All That Jazz ...
- Thread starter Nikhil
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Yippee! Ordered both. Thanks Moktan and Rajiv
Sushant Sharma
Well-Known Member
Ruminative slow tempos on Side B just take you with them. I heard Mal Waldron in an interview say how he was a saxophonist first and took to the piano later because he was an introvert. It is true that Trumpeteers and Saxophonists are showmen and band leaders in a sense.
Also the obi strip on the cover is quite cool. just read about the deal with obi strips on Japanese records and cds. http://www.minilps.net/mini-lp-replicas/what-is-an-obi-strip/
Also the obi strip on the cover is quite cool. just read about the deal with obi strips on Japanese records and cds. http://www.minilps.net/mini-lp-replicas/what-is-an-obi-strip/
M
mpw
Guest
Joe henderson
Sushant Sharma
Well-Known Member
Hi Mahesh. such a Coincidence to see this. I bought this CD last week from a shop here in Mcleodganj, Himachal. The shop is called "dirty Laundry" and is a hole in the wall and sells second hand traveller clothes and anything else that travellers leave behind, from remaining paracetamol tablets in a strip to a gew novels and oddities. Paid 50 rs for this CD..For once I thought people in small towns can also get lucky with music deals.
M
mpw
Guest
i do have 1 more album of his and i like the artist..
Maybe we will discuss in person !
I am due for a visit that side of our lovely country.
Maybe we will discuss in person !
I am due for a visit that side of our lovely country.
Sushant Sharma
Well-Known Member
sure.
https://www.weeklystandard.com/dominic-green/john-coltrane-and-the-end-of-jazz
You may find the erudition infuriating but an insightful essay nevertheless on http://www.amazon.com/dp/B07D4ZP9K3/&tag=theweesta-20 the 'lost and found' Coltrane album that we have discussed earlier in this thread. Here are some cut-and-paste excerpts for those who do not have the time or the patience to negotiate the loquacious lucubration.
For audiophiles -
"Both Directions at Once lacks the finished Van Gelder sound, but you can still hear the Van Gelder space. You can also hear the moment in time, which is what jazz is all about."
For classical music purists-
"Jazz was in a sense always a late style, a timekeeper’s music out of time. In the 1920s, while jazz musicians were playing early show tunes and improvising with rudimentary harmony, the Second Viennese School was pushing ahead into total chromaticism and atonality, and Stravinsky, Milhaud, Prokofiev, and Ravel were experimenting with jazz’s musical signature—its fixed pulse, syncopated rhythm, and emphasis on flattened thirds and sevenths. Jazz was modern long before Modern Jazz was named in the 1940s, for the harmonic modernity of bebop was the chromaticism of Liszt, Chopin, and Wagner. In the wider chronology of Western music, jazz’s harmonic development is a long game of catch-up, finished too late—around 1972, when Miles Davis heard Karlheinz Stockhausen for the first time. Davis had already reached the same conclusions as the joyless German but without losing the funk."
And for those who think the jazz is all about the blues-
"The test of a jazz musician isn’t a facility for imitating terminal Coltrane, but for emulating the blues, finding an individual voice within the chordal and harmonic framework, and playing it with feel. That is what Coltrane and his late quartet are doing on much of Both Directions at Once, though they’re doing it at such intellectual altitude that you don’t notice it most of the time. But the blues is what they’re playing, even when they’ve exchanged chords for modes. That you can’t tell half the time shows that this is the sound of an art form at its furthest extension, which is also the moment of its collapse."
And a little while earlier in the piece-
"There are many testimonies to American loneliness, and the blues might be the greatest of them. There are fewer testaments to American compendiousness. Coltrane’s quartet is the Moby-Dick of American popular music, with Coltrane still wailing in the depths when he died in 1967. By then, he would no longer be playing popular music. After A Love Supreme, his music bore little relation to the folk music and show tunes from which it had sprung. It became abstract and theoretical, and though it abounds in sincere emotion, there is something false about its donning of mock-African and mock-Asian styles, something overly plodding and earnest in a pastiching that Ellington had done with such light and ironic style in the Cotton Club. Unbounded space becomes mere formlessness."
And lastly for the rock music fan-
"As early as 1961, pianist McCoy Tyner had taken to dropping out when Coltrane’s solos slipped the bonds of chordal harmony. Bassist Garrison often followed when he could no longer find the tonic note. This produced epic saxophone and drum duels between Coltrane and Elvin Jones that, curiously, anticipate the rock theatrics of Pete Townshend and Keith Moon, or Jimi Hendrix and Mitch Mitchell. "
You may find the erudition infuriating but an insightful essay nevertheless on http://www.amazon.com/dp/B07D4ZP9K3/&tag=theweesta-20 the 'lost and found' Coltrane album that we have discussed earlier in this thread. Here are some cut-and-paste excerpts for those who do not have the time or the patience to negotiate the loquacious lucubration.
For audiophiles -
"Both Directions at Once lacks the finished Van Gelder sound, but you can still hear the Van Gelder space. You can also hear the moment in time, which is what jazz is all about."
For classical music purists-
"Jazz was in a sense always a late style, a timekeeper’s music out of time. In the 1920s, while jazz musicians were playing early show tunes and improvising with rudimentary harmony, the Second Viennese School was pushing ahead into total chromaticism and atonality, and Stravinsky, Milhaud, Prokofiev, and Ravel were experimenting with jazz’s musical signature—its fixed pulse, syncopated rhythm, and emphasis on flattened thirds and sevenths. Jazz was modern long before Modern Jazz was named in the 1940s, for the harmonic modernity of bebop was the chromaticism of Liszt, Chopin, and Wagner. In the wider chronology of Western music, jazz’s harmonic development is a long game of catch-up, finished too late—around 1972, when Miles Davis heard Karlheinz Stockhausen for the first time. Davis had already reached the same conclusions as the joyless German but without losing the funk."
And for those who think the jazz is all about the blues-
"The test of a jazz musician isn’t a facility for imitating terminal Coltrane, but for emulating the blues, finding an individual voice within the chordal and harmonic framework, and playing it with feel. That is what Coltrane and his late quartet are doing on much of Both Directions at Once, though they’re doing it at such intellectual altitude that you don’t notice it most of the time. But the blues is what they’re playing, even when they’ve exchanged chords for modes. That you can’t tell half the time shows that this is the sound of an art form at its furthest extension, which is also the moment of its collapse."
And a little while earlier in the piece-
"There are many testimonies to American loneliness, and the blues might be the greatest of them. There are fewer testaments to American compendiousness. Coltrane’s quartet is the Moby-Dick of American popular music, with Coltrane still wailing in the depths when he died in 1967. By then, he would no longer be playing popular music. After A Love Supreme, his music bore little relation to the folk music and show tunes from which it had sprung. It became abstract and theoretical, and though it abounds in sincere emotion, there is something false about its donning of mock-African and mock-Asian styles, something overly plodding and earnest in a pastiching that Ellington had done with such light and ironic style in the Cotton Club. Unbounded space becomes mere formlessness."
And lastly for the rock music fan-
"As early as 1961, pianist McCoy Tyner had taken to dropping out when Coltrane’s solos slipped the bonds of chordal harmony. Bassist Garrison often followed when he could no longer find the tonic note. This produced epic saxophone and drum duels between Coltrane and Elvin Jones that, curiously, anticipate the rock theatrics of Pete Townshend and Keith Moon, or Jimi Hendrix and Mitch Mitchell. "
Hey, thanks for that! Ordered.
I have been to Tidal, Deezer, Apple music and all but always come back to Pandora. Though compressed (music) but their curation is is what I find best.
Have you tried Spotify? give it a go - you might like their curated playlists.
Hey, after a long time, pulled out Sun Ra's Jazz in Silhouette
What a beautiful album from a truly out of space human!
Dazoy, how did Morcheeba creep in to this thread? Love them anyway! And seemed an appropriate post prior to Sun Ra - Tune in, drop out!
What a beautiful album from a truly out of space human!
Dazoy, how did Morcheeba creep in to this thread? Love them anyway! And seemed an appropriate post prior to Sun Ra - Tune in, drop out!
Was just going though youtube and this showed up. I remembered hearing them a couple of years ago. Its jazz-ish...
Cheers for the Sun Ra Album. Will give it a listen.
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