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Chick Corea
Spain
Windows
500 Miles High
etc.
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02-14-2024 10:00 PM
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Originally Posted by pamosmusic
Bach is a very weird composer for his era, not much appreciated at the time. Aesthetics then leaned more toward the elegant, graceful and stylish like Corelli’s music, while Bach was seen as vulgar and over complex. Bach was mostly appreciated as an improviser and a learned contrapuntalist afaik but his music wasn’t much liked in courtly circles.
Also - Germans. German nationalism very much a feature of the 19th century. They were constructing/inventing their own musical lineage (which we today call ‘mainstream music history’) while in fact Italians were culturally dominant in the c18 and the most successful composers of that era are widely forgotten today.
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Originally Posted by PMB
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Originally Posted by rictroll
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Originally Posted by AllanAllen
Ive been asked to play Spain loaaaads of times, but only ever with a classical guitar in hand.
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Just the introduction though - something something orange juice.
Come to think of it, why did jazz musicians keep putting that into things? It was cool when Miles did it but after a while I find it a bit cringe. Get yer own idea!
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Originally Posted by Jimmy Smith
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Originally Posted by Christian Miller
Do we have a comprehensive list?
Jim Hall did it too, but he did kind of a plectrum arrangement of the whole thing, no?
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Originally Posted by Christian Miller
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Originally Posted by pamosmusic
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Originally Posted by AllanAllen
It became a bit of a trope after a while.
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Originally Posted by Christian Miller
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Why is Jobim a jazz composer if GASB composers are not? Jobim was not a Jazz player anymore than Burt Bacharach was
also Pat Metheny should be on the list
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Originally Posted by BWV
Jobim was not a Jazz player anymore than Burt Bacharach was
also Pat Metheny should be on the list
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Originally Posted by Christian Miller
That puts him in a bit of a different category.
He was also a pioneer in a style of music that was distinct from traditional Brazilian music and incorporated some elements of jazz into it.
Maybe a better question is whether or not that makes him different than, say, George Gershwin specifically, rather than American songbook composers generally.
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Originally Posted by BWV
Hes a great composer, but he is one that I have pretty successfully avoided thus far and it hasn’t really come up in conversation either. Maybe I’m an exception?
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To wax academical and taxonomical, maybe it's worth seeing "jazz" not as a unitary, Aristotelian entity definable by genus/species distinctions but as an historically-dynamic composite, or maybe as a set of operations deployed on a body of musical materials. And not all of those operations are equally significant, nor need all of them be deployed on any given material.
Abstract enough for ya?
When I map the items my jazz pals call with some regularity, I recognize in their practice 1) a strong attachment to "bop" as the stylistic center, 2) a corresponding tropism for compositions arising from that stylistic-historical tradition--thus lots of Parker, Monk, Rollins, Miles & co.--as well as standards that have been adopted by both bop and straight-ahead jazz players (Gershwin, Kern, Loesser, Rodgers, et al.). But since the band includes a very good vocalist with a bit of cabaret sensibility and a fairly lyrical pianist, they also produce what might be called jazz-adjacent takes on standards. The overall effect sounds pretty "jazzy." There's also a big dose of influence of performer-composer-arranger-stylists such as Bill Evans, and a lot of borrowing of well-known recorded performances--that ATTYA intro, for example.
I suppose what I'm hearing every Thursday night is what happens when "jazz" protocols are applied to a body of compositions, some of which were generated by those protocols by the people who were inventing them. What is a contrafact if not the application of X protocols to work originally devised under Y protocols?
Having climbed this far up the abstraction ladder, I should probably take care of the nosebleed I'm suffering now.
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Originally Posted by RLetson
... the term "Jazz Standard" is usually applied to a song composed by a musician performing the music.
That's the thing that all the "jazz standard" composers have in common. They're written by band-leaders or other musicians in the idiom, to be performed by their bands.
That is very different than what the tin pan alley composers were doing. Maybe they'd be interesting to compare to someone like Duke Ellington or (more recently) Maria Schneider. They both have really rich orchestral sensibilities and don't generally write lead-sheet-able pieces for small bands. But they're still writing for working bands to perform and improvise within certain parameters, etc.
Anyway ... it's that practical distinction that is generally the operative one.
Commence the downward spiral about "what even is jazz really"
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Originally Posted by pamosmusic
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Originally Posted by AllanAllen
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I just can't see a horn player calling Bright Sized Life at a jam. I'm pretty biased.... There's not a lot of post 1960s jazz that I like.
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Originally Posted by pamosmusic
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How about Horace Silver?
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Originally Posted by Christian Miller
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Originally Posted by Christian Miller
Aria EA-650 pickguard question
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