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Post by bassman on Jun 6, 2021 7:52:48 GMT
Miles Davis frequently cited Ahmad Jamal as one of his favorite pianists and as a major influence on his own style and approach to music. In 1964 Jamal paid rather strange tribute to Davis on "One for Miles" with Jamil Sulieman and Chuck Lampkin on bass and drums. Do you hear any connection or relationship to Davis in this? [ ... ] Well, here's my take : It was about that time that Miles had started to play at insane tempi (witness Lincoln Center, 12 Feb 1964) that were clearly beyond him. (That's why I have decided to skip most of those live versions of "Walkin'".) The Jamal date is from June 1964, a time when the pianist might have been aware of Miles' recent habits (though he couldn't have known the record I mentioned, which was not published until 1966). Did he want to prove (to Miles) that you can play real fast and still get every note right, according to conventional standards? No, no, no ... wait! Everything that Miles played was right. How could he ever ... I'm in two minds about that bass solo. Anyhow - these strings are made for walking!
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Post by gregorythefish on Jun 6, 2021 13:23:02 GMT
It is not so odd to me that an artist might dedicate a piece to another even when there is no immediate connection. See Braxton's "For Alto".
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Post by Doom Girl on Jun 6, 2021 19:15:04 GMT
Miles Davis frequently cited Ahmad Jamal .... Well, here's my take : It was about that time that Miles had started to play at insane tempi (witness Lincoln Center, 12 Feb 1964) that were clearly beyond him. (That's why I have decided to skip most of those live versions of "Walkin'".) The Jamal date is from June 1964, a time when the pianist might have been aware of Miles' recent habits (though he couldn't have known the record I mentioned, which was not published until 1966). Did he want to prove (to Miles) that you can play real fast and still get every note right, according to conventional standards? No, no, no ... wait! Everything that Miles played was right. How could he ever ... I'm in two minds about that bass solo. Anyhow - these strings are made for walking! I think you may be on to something here Bassman. When I first heard this Jamal piece, I at once thought that it was, rather than a serious homage to Davis, a kind of a musical joke, perhaps something on the order of Mozart’s Ein musikalischer Spaß (K. 522). This feeling was only heightened by Sulieman’s bass outing, with its strange unwinding at the end, and of course by Jamal’s uncharacteristic pounding of the keyboard. As always he is a wonderful pianist though, playing with great precision. I often wonder what Davis may have thought of the piece – I’m sure he listened with great interest!
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Post by Doom Girl on Jun 6, 2021 19:56:21 GMT
It is not so odd to me that an artist might dedicate a piece to another even when there is no immediate connection. See Braxton's "For Alto". With my passion for the alto saxophone I of course have Braxton’s 2-record set from Delmark on the shelf, although I have never really “warmed up” to this 1969(released 1971) tour de force. I am unconvinced though that it is a good example to cite in this context. Each piece is “dedicated” to a different person, not all of whom are musicians. So perhaps Braxton is expressing the feelings that these people evoked in him, or sending a more personal message not interpretable by the listener. In the cases where the “dedicatee” is a jazz musician, I think a case could be made for direct connections in style, or homage, though not in the straight-forward way of, say, Mingus’ tribute to Lester Young or his numerous evocations of Ellington. Braxton’s musical relationships to LeRoy Jenkins (hear for example “Swift Are the Winds of Life” Survival SR-112 ) or certainly to Cecil Taylor, although perhaps at times filtered through Jimmy Lyons, could be easily conjured up – and have been by several reviewers of the album. Inspiration from John Cage could be attributed throughout Braxton’s career, I think.
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Post by Doom Girl on Jun 6, 2021 20:30:17 GMT
In my previous post, since we are discussing tributes by one musician to another, it would have been more appropriate to cite a LeRoy Jenkins recording released prior to the release of Braxton’s FOR ALTO. As far as I know, there were only two Jenkin's albums, both also on Delmark: LEVELS AND DEGREES OF LIGHT with Muhal Richard Abrams and of course 3 COMPOSITIONS OF NEW JAZZ, with Braxton himself!
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Post by gregorythefish on Jun 8, 2021 12:42:24 GMT
Just an example, DG.
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Post by jazzhead on Jun 17, 2021 23:46:09 GMT
Watching James Carter's Coltrane Tribute again. I'll never forget this, Doom Girl.
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Post by Doom Girl on Jun 18, 2021 1:28:13 GMT
Yes, it's amazing, isn't it?
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Post by jazzhead on Jun 18, 2021 10:33:40 GMT
Yes, it's amazing, isn't it? Yeah! I love his playing here as well. He really gets going around 4:20:
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Post by jazzhead on Jun 18, 2021 16:55:20 GMT
Watched a few videos on how saxophones are made this morning. There are a few Selmer videos that were interesting. Anyway, this video was suggested by YouTube of someone playing "Coltrane's solo on Mr. P.C." Just amazing!
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Post by Doom Girl on Jun 18, 2021 18:03:51 GMT
Random comments:
I’m listening to James Carter’s Jazz San Javier set now – very nice concert performance. TY
The kid playing JC’s solo from Mr. P.C. was impressive – his own transcription apparently - his 3 months well spent I guess.
I was glad to see LJC’s piece on one of the best late ‘70s jazz albums – Woody Shaw’s STEPPING STONES LIVE AT THE VILLAGE VANGUARD. I was fortunate to see and hear this band during one night of the August 1978 “Stepping Stones” gig, although not the night of the recording – an exceptionally enjoyable experience. ROSEWOOD, STEPPING STONES AND WOODY III – I have original releases of all three – great albums! In his book “Live at the Village Vanguard” owner Max Gordon has a nice picture of Woody and Dexter Gordon (who had returned after 16 years in Copenhagen) playing together at the Vanguard on New Years’ Eve, 1979 – I wish I had been there for that one! Woody was a favorite of Miles, who was not exactly generous with his praise of other trumpet players.
Also pleased to read LJC”s recognition of Jazzhead’s work on this forum. The “colorization” is cool but doesn’t turn me on so much – but hearing all those old clips is very nice indeed.
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Post by bassman on Jun 18, 2021 18:05:23 GMT
Watched a few videos on how saxophones are made this morning. There are a few Selmer videos that were interesting. Anyway, this video was suggested by YouTube of someone playing "Coltrane's solo on Mr. P.C." Just amazing! Truly amazing. Some folks can do it. (But why? one might ask ...)
Reminds me of the "Supersax Plays Bird" records, with Bird's solos arranged for five saxes. Stunning! No, really, they're more than just a technical feat. I find them extremely listenable, causing me to pay closer attention to Bird's original solos (which are unsurpassed).
But then again - look at Gregorythefish's contribution on the LJC site on Wynton Marsalis/Woody Shaw. So true! Creating your own thing is something else, after all.
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Post by Doom Girl on Jun 18, 2021 18:22:16 GMT
Watched a few videos on how saxophones are made this morning. There are a few Selmer videos that were interesting. Anyway, this video was suggested by YouTube of someone playing "Coltrane's solo on Mr. P.C." Just amazing! ..........Reminds me of the "Supersax Plays Bird" records, with Bird's solos arranged for five saxes. Stunning! No, really, they're more than just a technical feat. I find them extremely listenable, causing me to pay closer attention to Bird's original solos (which are unsurpassed)....... Hah! I have the Supersax CHASIN' THE BIRD album on Pausa Records - fun to listen to. OOP BOP SH'BAM - Bird in five part harmony - love it
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Post by jazzhead on Jun 18, 2021 23:18:47 GMT
Random comments: I’m listening to James Carter’s Jazz San Javier set now – very nice concert performance. TY The kid playing JC’s solo from Mr. P.C. was impressive – his own transcription apparently - his 3 months well spent I guess. I was glad to see LJC’s piece on one of the best late ‘70s jazz albums – Woody Shaw’s STEPPING STONES LIVE AT THE VILLAGE VANGUARD. I was fortunate to see and hear this band during one night of the August 1978 “Stepping Stones” gig, although not the night of the recording – an exceptionally enjoyable experience. ROSEWOOD, STEPPING STONES AND WOODY III – I have original releases of all three – great albums! In his book “Live at the Village Vanguard” owner Max Gordon has a nice picture of Woody and Dexter Gordon (who had returned after 16 years in Copenhagen) playing together at the Vanguard on New Years’ Eve, 1979 – I wish I had been there for that one! Woody was a favorite of Miles, who was not exactly generous with his praise of other trumpet players. Also pleased to read LJC”s recognition of Jazzhead’s work on this forum. The “colorization” is cool but doesn’t turn me on so much – but hearing all those old clips is very nice indeed. Thanks, LJC and Doom Girl! If I see something jazz related online that I find interesting and others may too, I just post it here. Sometimes I have to stop myself!
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Post by jazzhead on Jun 19, 2021 21:28:08 GMT
Spoiler Alert! Watching Fatherhood on Netflix and Kevin Hart is only bloody wearing a Thelonious Monk T-shirt!!!
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