JSngry

Hissing wasn't a transition nearly as much as it was a wholesale destruction. Deep, dark, meaty music but...so long commercial success, right? It left a big pile of ashes for something to rise up from. Thankfully, What arose was Hejira, and not some commercial begging sorry, I'll not do that again, I promise, mea culpa. Too many pop people get a smackdown like that and are cowed forevermore. Not Joni. Oh HELL no not Joni.

"Second Race"! That's a snaky chart, "just" a blues. And Joe was just the man to take that spot (no dis to Seldon Powell). Between this and the "Don't Get Sassy" that's on the Jazz Wave Ltd. side...hey.

I feel like I can't respond to what you are saying honestly without breaking this board's rules about political discussion. If that's going to be the rules we have to follow, then I think discussion of his anti-Semitism should be out-of-bounds, because it necessarily raises questions about Zionism and the state of Israel that I would love to respond to in a fuller way but can't without becoming overtly political. This. It has been duly noted that Baraka's life involved controversy, some of it stemming from comments construed as anti-Semitic in nature. It has also been duly noted that Baraka himself evolved on many positions but never removed the controversies for some. It has also been duly noted that the case has been made that contextualizing Baraka's comments of any era, although not "justifying" them, does provide a better understanding of intent. It has also been duly noted that Baraka's comments were so offensive to some that there will never be room for understanding of any sort, so hurtful they were. These are all legitimate points, and they have all been duly noted by various contributors to this thread. Since this thread is an RIP thread, and since RIP(or otherwise)s seem to have more or less been offered by all with an opinion, and since neither this thread nor this board exist to host an active, ongoing debate about real world/real-time issues of Antisemitism (real and/or perceived), Zionism (real and/or perceived), Black Nationalism (real and/or perceived), or any ongoing real world/real-time political issue (real and/or perceived), this thread will now be closed, since that seems to be the only real direction left for an ongoing discussion. I think the "Arts & Letters" element has pretty much reached the end of its road here. There's always new threads to open or old ones to up should that prove to not be the case. These are all topics worthy of debate and discussion, just not on the Organissimo board in its current incarnation.

Thank you JSngry. I did notice this tune by Rollins. I don't think it is played often at sessions around here and I'm not familiar with it yet. I did notice it on a list and listened to it and since there was a long bass intro I'll have to look where the interval is exactly. I'll try to memorize the melody. It's just the first two notes of the head. The third of the key dropping down to the flat (i.e. - "blue") 7th. In Bb, it's a D down to an Ab The interesting part of the tune, though, is that after that, there's a phrase that runs between that flat 7th and the flatted fifth of the chord (Ab-E-F-G-Ab-E...I spell it E, which makes it a #4, but I'm a tenor player, and I'd really rahter not think about Fb , the sound is of a flatted fifth, that' what matters), an interval of a major third, but resulting in the sound of a flatted fifth. So if you want to get the sound of the interval of the flatted fifth, you use the first two notes of the melody. But if you want the sound of the flatted fifth note, you use a different note of the song, the note the phrase resolves to. I would humbly suggest learning both the sound of the intervals, and the sound of the notes within the chords, so you can hit them cold if need be., go right to that flatted fifth or #9. Thank you. I'not sure I fully understand what you mean. Sorry, I'm a non- native English speaker and also still learning about chords and music theory. Even though I had piano lessons for some years as a child, the teacher didn't teach me about chords themselves, to understand them. I'll have to study the tune to understand what you mean. I need to hear a reference note or chord to sing since I don't have absolute pitch. If you mean you can train to know where a note is in reference to another one, I know about that. When I was singer with this big band, there was a tune with a modulation without the key changing in the score for the band. That was a challenge since the band stayed in the same key while I technically had to do the modulation on my own. I first asked the help of the pianist to help me through the passage, but studied on getting it/ the exact sound in my memory. There is a name for that, but I can't come up with it now. One time at a concert, the pianist either forgot about the passage or I just couldn't hear him, so I had to do it on my own but since I had studied it so often I could. When I sing my own songs accapella at home and later check for the key, I'm usually in the right one. So there is something like an auditive memory. In the song, are you talking about an Ab chord or an E chord? Since I don't know the song, I'll have to look for the leadsheet to see where you mean exactly and what note you are referring to. It is probably in the RB, is it not? "Blue Seven" itself is actually a blues in Bb! So the flatted-5th interval comes through the 3rd & flatted 7th of a Bb7 chord. Here's a clip, just listen to the first four bars of Sonny's opening melody, that's what I'm talking about above. What I mean about being able to know both the sound of the interval of the note is this - let's say you've got a chart, and the line goes from an E to a Bb. You'll look at that, say, hey, that's a flatted fifth interval, this is what that sounds like. Depending on what chord is underneath those notes, their relation to the chord could be any number of things, but that interval will always sound the same isolated from the chord, so if a composer or arranger is going for something other than straight diatonic harmony, you need not be flustered, just look at the interval, recognize it, execute it, and worry about the math later! Now, what I mean about recognizing the note itself relative to the chord is this - same gig, same writer, and you got a chart that 's in G major, and your first note is a Db over a G Maj 7 chord. Well, ok, that Db is the flatted 5th of the G chord, so you know what that sounds like too, just hit it, and go to the next one. Same is true of any other altered note of a basic chord, if you know the sounds of, say, a #9 of a chord, you can just lean into it w/o necessarily needing some intervallic-leap reference to hit it. Just nail it by itself. Granted, you don't get all that much of this altered chord tones thing in singing standards, but you do in more "modern" jazz originals, and if you ever get called on to do part singing, especially a modern setting of any kind, there will be interior parts that have notes not suggested by the key signature! To that end, never accept an offer or a challenge to sing the 2nd tenor part of any Thad Jones cahrt unless and until you feel confident that you can sight-sing any note over any chord without any needing to reference the underlying harmonies! But sometimes those weird intervals do show up in standards. One of my favorite examples is "I Got It Bad" - the tune starts on a b5 (and that's a good way to learn the sound of a b5 - just hit the first note of that melody and hoooooold it over the chord), then quickly resolves up to the regular 5th, only to immediately leap upwards an interval of a major 9th to the 6th (or 13th, if you prefer) of the chord, and then finally takes a step down to land on the 5th. It's only four notes, but what a journey those four notes take! Listen to how different singers tackle those first four notes - not all of them want to deal with it! Anyway, I know this is a lot of math, and once it's all said and done, you want to internalize the math and just deal with the music, the sound. And trust me - get rid of thinking about the math as soon a you're able/comfortable enough to do so. But you will want to have it handy, jut in case, and yes, it gets kinda spider-webbish sometimes, and yes, definitely, it's not something to learn all at once, or even in a few days/months/years. It's a lifetime of refinement, and sometimes your ears/voice might find a refresher to be...refreshing! Just keep at it. Let what makes sense now give you confidence to keep moving ahead, and let what doesn't make sense now give you challenge to do the same. That's the real object of the game!

Paula Abdul Poll Parrott Eddie Shu

I took the bus! Then it came back!

I wondered about that.

I started really paying attention (as in, hello, what is this?) with The Hissing Of Summer Lawns. That's the one where I wondered where she was going. Then Hejira came out and yeah, that explains everything.

I see his (Lewis') post-MJQ recordings of Bach are pretty much mad-crazy pricey these days...what is driving that?

Honest Abe Maria Abe Franz Schubert

You know what they used to play at the McDonalds across the street from the bus terminal in downtown Dallas? Classical music. Why? Because it kept the thugs and bums away.

Glad to hear they're still together, just because... Also ordered a copy of Tania. Like I said, the premise alone is operatic enough for me, although whether or not it will equal the Drunk History recounting of the Hearst Kidnapping (never mind the real time experiencing of it) in sheer....something is still up in the air. Nevertheless, the titles alone give rise to a hope that something is gonna happen: http://www.allmusic.com/album/anthony-davis-tania-mw0001825180

Mister Postman Mr. Zip Gladys Bumps

Thank you JSngry. I did notice this tune by Rollins. I don't think it is played often at sessions around here and I'm not familiar with it yet. I did notice it on a list and listened to it and since there was a long bass intro I'll have to look where the interval is exactly. I'll try to memorize the melody. It's just the first two notes of the head. The third of the key dropping down to the flat (i.e. - "blue") 7th. In Bb, it's a D down to an Ab The interesting part of the tune, though, is that after that, there's a phrase that runs between that flat 7th and the flatted fifth of the chord (Ab-E-F-G-Ab-E...I spell it E, which makes it a #4, but I'm a tenor player, and I'd really rahter not think about Fb , the sound is of a flatted fifth, that' what matters), an interval of a major third, but resulting in the sound of a flatted fifth. So if you want to get the sound of the interval of the flatted fifth, you use the first two notes of the melody. But if you want the sound of the flatted fifth note, you use a different note of the song, the note the phrase resolves to. I would humbly suggest learning both the sound of the intervals, and the sound of the notes within the chords, so you can hit them cold if need be., go right to that flatted fifth or #9.

I'm astonished! Really. Is that normal for jazz musicians? MG Sorry, more of that dry humor. I've always enjoyed lyrics. But unfortunately, I think it is normal these days. There was mention made earlier of "Tania"...is that based on the Patty Hearst kidnapping? Seems like I've heard that it was. Now there's a plot in need of an opera! Also, going back to X - the liners state that librettist Thulani Davis was then married to Joseph Jarman. Are they still together?

Jymie Merritt Hymie Schertzer Lymie Murray

I dug how he started his own network. It's like he was the Mingus or Charles Tolliver of Old-Time Radio. And ever better is why it failed - he lef for Hollywood and left the roll out to his partner, who ended up being some kind of altruistic artist-purist or some such. No business sense at all. You think of Ed Wynn, you don't think of all that, but there it was, along with what you do think about.

Avoided this for years (decades) for various reasons, many of which had to do with the perceived (by me, in ignorance, etc.) neither-fish-nor-fowl thing, especially the notion of hearing Malcolm's voice as Opera Hero. But, you live long enough, and you can find a tempting price and next thing you know, hey why not? So...I still don't dig a lot of the libretto, not for content per se, but just because I can't get my head around hearing that like that, if you know what I mean. But somebody could, and did. So fuck me on that one. However, life as a Young Jazz Musician musician has taught me to ignore the words to songs, and when doing that, I think we have something here. And in fact, getting into Act III, when the concept/focus becomes more "universal" and less "biographical", then, yeah, for some reason the words started becoming hearable again. And then we really have something. Not for everybody's taste, to be sure, but I was surprised how much of this reached out and grabbed me the first time around. Going back and reading contemporaneous reviews, what strikes me is how much focus there was on the same concerns that I had harbored (which really comes down to, I Was Expecting THIS And Got THAT, Uhhhh....), and almost no celebration of how much goes right (which is not everything, but is still quite a bit). Anybody else visited/revisited this lately? And maybe I need to go back and check out Anthony Davis some more. It's been awhile, he's faded from fashion, and doesn't he keep it that way a fair bit himself these days?

Descending Augmented 4th/flatted 5th = Blue Seven

Bebop Big Mac. 'nuff said.

? and The Mysterians Expert Interrogator John Asker

Parental Units Randy Johnson R.J.'s Latest Arrival

Yeah, corny (or worse) at times, but I find his pitch, timing, and reflection damn near perfect, on violin, physically, in speech. Skills. The material is secondary for me. http://www.youtube.com/watch?v=hd-tiyxISig