Jazz: America's Music
Today I purchased Blue Train by John Coltrane (on the blue note label) -Excellent and beautiful flowing Jazz work. Complimentary and solo work by an ensemble of trumpet, trombone, piano, bass, and of course percussion, with the ethereal tones of John Coltrane’s tenor sax. Listening to this album rekindle my interest in Jazz – American’s Music. It reminded me of the Ken Burns documentary on Jazz that premiered on PBS in 2001 (which also inspired a CD set and a single CD, The Best of Ken Burns Jazz, that I have). But I digress. My collection of Jazz music is small but I would like to enhance it so best recommendations on that would be welcome and helpful to everybody else as well.
Additionally this post is for just a general discussion of Jazz. Below is a list of the Jazz artists that are mentioned in the context of The Best of Ken Burns Jazz CD set. It is not intended as an inclusive list by any means and is made in alphabetical order, although the first person should be place number one on the list anyway. This jazz list does not include newer artists, Diana Krall just for an example. So it needs brought up to date, which I hope others will do.
Louis Armstrong
Count Basie
Sidney Bechet
Art Blakey
Dave Brubeck
Omette Coleman
John Coltrane
Miles Davis
Duke Ellington
Ella Fitzgerald
Dizzy Gillesepe
Benny Goodman
Herbie Hannock
Coleman Hawkins
Fletcher Henderson
Billie Holiday
Charles Mingus
Theionious Monk
Charlie Parker
Sonny Rollins
Sarah Vaughn
Lester Young
Jazz deserves some fun and worthwhile discussion on these forums. So, Take it Away…………….
-Zeno
Thirdly, I don't think it goes from I to IV, I think it stays in I, but a different Mode of I. I don't know how to google it, but there's more than one way to flatten the 7th in blues, and I think that's what's happening here.
He does go to V in the turn around, but --get this-- I don't think Ron Carter goes anywhere. I think he stays in I for the whole song, but it sounds like he does because of the ambient sounds of the other players mixing with him.
Make sense? It shouldn't. I'm missing s
That's awesome, I wasn't aware at all of what Ron Carter was doing.
The comment by Jongtr below explains the issue. https://www.reddit.com/r/musictheory/com...
"There is no C7 chord. It's Gm7. If you listen closely, you'll hear the bass stays with the exact same G-based riff. All that changes is that the horns and piano change the B naturals to Bb. The previous mixolydian mode becomes dorian mode."
If you go from a G to a C, you go from I to a IV, but you also go from a I to a I--a I of a G to a I of a C. I gave up thinking about this 50 years ago, but with just a little effort it can still drive me crazy.
Ohhhhhhhhhhhh I get it.
Sorry to everyone who doesn't speak music, I'm sure this is like reading a hand history if you don't speak poker. Music theory is like math. It's not necessary to understand it, you just get used to it.
The Roman numerals are the Nashville Numbering System. It's a shorthand way of talking about the chords in a key.
The triad chords in C major are C Dmin Emin F G Am and Bdim (don't ask). Number these I II II etc, and now it doesn't matter what key the song is in, you're talking about the chordal structure.
Our friend is saying that moving from C chord to F chord in the key of C is the same thing as modulating to the key of F and playing the I chord.
Absolutely true, my only thought is that the analysis has to produce something for it to be pertinent. What does thinking about it this way get us?
Edit: maybe that's how Coltrane was thinking when he came up with Giant Steps since it changes keys every chord.
This Ray Brown song is only available on Vinyl... I have not been able to listen to it because I haven't had a turntable in a few years now so this video is about four system setups in the past.
Just discovered this doco (not sure if it's been posted before). What a beautiful life. Devotion to his art (and the sound of birds) always to be applauded:
https://www.youtube.com/watch?v=cyYGwJWv...
The grumpy old Dutch musos gave me a laugh, too.
It's not 'like' mathematics... it is exactly mathematics.
Or is mathematics music?
There is a reason music and mathematics are international languages.
the connection between music and imperial fractions are my primary reason for not converting to metric just yet
well, that and working in the us construction industry
Just discovered this doco (not sure if it's been posted before). What a beautiful life. Devotion to his art (and the sound of birds) always to be applauded:
https://www.youtube.com/watch?v=cyYGwJWv...
The grumpy old Dutch musos gave me a laugh, too.
it's a wonderful glimpse into what he was playing at that time
interesting how how the jazz greats reversed engineered musical inspiration back to other continents
it's a wonderful glimpse into what he was playing at that time
interesting how how the jazz greats reversed engineered musical inspiration back to other continents
The scene in Oslo where Mingus says "Eric how long you staying in Europe?" over and over is revealing, not to mention how Mingus pulls the mic away from Dolphy mid-solo. The implication was that Dolphy moved to Europe for financial as much as musical reasons, though.
I wish I could play a bass clarinet.
an admittately vague reference, but i was more thinking about how Miles (Sketches of Spain), Trane (Africa Brass), Trane + Dolphy (India), Don Cherry (Om Shanti Om), and countless other examples of jazz greats exploring expanded cultural influence in their later years
an admittately vague reference, but i was more thinking about how Miles (Sketches of Spain), Trane (Africa Brass), Trane + Dolphy (India), Don Cherry (Om Shanti Om), and countless other examples of jazz greats exploring expanded cultural influence in their later years
Don Cherry likely expanded his sphere of influence the most (not least because he stretched well into the 1970s). Africa Brass and Sketches of Spain remain masterpieces, though, particularly as they still feel a little "out" to my ear in the best of ways.
Triggered by og rgper cyberchomp
Broken YouTube LinkMy New Year resolution #1 is to listen to this album.
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I'm going to start with Ron Carter's work.
So far I've learned that this song has a bizarre ability to calm. settle and organize my mind. Maybe I should just spend the year listening to it.
at the opening pitch imagine Evans fingers knuckling down and up while Cobb brushes off home plate after calling strike three
two xy axial rhythm umpires providing space for the rest to nest in the reeds
Sure 😀 That's the playlist I like the most https://open.spotify.com/playlist/37i9dQ...
Sure 😀 That's the playlist I like the most https://open.spotify.com/playlist/37i9dQ...
so many great artists and songs there to work with
but what i wonder is how you consume their music
or even think of it in those specific terms
jazz albums are an exactly intentional sequence of songs arranged in specific order
so now i'm going to ask you to pick five songs from that list that you have listened to for over four minutes each and describe what it is that attracts you to it
searched thread for matteo - nothing
a lot of guys who have incredible technique have no taste
this set is my favorite thing he's done
take two hits of whatever the bass player is smoking
My New Year resolution #1 is to listen to this album.
-
I'm going to start with Ron Carter's work.
I stumbled upon some free time and was able to listen to this whole album straight through with ear phones on. What's more, I was able to count out the whole album by tapping both feet so I would always know where the up beat was. This was really helpful for me, especially when trying to follow Paul Chambers's bass lines on All Blues and Flamenco Sketches.
I also found a live version of Ron Carter's performance with two basses.
Broken YouTube LinkSeeing the second bass on stage was a revelatory moment for me. Now I get it.
i'm curious how Carter might have played All Blues if he was part of the original recording.
haven't watched much of this yet, but just saved it
we are so fortunate he was able to find his talent and explore it
yet another reason why we need high school music programs
so many great artists and songs there to work with
but what i wonder is how you consume their music
or even think of it in those specific terms
jazz albums are an exactly intentional sequence of songs arranged in specific order
so now i'm going to ask you to pick five songs from that list that you have listened to for over four minutes each and describe what it is that attracts you to it
Interesting, so I should look for more albums. I usually set the playlist and let it play but I think the idea of listening to jazz albums as they were meant to.
Hard for me to put into words what attracts me about a song but I'll try.
That Old Feeling - I like the rhythm with the instrument on top. It's both relaxing and exciting.
My Funny Valentine - I think the start is already interesting and the atmosphere is nice and elegant.
Autumn Leaves - The way the instruments evolve is exciting and the main melody is satisfying.
I Guess I'll Hang My Tears Out To Dry - The rhythm is satisfying and the instruments on top are interesting in how they develop and intertwine.
A Foggy Day - It's exciting and I like the rhythm. I guess there's a pattern here.
Bonus:
One from videogames: https://open.spotify.com/intl-pt/track/2...
One with influence from my country: https://open.spotify.com/intl-pt/track/5...
i'll start with an easy one
Autumn Leaves
opening song of the album Somethin' Else
Cannonball Adderley – alto saxophone
Miles Davis – trumpet
Hank Jones – piano
Sam Jones – bass
Art Blakey – drums
give this a full listen
then make this connection
Somethin' Else[/I] is an album by American jazz saxophonist Julian "Cannonball" Adderley, recorded on March 9, 1958 and released on Blue Note in August later that year—his only album for the label. Also on the session is trumpeter Miles Davis in one of his handful of recording dates for Blue Note. Adderley was a member of Davis' group at the time, and the album was recorded shortly after Davis' own landmark album Milestones.[/QUOTE] Milestones is a studio album by Miles Davis. It was recorded with his "first great quintet" (augmented to a sextet with the addition of alto saxophonist Cannonball Adderley) and recorded on February 4 and March 4, 1958.
listen to them both and let's chat again
both of these albums were recorded in the period leading up to Kind of Blue, a true inflection point in modern music
Art Blakey and the Messengers also recorded this with Monk less than a year previous
so that's an entirely seperate cymbal web to chase if your interested in the Autumn Leaves drumming
TIL that one of the greatest movies of all time is over 20 years old.
Broken YouTube Link
