Jazz for aficionados

No Bird, no Trane???  Interesting question.  However, I have a hunch it wouldn’t be all that different except for the “sounds”.  Conceptually, the instruments are just a means to an end; which is why I am always a little bewildered when some listeners say “I don’t like this instrument or that instrument”.

Btw, the alto player on that great (!) clip of Wynton’s band is Sherman Irby who plays the amazing alto solo in the tune “The Sound Of Red”.  One of my favorites on the scene today; few notes, great feel, great story telling.  No doom and gloom as far as I can see. 

mary_jo, I am duly impressed.  Few people even know of the existence of the slide saxophone.  A relic and curiosity, but a real (and strange) instrument.

https://m.youtube.com/watch?v=bPz85Ie2CdM

”The man with the funny little horn”.  My wife has used that phrase...well, never mind 😊

I am fascinated to the point of being obsessed by "drum rhythms". I have traced them from Africa to Brazil and the Caribbean. We can divide the Caribbean into Cuba, Haiti, The Dominican Republic, and all of the smaller islands in the Caribbean. The singular most unique thing about these African rhythms, is the fact that they got lost in the U. S. of A. I don't hear any African rhythms emanating from here, maybe someone else does, but I don't.

Of course we can incorporate anything we want to in jazz, but I'm speaking of what was originally in "modern jazz"; that's jazz from the 50's to the present; it was "influenced" by Charley "Bird" Parker, more than any other single individual. Of course there were others, and they will tell you the same thing; he was the "High Priest".

"Le Liasons Dangerous"     Recorded in 59.

Bass – Jimmy Merritt*
Bongos – John Rodriguez* (tracks: 2 to 10)
Congas – Tommy Lopez (tracks: 2 to 10), William Rodriguez* (tracks: 2 to 10)
Drums – Art Blakey
Piano – Bobby Timmons, Duke Jordan (tracks: 3)
Soprano Saxophone, Tenor Saxophone – Barney Wilen (tracks: 1, 3 to 9)
Trumpet – Lee Morgan


  https://www.youtube.com/watch?v=jw_8i22pBcs&list=PLUJ7V33M1wR0kn82R1Xp6WwvZ47aK-2BP


This music is typical of "Hard Bop", if there is anything typical about any Hard-Bop. These artists are uniquely gifted; I'm saying that going to school and practicing won't get you there, either you got it or you don't.

This music began as "African American" music from our great cities, that aren't so great anymore. Whereas I can hear something "African" in the music from Cuba, Brazil, and the Islands, I don't hear that from American jazz. Why this is so, or not so, could be debated until the next millennium, but the reality would remain the same.

I hear Chicago, I hear New York, I hear Detroit, and the rest of our cities that were great places to live, love, and create; that's where this music began.


In addition, I'm going to add some of my favorites, and in this music I'm celebrating "Pepper Adams". Although he's not the leader, he's one of the other individuals who make this music great.


 
            https://www.youtube.com/watch?v=U_0wBTUvM6M


          https://www.youtube.com/watch?v=__OSyznVDOY


          https://www.youtube.com/watch?v=Qo0P2YugUnU


Enjoy this music.

***** No doom and gloom as far as I can see.*****

Irby is a member of the establishment by age and Jazz played.

Doom and Gloom refers to the POSSIBILITY of the noise makers dominating Jazz in the future.   I am confident Wynton will head them off at the pass, so to speak.

If a noise maker succeeds him at Lincoln Center, then all bets are off.

Cheers

I am fascinated to the point of being obsessed by "drum rhythms". I have traced them from Africa to Brazil and the Caribbean. We can divide the Caribbean into Cuba, Haiti, The Dominican Republic, and all of the smaller islands in the Caribbean. The singular most unique thing about these African rhythms, is the fact that they got lost in the U. S. of A. I don't hear any African rhythms emanating from here, maybe someone else does, but I don't.

Of course we can incorporate anything we want to in jazz, but I'm speaking of what was originally in "modern jazz"; that's jazz from the 50's to the present; it was "influenced" by Charley "Bird" Parker, more than any other single individual. Of course there were others, and they will tell you the same thing; he was the "High Priest".

"Le Liasons Dangerous"     Recorded in 59.

Bass – Jimmy Merritt*
Bongos – John Rodriguez* (tracks: 2 to 10)
Congas – Tommy Lopez (tracks: 2 to 10), William Rodriguez* (tracks: 2 to 10)
Drums – Art Blakey
Piano – Bobby Timmons, Duke Jordan (tracks: 3)
Soprano Saxophone, Tenor Saxophone – Barney Wilen (tracks: 1, 3 to 9)
Trumpet – Lee Morgan


  https://www.youtube.com/watch?v=jw_8i22pBcs&list=PLUJ7V33M1wR0kn82R1Xp6WwvZ47aK-2BP


This music is typical of "Hard Bop", if there is anything typical about any Hard-Bop. These artists are uniquely gifted; I'm saying that going to school and practicing won't get you there, either you got it or you don't.

This music began as "African American" music from our great cities, that aren't so great anymore. Whereas I can hear something "African" in the music from Cuba, Brazil, and the Islands, I don't hear that from American jazz. Why this is so, or not so, could be debated until the next millennium, but the reality would remain the same.

I hear Chicago, I hear New York, I hear Detroit, and the rest of our cities that were great places to live, love, and create; that's where this music began.


In addition, I'm going to add some of my favorites, and in this music I'm celebrating "Pepper Adams". Although he's not the leader, he's one of the other individuals who make this music great.


 
            https://www.youtube.com/watch?v=U_0wBTUvM6M


          https://www.youtube.com/watch?v=__OSyznVDOY


          https://www.youtube.com/watch?v=Qo0P2YugUnU


Enjoy this music.