Mr Jones does in fact play on the disc. Piano.
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I had no idea so many people would agree on Roland Kirk, he's been one of my favorites for ages.
Lambert, Hendricks and Ross, or Lambert Hendricks and Bavan are both very good and naturally they sound similar, except the "Bavan" recordings are newer.
"Ain't Misbehavin" was one of the most enjoyable plays I've ever seen, although it's not on my playlist; but I bet you knew that Rok.
Enjoy the music.
I am so nutty, that I buy some CDs that I know I won't like NOW, but maybe I will in the future. Also, if it's considered a great or landmark recording, I want to have it. Same with Classical. So one day, if my theory holds, I will be jamming to Coleman and Dolphy etc.... Musical taste does change over time.
Not much to add here, but I will say you should listen to "Paris Blues," a live cd by Horace Silver. Horace and the whole show has a dignified feel to it, just lovely jazz. There are so many great artists in jazz history.
I have a question. Did he record a live version of "Senor Blues" on any of his albums? I've said it here before, I greatly love the Youtube video: - "Señor Blues (Horace Silver, Blue Mitchell & Junior Cook)"
For anybody that hasn't heard/seen this, per Foster 9's recommendation. Horace Silver is on fire. He actually quotes Prokofiev around 7:48; these guys listened to and were influenced by all types of great music.
Foster_9, I know the version you're speaking of, and I do believe that was one of a kind. Unlike Miles, and Monk who recorded many different versions of the same tune, not so for "Senior Blues" and Horace Silver. The version you're speaking of was far and above any "Senior Blues" I've ever heard. If you have any luck on obtaining it, let us know.
Quite a few of the ones already mentioned have been reissued by AP
including Blue Train, Side by Side, Blues And T A T, Moaning, and others.
Do a cross check and you will find more. A couple more personal favorites
Joe Henderson "Page One"
Winton Kelly "Smoking At The Blue Note"
Dexter Gordon "Dexter Gordon"
Gil Evans "Out Of The Cool"
There is a specific reason why I haven't gone into records as opposed to CD's. In my opinion, halfway is a waste of money, and all the way is very expensive. "All the way" according to me, is a class "B" rig as rated by Stereophile including a Class "B" cartridge. Class "C" is more or less what you had before CD, and when compared to CD that was nothing special.
In my opinion, this is a case of "run with the big dogs, or stay at home". The only reason I've expressed this is because while records and CD's are a very important part of our lives, I don't want any one to waste money. Now that I've expressed my opinion, all recommendations in regard to outstanding analogue are more than welcome, and "Analogue Productions" seem to be doing things the way they should be done.
Enjoy the music.
Foster_9, I compared two versions of "Senor Blues", one on CD from the 56 LP "Six Pieces of Silver" and the "You tube" you're speaking of. While some of the musicians are different, there is only one "gigantic" difference, and that is Horace's solo in the middle. As Miles liked to say "He got all up into the music". Horace went up one side, down the other side, and then through the middle of that solo. He hit some funky notes and it got good to him, so he hit some more.
When something like that occurs, it's one of a kind and can never be duplicated, good luck on getting it.
Enjoy the music.
Frogman, I must compliment you on your knowledge of Cuban music. I have some Afro Cuban music that's classified under the different styles. Amor Verdadero, guajira-son; Alto Songo, son montuno; Habana Del Este, danzonete-cha; A Toda Cuba Le Gusta, son; Fiesta de la Rumba, guaguanco; lOS Sitio Asere, guaguanco-son; Elube Chango, son afro. While similar to other Latin music, it has so much more fire. If I could, I would get up and dance. The title of this CD is "Afro Cuban All Stars"
Thanks. I have always had a soft spot for that music; I am Cuban, after all.
If you don't know these already, check out the music of Beny More, and Orquesta Aragon; wonderful stuff. There is a great compilation "The Very Best Of Beny More" that is worth having. Orquesta Aragon's "Cuban Originals" is also excellent with very good sound. Keep in mind that the new and current Orquesta Aragon has a different sound altogether. Enjoy.
Cuban music is the greatest Latin American music of all. For many years I've been into Brazilian music, and now I realize Cuba influenced Brazil and all the rest of the Latin American musicians. After listening to this CD of Cuban music, my memory was vaguely flooded with music from old movies portraying something or another in Brazil, Mexico, or elsewhere in Latin America, but they always used "Cuban music" and never gave them credit. Could it have anything to do with the fact that so many Cuban musicians were "Black". Does anybody remember "Ricky Ricardo" with his Cuban band? I rest my case.
Enjoy the music.
Frogman, asere molina! I thought I was the only hispanic (PR) hangin' around here! Well, this opens up a WHOLE new area for exploration!;) Latin Jazz is my favorite genre and IMO Cuba always was, and remains, the primary source for cutting edge musica latino! As with regular Jazz, it frustrates me that the usual emphasis and focus always seems to be music from the past or music that sounds like it was recorded in the past. Don't get me wrong, I've got nothing but love and admiration for the old stuff, it's just that there's so much new music to be discovered and enjoyed. I guess it's harder these days to give unheard and unknown artists a shot. So I'm curious, do you listen to contemporary Cuban music? This weekend I was listening to (amongst other things): Orlando 'Maraca' Valle & his Latin Jazz All-Stars - Live from Havana, German Velasco & Jorge Reyes - Live from Cuba, Interactivo (spectacular group!) - Cubanos Por El Mundo, Manuel Valera (grammy nominated record) - The New Cuban Express. How about Timba? Manolito Simonet Y Su Trabuco, Tiempo Libre, jeez I could just go on and on....Howzabout Dafnis Prieto, Cubanisimo, Paquito D'Rivera, NG La Banda....like I said, I could go on but I guess it's time to return this thread to it's regularly scheduled programming!!;)
Rok, we're discovering the same thing at the same time, and it's so absurd. Everything with an African origin is changed to something else. If you recall the soundtracks to old movies with a Brazilian or Mexican settings, that was "Afro Cuban music". Some people have a "photographic" memory, I have a "phonographic" memory. I recall when I was in my early teens, seeing a movie titled "In Brazil" with Glen Ford, and there were several dance scenes, and the music was the same as what I heard on this CD titled "Cuban All stars", that's what I'm talking about. They never gave the people who created the music credit for it.
Enjoy the music.
Chazro, with the exception of Paquito, whose more into jazz, the other Cuban musicians play very beautiful Cuban music. They have followed a historic lineage, and they've done it very well. That's not to say they're imitating the past, but improvising on it, and incorporating new music of their own. That new music is still distinctly Cuban.
This is not a matter of "old versus new", but what sounds beautiful and sensual according to my musical sensibilities. Those are two traits the new musicians retained, as they must for authentic Cuban music. I liked them very much, and they will be added to my collection.
Enjoy the music.
Hi Chazro, I mentioned More and Aragon only because they relate to Buena Vista SC, the reason the discussion turned to Cuban music of that period; which was already a departure from the OP's theme. I completely agree there is a tremendous amount of great modern Cuban music, and yes I listen to all of it including the artists you mention. I would also add to your great list: Gonzalo Rubalcaba, Irakere, Chucho Valdez, and Alfredo Rodríguez, one of the young Cuban rising stars:
Something fun from one on your list, Dafnis Prieto a genius percussionist if there ever was one:
There you go again, Rok. Why make a provocative comment that not only is factually incorrect in it's omissions, but seems to diminish the validity of "all the so-called latin stuff"?
Your comment shortchanges the equally important influences of European (Spanish), Arab, and in the case of Peru, Andean musics. Sure, the African influence is obvious in the rhythmic structure of Latin music, but there is a whole lot more going on in it than that. You might want to reconsider your assertion.
There YOU go again misunderstanding my post. By use of the word 'stuff', I was speaking of all latin Jazz. This is a JAZZ thread. On ocassion I have said 'all the Blue Note stuff'. Don't be so quick to pounce! I try to be concise and precise.
Take away the African component of all Latin Jazz and what is left? Don't say Indian and spanish. Andean music? I am sure they have some form of folk music. if fact I used to see them play on the streets of Nurnberg, Germany for donations. The Germans found them exotic. The difference is, some music travels and conquers the world, and some never leaves the village.
We have no disagreement, you just did not think about it the correct way.
If I misunderstood the tenor of your comment, my apology. But concise and
precise you were not. But, I think you are missing the point, and it appears
we do have a disagreement. The point is that you can't take the other
influences out of the equation any more than you can take the African
influence out, and your comments suggest that the African influence is
more important than the others; it is not.
****Take away the African component of all Latin Jazz and what is left?****
Ok, take away the Spanish, and Arab components and what is left?
Drumming? I hope we can agree that Latin music is much more than that.
This is all well documented in musicological circles; no mystery at all.
Laughin' to keep from Cryin'
Lester Young, Roy Eldridge, Harry 'sweets' Edison
No fireworks, just the best Jazz ballard playing possible.
Lester Young is one of the true Giants of the music. Even plays Clarinet on a few tracks. And how can Eldridge and Edison be on the same record? Amazing! Good sound. 1958 / 2000.
Lou Rawls and Les McCann
Good song selection and backup. A young Rawls. He will get better later, and make these songs his own!
Mary Lou Williams - piano
Short pieces named after the signs of the zodiac. Some alternate takes. Sound not the best. Piano does not sound like it's in tune. Could be just the recording. Recorded in 1945. Smithsonian / Folkways. Did not make a great impression on me. The professional critics loved it.
Bernard Purdie's Soul to Jazz
with Eddie Harris, the Brecker Brothers and the WDR Big Band
The song lineup would lead one to assume this would be one of the best CDs ever. Includes everything from 'Senor Blues' to 'When a Man Loves a Woman'. All 13 tracks mega hits in their own right.
The problem is, the WDR big band is the, Westdeutscher Rundfunk big band. I know they can play, all the radio bands can, they just can't play Jazz. Should stick with Strauss. Prudie is a drummer and has some resume, played with Aretha and Miles. But the American talent is let down by the arrangements and the band. The producers are named Wolfgang and Siegfried, that should have been a red flag. Very nice album art and foldout. I have had this several years and never play it. Just reminded myself why.
Actually Rok, the Youtube link of Alfredo Rodiguez that I posted above perfectly illustrates what I am talking about. The rhythmic structure is clearly rooted in "clave" (Africa), the form of the composition and the improvisation around it is clearly rooted in European (Spanish) tradition, and the harmonic flavor of the piece is derived primarily from the use of the harmonic minor scale (Arab). A perfect hybrid: Latin stuff.
Senor Rodiguez is quite the virtuoso. Jazz? If you insist. It could have come from a practice book. The Goldberg variations of the Jazz world?
The point is this. If someone wants to play a Jazz number with a 'spanish' or 'arabic' or middle eastern motif, that does not mean those types of music are the building blocks of Jazz. A lot of Jazz has been played with spanish and middle eastern motifs. Written and played by people in the USA. Even in New Orleans! if means nothing. Like Dvorak and his 9th. American themes, indian and black. Does that mean Indians and Blacks or Americans are components of the essance of european classical music?
I can sing the Star Spangled Banner in German. Means nothing. It does not make it German music.
You lost me now. Or, maybe, you lost yourself with your unwillingness to be a little more openminded. Rok, at this point in the discussion we were talking about latin music or latin jazz; what you referred to as "so-called Latin stuff", and NOT traditional jazz. My references and examples of what influenced the shaping of this music are established facts. We may not like a particular music, but that doesn't mean we can try and change the facts. The irony here is that it was you that first brought up latin music with your reference to the Buena Vista SS, and referred to it as Afro Cuban Jazz; doubly ironic, because if you were to ask fans of the music for examples of Afro Cuban Jazz, BVSS would probably be at the bottom of the list. So, to paraphrase you: Which is it, is "so-called latin stuff" jazz or not?
Anyway, it seems to me that I have been here before in discussions with you, and I will take a cue from experience and bow out; this is too nice a thread for silly bickering. My comments speak for themselves.
I like the way this conversation has touched on a controversial subject. Music is life and life is real. Now we can get back to real music, and let the music speak for itself, in regard to "all subjects" without highlighting any other subjects separately.
Nina Simone might be my favorite vocalist. Her musical life began in church, and she also studied and worked hard to become a concert pianist. She was playing piano at a lounge to pay for her schooling as a concert pianist, when the owner asked her to sing. The rest is history.
Since everyone knows all about her vocal talents, I'll focus on another aspect of the talented Ms. Nina Simone. That gal plays a mean jazz piano, and it's so unique, that the only other pianist I can compare it to is "Bud Powell". I've compiled a list of some of her instrumental contributions to jazz. "African Mailman", "Flo Me La", "Nina's Blues", and "Blues On Purpose" are a sampling of her prowess on jazz piano.
Enjoy the music.
****and it's so absurd. Everything with an African origin is changed to something else****
I find that comment fascinating on several counts. Yes, it's true that throughout musical history (and history in general) there are many unfortunate examples of African contribution to the art not given sufficient credit. But, don't you think that it is a kind of political correctness, to suggest that also giving credit (correctly so) to the contribution of other nationalities to an art form that is clearly a melting pot of many influences, somehow detracts from the importance of the African contribution? In fact, what has been happening in recent times is exactly the opposite, and demonstrates the danger of political correctness in the arts. The incredibly rich African contribution is now highlighted at all cost, at the expense of other contributors, and even exploited to make political statements, or for profit. The danger is not only that others are denied deserved credit, but that by it becoming politically incorrect to criticize art with African origins, we actually hurt the artistic heritage of a culture (think rap).
I am at a loss to understand how acknowledging the fact that Latin music is more than just a single, African influence somehow detracts from the importance of the African influence. Rok challenged one of my comments this way:
****"Ok, take away the Spanish, and Arab components and what is left? Drumming?"
You might want to reconsider this****
Really? Let's delve a little deeper and actually see what is left if one takes out the Spanish and Arab components. But, lets have more than just opinion; let's use concrete examples and analysis.
Your example of the movie "In Brazil" is an interesting one. Brazilian music is acknowledged to have a strong African influence. How do you propose that "credit" be given? Should every Holywood movie with a John Williams score give credit to the folk music of the native people of Hungary, since Bela Bartok had some influence on John Williams' composition style, and the music of Hungary was an influence on Bartok? Pretty convoluted, no?BTW, correct me if I am mistaken, but I think the movie that you refer to is "The Americano", set in Brazil. The reason that the music sounds so much like the music in "Cuban All Stars" is that the composer for the score in "The Americano" was Xavier Cugat, who I am sure you know was a Cuban composer. Actually, he was not Cuban, he was Spanish and spent many years in Cuba. See, as I have been saying, in this music there is more than one single important influence and they are all connected.
To clear the air:
I was mistaken when I refered to the Buena Vista Social Club Cd as Afro-Jazz. My mistake. No where in the documentation that came with the CD does the word Jazz appear. I loved the music whatever it is, and I am sure it's african based. My ears tell me that. And that is my only point. It is not spanish and the indians were wiped out eons ago. So what could it be? I will not considered those pesky aliens from the crab nebula.
I will answer your other 'points' in a while.
It's sort of like politics. Either you define and defend yourself, or others will do it for you. 'Others' are trying to define Jazz. Although the odds are overwhelming, I for one, am going down swinging. 'Others' have already destoryed: Rock & Roll, Gospel, Blues, R&B, Country and Western, and Country. Jazz and Blue Grass are now under attack and have been for a long time. Once they go under, that will be the end of AMERICAN music. We will be a big ball of diversified multicultured, internationalist noise.
Classical is under attack also, but it's not American in orgin. Who is attacking this music? The below average, The average, the wannabes, the non talented, the 'if they can do it, I can do it', the 'I should be able to be WHATEVER I DESIRE to be' crowd.
Buy and enjoy the good stuff while yuu can.
Rok, The Moving Finger writes; and, having writ, Moves on: all thy Piety or Wit Shall not lure it back to cancel half a Line, Nor will all thy Tears wash out a Word of it.
The moving finger done wrote, and nothing will change that. Let's get back to the music, and let the music do the rest of the writing.
Enjoy the music.
****It is not spanish and the indians were wiped out eons ago. So what could it be?****
C'mon man, let's stay focused. Nobody said anything about Indians; only as concerns the influence on the Peruvian music that you brought up earlier; and there it is undeniable.
Now, Spanish you ask? You better believe it! Go a little deeper into the history of this music. Don't rely only on liner notes; they ususally only tell a small piece of the story. The traditions in this music run very deep.
For starters: where do you think the prominence of the guitar and, more specifically, the "laud" and "tres" came from? Spain; but more specifically, the Arabs by way of Spain. The Moors invaded Spain and brought with them these instruments, their tuning and way of playing them. Then there is those pesky issues of harmony and form. Show us one example of native African music that uses harmony and form in a way remotely resembling that in the type of Latin music that we are discussing; or in Jazz for that matter. Please understand, and I will say it again: the African contribution to this music is obvious and huge; but it is far from the only one.
Jazz was created by African-Americans. Not folks in africa. We are talking about people of African decent. Pay attention. Guitars? other instruments? That's not 'influence'!
Influence is when one thing changes another. Show me how Arabs have changed Jazz. Spainards. Really? One example of influence and change: Be-Bop! Dizzy and the boys started playing it, and almost everyone after that began to play it also. There was no law that said they had to, they were 'influenced' by the new music.
Individual players can be influenced quite easily. Miles with the fusion thingy. All he did was open the door for a lot of no talented wannabes. BUT JAZZ is an entire genre. It's not as easily influenced. The main thing about influence is this, once influenced, you never go back. Being the maker of certain instruments does not qualify as influence on the music played using those instruments.
Dizzy went to cuba a lot and played with cubans. He may have cut an Lp or two. That is not influence. Unless he played with latin motifs for the rest of his career. Otherwise it was just a project to cut a LP. Something new.
Duke Ellington went on a tour of the middle east to find new music and cut some LPs based on the music. He wanted to improvise over all the different types of music. But, he said it all had a 'sameness' to it. So he made the LP, but not the one he had invisioned. He then went back to being The Duke! He was not influenced! Just a project that didn't work out as he thought it would.
Influence does not mean playiong latin music or playing with different instruments or singing in a different language. Influence is much much more. It changes how composers think in writing the music. It changes the creators. It changes the trajectory of the entire genre.
As far as I can see be-bop has beee the only real change to Jazz. Hard bop is just a natural progression of bop. All this avant garde, and free stuff are just failed efforts to change the tracjectory of the music.
The Arabs had nothing to do with it. hahahahahahahah I always thought they beheaded folks for even playing music. I know the taliban does.
Using your line of logic, we could say, the Big Bang has had the biggest influence on Music. Lauds INDEED!
OK, Rock. I'm done. You just don't get it. You are so intent on being right, that you have closed your mind to a perspective that can bring one a deeper understanding and appreciation of the music; and all music for that matter. If you care to learn, read my comments a little more carefully, and try not to let your ego cloud and distort what I am saying.
****'Others' have already destoryed: Rock & Roll, Gospel, Blues, R&B, Country and Western, and Country. Jazz and Blue Grass are now under attack and have been for a long time. Once they go under, that will be the end of AMERICAN music. We will be a big ball of diversified multicultured, internationalist noise. Classical is under attack also, but it's not American in orgin. Who is attacking this music? The below average, The average, the wannabes, the non talented, the 'if they can do it, I can do it', the 'I should be able to be WHATEVER I DESIRE to be' crowd.****
Jeez! What can I say? At best, a sadly pessimistic outlook on what music, and it's role in culture is all about. That you should think that art of any kind can be attacked and destroyed that easily is really unfortunate. Once again, the irony of what you say is staring you in the face and you don't open yourself up to seeing it. The Spanish tried to "destroy" the music of the African slaves by banning drums, and banning their religious symbols. And do you know what happened? They (slaves) substituted other instruments including a simple wooden crate to use as percussion instruments. That crate became known as "el cajon" (literally, "box"), and a fixture in a lot of Caribbean music. The attempts to ban their religious symbols prompted them to substitute Christian saints' names in an amalgam that became "Santeria", which became a significant influence in Afro-Cuban music (jazz). Creativity can't be destroyed; it evolves.
Anyway, I really am done. I gave it my best shot.
Peace. Or should I say, paz.
Frogman, trying to have a discussion with R2id is truly an exercise in futility! This guy believes that what he THINKS is actually FACT. He's the type of guy who loves hearing himself talk. He doesn't allow for the possibility that he may be mistaken or that someone else knows more than he does. He hangs out at an audio site but is anti-audiophile. He claims he hangs here 'cause he's a music-lover. If that's the case, why not go to Jazzcorner, Allaboutjazz, or Organissimo, the guy's totally illogical. Just look at the stupid statements he's made on this thread alone, his arrogance is only surpassed by his ignorance! He's truly got an Archie Bunker mentality.
'I for one, am going down swinging.'
Against what? Against who? 50 yrs from now we'll all be gone but you know what'll still be around? THE MUSIC!!! Old AND new! If you fail to recognize this fundamental reality you truly know nothing. Stick to yr golden oldies lovefest but try to control yourself when the adults are having a conversation! I'd tell you to look up Congo Square but you undoubtedly think you know all there is to know about that place and time, don'tcha Archie!?;)
Before anything gets misinterpreted, that wasn't addressed to anyone personally, but to us all generally. What we have to say about history, is moot compared to what "the moving finger" had to say. Whatever it was, nothing can change what the moving finger has written, and the moving finger never stops writing.
I would like for those moving fingers out there, write some more good recommendations that I can add to my collection.
Enjoy the music.
You are a Sage.
I was just listening to Nina the other day. I have the CD with the LPs, 'In Concert', and 'I put a spell on you'. She was not known for biting her lip. very outspoken. Always spouting those inconvienent truths.
I also have Nina's, The 'Four Women', four CD box set. Beautiful packaging. I will have to listen to it and report. It's said that the 'Coplix Years' is the best set. We will see.
Without a doubt, "The Colpix Years" are the best, that music is timeless; it sounds just as fresh today as when she recorded it. This is like returning to an old gold mine that everyone had given up on, and said "There's no more gold in that mine", and were discovering new nuggets everyday.
Enjoy the music.
Frogman, I understand your bowing out here completely, even though you are completely correct. Rok2id, please do not take offense, but you are demonstrating a fine example of that old phrase "a little knowledge is a dangerous thing." There is no one on this board anywhere near as knowledgeable as Frogman in the subjects you have been trying to argue about with him.
That said, let's get back to enjoying the music. That's the most important thing.
Thanks for the words of support, Learsfool and Chazro. One of the more interesting aspects of being a music lover is that, ironically, since music touches the most personal parts of our beings, it also tends to make some very resistant to new ideas and viewpoints; even when those ideas are clearly rooted in fact. IOW, "How dare anyone question that which I love so much; how can they possibly not see (hear) what I see?" Even the players themselves fall victim to this. Some prominent jazz players during the swing era thought that the birth of bebop would be the end of jazz. And Coltrane? Well, how many players first felt about his style is well documented.
I think the biggest challenge for a lot of the members of this forum is to not let their own personal music favorites take on undue importance in the scheme of the vast general scope of the art. We all have our favorites and may not be interested in being open to other musical viewpoints, wether they be by way of a different playing style or difficult compositions; as short sighted as that may be, it's ok. But, when one starts to make proclamations about this or that being fact, or that this or that style or performer is "the best", one should be able to back it up with a clear and factual argument and analysis, IMO. Art is human expression, and humans will always find a way to express the current human condition through art. To figure out for ourselves wether we are reacting to what the art is saying vs. wether we think it is good art or not is the biggest challenge; and the one with the biggest reward if we can arrive at an honest conclusion.
Anyway, returning to the regular programming:
If there ever was a cult figure in the world of jazz tenor players it was Tina Brooks. Not too many listeners have even heard of him, and to think that only one of his five Blue Note recordings was released during his lifetime is unbelievable. Just as an aside: it is a common and natural dynamic among musicians (in any genre, not just jazz) that when they show up to a gig they "size each other up" by how they warm-up. Some players take out their horn (or whatever) and start playing a million notes; everything but the kitchen sink. Other players will take the horn out, play a couple of notes and that's it; no big fanfare nor need to impress. Experienced players know that it is oftentimes the "quiet types" that will play the best; when it's time to get serious, what they do is just right. Tina Brooks strikes me as one of those players: not a particularly beautiful or well developed tone, some pitch issues here and there; but, in the context of the music he is playing everything is just right. This recording is highly recommended.
About time some big band favorites get mentioned. Thad Jones/Mel Lewis big band live at the Vanguard. Talk about swinging. The band during this time included, among others, Joe Farrell, Eddie Daniels, and the great Pepper Adams.
Rok, you gotta check Chucho Valdez and The Afro Cuban Messengers. This is "jazz" without any qualifiers. Although they're Cuban, Blakey would have been proud of these musicians. I listened long and hard, they cook. Some of the music incorporated elements of "Vodoun", but I liked that too. Tell me what you think.
Enjoy the music.