#1
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Some Jazz on Vinyl
I’d like to recommend:
Bill Evans Trio: Explorations from February 2, 1961 Riverside/ Concord Music OJC-037 Bill Evans, piano Scott La Faro, bass Paul Motian, drums A major discovery / precedes “Live at the Village Vanguard” recorded performance later the same year. Very easy listening |
#2
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Everybody loves Bill Evans.
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stai scherzando? |
#3
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Bill Evans also had a hand in Miles Davis “Kind of Blue” from 1959, including the liner notes. Apparently he was offered a paltry sum for contributions to that record, which is characterized by the firm, smooth, and cool hand of Davis. Coltrane does characteristically tear things up a bit with the sax on the opening track, but as discussed in some enlightened discussion in the Play and Write section in the thread on jazz guitar, just follow through the musical discourse to the end, and it can be like a puzzle where it eventually all fits together, each solo being an exploration in possibilities presented by the opening theme.
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#4
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And of course:
Bill Evans Trio: Sunday at the Village Vanguard From June 25, 1961 Riverside/ Fantasy OJC-140 String bass solos abound in this collection of six tracks, two of which are originals by the bass player, Scott LaFaro, who would (very unfortunately) die in a automobile accident only 10 days after this recording was made. I think it’s the runner up to Miles Davis’ “Kind of Blue” for most popular jazz album of all time. |
#5
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Evans' ending to "Blue In Green" is (to my mind) one of the most moving pieces of music I can think of.The entire song is so moody and melancholy and emotional.It's one of the few that never wears out -no matter how many times you hear it.Kind of like Sinatra's "One For My Baby and One More for the Road."
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#6
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Quote:
The collective mind of jazz affecianados and recommendations here is most welcome - I’m all ears. |
#7
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Man, where to start?
Y'all hip to Ike Quebec? |
#8
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Okay, just wait while I put on my Illinois Jacquet . . .
don't be fooled by the first 1:30 . . .
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stai scherzando? |
#9
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That really cooks - not sure the year that’s from, but I can hear the explosion of American jazz morphing into rockabilly there - I’m guessing that’s from the very early 1960s. Pretty heady times for American music -
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#10
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Jacquet was playing like that in the early 40's!
I'd love to know when this version is from, and who's on organ and guitar too. |
#11
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I have one lp with him and Grant Green I had set aside because I didn’t like his style - but he could be one of those original geniuses.
It just occurred to me on this general subject - speaking to Americans about this mostly - that the modern New Orleans vibe can come into play, and along with that socio economic disparities that may be unsettling to some. |
#12
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But talking about jazz never makes me uncomfortable! Did a little detective work on that that Jacquet track, it's on a compilation of his stuff on Verve, so somewhere between '51 and '58, I'm guessing on the later side, recording quality is quite good, and you just don't hear organ jazz before the mid-late 50's. |
#13
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#14
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While we’re on the subject of sax musicians we should visit in with Charlie Parker - in the early 1940s with the background of WWII going on, it’s been said his style (which of course became very influential) is best understood in the context of rapid gunfire, bombs exploding, and the subsequent physical and psychological damage done to humans, and that his art was a reflection and attempt to make sense of that chaos. Ike might be seen in that context too?
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#15
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On the other hand, to me, the smooth & suave delivery of Sonny Rollins during the mid 1950s is the sound of money, prosperity, and the rise of general standard of living fitting the post war economic boom America was to enjoy.
How’s that for a little bit of music history? I think his breakthrough LP was in 1954 “Saxophone Colossus” |