jazz1

Yeah, it is too much, but then again can I live without it???? Can you???? I think that I will sleep over it, see how I feel in the morning!! Maybe I will just have a cheap weekend, save here and there, then ...........?

We will never know, but I am just so grateful for what we have. I cannot even imagine how much better it could be!!

There is nobody like Helen Merrill, she is just so compelling, sings like she is in love with the song itself. Sings with passion. I love all her cds, one my favorite track is "Dream of you" and it opens the "Giants of jazz" release, which by the way is an excellent way to start discovering Helen Merrill. I even called my car Helen, and there is always a few cds of hers in the shuttle. If I had to leave on a desert island with cds of 2 artists only it would be Art Pepper and Helen Merrill

Thanks, will do, where should I start???

For quite a while I've been playing the latest releases, the Blue Notes, the Verves, the ECM's , all the big names, and I must admit I do enjoy some of it, but something is missing, then today I played "Thursday night" from the Art Pepper "At the Village Vanguard set " the second track is called "Goodbye" and from the first note that Art blows you know that something special is happening, "emotion" As Art Pepper said in the liner notes. I felt I had exposed myself too nakedly. I was afraid that my listeners would not be willing tp accept such pure emotion. But I have to be honest and say that I think this is the most direct communication I've ever attempted. I am very proud of it!! Art rest in peace, but after all this is the secret, emotion = communication. I cannot think of one artist today that can play this way, technically they are maybe better than Art ever was, but then again Billie also did not have the best instrument, but she also did it "communicate" Not many achieved this, and these are the great, Miles, Bill Evans, Coltrane, and sometimes I can hear it in Brad Meldhau, but otherwise most of today's musicians leave me cold.

For quite a while I've been playing the latest releases, the Blue Notes, the Verves, the ECM's , all the big names, and I must admit I do enjoy some of it, but something is missing, then today I played "Thursday night" from the Art Pepper "At the Village Vanguard set " the second track is called "Goodbye" and from the first note that Art blows you know that something special is happening, "emotion" As Art Pepper said in the liner notes. I felt I had exposed myself too nakedly. I was afraid that my listeners would not be willing tp accept such pure emotion. But I have to be honest and say that I think this is the most direct communication I've ever attempted. I am very proud of it!! Art rest in peace, but after all this is the secret, emotion = communication. I cannot think of one artist today that can play this way, technically they are maybe better than Art ever was, but then again Billie also did not have the best instrument, but she also did it "communicate" Not many achieved this, and these are the great, Miles, Bill Evans, Coltrane, and sometimes I can hear it in Brad Meldhau, but otherwise most of today's musicians leave me cold.

I've got Susanne Abbuelh cd, I like it, but the big question is it jazz?? It has that ECM sound and this label has never really been promoting jazz vocal. One group that really intrigues me is also Swiss, they call themselves "the four roses" 4 girls, piano, bass, drums and vocal. Their last cd is called "Histoire, d'eau" (Water story) You would never believe that you are listening to an all girl group, they are just so dynamic. The pianist Florence Melnottle lives in the USA and has just released an interesting cd wth Brian Torff on bass. "The four roses" a group worth watching, I can't remember the name of the vocalist just now, but she sings "JAZZ" nice stuff So all my preconceived ideas are gone, evaporated, jazz is not a "man world" and Swiss don't only yodle!

Saw Roberta Gamberini here in Cape Town 2 years ago she was just amazing, to me she is a real jazz singer, so few of them around, actually most of the so called jazz singers today are just sophisticated pop singers with a rythm section. Another great jazz singer in the making is a young Parisian woman called Deborah Tanguy, this girl is a killer, and to my ears the most tasteful scatter I've heard in years, she reminds me of early Sarah the way she scats. Tiziana Ghiglioni does not do a bad job either.

Saw Roberta Gamberini here in Cape Town 2 years ago she was just amazing, to me she is a real jazz singer, so few of them around, actually most of the so called jazz singers today are just sophisticated pop singers with a rythm section. Another great jazz singer in the making is a young Parisian woman called Deborah Tanguy, this girl is a killer, and to my ears the most tasteful scatter I've heard in years, she reminds me of early Sarah the way she scats. Tiziana Ghiglioni does not do a bad job either.

You won't be sorry, give me your thoughts when you get it. I found another cd called Shona, I bought it without listening, it is terrible, by then Kippie was playing African pop and his chops where gone.

I know everybody recommends "Newest sound around" Myself I love every single Jeanne Lee and "After hours" is most probably her most accessible recording, she sings standards and it sets "Standards" for all want to be jazz singers. Mal Waldron is just the perfect accompanist, give support but also knows when to leave spaces. Spaces are as important as the notes themselves.

I was listening to the Jazz epistles cd this morning. Jeez... what great music,, Kippie's sound a mix of Parker/Pepper/Hodges. he is unbelievable. Dollar Brand what can I say HIS individual sound was starting to appear. To me this cd should be in any serious jazz fan collection, a forgotten treasure, a classic, most ptobably the greatest jazz cd to come out of Africa at the time. And the recording is pretty good too. Now I just got to find out about Vol 2 jazz1

Wow, I don't know how to thank you for all this work, just shows you everything is possible, now I just have to try to obtain some of these. Thanks a million

Yes what a fantastic time it must have been. Surely this would be the ideal plot for a good jazz movie, after all “The jazz epistle” are relatively little known around the world and they made some of the best jazz of it’s time, and all the people involved had a really interesting life.. I think that I have the same cd as yours but just with a different cover. It is called Jazz Epistle Verse 1 It starts with “Dollar’s mood” and end with “Scullery department” I imagine that the number “I remember Billy” is dedicated to Billy Strayhorn” Jeez jazz does not get much better than that, and Kippie’s alto, just magic. Now let’s hope that there is a Verse 2 and that I can find it I also found another double cd titled “jazz in Africa’ It features the same musicians except that Gene Latimore is on drums and Claude Shange on bass, also good but not in the same league as the above. I bought a few compilations featuring Kippie, but I must really look for the Kaz recordings, especially “African sun”.

I thought that you maybe interested to hear that both Wynston and Johny are still around playing great jazz, actually Johny Fourie just released a very nice cd. I saw Wynston a few months ago, exactly the same as ever, a great jazzman Unfortunately for them they never went and try there luck in the USA or Europe Like Abdullah Ibrahim, Hugh Masekela and others. We the listeners where the lucky ones. Most of the guys that went in exiles are back, but I still think that the seventies, and I am sure the sixties where the best years for jazz in SA. In the last 3 years I watched a new talent develop, his name is James Scofield, plays electric guitar, this guys is world class, totally dedicated, lots of passion and a natural, unfortunately for us, he left the country earlier this year to try his luck in Europe where I believe he is doing very well. Remember this name

I've discovered Kippie's Moeketse music through a friend of mine. He was the alto player in Chris Mc Gregor Brotherhood of breath Also played with the "Jazz Epistles" in the sixties. alto and clarinet. I believe he did a recording with Abdullah Ibrahim. From the little I've managed to buy, this guy was a knock out, I am trying to obtain more info and music. Surfing the web, I did not find much available, can anybody help??? What, where etc. Thanks :-)

Thanks for the technical comments, over the years I have listened to most of the guys you mentioned, none of them ever interested me. And if I think of it, it is not the musicians i don't enjoy. it is the sound. But I will check your recommendation, looks interesting. All the musicians mentioned are fantastic players. Regarding "Playful intentions" the distortion is not overdoned it is just "the tone" which I don't like. I do admire Kurt's playing. I love jazz guitar, I must have most Jimmy and Doug Raney recordings. this is the side of jazz guitar I enjoy. I also have lots of Jim Hall. A few years back I bought an Andrew Cheshire cd on CIMP, I think that it is called "relax keep the tension please'" I was wondering if he as done further recordings Do you know?? I loved his version of Wayne Shorter "Footprints" and his guitar sound maybe conservative, but clear and warm, the type of things I am into.

I do admit reading my first post that I made statement I should not have done wthout explaining the way I felt at the time. First impressions are not always correct. I've listen to the cd a few more times, and I am starting to enjoy it (in part) Unfortunately this type of guitar sound has never been to my liking. And I suppose will never be. Please note that my critisism was not about Kurt playing which is very good but purely about the guitar sound itself. Some of the compositions still don't appeal TO ME, listening to the cd many times over during the last few days I really to start to appreciate some of the qualities within. One tends to make a judgment to quickly and when I played track 1 for the first time I had a friend of mine with me and we both commented negatively on the tune itself, this first track was maybe like the facade of a building and it prejudiced my judgment of the following numbers. Once you go into the buiding you can start to appreciate some of the features. Maybe it was similar with the cd. I hope that this explains some of my early comments. But I will never be convinced by track 11, to me it is self indulgent. Once again please remember that it is my opinion only

As I said, to me processed/distorted guitar sound does not seem to fit within the context of an accoustic jazz group. I do admire Hendrix, but it is not really my scene. The electric Miles Davis years where also not my favorites purely because of "the electric content of the sound" I think that a good jazz guitarist does not need sound effect to play "modern jazz" Just thinking of other avant garde jazz musicians playing standard accoustic instruments. Anyway the whole point is that to my ears, it sound like chalk on a blackboard. Not pleasant. I just love beautiful tones, beautiful voice, natural sound. I also think that to achieve a beautiful tone on a guitar or any other instrument is a challenge in itself. But has they say, beauty is in the eyes of the beholder!!

I seemed to have received lots of flack for my criticism of processed and distorted guitar sound on a recently reviewed cd. I do accept the "old style" Gibson sound, a la Kenny Burrell, Jim Hall, Jimmy and Doug Rainey. I also accept and actually love the old B3 Hammond organ, it has a certain "analogue quality to it" but I do not like synth. Some argue that we must move with time and accept "electronically created" sound. The question is, does it realy help music to move forward, is it a step in the right direction? I do not think so. I am an audiophile too, and sound quality is critical too me, electronically interfered sound has no reference, to be completely frank I rather have a root canal than to listen to over processed guitar sound, especially within the context of an accoustic group. It is maybe OK for rock Myself, I like it "au naturel" Just wandering if I am the only one thinking like that. Maybe I am an exeption?? or maybe it just shows my age. I remember going to a rock concert a few years ago, and I made the comment "why so loud" my daughter answered. Dad if it is too loud, you are too old!!

I am a jazz lover and belong to a non-profit organization that set up jazz concerts once every five weeks or so to promote good jazz by local musicians. Once a year we try to get an artist from a foreign country just to make it more interesting. We have a large data base of possible patrons and before each concert we phone personally everyone interested and manage to sell a (full house) 200 seats every single time. All the money after expenses are paid, are shared amongst the musicians themselves. What we have found is that if we put posters up, or even advertise on the local community radion station people don't even bother to turn up. One has to actually sell tickets and get the money ahead for it to be a success. We give the regular patrons priority get a commitment that they will be attending, and do trust them to pay us at the door. Others have to pay in advance. We have been going on for 5 years and it is working well. The only draw back is that the music has to please the majority, thus too avant garde jazz is a no no, if we did it, we may loose our audience. We have discovered that vocalists are always a big draw card. Me may have some pretty modern jazz in the first half (50 min) but the main feature (70 min) is always pretty conservative. (relative term) We also raise money by selling wine by the glass, tea and coffee during the interval, we use that to have a few posters made as well as the tickets, we also try to build a little capital to pay for an airfare once a year or an overseas artist. It works, all it need is some will and dedication. If you are a jazz lover why don't you start something like that in your town, the rewards are great. I've made some great musicians friends

give me a B3 anyday especially if Eddy Louis is playing it.

Yeah I do agree, but how many times I wished that the live sounds was as good as what I get at home, some of these Jazz clubs PA systems are awful. Another aspect where the musicians could take a little more care, mixing, balancing etc.

Jeez you guys are just so nice. As i said even the "great" do not write good original tunes, I suppose that I am old fashioned, same with the guitar sound, BTW Kurt plays very well it is just this awful sound that bugs me, an old fashion Gibson would be great. I sincerely hope that Phil will never play processed/electric trumpet!!! 2 months ago I saw a very well known quintet live, won't mention names, just now I get into more trouble. I did not know it would include an hard body electric guitarist, yike it just spoilt the whole performance. Normally I sit through both sets, I left before the end of the first set. I am a sucker for beautiful sound, tone, voice, anything accoustic. Including wind chimes. Same with everything in life, including food the least manipulated the better, the quality of the ingredients is the key I really enjoy track 9, "5 out of 5" they could be a few more but !!?? The other things to me that are really important is passion and enthusiasm. Sometimes I do feel that musicians are just doing a job! I am an Art Pepper fan BTW, it may explain a lot. I do tend to be a little abrupt, remember I waited something like 6 weeks to get the cd, I suppose that my expectations where not reasonable.

Regarding my comment about the weak compositions, as mentioned above it is the melodic content that is weak to my ears. Very few originals these days seems strong enough to make them memorable. There is so many great tunes around, and I am not refering to the great American song book, one can just listen to Kurt Elling new cd, to me his choice of material is just masterful. Lots of artist maybe feel that they are doing something different by using original compositions, this is find, but then the musical/melodic content must be strong which unfortunately is rarely the case. Mr Grenadier is no exception. I have 100's of cd whic suffer from the same problem and these includes BIG names. Composing is a skill that few jazz musicians are able to master, not evrybody can be a Wayne Shorter. Which is to me one of the greatest composer of modern jazz tunes. One again this is my opinion. For all of you that own "Playful intention" please let me know which track is your favorite.