Another great 1957 performance from Clifford Jordan & John Gilmore with Horace Silver, Curley Russell & Art Blakey playing Gigi Gryce's 'Blue Lights':
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Thelonious Monk with John Coltrane, Wilbur Ware & Shadow Wilson playing 'Trinkle, Tinkle' in 1957:
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Bechet with Wild Bill Davison, Runnin' Wild 1950
exceeded the time limit there!Comment
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Without being aware of this post, I was listening to this very track this afternoon, illustrating it to a visiting friend as an example of 'Trane's advances at that time - an extraordinary coincidence indeed!Originally posted by Jazzrook View PostThelonious Monk with John Coltrane, Wilbur Ware & Shadow Wilson playing 'Trinkle, Tinkle' in 1957:
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Yes, a strange coincidence, S_A.Originally posted by Serial_Apologist View Post
There can't have been many people in the world listening to that track around the same time!
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Art Blakey & The Jazz Messengers with Johnny Griffin, Bill Hardman, Sam Dockery & Spanky DeBrest playing Hardman's 'Deo-X' in 1957:
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This is available in a double CD set of three classic albums, which I intend to buy.Originally posted by Jazzrook View PostArt Blakey & The Jazz Messengers with Johnny Griffin, Bill Hardman, Sam Dockery & Spanky DeBrest playing Hardman's 'Deo-X' in 1957:
JRI will not be pushed, filed, stamped, indexed, briefed, debriefed or numbered. My life is my own.
I am not a number, I am a free man.Comment
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Stan Getz 'It never entered my mind' at the Opera house in 1957......they just keep coming
Ira Sullivan with Red Rodney and a stellar rhythm section - Tommy Flanagan, Oscar Pettiford and Philly Joe Jones
elmoLast edited by elmo; 03-11-22, 20:30.Comment
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Not listened to much jazz the last few weeks as I have become obsessed by Scarlatti Sonatas (listening and playing) as well as continuing to explore Scriabin's music. The last Scriabin I have been playing has been a set of his ten Sonatas which start off being influenced by Chopin before finally arriving at an altogether style which owes something to Romantacism but hinting towards Messaien. The later Sonata's sound like "Vera la flamme" - this starting off an an poutlined for his 11th Sonata.
Joseph's point about the comparisons with Coltrane is a good one. "Vers la flamme" uses a "mystical chord" and is effectively an extemporisation on it. There was an essay I read on line which suggested that Scriabin's ideas marked a more interesting approach to innovation than much of the Serialist composers and offered the suggestion that his approach was the more radical. You wonder where his music would have ended up had he lived before 1915. If you consider the ground his music covered in such a short duration, he needs to be compared to Miles Davis. I have been struggling through then Opus No. 11 Preludes which are supposed to be easier although I am finding them a bit tricky.Comment
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Another composer who came up with the idea of a mystic chord was British, Cyril Scott. To be frank I think the idea of basing music on one chord limits options, so that much of Scriabin's music after the Fifth Sonata of 1908 operates within a narrow harmonic universe, hinting at that resolution that never comes, like an unattainable orgasm. Messiaen's early music avoided this by means of harmonic modal combinations based on different scales, if one thinks in terms of how many jazz people think harmony, and making rhythmic coordination an equal partner. If one considers the music of Schoenberg, Berg, Webern, Dallapiccola, Petrassi, Gerhard, Schuller and J Dankworth, just to name seven other composers who availed themselves of Schoenberg's 12-tone method, or even at the originator's own works using it, the huge range of styles and sub-genres it offered, just as had the preceding diatonic and modal stages of western musical evolution.Originally posted by Ian Thumwood View PostComment
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Yes - I completely agree with the late Coltrane/late Scriabin comparison. For me, it's Coltrane's Interstellar Space which is his real masterpiece, it's a suite which bears comparison with the last five of Scriabin's piano sonatas, in that they both feel like a coherent whole - in the Scriabin the harmony of course (which, I should add, it would be as silly to criticise for its lack of variety as it would for complaining about the lack of harmonic movement in Indian music!) so that in my memory many of the themes and ideas of those last five sonatas intermingle, blend and elide into one another; likewise, Coltrane's vocabulary is quite tight and coherent across Interstellar Space (I recommend looking at Lewis Porter's book for examples) and you can hear how his lines often suggest particular harmonies, so both motivically and harmonically everything is integrated. Add to this, both are deeply mystical, as well as ecstatic and colourful.Originally posted by Ian Thumwood View PostLast edited by Joseph K; 04-11-22, 07:06.Comment
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Ant Law & Alex Hitchcock - Same Moon In The Same World
This has just today been released. Sounding very good so far.Comment
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Red Mitchell Quartet with James Clay, Lorraine Geller & Billy Higgins playing 'Cheek To Cheek' in 1957:
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Coleman Hawkins 'Chant' with Idrees Sulieman, J J Johnson, Barry Galbraith, Hank Jones, Oscar Pettiford and Jo Jones. lovely stuff from you guessed it 1957
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From 1956, from a Prestige album flatly called, "Two Trumpets" - Art Farmer & Donald Byrd, one of the many sessions where Prestige rounded up who was available, paid them scale, and switched on the mikes, a really beautiful & favourite performance of "When your lover has gone" by Art Farmer. Barry Harris excellent piano...
AND...
Here's Ray Charles' classic take on it from 1959 (The Genius - Atlantic), with an always fine David Newman tenor solo, song arranged by Al Cohn...
AND just discovered that Ray's massive breakthrough seller, "Georgia on my mind" was itself arranged by Al Cohn. Hope he got a good deal. (Unlikely).Last edited by BLUESNIK'S REVOX; 05-11-22, 10:04.Comment
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