HutchFan

One of my musical heroes, the composer Charles Ives, wrote a series of essays to accompany his Second Piano Sonata. Logically enough, he titled these program notes Essays Before a Sonata. Since many listeners (both then and now) consider his music to be "thorny" and "difficult," Ives hoped that these essays might provide a bridge for listeners to make their way in to his music by providing some insight into his thinking and his musical goals. Ives gave his sonata the subtitle Concord, Mass., 1840-1860, and he structured it around four New England Transcendentalist authors. The dedicatee of the sonata's fourth and culminating movement is Henry David Thoreau. In his essay on Thoreau, Ives describes how Thoreau once heard the ringing of the Concord Bell across a great distance while on Walden Pond. Ives quotes Thoreau, describing how, "At a distance over the woods the sound acquires a certain vibratory hum as if the pine needles in the horizon were the strings of a harp which it swept. . . A vibration of the universal lyre." If I recall correctly, Ives later combined Thoreau's ideas in a new phrase, calling this exalted state of awareness (through music) the "vibratory hum of existence." For Ives, the most important and most impressive music somehow captures this elusive, ephemeral quality. A life vibration. I'm just saying all this stuff about Ives and Thoreau and vibrations because it came bubbling up while I was listening to this music by Masahiko Sato. Which is to say: I think it is magnificent, stunning, phantasmagorical music -- music that's as good as it gets. And Ives' words somehow explain very well how certain types of music (like his and Sato's) work (in figurative terms, not musical terms) -- and how it affects us (or me, at least). I hope these ramblings make some sense to you, and I'm touching on an idea with which you're familiar through your own listening. . . . If not, my apologies for the long digression! Now, back to your regularly scheduled programming.

One of Duke's many sensational concert recordings.

Outstanding.

Yup. American-African Blues (on Candid) was the record that made me a convert. EDIT From his earlier years, I actually think Ford's one New World album, Loxodonta Africana, is better than any of the Muse LPs.

Yep. He can certainly play the HELL outta that saxophone. Jaw-dropping fluency. I like how you can tell that Sonny Rollins was a big influence. Ford's got Sonny's big, striding sound. But Ford's a little more down-home than Sonny. He's got his own bag.

NP: Ricky Ford / Kirk Lightsey - Reeds and Keys (Jazz Friends, 2003)

A desert-island disc for this listener.

Tommy Flanagan - Beyond the Blue Bird (Timeless, 1991) with Kenny Burrell, George Mraz, and Lewis Nash

A fantastic record!

Now spinning: Willie Humphrey - New Orleans Clarinet (Smoky Mary) Joseph Butler's singing is featured on three of this album's cuts, and it always makes me laugh. Naturally, Armstrong is a huge influence, but -- believe it or not -- Butler's phrasing mostly reminds me of comedian Tracy Morgan. For example: Hear what I'm talkin' about? Sorta related: A few years ago, there was talk of Tracy Morgan starring in a Louis Armstrong biopic. Here's an article about it from 2021. Anyone know if anything came of it?

Thanks.

Not really. I know A&S wrote "California Soul" -- because Gerald Wilson's version of it is a favorite of mine. And I know the hit "Solid" from the 80s. That's about it. What would you recommend as a starting point?

Yes. Absolutely.

Now: Jarrett's American Quartet at the top of their game. My LP is a 1980s MCA reissue. Earlier this morning: I LOVE Quincy's arrangement of Paul Simon's "Bridge Over Troubled Water." Quincy makes the song's roots in the black church much more clear compared to S&G's version. Those choir-like trombone voicings! Yowza! And amazing singing by Valerie Simpson. . . . I think this LP is right up there with Quincy's very best records. And, incidentally, the AQ of the vinyl is superb -- just like the music.

O.K. I'll check it out! Thanks.

Yeah, that makes complete sense. Kenton's reliance on arrangers sort of reminds me of the way arrangers -- like, say, Neal Hefti, Quincy Jones, or Sammy Nestico -- influenced the sound of Basie's New Testament band. But with Kenton the arrangers are even MORE central & influential. With Basie, there's a through-line, a sonic consistency, regardless of the arranger. Basie has his sound on piano and his approach to rhythm. That signature is always there. OTOH, with Kenton's band, it seems like the music is much more subject to change, depending on the arranger and/or composer. Interesting that you say that. The record that prompted this splash-about in the Kenton pool is Live at Brigham Young University from 1971. It's definitely late-in-the-game "true believer" stuff. Lots of Willie Maiden (as soloist and arranger). And Ramon Lopez too. You hipped me to the Redlands University record, and I like that one. But the BYU album is the one that really grabbed my ear -- especially the Latin-flavored pieces like "Malaga" and "Macumba Suite."

Helen Humes - Songs I Like to Sing! (Contemporary/OJC, rec. 1960) arranged & conducted by Marty Paich

Next up: Ahmad Jamal's Alhambra (Argo, 1961) with Israel Crosby and Vernell Fournier; mono pressing I've waxed rhapsodic about this cover photo in the past, so I won't do it again.

Back on my turntable: Stan Kenton - The Comprehensive Kenton (Capitol, 2 LPs) Lately, I've been listening to quite a bit of Kenton, trying to get a better handle on his body of work. For me, it's (mostly) unexplored territory. Just curiosity, I guess, even if I don't feel like I have a all that much natural affinity for Kenton's music. . . . But maybe that will come with time and repeated hearings. Who knows?

Yes, @bresna!!! The world is manifold. Our experiences -- of both music and almost everything else -- vary. These sorts of binary arguments rarely -- if ever -- change people's point of view. So it seems pointless. Besides, comparing notes is more fun. Jim, we discuss all sorts of "old" music every day here on the forum. How is this any different?

Yes! I haven't plopped for that complete set. I'm trying to hold off. But it's tough -- because everything I've heard from that Maiden Voyage gig has been terrific.

Next up: Don Patterson - Movin' Up! (Muse, 1977) with Richie Cole (as), Vic Juris (g), and Billy James (d)