Ah, GREAT choice! One of the all-time great melodies, IMO; and one of the favorite vehicles for improvisation of jazz players. I didn't know this version by Harold Land, but I love it; thanks for sharing. Besides being a beautiful and haunting melody, it is a favorite of jazz players due to the fact that its harmonic structure and progression is musically logical and relatively simple, so it lends itself very well to improvisation. If one listens carefully, one notices that after the C minor 7 chord in the opening measure there is no chord change for five measures (an eternity in jazz). When the opening (and very distinctive) opening motif is repeated eight measures later it is modulated up a minor third (Eb minor 7), the same thing happens: no harmonic change for five measures. Things then get a bit more complex harmonically until the end, but still in an extremely logical way. It is one of the first tunes that jazz students learn. The tune was written by Polish composer Bronislaw Kaper who also penned "On Green Dolphin Street", another favorite of improvisers, for a film in the '50's starring Lana Turner (!!! Talk about great chord changes ;-), I don't remember the name of the film, but I do know that it was not a big hit. Bronislaw's score for that film was then reused for a film "Invitation"; the title of the tune. I am a fan of performances of music, regardless of genre, by the composer him/herself. I think the reasons are obvious, although we may have personal preferences for versions by other artists. Here is the composer himself performing "Invitation": http://m.youtube.com/#/watch?v=v7F6_6kVtPQ&desktop_uri=%2Fwatch%3Fv%3Dv7F6_6kVtPQIt's a beautiful performance which really conveys the haunting feeling of the tune; BTW, one of the reasons Land's version is so great. Land also captures a similarly haunting feeling with a very similar pacing; as opposed to the most commonly sited version, which while being equally beautiful is less atmospheric and relaxed than Kaper's, and is the version that put the tune "on the map": http://vimeo.com/33852454As I mentioned, this tune is one of the first that jazz students learn, and saxophone geeks in particular consider the saxophone solo on this next, very different, version to be one of the very best recorded examples of saxophone virtuosity by the most emulated and transcribed post-Coltrane saxophone player (unfortunately, I am only aware of a link to the improvised solo, not the whole tune from guitarist Jack Wilkin's album): http://harderbop.blogspot.com/2011/04/michael-brecker-invitation.htmlEnjoy! |
****swept away by the awesome greatness of the man**** Beautiful way of describing the effect that many say they feel when listening to his playing; especially live. I have been told by the handful of lucky individuals (mostly other musicians) who, like yourself, heard him live that he had and almost other-worldly way about his presence on stage; spiritual, even. "Giant" is almost not good enough to describe his status among the greats. "Naima" is the ballad that he is most known for: http://m.youtube.com/watch?v=LLAq0XhXG8EAnd then there is this one: one of the most amazing performances, any genre, that I have ever heard. Coltrane is definitely more exploratory, but the expressiveness is unbelievable. Elvin's brush work is amazing. http://m.youtube.com/watch?v=R416VHIL514 |
I meant to write: "Elvin's cymbal work ....." |
Yeah, it's a title disappointing in that regard. As good and authentic (duh!) as the rhythm section sounds playing that style, there is a little bit of a "on automatic pilot" feeling. But, Cannonball plays his ass off on those beautiful melodies, and being a saxophone geek, I love that record. |
I am no monkey, but I will speak my mind about the Dr. John cut anyway :-)
In typical Dr. John fashion, amazing groove. And what a voice! Hard to believe, but as he gets older his voice drips more and more funk; it's almost scary. The band is smoking. Simple, repetitive playing, but grooving like there's no tomorrow in order to feature Dr. John's "from the gut" singing and Nicholas Payton's trumpet in great "call and response" interplay. I love the use of handclaps as percussion; somehow seems appropriate for a song about monkeys speaking to each other.
What I find most interesting about the song is how a fun and infectious groove can be married to lyrics with a strong social-conscious message. And what a message. Great stuff! |
Rok, no question Brazilian singers are uniquely wonderful; in no small part because women Brazil are uniquely wonderful. There is something about the sound and rhythm of the language (in Brazil, not so much in Portugal) that does it for me. I could get carried away with that one, but I should stop; my wife reads these threads once in a long while :-) You mentioned Sergio Mendes. This is one of my very favorite records. Cannonball with the Bossa Rio Sextet (Sergio Mendes on piano). The session is all about Cannonball; he sounds incredible on those Brazilian tunes: http://m.youtube.com/watch?v=pWMjF4UMYYcAs far as Brazilian female singers go, Elis will always be my favorite. There is something about her that I have never been able to put my finger on. Not a particularly great voice, a little out of tune sometimes; but, soulful as hell with a great sexy feeling in the way she sings. Check out the "break" at 1:10. Amazing! http://m.youtube.com/watch?v=bGbKHHqtsJE |
That Ink Spots cut was amazing! Talk about skill; simply beautiful singing. Oh yeah, and then there's all the "little" things that seem to elude a lot of singers today like sheer entertainment factor, lack of pretense, connection with an audience. Nothing "edgy" about a performance like that, but so much sincerity in the song's simplicity. Thanks. |
Excellent post Chazro.
****Does the Bass, the instrument, have any special place in Cuban music as compared to other Latin music??**** -Rok
One of the most distinctive and unique aspects of bass playing in Cuban music as opposed to, say, Brazilian music is that the bass rarely plays on beat one (!). Think about it. Beat one is the musical arrival point of a measure, a basic building block of any music's structure. In Cuban music the feeling of rhythmic arrival to the beginning of a measure is implied by the bass line, as opposed to actually having a note right on that beat; the bass note on beat one is held over from the previous beat (four). That is a key reason for the music's amazing swagger. |
Orpheus10, thanks for the link to the Radhakrishnan link. I enjoy the fusion of ethnic music within a jazz setting (jazz quartet). However, I find Bengal-jazz fusion to be generally less successful than, for instance, Afro-Cuban jazz. This particular example, while pleasant and competent, never really takes off for me. Likewise, the saxophone playing is not particularly inspired. The tone is not as well developed as that of most good jazz players and is consistently flat in pitch. Overall, the feeling that I am left with is that of a better university music school jazz quartet recital.
Glad you enjoyed (with reservations) the Bronislaw Kaper solo piano recommendation. Give it more of a chance, the positives (personal and insightful interpretations as only a composer can) transcend the minimalist setting.
Regards. |
The subject of RAP makes my head hurt. I am not prepared to say that it is not music, but I do know that if it is music, it is not music that I can relate to nor want to relate to. It doesn't fit my, and most traditional, definitions of music (no melody/harmony), but it certainly occupies a place in current culture that more traditional musics have previously; obviously, particularly in the segement of our population that gave birth to it. I agree with much of Orpheus10's characterization of it in that it is a social statement, but it seems to me that it represents far more than a subculture; it is now pervasive in our culture. As Rok points out, it is everywhere. And how sad it is that the generation and ethnic group that supports it primarily are so clueless about the incredibly rich musical history that they are neglecting instead; much of it discussed in this thread. |
One of the most beautiful things I have heard in a while. Very distinctive tenor sound and an interpretation of this great tune that is intimate, tender, and intelligent. Charles Lloyd is without question one of the greats. Jason Moran on piano is wonderful. A great pairing. http://m.youtube.com/watch?v=jzcfobcXnXg |
Orpheus10, completely agree about Lecuona; some of the most beautiful.
An honest and well intended observation about a previous comment you made:
*****Am I the only person who finds it difficult to appreciate "solo" piano; where's the bass, where's the saxophone, where's the something besides a lone piano. No reflection on the music or the artist, but a personal observation of my perception of music; I need a combination of instruments.
While it's been nice to hear Kaper's music played on solo piano by Kaper, this listener requires a band in order for the music to project a wide range of emotions, and get me involved.*****
Glad you enjoy the solo piano by Lecuona. |
Check this out. Killer arrangement, smoking rhythm section and great solos. Love the way that Valdes relaxes the time feel when he plays the well-known Zawinal melody over the drummer's simple but relentless and driving groove. Great stuff! http://m.youtube.com/watch?v=x2W8gbBzvUU |
How did it happen that the American public has gotten so far away from being able to appreciate production values like this. The feeling of sensuality in that scene is amazing. Today we get explicit sexuality as an attempt to make up the for the absence of the art of simplicity and subtlety. The music (and playing) is fabulous, perfectly appropriate and beautiful. And what a gorgeous woman that dancer is!
Loved the clip. Thanks. |
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Loved the Garth Fagan clip. Thanks. |
Loved it. Yes, Dave Liebman. Al Foster on drums, Mtume on perc, Michael Henderson on bass. Don't recognize the guitar players. |
In spite of Miles' well-known ego (some would say arrogance), he was a true artist; the music always came first. I don't think he thought much about who would be able to make him a bigger star by virtue of that player's presence in the band. He was extremely forward-looking musically and was able to understand how a sideman's style would enhance and help shape "the whole" of his music's sound; even when a player was not fully developed yet. When Trane first played with Miles, Trane was still at the stage of his career when a lot of people were still saying "what the hell is that?"; his approach was so different, and many thought is was bullshit. How wrong they were. |
Interesting that we should transition from Miles to Quincy Jones. Always changing, yes, but I can think of no other musician that so exemplifies the move of a successful and respected jazz musician (Basie, Sinatra, solo) to the commercial music field (Hollywood, Michael Jackson, rap) with an incredible amount of success. http://m.youtube.com/watch?v=W146Z_-O0J0 |
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I will have to find a recording of that; have always liked Harold Land's playing.
Speaking of tasteful tenor playing, the tenor player on "Evening In Paris" on the QJ link above is Lucky Thompson.
C |
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Sorry to hear this. Good luck and speedy recovery. |
Been away for a while; hope everyone is well and doing lots of listening. The subject of the pit musician is one which very close to home so I wanted to have time to do the subject justice. The "pit musician" Orpheus refers to is not the same pit musician that Rok refers to. Orpheus was impressed by a player known as a "doubler". The term usually refers to woodwind, or reed, players who double on multiple woodwind instruments. While good doublers will excell on all flutes, clarinets and saxophones, most have a particular strength on one of those instruments. Additionally, some will also be able to play one of the double reeds: oboe or bassoon. Double reed doublers are very in demand; particularly in Broadway pits. Orchestrators for musical theater, and other commercial music productions, expect woodwind players to be proficient doublers; and, as a result of the continuing reduction in the size of pit orchestras (due to financial considerations), they really exploit doublers' flexibility by sometimes writing extremely busy parts with very quick changes from one instrument to another. The level of proficiency in the "doubling world" has risen dramatically over the last couple of decades. This has been a result of better training and also of the continued scarcity of work for many musicians. There was a time, not long ago, when there was so much, more glamorous and lucrative, work for commercial musicians in the recording studios and radio and television staff orchestras, that the best players did not take "pit work". As staff orchestras disappeared and studios closed, these players moved to the pit orchestras with a resulting dramatic rise in the level of proficiency in the pits. These are very good and extremely versatile players who are often also good jazz improvisers. But, the truth is that it is rare the woodwind player that, in spite of tremendous technical and stylistic flexibility, can play any one woodwind instrument at the same extremely high level that a successful orchestral ("straight") wind player can. Classical orchestra players have always set the standard for proficiency on an instrument in absolute terms; and are often revered by "doublers". It is not surprising, given the tremendous amount of training and practice that is required to reach that very exalted level of proficiency on ONE instrument; let alone several. At the same time, the accomplished "doubler's" stylistic flexibility can sometimes give him the edge over a "straight" player when a specific stylistic approach is required for a part in an orchestration. This need for stylistic flexibility applies to all players, not just woodwind players. It is common nowadays for Broadway pit orchestra brass sections, for instance, to be composed of players who also work as extras in the Lincoln Center Orchestras (NY Phil, Met, ballet, etc.), and/or prominent jazz bands. There have been a few heroes in the woodwind doubling world that have been able to reach, on more than one instrument, the level of proficiency of great orchestral players; they have usually been clarinet/saxophone doublers. The greatest of them all was the great Alfred Galladoro who was an amazing saxophone and clarinet virtuouso, and was on staff at NBC and played in Toscanini's NBC Symphony, member of Paul Whiteman's orchestra and recorded extensively as a soloist and sideman, among many other accomplishments. Well past his prime, but here is a charming video of Al before his passing a couple of years ago: http://m.youtube.com/watch?v=Rr6ynMTuHn4IMO, the greatest doubler of all time, and one who was able to add equally proficient flute to his arsenal (although he has more recently concentrated on the clarinet) is the incredible Eddie Daniels who played in the Broadway pits before gaining recognition as a soloist in, among others, the Thad Jones/Mel Lewis big band (the Village Vanguard Jazz Orchestra of today). He posseses an uncanny ability to move from a classical music sensibility to jazz and pop: http://m.youtube.com/watch?v=GTUCtf8txQwEddie on tenor: http://m.youtube.com/watch?v=6Bm44p04SVYThe "pit musician" that Rok refers to is the classical player who happens to work in a ballet or opera orchestra pit. They are, as instrumentalists, generally of the same extremely high caliber that most orchestral players are. Playing in a ballet or opera orchestra requires a somewhat specific sensibility compared to orchestral playing on a concert hall stage. This is primarily due to the fact that, generally, the orchestra is accompanying the singers or dancers; but, this point can be easily overstated. However, a particularly keen sense of restraint and flexibility is sometimes required playing in an opera orchestra. Still, the orchestral repertoire, as a whole, puts more extreme technical demands on players than much of the opera or ballet repertoire. They are somewhat different disciplines, but both on an equally high level. The term "pit musician" unfortunately possesess negative connotations for purists who consider playing on the concert hall stage the pinnacle of instrumental playing. While this may be true to an extent, in reality it's a much more complex issue than that. |
Thanks. I don't know about the gentleman part, but the farmer part might surprise you :-) |
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Excellent comments, Learsfool; although it may seem otherwise, we have no substantive disagreement. This seeming dichotomy is further highlighted by a couple of interesting things that inadvertently go to the core of the issue. I am literally of two minds about all this, and that is the reason why I think it can be fairly said that we have no disagreement. Being someone who is steeped in the more traditional aspects of being a musician, I admit to an inner conflict concerning my reaction to the non-traditional; in this case, the avant-garde (in general, not just music). That's one mind. The other mind has (slowly) moved away from what at times was (and still is) an unnecessarily rigid view of art to a more accepting attitude that takes into account a changing world with changing attitudes and norms, and a changing view of what is "substance". That changing view of what substance is causes the most conflict for me. Not meaning to digress too much, but please bear with me:
Rap music. I WANT to hate rap. It violates so much of what I have spent so many years studying, respecting, learning and trying to hone. Yet, how does one completely dismiss a movement in music (?) that has had such a huge impact. I seriously dislike it and don't respect it. But, I don't hate it because it had to be; it reflects our culture. We can hate our culture (and in some ways I do) and we can decry the decline of standards in our culture (and art) 'till we are blue in the face, but it won't change the direction of the art (?) that reflects it. Worst of all, we can be so rapped :-) up in hating it that we may miss those rare moments when I do find myself saying: "oh, ok, I get it". How good a job it does of reflecting the culture is what defines its quality; its level of substance. Interestingly, and on a personal note, it has been my twenty year old son, a gifted young film maker and a true artist, who has shown me the value of not so readily dismissing what may not conform to MY standards. I am not talking about an abandonment of standards, but simply being more accepting of a different view of standards. I really believe that is the respect for traditional standards combined with an open mind for the new that creates the healthiest environment for really great art to happen.
The avante-guard in the arts (and I did not mean to suggest that rap is part of the avante-guard) seeks to break-down traditional standards and within this break-down a new set of standards takes shape that define it's "substance". That is not to say that one has to take on a "anything goes" or "it's all equally good" attitude. Not at all; there's still a lot of bullshit out there that tries to pass for art. As far as Bowie goes:
As I said before, truth is that as I don't know nearly enough of his work; but, what I heard in Acman3's first clip, and some of what is on the two records of his that I own, held my interest and made me want to listen to it. That's a lot more than I can say for a lot of what's out there. Does the music of a player who has a perfectly developed tone and schooled technique but sounds like so many before him have more substance? I'm not so sure. I have many recordings of accomplished traditionalists that simply don't hold my attention. Additionally, when someone like Acman3, someone who has clearly shown to have a sophisticated appreciation of music and is not part of "the masses", says "I love Bowie" (or whoever) I have to, at least, stop and consider what it is that is grabbing his attention. I think I heard it in that first clip.
Anyway, didn't mean to get preachy about this . Thanks for the great contributions. |
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Of course, that should read "In" honor of..... |
Rok, thanks for the kind words; and thanks for your and everyone's contributions. Einstein!? Not sure where one can go for there. But, for perspective's sake, I would point out that there are many who truly live the "jazz life" who posses a level of insight and understanding of the language of jazz that blows me away every time I speak to them. The depth and number of layers in the music (any music, really) is amazing. Charles, I completely agree about Thad Jones; every bit the talent that his siblings was/is and deserving of as much recognition; although, he certainly gets it from the players. BTW, more times than not, when he fronted the band he played cornet instead of trumpet. Learsfool, the Thad Jones/Mel Lewis Orchestra (now the Vanguard Jazz Orchestra) has been the Monday night "house band" at the Village Vanguard in NYC since the 60's when it was founded by Thad and Mel as an outlet for playing in that kind of setting for many of the top NY guys (and occasional lady) who spent the days in the NYC studios doing session work. The list of players that have played in the band is truly incredible; many of these players went on to have high-profile solo careers. The band gained recognition during a time when big bands were in decline and is certainly the most influential big band of the last forty years. I heard the Thad/Mel band at the Vanguard about half a dozen times while still in high school and college in the 70's and early 80's. It was an amazing experience every time, and you can imagine how awe-inspiring is must have been to hear all those "heroes" in that room with the walls covered with photos of all the greats that have played there. If ever there has been a place for a jazz lover to make a "pilgrimage" to, it's the Vanguard. http://m.youtube.com/watch?v=tE7CJhf0eK8 |
****Charley Parker had many better recordings than strings!****
True; no one is arguing that point. Still, great to hear Bird in that setting.
This brings up an issue that has always been interesting to me. Obviously, a listener's personal taste has to be respected, but when a great artist says, unequivocally, that he/she likes a particular work of theirs (Bird said BWS was his favorite) or a particular sideman, IMO the most productive attitude is that even if we don't agree at first (or ever!), an attempt should be made to understand why it is that the artist himself that we so admire feels that way. Seems to me that is the best way to fully understand the artist or a particular work and grow as a listener. In this case Bird was saying: "Look, I can be more than just the relentless bebopper that I am known to be; I can play with more delicacy than what most of my records demonstrate". Who am I to argue with that. |
Acman3, thanks for the Kurt Elling clip. He is fabulous and the best male jazz singer on the scene today as far as I am concerned. Ernie Watts is a wonderful player, but while I admit this is strictly a personal bias, he always sounds to me like Michael Brecker with a cold. Because of this I find his alto playing more to my liking. Since we are talking about singers (especially female), this is from one of my favorite Sarah Vaughn records with one of my favorite Ernie Watts solos. http://m.youtube.com/watch?v=TW1Vcd5uXYg |
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Schubert, no better way to describe Kurt Elling than "force of nature". Fabulous singer and stylist (composer too). You may not listen to a lot of jazz, but your choices are excellent. |
O-10, glad you liked "Voyage"; it's a gem. "Focus" has also been a favorite of mine for a long time. It happens to be one of the very first jazz records I ever purchased, and back at a time when I really could not understand nor appreciate it; no longer. Thanks for the link. |
****There is no atheism in Jazz**** - Rok2id
That one goes next to my other favorite quote about Jazz and religion:
"Jazz is the sound of God laughing" |
Genius! http://m.youtube.com/watch?v=dZ9El7k4mNoRouse sounds amazing! And no, one can't have too much Monk. "Misterioso" is a great record. Griffin is fabulous, and one of my favorite tenor players. Still, there's something about the way that Rouse seems to get inside Monk's musical head that is almost creepy. |
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Rok, I don't disagree with you except for two things. First is that I don't believe one ever knows too much. Or, at least, don't assume that knowing means there's no jamming :-) . The second, well.... its really not worthy of disagreement; it's personal preference. Tito's version is better for you. Of course, that is cool. For me the original is better not because its the original, but because I like and appreciate the chamber-jazz feel of it, the coolness if you will; and Desmond, that sound.....!
Cheers. |
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Yup. We have a winner! http://m.youtube.com/watch?v=barWV7RWkq0On a more serious note, thanks for bringing Gene Harris to the discussion, I was not familiar with his work other than by reputation. Fantastic player. |
****A person could suffer from a thrombosis in the legs at a Brubeck concert. Could not find a shot of Brubeck in concert himself with a shot of the audience.**** http://m.youtube.com/watch?v=j9GgmGLPbWUThe smoking babes are definitely digging it. |
O-10, thanks for the Lou Donaldson links. Beautiful player! I hadn't listened to anything by him in a while; will have to pull out his LP's. When I listened to "Blues Walk" the first thing that came to kind was "sounds like Gene Ammons on alto". Then, looking at his discography I noticed that he recorded a record with Gene Ammons; will have to look for it.
Rok, Miles Davis is quoted as saying that one can well wether a musician can play or not by the way he carries his horn's case. |
Of course, that should read "....one can TELL wether a musician....." |
****Beware of any music with a prefix. Esp, modern, free, avant garde and contemporary, etc... Just use the prefix ' NON ', that would be more accurate. ****
I think there is more truth in that comment than many realize; or are willing to admit. |
BTW, Learsfool, please post your impressions of Teagarden when you listen to that set. Thanks. |
