http://speakeasy.jazzcorner.com/speakeasy/ This is for general discussion of jazz. en Sun, 22 Nov 2009 03:29:25 GMT vBulletin 10 http://speakeasy.jazzcorner.com/speakeasy/images/misc/rss.jpg http://speakeasy.jazzcorner.com/speakeasy/ http://speakeasy.jazzcorner.com/speakeasy/showthread.php?t=26537&goto=newpost Sat, 21 Nov 2009 14:53:16 GMT

Hello everybody ...

My new album, Not Cool ( ... as in, "The Opposite of Paul Desmond"), is now available for sale as a CD and--for a brief time--as a free 128 kbps download from my site, ChrisKelsey.com. It's the first time I've recorded on alto and tenor saxes, in addition to my usual soprano. I'm joined by my regular rhythm section--Francois Grillot on bass and Jay Rosen on drums--as well as the very fine young trumpeter Chris DiMeglio.

I like it, and I think many JazzCorner Speakeasy readers will, too.

Download away, that's what I say.

Thx!

CK ]]> SPEAK OUT Chris Kelsey http://speakeasy.jazzcorner.com/speakeasy/showthread.php?t=26537 http://speakeasy.jazzcorner.com/speakeasy/showthread.php?t=26529&goto=newpost Fri, 20 Nov 2009 16:29:48 GMT ... but never have (or never did).

Name any two (or more, if you want) musicians who never recorded together, whose collaboration would have been interesting to hear.

I limit it to "recorded" because there may be occasions where musicians played together live but have never recorded an album together. Such occasions are hard to identify (at least for me, living in the hinterlands as I do). I didn't want this to turn into a thread where someone says "X and Y," and someone else says, "That doesn't count! X and Y played together at the Village Vanguard on April 23rd, 1992!" It has to be an actual recording.

Your choices can be possible or impossible. For instance, if someone wishes they could have heard Bix Biederbecke with Hamid Drake, that's okay (but you might want to explain why).

So, I'll start with one I'd like to have heard: Thelonious Monk and Eric Dolphy. (At least, I don't think they ever recorded together - did they?)

Who would you like to hear? ]]> SPEAK OUT Alek Hidell http://speakeasy.jazzcorner.com/speakeasy/showthread.php?t=26529 http://speakeasy.jazzcorner.com/speakeasy/showthread.php?t=26527&goto=newpost Fri, 20 Nov 2009 08:33:33 GMT i know ted gioa has left. no new content in a week. what have y'all heard?:confused::confused: ]]> SPEAK OUT gonzo http://speakeasy.jazzcorner.com/speakeasy/showthread.php?t=26527 http://speakeasy.jazzcorner.com/speakeasy/showthread.php?t=26506&goto=newpost Wed, 18 Nov 2009 02:34:55 GMT Does anyone know of a Jazz guitarist who has covered Coltrane for an entire album?

I'm looking to listen to Coltrane, but on guitar...

Any help is appreciated! ]]> SPEAK OUT Jazz Bug http://speakeasy.jazzcorner.com/speakeasy/showthread.php?t=26506 http://speakeasy.jazzcorner.com/speakeasy/showthread.php?t=26496&goto=newpost Tue, 17 Nov 2009 06:00:48 GMT *MED FLORY* Image: http://4.bp.blogspot.com/_Tm6rbwLR7Es/SwDilXes5gI/AAAAAAAARV4/XV3evZxbUxQ/s200/med+flory+cd.jpg The introduction to *Med Flory *must have been somewhere during the 1960s or 1970s, as I was an admirer of the *Bonanza* TV-series that was on Dutch television, broadcasted by... MED FLORY



The introduction to Med Flory must have been somewhere during the 1960s or 1970s, as I was an admirer of the Bonanza TV-series that was on Dutch television, broadcasted by the KRO ( 1963 - 1972 ). Med Flory was to be seen in just four episodes, so I really don't remember him. Last month I was introduced to a complete other side of this actor - his biggest love - music - as a bandleader, jazz saxophone player and, above all, a great composer.

Med Flory: Go West Young Med



Med Flory is perhaps best known as the co-founder of Supersax, the commercially successful reed ensemble started in 1972 that plays transcriptions of Charlie Parker's solos. But before Supersax, Med was one of the most dynamic alto saxophonists, arrangers and bandleaders on the New York and Los Angeles scenes in the 1950s. If you listen to his leadership recordings from the mid- and late-1950s or his work with Terry Gibbs and Dave Pell, you'll be taken aback. I certainly was. ( Marc Myers in zijn Jazz Wax blog )

Keep swinging

Durium ]]> SPEAK OUT Durium http://speakeasy.jazzcorner.com/speakeasy/showthread.php?t=26496 http://speakeasy.jazzcorner.com/speakeasy/showthread.php?t=26495&goto=newpost Mon, 16 Nov 2009 22:35:17 GMT HOW TO SING THE BLUES ... by Stretch Melon Clinton 1. Most Blues begin, "Woke up this morning." 2. "I got a good woman" is a bad way to begin the Blues, 'less you stick something nasty in the next line, like "I...]]> HOW TO SING THE BLUES ... by Stretch Melon Clinton


1. Most Blues begin, "Woke up this morning."

2. "I got a good woman" is a bad way to begin the Blues, 'less you
stick something nasty in the next line, like "I got a good woman, with the
meanest face in town."

3. The Blues is simple. After you get the first line right, repeat
it. Then find something that rhymes ... sort of: "Got a good woman -
with the meanest face in town. Got teeth like Margaret Thatcher - and she
weigh 500 pound."

4. The Blues are not about choice. You stuck in a ditch, you stuck in
a ditch; ain't no way out.

5. Blues cars: Chevys and Cadillacs and broken-down trucks. Blues
don't travel in Volvos, BMWs, or Sport Utility Vehicles. Most Blues
transportation is a Greyhound bus or a southbound train. Jet
aircraft an' state-sponsored motor pools ain't even in the running. Walkin'
plays a major part in the blues lifestyle. So does fixin' to die.

6. Teenagers can't sing the Blues. They ain't fixin' to die yet.
Adults sing the Blues. In Blues, "adulthood" means being old enough to get
the electric chair if you shoot a man in Memphis.

7. Blues can take place in New York City but not in Hawaii or any
place in Canada. Hard times in St. Paul or Tucson is just depression.
Chicago, St.Louis, and Kansas City still the best places to have the Blues.
You cannot have the blues in any place that don't get rain.

8. A man with male pattern baldness ain't the blues. A woman with
male pattern baldness is. Breaking your leg cuz you skiing is not
the blues. Breaking your leg cuz an alligator be chomping on it is.

9. You can't have no Blues in an office or a shopping mall. The
lighting is wrong. Go outside to the parking lot or sit by the dumpster.

10. Good places for the Blues:
a. highway
b. jailhouse
c. empty bed
d. bottom of a whiskey glass

Bad places:
a. Ashrams
b. gallery openings
c. Ivy League institutions
d. golf courses

11. No one will believe it's the Blues if you wear a suit, 'less
you happen to be an old ethnic person, and you slept in it.

12. Do you have the right to sing the Blues? Yes, if:
a. you're older than dirt
b. you're blind
c. you shot a man in Memphis
d. you can't be satisfied
No, if:
a. you have all your teeth
b. you were once blind but now can see
c. the man in Memphis lived.
d. you have a retirement plan or trust fund.

13. Blues is not a matter of color. It's a matter of bad luck.
Tiger Woods cannot sing the blues. Gary Coleman could. Ugly white people
also got a leg up on the blues.

14. If you ask for water and Baby give you gasoline, it's the Blues.
Other acceptable Blues beverages are:
a. wine
b. whiskey or bourbon
c. muddy water
d. black coffee

The following are NOT Blues beverages:
a. mixed drinks
b. kosher wine
c. Snapple
d. sparkling water

15. If it occurs in a cheap motel or a shotgun shack, it's a Blues
death. Stabbed in the back by a jealous lover is another Blues way
to die. So is the electric chair, substance abuse, and dying lonely on a
broken down cot. You can't have a Blues death if you die during a tennis
match or while getting liposuction.

16. Some Blues names for women:
a. Sadie
b. Big Mama
c. Bessie
d. Fat River Dumpling

17. Some Blues names for men:
a. Joe
b. Willie
c. Little Willie
d. Big Willie

18. Persons with names like Sierra, Sequoia, Auburn, and Rainbow
can't sing the Blues no matter how many men they shoot in Memphis.

19. Make your own Blues name (starter kit):
a. name of physical infirmity (Blind, Cripple, Lame, etc.)
b. first name (see above) plus name of fruit (Lemon, Lime,
Kiwi, etc.)
c. last name of President (Jefferson, Johnson, Fillmore,
etc.)
For example, Blind Lime Jefferson, or Cripple Kiwi Fillmore, etc.
(Well, maybe not "Kiwi.")

20. I don't care how tragic your life: you own a computer, you
cannot sing the blues. You best destroy it. Fire, a spilled bottle of
Mad Dog, or get out a shotgun. Maybe your big woman just done sat on it.
I don't care.

]]> SPEAK OUT Peterdubya http://speakeasy.jazzcorner.com/speakeasy/showthread.php?t=26495 http://speakeasy.jazzcorner.com/speakeasy/showthread.php?t=26492&goto=newpost Mon, 16 Nov 2009 15:31:35 GMT

27 de Noviembre (Viernes) Wet Paint Roberto "Betuco" Arballo (guitarra) Jako González (saxofón, flauta) Rey David Alejandre (piano, teclado, trombón) Chucho Sánchez Puebla (bajo) Mario García (batería) Armando Espinosa "Pinaca" (percusiones) Cover $120 pesos

28 de Noviembre (Sábado) Beaujean Project Jannifer Beaujean (voz) Ingrid Beaujean (voz) Nicolás Santella (piano) Israel Cupich (contrabajo) Gustavo Nandayapa (batería) Cover $120 pesos

]]> SPEAK OUT Pete C http://speakeasy.jazzcorner.com/speakeasy/showthread.php?t=26492 http://speakeasy.jazzcorner.com/speakeasy/showthread.php?t=26483&goto=newpost Sat, 14 Nov 2009 17:45:58 GMT Live at the Fillmore East. As a long time fan of these recordings, and equally long frustrated by the savage editing, and unavailabilty of the complete sets night by night, I was overjoyed and intrigued to discover recently that a Japanese bootleg label (So What) has put out three of the nights in... Live at the Fillmore East.
As a long time fan of these recordings, and equally long frustrated by the savage editing, and unavailabilty of the complete sets night by night, I was overjoyed and intrigued to discover recently that a Japanese bootleg label (So What) has put out three of the nights in complete form - Wednesday, Friday and Saturday.
Anyone heard about, and excited by this?

My dearest wish would be that this stimulate Columbia into getting their fingers out and doing one last box set of this Miles period. The music was phenomenal - Corea & Jarrett sparring, Dave & Jack grooving. Airto scratching and moaning. The only quibble from this era is - does Steve Grossman have any justification for existence? He could seemingly only play one solo, which is pretty ok the first couple of times you hear it, but he insisted on playing it over and over and over again.
Grrr! says the 'sheesh ]]> SPEAK OUT baksheesh http://speakeasy.jazzcorner.com/speakeasy/showthread.php?t=26483 http://speakeasy.jazzcorner.com/speakeasy/showthread.php?t=26478&goto=newpost Thu, 12 Nov 2009 23:12:14 GMT The facts of Dick Katz’s life are known: he was born March 13, 1924, and played jazz piano and arranged music. His first gig in New York was in 1948 with Ben Webster on New Year’s Eve, and it just went on from there through the 1950s and early ’60s, as he played with many of the greats. He teamed... The facts of Dick Katz’s life are known: he was born March 13, 1924, and played jazz piano and arranged music. His first gig in New York was in 1948 with Ben Webster on New Year’s Eve, and it just went on from there through the 1950s and early ’60s, as he played with many of the greats. He teamed up with Orrin Keepnews to form Milestone Records in 1966. And people always mention his work with the singer Helen Merrill as some of the outstanding music of its day of any kind.

But to those of us working on The Jazz Loft Project in all its forms, Dick was more than all that. He was a genuine friend, one of the first we connected with for the project, and as authentic and honest a spokesperson for the “Jazz Loft” era as we ever found. Dick was that rarest of all things: a total hipster, if you’ll pardon the expression, without any pretense whatsoever. In an interview for The Jazz Loft Project Radio Series in February of 2008, Dick told me he was a “hard-core jazz cat.” That he was, and an unforgettable one.

– Sara Fishko ]]> SPEAK OUT Lois Gilbert http://speakeasy.jazzcorner.com/speakeasy/showthread.php?t=26478 http://speakeasy.jazzcorner.com/speakeasy/showthread.php?t=26474&goto=newpost Thu, 12 Nov 2009 21:09:24 GMT Image: http://ecx.images-amazon.com/images/I/51iRifYK7VL._SL500_AA240_.jpg Image: http://ecx.images-amazon.com/images/I/51xviDuFZkL._SL500_AA240_.jpg Image: http://ecx.images-amazon.com/images/I/51UilwzEdJL._SL500_AA240_.jpg Image:...

Out now. Aint never heard a one of'em ]]> SPEAK OUT me wag http://speakeasy.jazzcorner.com/speakeasy/showthread.php?t=26474 http://speakeasy.jazzcorner.com/speakeasy/showthread.php?t=26472&goto=newpost Thu, 12 Nov 2009 06:46:56 GMT *RALPH SUTTON* Image: http://1.bp.blogspot.com/_Tm6rbwLR7Es/Svub2W9uaEI/AAAAAAAARRk/Fpk9QBEgixs/s400/ralphsutton-cover1.jpg Possibly no one in popular music had a more infectious personality than the late Fats Waller. Enjoyment bubbled out of everything he did. Whether pounding a piano... RALPH SUTTON



Possibly no one in popular music had a more infectious personality than the late Fats Waller. Enjoyment bubbled out of everything he did. Whether pounding a piano with a curious sort of elephantine delicacy or impishly tinkering around with the console of an organ, he effused an enthusiasm and likeability that has rarely been equalled.

Sutton's playing is characterized by a robust but tastefully controlled technique, an impeccably precise sense of rhythm, and an ebullient dancing quality.
Ralph Sutton plays the music of Fats Waller

Keep swinging

Durium ]]> SPEAK OUT Durium http://speakeasy.jazzcorner.com/speakeasy/showthread.php?t=26472 http://speakeasy.jazzcorner.com/speakeasy/showthread.php?t=26469&goto=newpost Wed, 11 Nov 2009 14:42:24 GMT Lately I've been making quite an effort to listen to Lee Morgan, a great talent who died much too young. He sure put out a lot on Blue Note, and several albums are classics.

I'm usually not into the "best of" series, but I did get (from the library) the one for Lee. To be honest, I find "The Sidewinder" to be the lowlight. I never was impressed by this tune. It may have given him some extra fame, but it is certainly not Lee Morgan at his best. This simple tune might carry a 2-minute rock song. For a 10-minute jazz piece, it's utterly annoying. ]]> SPEAK OUT BlueMiles http://speakeasy.jazzcorner.com/speakeasy/showthread.php?t=26469 http://speakeasy.jazzcorner.com/speakeasy/showthread.php?t=26463&goto=newpost Tue, 10 Nov 2009 17:52:39 GMT This one's for David. The key thing to remember about this thread is that it is NOT simply about great pianists, nor should it include pianists now dead. This thread is for general discussion of current improvisers who play outside 'the changes'. We're talking pianists along the lines of Jarrett (on his solo outings), Bley, Von Schlippenbach, Crispell etc. ]]> SPEAK OUT baksheesh http://speakeasy.jazzcorner.com/speakeasy/showthread.php?t=26463 http://speakeasy.jazzcorner.com/speakeasy/showthread.php?t=26461&goto=newpost Tue, 10 Nov 2009 05:57:23 GMT DUANE TATRO



His eleven compositions here are redolent of several of the "futuristic" trends in West Coast jazz of the period. The octet scores are full of striking textures, sounds and directions - jazz may not have gone this way, but it's still fascinating to listen back to what might have happened (cover text).

This record from the 1950s is the only record as a jazz composer. Duane Tatro, who would become a famous composer for TV and film soundtracks, is rather unknown as a jazz composer.
Duane Tatro's Jazz For Moderns

Keep swinging

Durium ]]> SPEAK OUT Durium http://speakeasy.jazzcorner.com/speakeasy/showthread.php?t=26461 http://speakeasy.jazzcorner.com/speakeasy/showthread.php?t=26458&goto=newpost Tue, 10 Nov 2009 02:20:36 GMT I (Jason Crane) interviewed Sonny Rollins tonight for the second time. Before the interview, I asked my wife Jennifer, who’s a casual jazz listener, what one question she’d ask Sonny if she were interviewing him. She said she’d ask him whether jazz is still relevant. So I asked him, and this is... I (Jason Crane) interviewed Sonny Rollins tonight for the second time. Before the interview, I asked my wife Jennifer, who’s a casual jazz listener, what one question she’d ask Sonny if she were interviewing him. She said she’d ask him whether jazz is still relevant. So I asked him, and this is what he said:

“I think that the relevance of jazz depends on what you think jazz is. For instance, if you think that jazz is a piano trio playing in a small nightclub — they’re good musicians, maybe have a girl singer — and you come in and there are people smoking and sitting at tables … if that is your conception of jazz then of course jazz is not relevant, because that refers to a time and place. Jazz is something which is much bigger. Jazz has to do with freedom of expression. So is jazz still relevant? Of course, because there are always people trying to express themselves in music. I think of jazz as having the big umbrella, so that a lot of styles of music that have merged over the years all fall under the umbrella of jazz. The act of trying to create something musically and spontaneously is something that is a part of life. It’s like the weather — it’s always there. Jazz as something that fits into a narrow little remembrance, no, that kind of jazz is not relevant. But jazz is as relevant today as the yearning for people to be free. That’s how relevant jazz is.” ]]> SPEAK OUT Mike Schwartz http://speakeasy.jazzcorner.com/speakeasy/showthread.php?t=26458