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Soul Stream
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Posts posted by Soul Stream
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great news! how was that parker show? i wanted to make it, but couldn't. i was also hoping to catch the show coming up this saturday, but it's my wife's birthday and i don't think a free jazz concert is what she wants.
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I understand a blanket statement such as mine is full of holes to be sure. Something like "Yesterday" by McCartney is as good example of a Pop/Rock song that has stood the test of time in the jazz community. Burt Bacharach is a pop composer whose songs have often been covered very successfully by jazz artists and for good musical reasons.
I think on the other hand, covering the music of Bruce Springsteen would be quite cumbersome for a jazz improviser. No doubt as to the greatness of the artist and songs he writes, but I doubt they would work very well as imrovisational vehicles.
Some, such as Sonny Rollins, could play a phone book and make my whole arguement mute. However, I don't think that takes away from my arguement.
I guess in the end, I'm a little dissappointed about Lonnie's direction for a new album. It seems a bit gimmicky and geared towards getting some younger people involved in the music. A noble cause for sure, but sometimes that doesn't make for good album-making. I can't really comment on it knowledgabley without hearing it of course. These are just general thoughts about the concept.
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Lonnie doesn't put out a solo album for an eternity. And when he does, it's a tribute to Beck!
Now I am convinced. That Mother Fucker is CRAZY!
Beck has FAR more musical ability than the vomitous N'Sync, just to be a stickler.
It could have been, "what's next, Lonnie plays Portishead?" That would have been closer to the mark.
"Loser," his biggest song, is one of few Beck songs I hate. "Sexx Laws" was also a stinker. Lonnie should have done more songs from Mellow Gold.
Beck always has great graphic design on his covers! :rsmile:
:rsmile: Beck is considered by many one of the greatest rock musicans of our time. However, Lonnie's tribute to Hendrix was far from successful IMHO.
The problem is even the greatest rock musicians' songbooks don't have the harmonic structures that facilitate great jazz improvisation beyond a song or two. Unless Lonnie approaches most of these songs modally and sticks to pure melodies, or totally reharmonizes most of it... I can't imagine the chord changes to 10 or so Beck songs to be substantial enough. The idea of Brad M. doing a Bjork song or J. Redman covering a Radiohead song is fine enough. But a whole album of it would be a real feat. Rock songs sound best when done by Rock musicians. It's hard to carry that feel over into jazzland. If Lonnie pulls it off, I'd be surprised. But I still admire what he's doing. Stretching for something new.
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Lonnie doesn't put out a solo album for an eternity. And when he does, it's a tribute to Beck!
Now I am convinced. That Mother Fucker is CRAZY!
When I first read the posts, I thought the Beck references were a joke. I thought "Boogaloo To Beck" was just a title, not a concept album! Wow. This is the freakiest thing I've seen in a while. Can't wait to get it. What's next....Lonnie Smith plays 'N Sync?
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I don't have time to get too much in detail, but I wanted to focus my thoughts on the 2 different versions of "Soul Special."
On the first version, taken at a faster clip it sounds like it's going for a "The Sidewinder" vibe. Especially when Lee solos (not surprisingly!). But I agree with Jim, Ron Carter drives me nuts here. He sticks to the bass figure like he's cutting a Motown 45. Along with Freddie, they are just trodding along... creating no excitiement for the soloists to feed from. Booker's just trying to blow his brains out as usual, but nobody's behind him.
Now, check out the funk of the version with Idris and Reggie Workman. Reggie is smoking. Laying it down steady, but keeping the whole affair moving and interesting. He's not repeating the same thing over and over...he's dancing around the beat. Idris has that steady ride going that keeps the groove on. Unlike the other version...on this cut it's "Alligator Boogaloo" all the way! Which is great, because the best solo by far is by Hill! Hill floating over funk! Absolutely genius. Hill is pre-dating the acid jazz scene by 25 years on this one! Meaning, he takes a steady groove and takes it out. I don't know how many young acoustic jazz bands I've seen take this concept and run with it. Except today's beat is more hip-hoppish. But what they try to do on top, is what Hill does here better than anyone. He expands and contracts the time, cramming and dragging all at once.
The Tyrone Washington "Natural Essence" lp does this too, but not as successfully I think. I would have loved to have heard a whole album of Hill doing this stuff.
Frank Mitchell on tenor just isn't happening....had Tyrone Washington, Byard Lancaster or Jackie McLean been on this one, IT WOULD HAVE BEEN A MONSTER!!!! As it stands, it only gives us a glimpse on what could have been. But what a glimpse it is!!! ....p.s.- this cut was on the original Rare Grooves compilation and BLEW me away then like it does now. Some nice soul sauce from the avant guarde.
I think I'll keep my input to that. Others have said what I think better. Overall my favorite is the session with Ron Carter. Aside from "Soul Special," I don't think the group with Ponder captures whatever the hell Hill was going for. The compositions just don't lend themselves to that group of players as well. There are some great grooves on "Grass Roots!" The title track and "Mira" are especially fine.
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was surprised to see it at my local bookstore. picked it up, browsed through it and realized this was light reading for a harcore Blue Noter. Very briefly scans the major points of Blue Note but that's about it IMHO. No revelations or detail.
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like the saying goes...no one is irreplaceable. And so goes the BNBB. it's been replaced handily by the Organissimo board and AAJ.
I haven't missed a beat and don't miss it in any way. Actually it's nice to be out from the watchful eye of a corporation.
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nice choice everyone...
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yes, too bad i live in texas!
have a great time, sounds wonderful.you mention bill mostly plays piano/vocal gigs? i didn't even know he sang! that guy gets more interesting the more i hear of him. truely a man of many talents. to play organ like he does and not do it 7 days a week, much less only occassionally, seems super-human.
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to borrow a politcal phrase and reverse it...."I may not support the troops, but I support the war!"
I'm not a big fan of this batch of Rare Grooves (except the Patton which is a home run). But I understand Rare Grooves covers a lot of Blue Note territory. This batch was too Mizell for me. However, as a whole, I REALLY, REALLY, REALLY SUPPORT THE RARE GROOVES SERIES! I hope these sell well enough to justify another batch next spring.
Like others here, a new batch of Rare Grooves is as important a sign of Spring to me as texas bluebonnets.+
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As to your point. The RVG of "A Ficle Sonance" is UNLISTENABLE due to it's extreme brightness.
I'm a total RVG fan and supporter and think his remastering is the best overall. However, this one is horrible. I love the music on that session, but the frequencies are so grating to my ears I can't listen to it.
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I chose "Change Of the Century" simply because "Ramblin'" is my all-time favorite Ornette Coleman composition/performance. Plus, I'd really love to hear some insight into what people think about Ornette and his music. COTC is a perfect place to start IMHO.
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Whatever the system, Ornette's music seems more "melodic" that other free players. His playing seems to have some certain system whatever that is.
Thanks for the help Jim, that sheds more light than any other explaination I've ever heard.
Jim, as a "free" player yourself, have you ever considered immersing yourself into Ornette's music to find the underlying effect?
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Realistically you might get Byard Lancaster....he lives in Philly, is still active, (but like all of us) is probably in need of a gig.
Also, George Braith played with Larry (although not on record of course). He is a good friend and gigs in NYC weekly.
...also, that's a GOOD call about Joe Chambers. He plays at SMOKE occassionally and has a realistic price I'm sure. I doubt Elvin is a realistic goal, but it doesn't hurt to ask I guess.
Also, if you're planning on doing this in NYC. Contact Bob Porter at WBGO in Newark. As I've read, they're in charge of the tombstone stuff and would be a cornerstone in promoting an event as such. Also he'd be a good guy to help organize the talent as far as people who knew and played with Larry (especially the Newark guys). Eddie Gladden is still alive and living in Newark or thereabouts, but to my knoweldge has had a stroke of some sort and I don't know if he plays anymore or not. Bob would know.
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I voted for Mothership as well....mostly because Larry brings out the very adventuresome side of Lee much the way that Grachan's "Evolution" did....(now why isn't Grachan isn't on the list?
)Also, I don't know of a session where Lee Morgan could obviously care less about being there than Reuben Wilson's "Love Bug." Still a great session, but Morgan just doesn't care and some of his solos are his worst on any recording.
Turning Point is O.K>drags on a bit and isn't one of my favs...
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man, i'd love to see bill play. you say he doesn't play too many organ gigs? how can that be possible?
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Happy Birthday Joe G.!
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I hate to be a party pooper, but I refuse to buy a Weather Report album. I've noticed a lot of talk lately about Weather Report by musician friends, media, ect. Seems like a bit of fusion jazz comeback is in store for us. However, I won't be down with that one.
I just can't get into it. Not to say it's not great music for many listeners, Shorter, Jaco, Joe...those guys are all genius no doubt. However their collective genius in this era just doesn't do it for me. Sorry, when I grew up fusion is what I thought jazz was, that's why I didn't dig it. It wasn't until I heard stuff from the 50's and 60's, did I realize what straight ahead jazz was and the door was opened.
Count me out on the resurgence.
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Here's an interesting story from Jimmy Garrison relating to the subect.....
"He (Ornette) said 'Well, James, just play, and listen, of course, and if there's anything you want to know, just ask.'...You can only go so far in his music without KNOWING about it, and one night I just exploded."
Here's what happened. One night in front of a packed house at the Five Spot, Garrison stopped the band and according to Ornette, said, "Stop this god-dam music, ain't a fucking thing happening, what do you Negroes think you're doing? You're going crazy, I mean it's nothing, you know, nothing's happening, what are you doing? I mean let me have it, I know what's happening." Reflecting on the incident later, Ornette could respect the intensity of Garrison's musical beliefs, and in October when Garrison left him to join John Coltrane, he did so with Ornette's blessing.
...seems like even a great musician like Jimmy Garrison couldn't "get it." Although on the same page of the book I excerpted from they also said ..."jimmy garrison had played some of the best music of his career in "Ornette On Tenor", yet playing in Ornette's quartet always made him uncomfortable."
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...just a footnote...if you have any of the JAZZ SCENE USA videos, in the opening credits is a montage of clube facades. On one of the windows of one of them, in shoe polish, it's written who's playing during the week....on Thursday...it says...JIMMY WOODS.
wish I could have made THAT thursday gig!. -
thanks for all the help and suggestions. it's funny, i've heard many of his sideman defend ornette by saying there is an underlying theory to all he is doing. something that can actually be taught...yet, nobody seems to be able to teach it or explain what it is besides ornette.
i wonder if after ornette and his "students" pass away, if this entire brand of playing will virtually disappear. since the theory is that it is not truely "free" music but a real concept (that no one knows)
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I love Ornette's music. However, as a musician myself, I have absolutely no idea what the underlying theory is behind what he does. I've heard Haden and others describe a very specific way things are to be done.
Can anybody explain this in a nutshell to me? Is there a book on such things?
thanks...
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glad to see jim back on the board. his input and analysis are always in depth, interesting and come from a lifetime of immersion in jazz....
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hey, but "Jacknife" won. Not that I care, but you seemed to kind of make a big deal of the voting...."just a few more hours to vote, and then I'll make a decision," ect.
Seems to me a little bit of a disappointment to make a horserace out of the voting and then discard it in the end. I say this with the fact that I actually voted for "Grassroots" in mind...so it's not that I preferred Jacknife.
Maybe the next person who uses a poll system can tell us beforehand how the results will be weighed.
Elvis Costello to wed Diana Krall
in Miscellaneous - Non-Political
Posted
remember chet baker kept costello's "almost blue" in his songbook until the end.