What Jazz are you listening to now?

[Serial_Apologist]

And Peter King playing Bird's actual Grafton plastic alto, which I think was more bakelite a la Massey Hall. Sometime in the 90s when it was auctioned at Christie's. Sends shivers down your spine...

http://youtu.be/ISadfOcJn3A

There's a wonderful story (forgive me if this is a repeat, age and that) about when John Dankworth went over to New York, playing his way on one of the liners as they did then, and managing to sit in on a gig, Parker came into the club - Dankworth thinking, O my god - came up on the stage, and swapped fours with him on Dankworth's alto - JD claiming that after the instrument was passed back it had somehow been "opened up" by Parker.

[Joseph K]

https://www.youtube.com/watch?v=iiqcFGgu4EM

Eric Clapton - Cocaine with Kurt Rosenwinkel



More used to seeing Rosenwinkel tearing it up on harmonically dense tunes such as 26-2, it is seriously weird hearing him play over this simple mixolydian vamp - and hearing jazzy outside ideas on this tune is weird in itself anyway.

[BLUESNIK'S REVOX]

There's a wonderful story (forgive me if this is a repeat, age and that) about when John Dankworth went over to New York, playing his way on one of the liners as they did then, and managing to sit in on a gig, Parker came into the club - Dankworth thinking, O my god - came up on the stage, and swapped fours with him on Dankworth's alto - JD claiming that after the instrument was passed back it had somehow been "opened up" by Parker.

There's a similar story of Dankworth at the Paris Jazz Festival in 1949, with Bird arriving at a jam session in St Germain, borrowing his not especially good alto & playing phenomenally on it. Dankworth said to him, "Amazing Bird, I've learned so much from you, we all owe you so much!" To which Parker replied, "Fine man, so loan me a hundred dollars!". Which he did.

[Serial_Apologist]

There's a similar story of Dankworth at the Paris Jazz Festival in 1949, with Bird arriving at a jam session in St Germain, borrowing his not especially good alto & playing phenomenally on it. Dankworth said to him, "Amazing Bird, I've learned so much from you, we all owe you so much!" To which Parker replied, "Fine man, so loan me a hundred dollars!". Which he did.

Yes - now when I come to think about it, maybe it was the Paris occasion I was actually thinking of.

[Serial_Apologist]

Art Pepper in Rome, 1981 with Milcho Leviev, Bob Magnusson & Carl Burnett playing 'Blues for Blanche':

https://www.youtube.com/watch?v=oC6JowwFnBE

JR

I discovered a good quality second hand copy of "Blues for the Fisherman" - which when it came out here must have been quite a shock for people weaned on the more obviously Parkerish stuff of the 1950s - going for a ridiculously cheap price at our local market. People always used to say "You'll never find that anywhere", so I had to snaffle it before anyone else did!

[BLUESNIK'S REVOX]

I discovered a good quality second hand copy of "Blues for the Fisherman" - which when it came out here must have been quite a shock for people weaned on the more obviously Parkerish stuff of the 1950s - going for a ridiculously cheap price at our local market. People always used to say "You'll never find that anywhere", so I had to snaffle it before anyone else did!

Just a quibble but Pepper said he *really* disliked Parker's tone and was not *that", besides the obvious, influenced by him. Much more Lester Young into early Dexter. And by the close of the 50s he had a whole other thing going on, that fragmentation of the line, picking up on melodic fragments and playing off those? Getting Together and Smack Up are really prime examples. Much as I like the "reborn" Art Pepper, that incredible turn on a pin fluency, invention and dynamic was lost. He was as good as Rollins.

[BLUESNIK'S REVOX]

Art Pepper (with Miles section, Kelly, Chambers and Cobb), 1960 pre San Quentin. "Rhythm-A-Ning", from "Getting Together" (Contemporary).

When this was played for Monk in a Downbeat blindfold test, he strongly demurred. "Don't you like the solos, too fast?" Monk, "Those are slow solos just played FAST!"

Still a great example of Pepper fragmenting the line...

http://youtu.be/oro2oLpFDgY

[Serial_Apologist]

Art Pepper (with Miles section, Kelly, Chambers and Cobb), 1960 pre San Quentin. "Rhythm-A-Ning", from "Getting Together" (Contemporary).

When this was played for Monk in a Downbeat blindfold test, he strongly demurred. "Don't you like the solos, too fast?" Monk, "Those are slow solos just played FAST!"

Still a great example of Pepper fragmenting the line...

http://youtu.be/oro2oLpFDgY

Thanks - that's true! Even Wynton takes up on the implication in his albeit short solo.

[Serial_Apologist]

The London-based, Australian-born guitarist Carl Orr, plays mean dirty low down blues. He has associated with some pretty famous names, to judge by the PR attached short clip from the Ronnie Scott's site ... and he's doing a FREEBIE (waddyaknow?) this coming Sunday lunchtime at the Princess of Wales pub, off Primrose Hill, on this occasion acompanied by the regular house trio led by Kate Williams, daughter of another famous guitarist.

http://www.ronniescotts.co.uk/performances/view/5405-carl-orr-quartet

[Joseph K]

John McLaughlin - Extrapolation

[Joseph K]

Pat Metheny - Letter from Home

[Joseph K]

Pat Metheny - Letter from Home

Had to turn it off. Too corny, too cheesy.

[Boilk]

Had to turn it off. Too corny, too cheesy.

Agreed...the only track I liked from that 'cheesy' album was 5-5-7. Keyboardist Lyle Mays has elsewhere put out the odd good tune, such as Ascent.

[Ian Thumwood]

I was handed a leaflet yesterday about the release of a previously lost Miles Davis studio session . But before anyone gets too excited it dates from 85 and 86 with largely unfamiliar musicians with rhe exception of Lala Hathaway. There is a lot of programmed drumming too so not too hopeful for this material from his last CBS session before the switch to Warner with Tutu. Joseph probably will enjoy.

[Joseph K]

Agreed...the only track I liked from that 'cheesy' album was 5-5-7. Keyboardist Lyle Mays has elsewhere put out the odd good tune, such as Ascent.

Actually I think the first track 'Have you heard?' is quite nice. Perhaps I should listen to 5-5-7...