EKE BBB

On the other hand....let´s talk about Charlie Parker Bird conceived every solo as a narrative thing, as he said: "Ever since I´ve heard music, I´ve always thought it should be very clean, very precise...as clean as possible, anyway...and more or less to the people, something they could understand, something that was beautiful....there´s definitely stories and stories and stories that can be told in the musical idiom...It can be very descriptive in all kinds of ways, you know, all walks of life" I´ve always been impressed by his technique and his speed and his creativeness in every solo he played! I´ve read his technique has the technical name of "cento" in musicology. Thomas Owens has identified over 100 of the different motifs that Bird most commonly used in creating his solos, and he put them together in a new and completely different way for every performance Some may say Bird was kind of mystified: his early death, his drug abuse, his chaotic character... But I think he was one of the greatest genius of 20th century music. Phil Woods said Bird "was the Beethoven of our time". I don´t know, Duke and Satchmo were there too!

...and talking about tenor boppers, Wardell Gray must be included here IMHO! He was very influenced by Bird (and by Prez), but he got his own phrasing and was one of greatest bebop innovators on tenor till his death in 1955

I would emphasize Coleman Hawkins as an influential musician. Do you remember the session with "Disorder at the border"?. Alyn Shipton adduces that though it was a recording released as Coleman Hawkins´, the real leader (and arranger) of the session was Dizzy. But Hawk was always there, with the young lions, and his advanced harmonic concepts DID FIT well with the new music!

Some may say they don´t like LaFaro because he played "too many notes". Actually, when Chuck Israels came into the trio, Bill Evans had more room to play, specially in ballads, as we all can hear in "Moonbeams" (Riverside, 1962) , the first trio recording with Israels. Notwithstanding, IMO LaFaro was a marvellous player who, in his short career, got a great development in the melodic possibilities of bass (as Jimmie Blanton did first)

Wonderful big band music. Herman may have had better (or more famous) musicians before (First and Second Herd) but this recording is REALLY OUTSTANDING, IMO! And very, very good sound!

Chuck Israels (1962-1965) Gary Peacock (1963) Teddy Kotick (1966) Eddie Gomez (1966-1977) Marc Johnson (1978-1980) ????

Thanks for the info, Claude

I also voted for the most obvious choice, Dizzy. In second place I´d take Fats Navarro or Miles.

I´m one of those who got burnt by Planetmusic breakdown. Anybody have jazzmesengers´ e-mail or URL???? Thanks in advance! BTW, I´m not sure, but I think Fresh Sound/Blue Moon is a different thing from Disconforme (Jazz Factory/Definitive Records). I don´t know where Planet Music/Jazzmessengers (damn it) comes in!

If I´m allowed to, I nominate Mnytime´s new avatar. Salvador Dalí has always been one of my favourite painters!

Yes. No problem hitting the "Forums", hitting specific threads or adding a reply.

No problem for me today, Brownie.

Johnny DODDS is the MAN!

Congratulations, Joe! :excited: Who will be the 100.000th? B)

-Good bait (Tadd Dameron/Count Basie) -Little Benny a.k.a. Crazeology (Charlie Parker) though I´ve seen it credited (as Crazeology) to Bud Powell -Lemon drop (George Wallington) -Swing spring (Miles Davis) -Steeplechase (Charlie Parker)

(Updated May, 3, 01.00 PM GMT+1 - Central Europe hour) Members: AAJ 1.017; JC 631; Organissimo 307 Total posts: JC 26.394; AAJ 23.753; Organissimo 19.629 Threads: AAJ 1.714; Organissimo 1.468; JC 1.064 Most users ever online: AAJ 78; JC 61; Organissimo 44 Each one is different. I prefer AAJ and Organissimo (though I don´t have time enough to post here as regularly as I´d want to). Members and moderators/administrators make these two nice, friendly and useful!

Who said all jazz songs were either "I got rhythm" or the blues? Let´s take the first one. Name songs (credited to songwriters different from Gershwin) based on "I got rhythm". I´ll start with a bunch: Cotton tail (Duke Ellington) Lester leaps in (Lester Young) Shag (Sidney Bechet) Moose the mooche (Charlie Parker)

18? See capital letters 3

Norman Granz´s Jazz at the Philharmonic was a way to gather some wonderful musicians of that era, a neverending all-stars jam session. They produced marvellous music (Hawk-Prez-Illinois Jacquet; Bird&Prez...). It was a musical, sociological, and cultural phenomenon whose most outstanding element, often, was audience participation. Nevertheless, the audience's contribution usually consisted not only of listening, but of whistling, yelling, stomping, and clapping time on the wrong beats. It was criticized, as well, of being some kind of slight disorganization and an all-out blowing. What do you think?

Three times six is the number of the beast For Iron Maiden or death metal fans! 18

THREE times six is the number of the beast! For Iron Maiden or death metal fans! 3

I saw them last october in Madrid: Roy Haynes, Dave Kikoski, Christian McBride and Antonio Hart (in substitution of Kenny Garrett due to hand injury). No Nicholas Payton. That was great! Antonio Hart was so inspired playing bebop, Kikoski showed why he´s one of the most underated pianists, McBride was brilliant, as usual, and Haynes was, well, was HAYNES. It´s worth paying whatever they ask!

Really bizarre!

As a sideman: Of course, Point of departure And The sidewinder or The rumproller (Lee Morgan); Idle moments (Grant Green); Song for my father (Horace Silver); The real McCoy (McCoy Tyner); The prisoner (Herbie Hancock) and more and more. He was a helluva of a player! Another CD I like is Roy Hargrove´s With the tenors of our time (Verve, 1994) featuring Joe Henderson, Johnny Griffin, Joshua Redman, Stanley Turrentine and Brandford Marsalis

Cyrus St. Clair He played tuba in the early days...