memory is impressive. Donna Lee seems like a stream of conscious to me, but I've been told it follows a very specific pattern. Even if that's the case, how do you remember that much? It would be like trying to memorize the entire first chapter of Moby Dick.
The downside to that is how "wanky" jazz seems to get. There is a lot of focus on the "lead," which I find ironic since so many on TB refer to "serving the song." How does a minute long piano or trumpet solo "service the song," especially when the song seems to be nothing but an excuse for the solo? And why then when the bass is the soloing instrument (a la Marcus Miller) or the focus, do people complain about the bass not serving the song. If the bass is the song, isn't it serving the song? Why should only the piano, trumpet, or vocalist be the focus?