Jazz?
- Thread starter Yax
- Start date
____no5
Free Man
John Coltrane -Blue Train
Some interesting notes from Wikipedia: Blue Train is a hard bop jazz album by John Coltrane, recorded on September 15, 1957, at the Van Gelder Studio. It is considered Coltrane's first solo album, as it is the first he recorded featuring musicians and songs entirely of his choosing.
[...] Two of its songs—"Moment's Notice" and "Lazy Bird"—demonstrate Coltrane's first recorded use of Coltrane changes, which he would later expand upon on Giant Steps.
1. Blue Train – 10:43
2. Moment's Notice – 9:10
3. Locomotion – 7:14
4. I'm Old Fashioned – 7:58
5. Lazy Bird – 7:00
Coltrane is most my favorite jazz musician. I first noticed him in 2003, when a friend of mine introduced me to the most important jazz record ever, Kind Of Blue. I used to play sax when I was teen and I was impressed from his mighty sound. My friend, an accomplished saxophonist, explained me more about the miracle of Coltrane who despite his lips not being suitable for this instrument (thus the double lip technique he developped), managed to create one of the most notable tones, ever. He described me in his words, the Coltrane changes:
I was then a pro-chromatic to the bone; so this plus his lips alleged issue, made me love him for ever. A love supreme
Some interesting notes from Wikipedia: Blue Train is a hard bop jazz album by John Coltrane, recorded on September 15, 1957, at the Van Gelder Studio. It is considered Coltrane's first solo album, as it is the first he recorded featuring musicians and songs entirely of his choosing.
[...] Two of its songs—"Moment's Notice" and "Lazy Bird"—demonstrate Coltrane's first recorded use of Coltrane changes, which he would later expand upon on Giant Steps.
1. Blue Train – 10:43
2. Moment's Notice – 9:10
3. Locomotion – 7:14
4. I'm Old Fashioned – 7:58
5. Lazy Bird – 7:00
Coltrane is most my favorite jazz musician. I first noticed him in 2003, when a friend of mine introduced me to the most important jazz record ever, Kind Of Blue. I used to play sax when I was teen and I was impressed from his mighty sound. My friend, an accomplished saxophonist, explained me more about the miracle of Coltrane who despite his lips not being suitable for this instrument (thus the double lip technique he developped), managed to create one of the most notable tones, ever. He described me in his words, the Coltrane changes:
wiki said:
I was then a pro-chromatic to the bone; so this plus his lips alleged issue, made me love him for ever. A love supreme
Forostar
Ancient Mariner
Cheers man! This is the earliest jazz studio album I bought. I haven't heard in ages, because of the flood of other albums I obtained afterwards. I remember I wasn't that impressed, when I heard it the first time. But I was still "green" at the time. Maybe I need to give it more spins to get used to it. Other albums clicked faster. Pretty interesting that this was Coltane's only Blue Note album. There are not many east coast jazz icons from that period who released only one (or zero) albums for Blue Note.
I will try to post about an artist every week.
I will try to post about an artist every week.
____no5
Free Man
SinisterMinisterX said:Naah, THIS is Weather Report.
Joe +Jaco huh, these were the days!
I'm not sure if it's well known, but Zawinul was a disastrous influence for Jaco. Without wanting it, he destroyed him. It's said that Pastorius never boozed in his life, before meeting him!
Speaking of Jaco, what's your opinion for Portrait of Tracy? I never understood the obsession of so many with that one...
Bill Evans –Conversations With Myself (1963)
Conversations With Myself, was an album I discovered from a housemate’s friend and accomplished jazz pianist, in 2002. We used to spend some time listening to it, drinking. He was admiring this record and Bill Evans generally and he had some stories to tell, about them, too.
From Wikipedia:
It was Evans first solo album for Verve Records after being released from his contract by Riverside Records. Recorded at three different studio sessions on February 6, 9, and 20, 1963, Evans recorded the album using the then controversial method of overdubbing three different yet corresponding piano tracks for each song.
The album would earn Evans his first Grammy Award in 1964 for Best Jazz Instrumental Album, Individual or Group. It received a 5-star review in Down Beat in 1963.
Evans followed Conversations with Myself with Further Conversations with Myself and New Conversations, both recorded in a similar vein.
From Allmusic:
Often stirring controversy for no key or good reason, Conversations with Myself has Bill Evans utilizing the sound-on-sound technique of reel-to-reel tape recording available in the 1960s to play simultaneous twin pianos. It's an interesting combination of counterpointed lines and chords that Evans employs, with differing tempos and shadings that complement rather than contrast. Additionally, the usage of angular dialect à la Thelonious Monk and the witty discourse he can conjure with his own styles thicken and broaden the horizons of the usually spare harmonic inventions the pianist expresses on his own. With the overdubbing, Evans achieves true interplay and counterpoint on his own, starting with the rich harmonies of Monk's "'Round Midnight," where he adds alternate lines in a slightly ramped-up midtempo take. "Blue Monk" has Evans sounding like a guitarist in his single-note and chordal discourse, perhaps influenced by Wes Montgomery, while the CD bonus track "Bemsha Swing" sports the ineffable and unexpected twists and turns that identify the author. Away from Monk, the spacious "Spartacus Love Theme" is rendered beautifully in spite of the extra tracking, "Stella by Starlight" uses a more unified approach between the two piano tracks, and is a chamber type reading, while "Hey There" employs off-minor options that are not standardized by any means. The stealth and deliberate shadings of the lone Evans original, "N.Y.C.'s No Lark," do contrast with the energetic high-octave chords on "How About You?" in a music that is certainly busy for Evans. His bonus take of Truman Capote's "A Sleepin' Bee" is also more active than fans of Evans are used to, but within a slower pace, as combined techniques are simmered with an Asian flavoring. Conversations with Myself is certainly one of the more unusual items in the discography of an artist whose consistency is as evident as any in modern jazz, and nothing should dissuade you from purchasing this one of a kind album that in some ways set a technological standard for popular music -- and jazz -- to come.
1. "'Round Midnight" (Thelonious Monk, Cootie Williams) – 6:33
2. "How About You?" (Burton Lane, Ralph Freed) – 2:48
3. "Spartacus Love Theme" (Alex North) – 5:08
4. "Blue Monk" (Monk) – 4:32
5. "Stella by Starlight" (Victor Young, Ned Washington) – 4:50
6. "Hey There" (Richard Adler, Jerry Ross) – 4:29
7. "N.Y.C.'s No Lark" (Bill Evans) – 5:34
8. "Just You, Just Me" (Jesse Greer, Raymond Klages) – 2:35
9. "Bemsha Swing" (Denzil Best, Monk) – 2:54
10. "A Sleepin' Bee" (Harold Arlen, Truman Capote) – 4:10
Highlights: ‘Round Midnight, Blue Monk, NYC’s No Lark & Bemsha Swing.
Forostar
Ancient Mariner
Bill Evans, eh? I don't have much by him, I only know him from Kind of Blue. To me he seems like a calm player, making calm music, or did he also do wilder things? Well, he covered Monk, so that's pretty wild. 
But did he write more complex music himself as well? (I know he is one of the greatest, just curious what your experiences are.)
The next two artists in my collection are Cannonball Adderley and Chet Baker. I'll be short about Baker. I don't care about his works. I have a Blue Note compilation because it came with a magazine, but this music stands for everything I don't like about jazz: dull, boring, without tension and above all sweet, and hardly any role for the rhythm section. Also, I am not a big fan of vocals in jazz. So I'll move on quickly with the other man. In this post I'll also talk about a man he worked with, because I don't own an album from that name. Here goes:
Apart from his solo work, saxophonist Cannonball Adderley (real name Julian Edwin Adderley) was known for his collaborations with Miles Davis. He is featured on Kind of Blue and on my personal favourite Milestones.
There's a nice story about how he became famous in New York:
It was in New York during this time that Adderley's prolific career began. Adderley visited the Cafe Bohemia (Oscar Pettiford's group was playing that night) where he brought his saxophone into the club with him, primarily because he feared that it would be stolen. He was asked to sit in as the saxophone player was late, and in true Cannonball style, he soared through the changes, and became a sensation in the following weeks.
I have some Savoy recordings which also feature his brother Nat Adderley (cornetist). This is enjoyable music, but I rather like to focus on this album:
Cannonball Adderley - Somethin' Else
recorded: March 9, 1958
This line-up features pianist Hank Jones, the oldest brother of Elvin Jones. Hank Jones died last May -his brothers Thad (trumpet) and Elvin (drums) died in 1986 and 2004 respectively- at the age of 91. I think he was active til his death. He had a remarkable career, and collaborated with many great names in jazz. He was known to be a superb accompanist for singers. E.g., he worked with Ella Fitzgerald, but he also played the piano accompaniment to Marilyn Monroe as she sang "Happy Birthday Mr. President" to John F. Kennedy on May 19, 1962. Check out this short biography to find out what else he did here.
Someday I think I need to plunge into his discography, I am sure he must have made some more nice music.
Back to the album, Somethin' Else.
It is said that this album was actually a Miles Davis album. The discussions about the leadership of this record never stopped. I too believe it was a Miles Davis album. Check out this piece, note the remark in bold, and judge yourselves:
The extent of Davis's leadership or co-leadership on Somethin' Else is disputed. Davis plays several of the first solos, and, according to the liner notes, chose most of the material - he would continue to play "Autumn Leaves" and "Love for Sale", at increasingly frenetic tempos, in the years to come. He also composed the bluesy title track and suggested Adderley cover "Dancing in the Dark" (on which Davis does not appear). The one exception is the 12-bar blues, "One for Daddy-O", written by Adderley's brother Nat (for Chicago radio DJ Holmes "Daddy-O" Daylie, not the Adderleys' father). Nonetheless, at the end of that track, Davis can be heard addressing producer Alfred Lion: "Is that what you wanted, Alfred?" The collaboration between Adderley and Davis would continue in 1959 with Davis's Kind of Blue, one of the most universally acclaimed jazz albums.
I'd like to present the opening track, Autumn Leaves, and pay extra attention to this beautiful piano sound, captured so well by the legendary engineer, Rudy van Gelder. That part starts around 08.38. I admit it doesn't sound exciting, nor does it have any stimulating rhythm, but the sound of it grabbed me as soon as I heard it for the first time.
I conclude with a nice description from allmusic:
One of the great alto saxophonists, Cannonball Adderley had an exuberant and happy sound that communicated immediately to listeners. His intelligent presentation of his music (often explaining what he and his musicians were going to play) helped make him one of the most popular of all jazzmen.
But did he write more complex music himself as well? (I know he is one of the greatest, just curious what your experiences are.)
The next two artists in my collection are Cannonball Adderley and Chet Baker. I'll be short about Baker. I don't care about his works. I have a Blue Note compilation because it came with a magazine, but this music stands for everything I don't like about jazz: dull, boring, without tension and above all sweet, and hardly any role for the rhythm section. Also, I am not a big fan of vocals in jazz. So I'll move on quickly with the other man. In this post I'll also talk about a man he worked with, because I don't own an album from that name. Here goes:
Apart from his solo work, saxophonist Cannonball Adderley (real name Julian Edwin Adderley) was known for his collaborations with Miles Davis. He is featured on Kind of Blue and on my personal favourite Milestones.
There's a nice story about how he became famous in New York:
It was in New York during this time that Adderley's prolific career began. Adderley visited the Cafe Bohemia (Oscar Pettiford's group was playing that night) where he brought his saxophone into the club with him, primarily because he feared that it would be stolen. He was asked to sit in as the saxophone player was late, and in true Cannonball style, he soared through the changes, and became a sensation in the following weeks.
I have some Savoy recordings which also feature his brother Nat Adderley (cornetist). This is enjoyable music, but I rather like to focus on this album:
Cannonball Adderley - Somethin' Else
recorded: March 9, 1958
This line-up features pianist Hank Jones, the oldest brother of Elvin Jones. Hank Jones died last May -his brothers Thad (trumpet) and Elvin (drums) died in 1986 and 2004 respectively- at the age of 91. I think he was active til his death. He had a remarkable career, and collaborated with many great names in jazz. He was known to be a superb accompanist for singers. E.g., he worked with Ella Fitzgerald, but he also played the piano accompaniment to Marilyn Monroe as she sang "Happy Birthday Mr. President" to John F. Kennedy on May 19, 1962. Check out this short biography to find out what else he did here.
Someday I think I need to plunge into his discography, I am sure he must have made some more nice music.
Back to the album, Somethin' Else.
It is said that this album was actually a Miles Davis album. The discussions about the leadership of this record never stopped. I too believe it was a Miles Davis album. Check out this piece, note the remark in bold, and judge yourselves:
The extent of Davis's leadership or co-leadership on Somethin' Else is disputed. Davis plays several of the first solos, and, according to the liner notes, chose most of the material - he would continue to play "Autumn Leaves" and "Love for Sale", at increasingly frenetic tempos, in the years to come. He also composed the bluesy title track and suggested Adderley cover "Dancing in the Dark" (on which Davis does not appear). The one exception is the 12-bar blues, "One for Daddy-O", written by Adderley's brother Nat (for Chicago radio DJ Holmes "Daddy-O" Daylie, not the Adderleys' father). Nonetheless, at the end of that track, Davis can be heard addressing producer Alfred Lion: "Is that what you wanted, Alfred?" The collaboration between Adderley and Davis would continue in 1959 with Davis's Kind of Blue, one of the most universally acclaimed jazz albums.
I'd like to present the opening track, Autumn Leaves, and pay extra attention to this beautiful piano sound, captured so well by the legendary engineer, Rudy van Gelder. That part starts around 08.38. I admit it doesn't sound exciting, nor does it have any stimulating rhythm, but the sound of it grabbed me as soon as I heard it for the first time.
I conclude with a nice description from allmusic:
One of the great alto saxophonists, Cannonball Adderley had an exuberant and happy sound that communicated immediately to listeners. His intelligent presentation of his music (often explaining what he and his musicians were going to play) helped make him one of the most popular of all jazzmen.
national acrobat
Ancient Mariner
national acrobat said:
I said this earlier in the thread, but it's not strictly true, so I'd like to share the one jazz artist whose music I know and like:
Paolo Conte
An Italian singer and pianist, whose songs are often featured in films and adverts (which is indirectly how I first heard of him). I couldn't tell you what sort of jazz it is, but Wikipedia describes him as
"notable for his grainy, resonant voice, his colourful and dreamy compositions (evocative of Italian and Mediterranean sounds, as well as of jazz music, South American atmospheres and of French-language singers like Jacques Brel and Georges Brassens) and his wistful, sometimes melancholic lyrics."
I'd be interested to know if anyone else has heard of him (I think he's fairly well known) and what you think of the music.
A couple of tracks, the first my favourite, the second his most famous song.
Paolo Conte - Sparring Partner
Paolo Conte - Via Con Me
____no5
Free Man
@Nash: Sparring Partner isn't jazz, but in any case thanks for the link, I was searching it quite a few time now, but I didn't know the title 
Via Con Me, is extremely popular in France. Thanks for that, too! Check these two albums below via the youtube links, especially East! ...who knows? with the correct recommendations, maybe you'll start to change your mind about jazz!
Pat Martino –East!
Probably 1968, is Pat Martino’s most outstanding recording year. East! is by far my favorite Martino album and highly recommended to people like Nash, who aren’t inside jazz, but maybe they have the potential to do so.
Recorded in early 1968, (January, 8th) is heavily fused (especially the breathtaking title track) with the psychedelic wave of the time. While all 5 songs (3 Martino’s original compositions) are awesome, this album would be equally remarkable even it contained only the title track. Each one of the musicians gives an outstanding performance, but Eddie Green’s (I’ll talk about his awesome masterpiece I own in a future topic) improvising piano is out of this world. Dark accords, rhythm and leading the same time, genius. Like if someone listen to Edgar Allan Poe playing! This psychedelic fusion would be even more evident in his next 1968 album Baiyina (The Clear Evidence).
The other great moment of the album is the cover of Close Your Eyes. Martino & Green continue to drive us crazy in their frenetic and inspired competition of improvisation, while Lenny McBrowne demonstrates his awesome drumming skills.
1. East
2. Trick
3. Close Your Eyes
4. Park Avenue Petite
5. Lazy Bird (yes, the Coltrane one)
Pat Martino – Guitar
Eddie Green – Piano
Ben Tucker – Bass, Tambourine
Tyrone Brown – Bass (on East)
Lenny McBrowne – Drums
In a few words, this is one of the most essential jazz guitar albums of all time.
***
Pat Martino –Balyina (The Clear Evidence)
A psychedelic excursion through the magical mysteries of the Koran
1. Baiyina (11:54)
2. Where Love's A Grown-Up God (6:35)
3. Israfel (6:18)
4. Distant Land (13:08)
This one attempts (and in a way, it succeeds) to take us more far (or more deep if you like) than East! does.
Just take a look to the instuments: Flute, Tabala(Indian percussion instrument) & Tamboura (similar to sitar) play an important role to the ambience, in an album, which is not as guitar-centered as one could imagine. No. Each instrument participates in a way, like if they were a group. Plus, there’s an accord /notes suite present in all songs and this gives a feeling of continuity to the listener.
Pat Martino – Guitar
Bobby Rose – Second Guitar
Gregory Herbert – Alto Sax, Flute
Richard Davis – Bass
Charlie Presip – Drums
Reggie Ferguson – Tabala
Balakrishna – Tamboura
The outstanding songs here are the psychedelic masterpiece Israfel (=one of the archangels of Islam) & the closer Distand Land, where each musician performs a solo, perfectly in harmony with the ambiance and the built up of the song. As someone mentioned in his blog:
Martino is a living legend, and many things (such as re-teaching himself to play after suffering an aneurysm, and stringing his guitar with fence wire) suggest that he may be from another world.
And somewhere else:
Here is a great record by Pat Martino. This is an all-instrumental album. Baiyina has that Miles Davis "In A Silent Way" feel about it. The major difference is the Indian instrumentation. There is Indian percussion and droned out sitars throughout the record. With this and the mix of rock, jazz, and psychedelia you end up with a truly unique album. Not to mention the fact that Pat Martino is a freaking amazing guitar player. I highly recommend this record for those into the psychedelic jazz side. The album is very relaxing and smooth. Great for late night mellow time. Turn on your red light, or light your candles and incense. Spin one up and enjoy this masterpiece.
For the Pat Martino story, click -->here
For the poem Israfel by Edgar Allan Poe -->here
Via Con Me, is extremely popular in France. Thanks for that, too! Check these two albums below via the youtube links, especially East! ...who knows? with the correct recommendations, maybe you'll start to change your mind about jazz!Pat Martino –East!
Probably 1968, is Pat Martino’s most outstanding recording year. East! is by far my favorite Martino album and highly recommended to people like Nash, who aren’t inside jazz, but maybe they have the potential to do so.
Recorded in early 1968, (January, 8th) is heavily fused (especially the breathtaking title track) with the psychedelic wave of the time. While all 5 songs (3 Martino’s original compositions) are awesome, this album would be equally remarkable even it contained only the title track. Each one of the musicians gives an outstanding performance, but Eddie Green’s (I’ll talk about his awesome masterpiece I own in a future topic) improvising piano is out of this world. Dark accords, rhythm and leading the same time, genius. Like if someone listen to Edgar Allan Poe playing! This psychedelic fusion would be even more evident in his next 1968 album Baiyina (The Clear Evidence).
The other great moment of the album is the cover of Close Your Eyes. Martino & Green continue to drive us crazy in their frenetic and inspired competition of improvisation, while Lenny McBrowne demonstrates his awesome drumming skills.
1. East
2. Trick
3. Close Your Eyes
4. Park Avenue Petite
5. Lazy Bird (yes, the Coltrane one)
Pat Martino – Guitar
Eddie Green – Piano
Ben Tucker – Bass, Tambourine
Tyrone Brown – Bass (on East)
Lenny McBrowne – Drums
In a few words, this is one of the most essential jazz guitar albums of all time.
***
Pat Martino –Balyina (The Clear Evidence)
A psychedelic excursion through the magical mysteries of the Koran
1. Baiyina (11:54)
2. Where Love's A Grown-Up God (6:35)
3. Israfel (6:18)
4. Distant Land (13:08)
This one attempts (and in a way, it succeeds) to take us more far (or more deep if you like) than East! does.
Just take a look to the instuments: Flute, Tabala(Indian percussion instrument) & Tamboura (similar to sitar) play an important role to the ambience, in an album, which is not as guitar-centered as one could imagine. No. Each instrument participates in a way, like if they were a group. Plus, there’s an accord /notes suite present in all songs and this gives a feeling of continuity to the listener.
Pat Martino – Guitar
Bobby Rose – Second Guitar
Gregory Herbert – Alto Sax, Flute
Richard Davis – Bass
Charlie Presip – Drums
Reggie Ferguson – Tabala
Balakrishna – Tamboura
The outstanding songs here are the psychedelic masterpiece Israfel (=one of the archangels of Islam) & the closer Distand Land, where each musician performs a solo, perfectly in harmony with the ambiance and the built up of the song. As someone mentioned in his blog:
Martino is a living legend, and many things (such as re-teaching himself to play after suffering an aneurysm, and stringing his guitar with fence wire) suggest that he may be from another world.
And somewhere else:
Here is a great record by Pat Martino. This is an all-instrumental album. Baiyina has that Miles Davis "In A Silent Way" feel about it. The major difference is the Indian instrumentation. There is Indian percussion and droned out sitars throughout the record. With this and the mix of rock, jazz, and psychedelia you end up with a truly unique album. Not to mention the fact that Pat Martino is a freaking amazing guitar player. I highly recommend this record for those into the psychedelic jazz side. The album is very relaxing and smooth. Great for late night mellow time. Turn on your red light, or light your candles and incense. Spin one up and enjoy this masterpiece.
For the Pat Martino story, click -->here
For the poem Israfel by Edgar Allan Poe -->here
valacirca
Trooper
This thread is sadly lacking the mention of Charles Mingus 
As far as I'm concerned, there are three legendary jazz artists: John Coltrane, Miles Davis & Charles Mingus (not necessarily in that order). There may be a whole lot more who are excellent jazz artists, but no one comes close to these three.
Mingus' The Black Saint and the Sinner Lady is right up there on the same level as Davis' Kind of Blue and Coltrane's A Love Supreme as one of the greatest jazz albums of all time.
As far as I'm concerned, there are three legendary jazz artists: John Coltrane, Miles Davis & Charles Mingus (not necessarily in that order). There may be a whole lot more who are excellent jazz artists, but no one comes close to these three.Mingus' The Black Saint and the Sinner Lady is right up there on the same level as Davis' Kind of Blue and Coltrane's A Love Supreme as one of the greatest jazz albums of all time.
valacirca
Trooper
^ Haha awesome. All I saw was that this thread was from 2009 and there was no mention of Mingus yet, so I reacted 
I shall now wait for your post on Mingus with anticipation.
re: Thelonious Monk, I love his music a lot and Monk's Dream is one of my favorites. One can make a strong case for him to be included with the other three I mentioned as the gods of jazz with releases such as Monk's Music, Brilliant Corners & Straight No Chaser. I wouldn't have any problem with anyone that includes him with Mingus, Coltrane and Davis; but personally, I've always considered him as the lone resident of that land that separates the "best" from the "rest" when it comes to jazz. The other three have simply released more quality music than Monk, which is why I'll have to leave Monk comfortably at #4 as far as jazz greats are concerned.
I shall now wait for your post on Mingus with anticipation.re: Thelonious Monk, I love his music a lot and Monk's Dream is one of my favorites. One can make a strong case for him to be included with the other three I mentioned as the gods of jazz with releases such as Monk's Music, Brilliant Corners & Straight No Chaser. I wouldn't have any problem with anyone that includes him with Mingus, Coltrane and Davis; but personally, I've always considered him as the lone resident of that land that separates the "best" from the "rest" when it comes to jazz. The other three have simply released more quality music than Monk, which is why I'll have to leave Monk comfortably at #4 as far as jazz greats are concerned.
Forostar
Ancient Mariner
@Nush: I especially like the first one, very captivating piano motive I think. And strong build-up, with those sudden drums appearing.
The 2nd one is more (easy listening) jazz, and indeed famous, I think I know it from some commercial.
He has a famous voice, I like it that he did different styles.
Don't worry vala, I'll get to Monk, but I am doing this in alphabet.
The 2nd one is more (easy listening) jazz, and indeed famous, I think I know it from some commercial.
He has a famous voice, I like it that he did different styles.
Don't worry vala, I'll get to Monk, but I am doing this in alphabet.
____no5
Free Man
valacirca said:^ Haha awesome. All I saw was that this thread was from 2009 and there was no mention of Mingus yet, so I reacted
Before the topic starts, we were discussing jazz in the 100k thread and Mignus was mentioned there. The fact is, the jazz topic was created in a bad timing regarding our lives (well, at least mine), so we didn't had many time for it, so eventually, it was led into oblivion (psssss). Now Forostar resurrected it, in a better timing, thus we post more often.
Good remark my friend
Yes in deed, he made very few side appearances. But he was probably the most genius of all. Yeah, a sort of a lonesome cowboy, compared to the others.Yet 'Round Midnight is the most covered jazz song, ever.
Forostar
Ancient Mariner
Monk was certainly one of the if not the most original pianist in jazz. I am not sure if I'd rank him as my favourite, though. To be continued somewhere else in time.
edit:
Just listened to "East", no_5, but I have to be honest and say that I'm not over the moon by this song.
For such length, I thought it lacked variation and the tone was constantly the same, and the soloing too.
And Martino lacked the spark to lift it to a higher level. Just my opinion of course, but hey, I am spoiled by certain other guitar players.
edit 2:
Just played "Israfel" and this one I like way better! Funny guitar motive, some harmonic sound, like I hear two, if you know which parts I mean. From what year was this?
edit:
Just listened to "East", no_5, but I have to be honest and say that I'm not over the moon by this song.
For such length, I thought it lacked variation and the tone was constantly the same, and the soloing too.
And Martino lacked the spark to lift it to a higher level. Just my opinion of course, but hey, I am spoiled by certain other guitar players.
edit 2:
Just played "Israfel" and this one I like way better! Funny guitar motive, some harmonic sound, like I hear two, if you know which parts I mean. From what year was this?
____no5
Free Man
Both 1968. And both recorded in a single day, as so many other jazz albums. Strange that you didn't like East... The man of the match though, is the pianist and I really appreciate that Martino lets space to the others. This is more obvious in Balyina album. The mentioned, plus Martino's constant tone, is what make East so special, imo. You have a psychedelic song, an ambiance, not a demonstration of virtuoso skills. And I find this song frenetic.
Anyway, here's another one from the East!: Close your Eyes
Anyway, here's another one from the East!: Close your Eyes
Forostar
Ancient Mariner
______no5 said:
You know what, this is exactly what I like less about Martino. There's this constant flat tone (at least in this song "Close Your Eyes"), which sounds to me more like a consequence of his demonstration of speed. Speed is nice, selecting the right notes is nice.
But feeling and melody is what I like about lead guitar, especially in jazz. I especially miss that feeling.
The piano player doesn't sound like he's that inventive. He gets lots of space but doesn't use it well enough imo. If the key is constant, then I don't think it's wise to play in the same manner constantly, only using a few keys (in this case I mean piano keys).
This judgement comes forth from my taste. I prefer more variation in style, rhythm, speed, melody, and power.