-
-
01-18-2022 09:19 PM
-
Originally Posted by Marinero
-
Originally Posted by Lobomov
Somehow he didn't want to answer or he wouldn't be interested in it.
He also added that he is constantly learning from jazz giants... like McCoy Tyner or other brilliant old pianists.
Mike is a very cool, honest musician.
-
For Marinero...this album is from 1994...:-)
-
I like this guitarist from Italy, Riccardo Chiarion. His tunes have quite a modern vibe but are very melodic. I bought his ‘Quiet Stories’ album and it’s great.
The concert here starts at about 1:30.
-
Originally Posted by Lobomov
You know, for some people, jazz ended with Coltrane's death.
-
Originally Posted by kris
-
Some are waiting for his resurrection.
-
Oh crap - I've been working out for hours lately with Giant Steps ...
-
Originally Posted by Lobomov
You keep dodging the question: give us some names as I have asked ,now, and repeatedly in the past. If you don't have evidence of your brilliant young artist(s) claim that is/are on par with the names I mentioned , you don't have a case. Your honor, I rest my case.
Marinero
-
-
Hi, L,
Scofield(b.'51), McLaughlin(b. '42), Metheny(b."54) and Krantz(b."56) are not young players. So, you got that wrong. However, Lage, Lund, Rozenwinkel, and Van Ruler do qualify based on age. So, for the record, the last four qualify as equals in talent to my previous list of musicians?
Marinero
-
Jesse van Ruller is world-class.
-
End of a Love Affair, re-energised.
-
Originally Posted by kris
Hi, Kris,
Thanks for the great music this morning! Eddie was definitely influenced by Miles' playing in his tone and phrasing but certainly has his own voice. This was a great album. Five Stars!
Marinero
-
Originally Posted by Marinero
PS: This is not a got-ya post: I'm truly interested if overtime you changed your POV as it relates to Scofield, Metheny, etc.. or still believe that when those guys were young they were "hacks" but that now they have matured into artist.Last edited by jameslovestal; 01-19-2022 at 12:59 PM.
-
I haven't really got into Kurt all that much, but I like his big-band album.
-
Originally Posted by Lobomov
Hi, L,
The perception of Music is both visceral and intellectual. However, initially, when we listen to a musician/music, we do not use our intellect, but rather our senses which usually ends with "I like it . . . I don't like it." It is also that way with Literature, Poetry, and the visual Arts. It is only later, after further exposure, that we look deeper into the music/Art to understand why we have reacted positively to a song, poem, or painting. Secondly, the vessel in which the Art is received is also of equal importance. Does a rare Chateau Margaux Bordeaux first decanted, then sipped from fine Swarovski Crystal have the same perceived taste and impression as when drunk directly poured from the bottle in grandma's wooden mixing bowl? So, when I answer this question, it is based on my life experiences and education. . . not a prevailing mood or general perception of others. In 1965, when Ben Webster recorded "Stardust" playing the entire tune in "subtones," could any reasonably sensitive person not be moved by the music and its(perceived) memorable lyrics? We don't need to know what modes were matching what chords but simply sit back and listen to a sensitive human being communicate his feeling/Art through his music. You either like it . . . or you don't.
So, here's two songs, a general audience would perceive as a ballad: "Stardust" by Ben Webster and "I'll Be Seeing You" by Julian Lage. When I respond viscerally, I like the first(Webster) and dislike the second(Lage). When I respond intellectually, I appreciate Lage's technical skills but after listening to this piece, I'd never return to his music since it does nothing for me. Period. It doesn't mean that others don't love his music . . . for me, it leaves me cold. I hope this answers you question.
Marinero
Here's Ben:
Here's Julain:
-
Two different instruments. Both musicians play beautifully.
-
Originally Posted by jameslovestal
Of the previously mentioned, Metheny is probably the easiest to listen to, for me, but he is not on my music rotation for daily listening. The rest are a definite "no." I think they are Rock-based "Jazz" musicians ,as many in their generation, and it is this influence that I dislike so passionately. However, one could not say they were not serious but rather pursued "Jazz" through their own vision which does not coincide with mine. Hacks? No. However, I have not changed my opinion concerning their music(see my previous post to Lobo). Secondly, all musicians have their roots. I'm a city boy(Chicago) and mine were in R@R/R@B/Soul/Funk so the music I love best is grounded in those traditions. I grew up listening to great local Jazz musicians playing in funky bars and clubs that reflected the sounds and landscapes of urban America like Von Freeman, Johnny Griffin, Gene Ammons, Fred Anderson, Willie Pickens, Joe Daly, Phil Upchurch, etc. However, I continue to stay open to new players whose music I respect like Jocelyn Gould but the list is short.
Marinero
-
Maybe the problem is that the young musicians play too perfectly...and...?
And in this way some kind of artistic expression disappears ... spirituality ... I don't know.
-
I really like Arclight. I found it quite a break with many other contemporary jazz guitar records of the time.
I saw the trio live twice, once touring for this record. Absolutely killed it. Go see him, he’s a great live performer, masterful user of dynamics.
-
Originally Posted by kris
I think guitar audiences being nerdy about guitar haven’t really helped. The technical bar has been raised via expectation. Still, Julian Lage I think has some cross over appeal, maybe Lage Lund not so much.
That said, Ben Monder’s music is consistently interesting and not at all standard modern jazz guitar fare. He’s a virtuoso player, but his music is the main attraction for me, he plays the guitar without ego. It’s mostly not ‘jazzy jazz’ but I don’t care
-
Originally Posted by kris
I was so clueless Kessell sounded sloppy. But as I matured in my appreciation of MUSIC and that there was more to making MUSIC then just being technical, I grew to love what Kessell was doing. It had more passion and energy, and risk-taking, and while I still love Pass, I tend to list to Kessell more than Pass.Last edited by jameslovestal; 01-21-2022 at 03:21 PM.
-
Originally Posted by Lobomov
Quite honestly while I’m pretty sure they know all of that language and vocabulary, I’m not sure either of them can swing the way those guys did because the way those guys felt time was a function of their playing for dancers, a LOT. Like night after night playing swing jazz or R&B in dancehalls when they were coming up. Human time with other musicians and the demands of the dancers.
Jazz musicians today play for a seated audience. Their conception of time is based around the metronome.
Grant Green is not on any metronome grid anyone has ever heard of but grooves like crazy. Lage Lund is like a Swiss watch.
so yeah it’s different. Both players have great time, in any case and can do things that you wouldn’t be able to do in that earlier environment. I don’t need them to be the same. It’s more classical now I suppose.
Do they play like they play thru necessity ... They can't play differently?
Or do they do it as an artistic choice?
If it's the former then Marinero has quite the point .. If it's the latter then all is good, isn't it?
Benedetto 16-B Opulent Brown for sale
Today, 08:16 AM in For Sale