The place for jazz videos

[Joseph K]

[BLUESNIK'S REVOX]

Elvis Costello talking about Chet Baker, becoming aware of him, hearing him in person, meeting him, recording with him, etc etc, and just his general understanding of him. This was recorded in New York about six months ago, and I found it surprisingly good...http://youtu.be/TkAV7qPibwI

[Jazzrook]

Max Roach with Clifford Jordan, Coleridge Perkinson, Eddie Khan & Abbey Lincoln:

https://www.YouTube.com/watch?v=JAnSpnA9TUk

JR

[Tenor Freak]

Elvis Costello talking about Chet Baker, becoming aware of him, hearing him in person, meeting him, recording with him, etc etc, and just his general understanding of him. This was recorded in New York about six months ago, and I found it surprisingly good...http://youtu.be/TkAV7qPibwI

I have a copy of that LP! First time I'd heard of him too (Chet, not Elvis). Mind you I prefer Robert Wyatt's version of "Shipbuilding".

[Tenor Freak]

Oh yes, I came here to post this. Down at the old Bimhuis last Thursday:

[Jazzrook]

New York All-Stars: Eric Alexander, Harold Mabern, Darryl Hall & Bernd Reiter playing 'The Night Has A Thousand Eyes' from 'Burnin' in London', 2018:

https://www.YouTube.com/watch?v=vw7GnNxLIlk

JR

[BLUESNIK'S REVOX]

Willis "Gator" Jackson, Tenor sax, American TV c.1956, the epitome of "honk" and making three notes count. Four at a stretch. "Blow Mr Gator", we shout! http://youtu.be/7-is9GsxCT0

[Jazzrook]

Willis "Gator" Jackson, Tenor sax, American TV c.1956, the epitome of "honk" and making three notes count. Four at a stretch. "Blow Mr Gator", we shout! http://youtu.be/7-is9GsxCT0

Tremendous stuff, BN. Such energy!
I imagine Albert Ayler playing like this during his R & B days.

JR

[BLUESNIK'S REVOX]

That was my thought! Willis is almost there. In the "zone"!

[Serial_Apologist]

That was my thought! Willis is almost there. In the "zone"!

Reputedly (?) this is Willis' more usual style. Highly amusing quote swaps in this!

http://www.youtube.com/watch?v=etT-hexccZo

Vaudeville has always played its part in jazz, even at the avant garde end. You just don't get this in the same way in classical music - or if you do it nearly always seems forced, even when obviously trying to break down audience barriers, as with David Bedford's Pancakes with Butter, Maple Syrup and Bacon, and the TV Weatherman of 1971, which includes interludes for each of the performers to produce unorthodox effects from their instruments. There don't appear to be any youtube links for this unfortunately.

[BLUESNIK'S REVOX]

David Bedford talks plastic tubing, "Nationwide", 1979 - "Does this have a serious future? No, not really..." Smashing!

http://youtu.be/GUUueLRWyhA

[Ian Thumwood]

Tremendous stuff, BN. Such energy!
I imagine Albert Ayler playing like this during his R & B days.

JR

Jazzrook & Bluesnik

I am really surprised that you have commented favourably on the "Gator" Jackson clip although I can see some connection with Albert Ayler.

I remember when I was about 17 I bought an album on the old Jasmine label called "Lionel Hampton at Carnegie Hall" and I has expected it to be something like Goodman's concert from about 10 years previous. The album was pretty dreadful and this was the first inkling i got that not everything Lionel Hampton did was golden. My Dad was a massive Lionel Hampton fan and, for me, Hamp has a special place in growing up appreciating jazz. By the late 40s Hampton's band seemed to have a split personality between embracing players like Wes Montgomery and Charlie Mingus whilst producing the almost pointless blues-based jams which ended in a frenzy for not good purpose. Hearing the music in that clip just reminded me of the broader milieu Hampton was working in and recalled the really caustic reviews that often accompanied his gigs that were written by critics of the time.


In some ways Hampton's band became a circus which detracted from much of the good music he was capable of making. The Jackson track , for me anyway, is almost totally devoid of any musical merit. I am struggling to think of anything I have heard for a long while which is quite so pointless. It is funny how something like this seems to get positive feedback whereas the likes of Hampton would be slaughtered in here if they made a record like that. It is a bit like that bloke who commented on the Sun Ra Jazz Legends programme on the old board about how good their interpretation of Walt Disney was and Bluesniks repsonded that Woody Herman would hve been bottled for less!

[BLUESNIK'S REVOX]

I posted it in the Christmas spirit! That extreme. There was an entire genre of R&B "honkers" who provided such popular entertainment. (I wasn't suggesting Willis was channelling Wayne Shorter). They were often better players, Willis Jackson including, than critics conceded and developed those techniques, for good or bad. The walking the bar stuff that even Coltrane engaged in coming up. And as a side point it's worth looking at the session details of 50s doo wop and black R&B, where a whole range of "serious" players show up for those gigs and record dates, not for "art", but A/because it was a necessary living, B/because there wasn't such a divide then. Eric Dolphy playing Bari behind the Platters? Just another call. Elmo Hope tinkling away behind some obscure black vocal group? Ronnie Scott "honking" behind Tommy Steele's "Caveman"? Another pay day. Let's not get too precious!

[BLUESNIK'S REVOX]

One of my long time favourites of its kind, Roy Montrell, "Mellow Saxophone" 1956. With Red Tyler, Bari, Lee Allen, Tenor, all alumina of Fats Domino's band... and on drums, the FRANK BUTLER, only just discovered that! Rock,Rock, Rock!

http://youtu.be/w8aCxE70vxY

[Jazzrook]

Warren Lucky and Combo playing 'Thunderbolt!':

https://www.YouTube.com/watch?v=NB34UxiyueQ

JR