HutchFan

On a George Benson kick this morning.

I've always wanted to hear Lowther's Child Song, but it's not readily available -- even for streaming on YT. I'll check out this JiB release instead.

I'd be very surprised if Byers did the arranging on Gula Matari. The music sounds soooo distinctively Quincy Jones-like. I'd be less surprised if Byers helped out on Walking in Space, although -- even on that record -- Byers must've really studied Q's sound to replicate it. It's a darn good record. I really like it. Like Ardley's Kaleidoscope of Rainbows, you can hear the influence of Minimalism in Chrome-Waterfall (composers like Reich, Glass, and such). Very different than anything you'd hear from a jazz band on this side of the pond, AFAIK.

I don't think Gula Matari is an especially "jazzy" -- as in jazz solos -- sort of record, even though the band is stocked with ridiculously good soloists and there's some terrific soloing. The music is fundamentally about Quincy's skills as an arranger. It's been a long time since I listened to Walking in Space -- but I think both records work similarly. Both are reminiscent of his soundtrack work as much as they're about "Jazz." For example, the way Quincy re-imagines "Bridge Over Troubled Water" as something coming out of a southern church reminds me (at times) of his music for In the Heat of the Night. In any case, it's terrific music -- even if it's more about vibe than about soloists. And, while I'm listening, Quincy can (and often does!) make me think things like: "Damn, the way Q blends those four trombones togther sounds soooo good! Is there a bass trombone in there?!?! Because I've never heard nothin' like that!" I suppose I didn't answer your question! I'm not sure which record I prefer more or which is jazzier. I'd need to revisit Walking in Space. EDIT: I just finished re-listening to Walking in Space. My impressions: Gula Matari is a more ambitious (and more interesting) record; it aims much higher than WiS. Quincy wrote "Gula Matari," a 13-minute long piece inspired by Africa for the album. There's nothing comparable on WiS. So Gula Matari . . . less pop vibes. More ambitious in scope. Not necessarily more jazz (well, maybe some more), but a better, more satisfying record -- in this listener's opinion. My 2 cents.

Sammy Davis Jr. - The Wham of Sam (Warner Archives, 1994) featuring Marty Paich & his Dek-Tette and Marlene VerPlanck Loves Johnny Mercer (Audiophile, rec. 1978) I keep coming back to this album. The cuts are short (mostly between 2 and 3 minutes), and there are no instrumental solos. Throughout, the focus is squarely on VerPlanck. That might not sound like a formula for success -- but it works. VerPlanck's voice and interpretations carry the day. Mercer's lyrics leap to life, and the band swings hard in their supporting role. Pizzarelli especially.

Just pulled two jazz LPs from my shelf that feature large ensembles. Now playing: Mike Gibbs - Directs The only Chrome-Waterfall Orchestra (Bronze UK, 1975) Next it will be: Quincy Jones - Gula Matari (A&M, 1970)

Next up: Black Renaissance [Harry Whitaker] - Body, Mind and Spirit (Baystate, 1977) 2023 RSD Luv N' Haight reissue

Now on my turntable: Lee Konitz Quartet - Ideal Scene (Soul Note, 1986) with Harold Danko, Rufus Reid, and Al Harewood Killer band, killer record. Very possible. Moore plays impressively on both of Strozier's SteepleChase albums.

Good stuff. I have the US Inner City LP.

Ricky Ford - American-African Blues (Candid, 1993) with Jaki Byard, Milt Hinton, and Ben Riley Outstanding! EDIT: I first heard this music many years ago when I downloaded the album from emusic.com. I've been meaning to get a CD version for years, and a few weeks ago I stumbled across a copy. So good to hear this music in full fidelity. I don't really consider myself an audiophile -- but the jump from MP3 to CD is significant when it comes to AQ. I'm hearing all sorts of "new" sonic/musical details. I find myself upgrading quite a few of the MP3 albums I bought on emusic.com back in the day to CDs -- especially as prices of CDs continue to fall.

There is no "wrong" when it comes to this sort of thing. IMO It's fine if he doesn't ring your bell.

Not sure that I'd describe all of this stuff as honky-tonk -- but here's a few of my favorite Willie Nelson records: This compilation skims the cream off the top of his early years with RCA -- before he left Nashville and moved back to Texas. His mastery as a songwriter is immediately apparent. His singing is still evolving. The beginning of Willie as we now know him, after he quit the whole Nashville "thing" and started doing something very different in Austin. Produced by Arif Mardin & Jerry Wexler for Atlantic. A masterpiece. For Ray Price, I'd recommend: The title cut, "Night Life," was written by Willie. It may as well be a jazz tune.

Now: from the Pacific Jazz "West Coast Classics" CD series

I suppose Gram Parsons' music might be called country-rock. (He called it "Cosmic American music.") His two solo albums, GP and Grievous Angel, are essential listening, imo. I also love his work with the Byrds, the Flying Burrito Brothers, and the International Submarine Band. That said, Parsons' music comes down more on the country side than the rock side. Based on your description above, it might be too much country. Give it a whirl and see what you think.

Yes sir. LOVE that record!

Yup. Ronstadt's got a voice that works very well (imo) in other contexts. Country-rock and pop and such. But for jazz? No. The opposite might be said about Willie Nelson. Even when he's singing country music, his rhythmic flexibility and phrasing makes it sound like jazz. That's why his albums of GAS standards are terrific -- unlike Ronstadt's, Rod Stewart's, and so many others.

I don't think phrasing or improvisation -- in and of themselves -- are as important as rhythm. If you're really wanting to boil things down to their essences (which probably isn't possible!), I think rhythm is Armstrong's greatest contribution to 20th century music -- vocal and otherwise. It's also what puts Armstrong's fingerprints all over SO MUCH music that came after him. And this influence extends WAY beyond jazz. There's pre-Pops rhythm and there's post-Pops rhythm. So, if you're talking about jazz singing, I think rhythm has got to be at the heart of it. OTOH, rhythm is central to many other types of African-American (that is, North, Central, and South American) musical forms. The common thread is the African diaspora, those rhythms from Africa manifesting themselves & blending with other forms in different places in different ways. I think that's one thing that makes "disentangling" Armstrong & Holiday from Celia Cruz & Elis Regina or Al Green & James Brown extremely difficult, if not impossible. Besides, the particular contributions of each individual artist are always more interesting than the taxomical generalities anyway! Not sure if this advances the conversation or not -- but I had some fun thinking about it and writing down some thoughts.

Harrow is terrific.

Wrapping up my New Orleans clarinet ramble with Johnny Dodds:

More NOLA clarinet: Jimmie Noone, Earl Hines - "At the Apex Club" 1928 (MCA, Jazz Heritage Series Vol. 14) The music on Side A sounds great -- but the cuts on Side B sound even better with the addition of Lawson Buford's tuba (or string bass). Love that bottom end bump! If you'd care to sample, here's Noone's theme song, "Sweet Lorraine":