redbeansandriceich find das super, wenn du das machst! es ist mir selbst bloß meistens zu lästig… gibt noch einiges mehr in dem Kapitel, was es wert wär zu tippen… zB
„The most personal element of his mid-fifties music is his tenor sound, full and pure in all but the very highest notes, for his objective was sonic consistency in all registers, As opposed to the rich tenor sound that, for example, Rollins inherited from Hawkins, Coltrane’s sound was vibratoless and legato, the human sound of Lester Young transformed into the weight of the hardest iron and the surface of brightly polished metal. The weight gave force to his attack; his sonic consistency was needed for the kind of fast, technically difficult playing he chose in this period of stylistic casting about. „
Interessant… aber auch nur halbwahr, oder? Es gibt durchaus frühe Balladen mit einigem Vibrato (ich glaub auf „Coltrane“ z.B.) – diesbezüglich hat er wohl schon einiges von Hodges (und wohl auch Bostic) gelernt. Und auch Dexter Gordon war ja ein eindrücklicher „balladeer“!
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"Don't play what the public want. You play what you want and let the public pick up on what you doin' -- even if it take them fifteen, twenty years." (Thelonious Monk) | Meine Sendungen auf Radio StoneFM: gypsy goes jazz, #164: Neuheiten aus dem Archiv, 10.6., 22:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tba