Jazz for aficionados

Mari Boine:

Compelling.   Could not turn away.  What does it have to do with Native American music, I'm not sure.  Great pictures also.

Some of the folks that commented said the music was from the Sami people who live in Lapland.  I think that's up above the Artic circle. Reindeer folks.

I have seen several performances live, by Indians in New Mexico.  Didn't sound anything like this.   Guys get in a small circle with drums, and the beat never changes.   Very simple stuff.  The dancing is the thing.

Now, if some of our more political correct folks want to demonstrate their moral superiority by doing the outrage thing, this would be the time.  A Norwegian, singing 'indian' music, in  Norway, with a full band backing.  Not an Indian in sight.

Cheers

Frogman, your answers to my questions tell me that you are "phaking the phunk". As I stated, this was in 69 and that does make a difference. There were a number of thriving jazz clubs in St. Louis at that time. My friend was well known among "aficionados", and "hard core" jazz fans, "No phaking the phunk" with them; you had to be able to get down with the real deal, they were the fans who overflowed the clubs when "Trane" came to town.

As I recall, my phone bill was through the roof; we didn't have these plans where you can call and talk as long as you want, we had to pay for every single long distance call. He was calling other musicians for the artists he wanted in St. Louis. There's a pianist who I used to talk to a lot, who could play Silver's tunes as good as the man himself. Usually I came to where he was playing before he went to work so we could rap.

This pianist had a photographic portfolio with almost all the jazz artists of that time frame who we discuss a lot on this thread. When ever anybody came to St. Louis and wanted a jazz pianist, they called him. I often asked him why he stayed in St. Louis as good as he was. (this was something he knew without me telling him) I never got a good answer, but a friend of his, who had known him since grade school, told me, there ain't no way he was going to leave that "super fox" he was married to, while he went out on the road. The same condition might have existed with Eddie Fisher.

Now that I think back, the conversations with the selected musicians were loose and casual, as if he (my friend) had no doubts that these cats could jam, and jam they did, to a packed house.

St. Louis was, and still is "a blues town"; jazz addicts have to suffer from one fix to the next, meaning you could find blues all over the place, but not jazz; that's why when somebody like him was playing any where in St. Louis, that house was packed.

I want to thank you Frogman, for helping me to answer my own question.





Enjoy the music.
 

"Compelling. Could not turn away. What does it have to do with Native American music, I'm not sure. Great pictures also."

Rok, I've never been on or to a "reservation", or anywhere that was exclusively "Native American"; consequently, I thought that "was" Native American music. This link tells whatever anyone wants to know about a "reservation".


    https://en.wikipedia.org/wiki/Indian_reservation


Rok, I would imagine each tribe would have "at least" slightly different music; but back to what I posted, it sounded "hypnotic" to me; to use my favorite word; I was mesmerized. I've got what might be the first CD Mari Boine put out, I bought it many years ago, now I see I'm going to have to buy more.

Count me out of any discussion of whatever anybody is talking about; the name of this thread is "Jazz For Aficionados"; while we wonder wide and far in regard to music, if anyone wants to discuss Native American affairs, I suggest they find another conducive forum.



Enjoy the music.

Rok, Marcus Roberts is the "New Giant", and that CD is on order. I've got one of the "Bey's" CD's, and I'm trying to avoid a Bey overload.

Since I don't want to spoil the pleasure of listening to my own CD, I am not listening to yours.


Enjoy the music.

I want to congratulate jazzcourier on an excellent edition of "All That Jazz", hosted by him on KUNM.  I listened to it and found it highly rewarding and interesting; thank you for the invitation, jazzcourier.  I recommend the show highly to all reading this.

The word jazz "great" gets thrown around way too casually in my opinion.  If so many of the musicians who we discuss we also call great, then what do we call a musician like Duke Ellington whose music towers above all but a small handful in this art form? Listening to jazzcourier's show reminded me of this and why it's so important as a listener to always aim to be a more and more discerning and smarter listener.  The show featured many gems that I had never heard before; especially the radio broadcast transcriptions.  Some of the biggest surprises for me:

- Radio transcription of "Happy Go Lucky Local".  Reminder of what great "old school" ensemble playing was all about.  Tight, tight, right, and always conscious of the composer's intent with a beautiful sense of blend trumping (sorry) individual ego; saving the ego for when the individual's player unique "voice" was wanted by the composer which was how he always wrote.
- Norris Turney's flute (!) on "Mahalia Suite".
- Duke's solo piano version of "Nagoya" which would become one of the movements of "Far East Suite".  Amazing in its freshness and modern sensibility.

I appreciated jazzcourier's economy of words in his descriptions of the music.  Got the point across without the "this is how tightly Bird tightened his shoe strings that day" kind of detail heard from another jazz dj I listen to (Phil Schaap).  Anyone who is interested can, with a little sleuthing, find out more about jazzcourier's credentials; they are impressive.  I hope he continues to post on this thread.