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Originally Posted by christianm77
Someone mentioned Indian classical music as part of that mix and all those guys were familiar with Ravi Shankar long before George Harrison spread the word. In fact, Martin probably heard and saw Shankar before any other of his contemporaries. He attended Ravi's first recital in Britain at the Royal Festival Hall back in 1958 while still a schoolboy!Last edited by PMB; 05-21-2020 at 07:20 PM.
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05-21-2020 06:07 PM
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Originally Posted by christianm77
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Originally Posted by PMB
cool, That's great I don't know much about Carthy's taste, he seemed like a very 'legit' figure somehow. It seems that as a rule these great folk musicians were and are super open minded. Perhaps us jazzers could learn a lesson :-)
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Originally Posted by christianm77
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Originally Posted by PMB
A lot of them (including Martin Carthy, surprisingly) got started on guitar after hearing Lonnie Donegan and skiffle, seems funny now.
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Are there any Folk song progressions, that are similar to modern Modal songs in structure. Similar to using stacks of 4ths, vamps on a few chords, drones notes etc.
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the usa had their own folk-jazz connection..via the great world pacific label...a 50's/60's LA record company that released jazz, world music (i.e. north indian classical, oud music etc) and folky stuff...the label owners managed the folk rock group-the byrds-..their hit 8 miles high was based on them listening to coltrane w dolphy (india) and ravi shankar in their tour van
joe pass even had 12 string acoustic recordings!!
in nyc folk and jazz were intermingled as well...bill lee the great jazz bassist and composer (spikes dad) is on tons of early folk music records and hits (dylan, gordon lightfoot, ian & sylvia etc etc)...billy higgins played with sandy bull on his pre-renbourn guitar fusion records...renbourn copped much of bulls methods...inc using trem guitar on classical pieces (lady and the unicorn lp)
producer thom wilson who started in the jazz scene..verve etc..worked with lou reeds velvet underground and early zappa
i never cared about namesake/genre barriers..it only separates rather than unites
cheers
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Originally Posted by grahambop
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Originally Posted by PMB
lower left of lp
they were aware
cheers
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Originally Posted by neatomic
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I remember seeing Steve Winwood at Shoreline in the mid 80s. I loved his Arc of A Diver era and knew he had been in Traffic and Blind Faith but didn’t realize what an incredible keyboardist he was. He played a lot of Moog in that show, and it was mesmerizing every time he touched the keys.
Last edited by lukmanohnz; 05-24-2020 at 01:05 AM.
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for jazz fans..particularly more fusiony weather report era lovers..check out traffic-when the eagle flies-...a bit late in the traffic discography, but one of their best...(my fave along with john barleycorn)...you can clearly hear zawinul influence in winwoods playing, and rosko gee brings some great electric bass ala alphonso johnson, fernando saunders & jaco to the table...
a winwood tour de force..keys (including mellotron!) and vocals...masterful
cheers
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Originally Posted by neatomic
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tho, jeff becks classic cover of mingus' requiem for lester young- goodbye pork pie hat- was mostly inspired by john mclaughlins cover..not the original mingus...it was the opening track of mclaughlins early lp-my goals beyond
cheers
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Originally Posted by sgcim
its a bit strange...Eric playing with Bruce & Baker..both considered jazz players,,,and Claptons extended solos with Cream..sure could have been influenced by some of Coltranes "sheets of sound"
Progressive rock groups..(have trouble with that label..its pretty far away from rock in any manner) put a bit of restraint and disapline on that amazing wild energy...King Crimson and soft machine come to mind...
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Originally Posted by sgcim
In photos from 1964 with your first band of note, the Yardbirds, you wore a sharp suit with a skinny tie that strongly evoked the way the Modern Jazz Quartet used to look on their Atlantic Records album covers. Was your fashion sense at the time influenced by jazz?
That was the idea then. My state of attire in those days was Ivy League, and I was a big jazz fan. And buying albums by Lee Morgan and John Coltrane, and seeing some of the album covers and the way those guys got dressed up on them was very powerful for me.
Nathan East, your longtime bassist, has told me that you are a fan, as you just mentioned, of Coltrane and Morgan, as well as of Thelonious Monk. But you’ve rarely discussed the music’s impact on you, perhaps because no one’s asked. How do you feel jazz has shaped the music you make, directly or indirectly?
Growing up, I was listening to them, blues and jazz, at the same time. I remember going into a record store in Richmond, outside London, and they only had blues and jazz, no pop records at all. So I’d be buying an acoustic blues album by John Lee Hooker, alongside albums by Monk or Clifford Brown. And, to me, listening to it, I couldn’t actually make any distinction between the two things. I had no real idea that there was supposed to be any division between the two things.
And the way the music scene existed [in England]; people would play in the same clubs. Ronnie Scott’s [a jazz club in London] would have Rahsaan Roland Kirk one week, and then Sonny Terry and Brownie McGhee the following week. So it seemed like the same tree to me, or, rather, it sounded like different branches on the same tree.
Could you talk about the musical impact of jazz on your own playing? Obviously, you couldn’t run the changes the way Coltrane did on the saxophone. But how did hearing him influence what you did on guitar?
I think just the atmosphere and the spontaneity, the creativity of it, was kind of what we drew from when we got onstage in Cream, [with] a lot of that free-form stuff, although it was still pretty limited in its tonality. And everything I was playing was only coming from the blues scale and moving out of blues and rock phrasing. But the atmosphere and intention was to try and escape [the confines of blues and rock]. And a lot of that came out of the listening I did to early Coltrane.
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Clapton’s a big Kurt Rosenwinkel fan
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Jimmy Page does talk about Django.... he said that he felt that Django was an electric player on acoustic, trying to play feedback sounds etc. I can dig it.
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Originally Posted by christianm77
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Originally Posted by sgcim
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Originally Posted by PMB
“All during Cream I was riding high on the ‘Clapton is God’ myth that had been started up. I was flying high on an ego trip; I was sure I was the best thing happening that was popular. Then we got our first kind of bad review, which was in Rolling Stone. “The magazine ran an interview with us in which we were really praising ourselves, and it was followed by a review that said how boring and repetitious our performance had been. And it was true! The ring of truth had just knocked me backward; I was in a restaurant, and I fainted. And after I woke up, I immediately decided that that was the end of the band.”
He looked upon jazz as boring BS that was just stroking the soloists ego. When you're interviewed by Jazz Times, I don't think he'd say what he really thinks about jazz. Listen to his unplugged version of "Layla" where he tries to play jazzy; it's pitiful!
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Not sure I see how that follows. I don't see a contradiction.
I'm a jazz musician, and I think Clapton is right. I love the album stuff, such great sounding records, crafted gems... but live .. it is repetitious.
It's unquestionable that Clapton saw Cream as an artistic failure, because of what he did afterwards - total changes of direction. That doesn't mean that he didn't understand the idea of what they were trying to achieve, or perhaps realise that he didn't have the resources to (in his opinion) make it work, while at the same time appreciating those who did (such as Trane.)
Needless to say, it's also possible to like some jazz and not all jazz. For example, I know plenty of people who like tight, swinging bop and Blue Note cuts and can't stand open modal vamps, and vice versa.
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Originally Posted by christianm77
If that's not enough, I'll bring up his speech supporting Enoch Powell...
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05-24-2020, 08:50 PM #74joelf Guest
Cream started out fine, the first few records. Good tunes, too. They quickly became the epitome of boring self-indulgence and anti-listening. Sort of inevitable with egos that size and all the 'perks' of sex, drugs and rock 'n' roll. Few can withstand that kind of hagiography w/o at least some damage.
I'd like to go on record as saying I can't think of a more overrated musician than Ginger Baker. The same dynamic level all the time: bang or thud. Called himself a 'jazz drummer'. Not in a world with Vernell Fournier, who had a touch, and sensitivity. I don't care how different groups are, music is music---or ain't.
Yeah, Rollins and Trane were self-indulgent---even selfish. But they had a lot to say to justify those long solos. And compared to an arena rock band like Cream? Are you kidding? Also, they should not be blamed for the excesses their less gifted apers, who didn't have the early discipline of playing short in the late 78 and early 33 RPM era---or, in many cases of fitting into a band, a section.These people are a large part of why jazz is shunned---and it's understandable.
Clapton is cool. Greenie was my boy...Last edited by joelf; 05-24-2020 at 09:57 PM.
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Originally Posted by sgcim
otoh I’m not sure what relevance this has for Clapton’s like or dislike for jazz.... we can only really go on the things he said which appear contradictory. So, dunno.
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