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Ja ja, wir warten alle
Ich wollte Land keineswegs zum Coltrane-Epigonen erklären, absolut nicht. Aber sein Ton hat sich im Verlauf der 60er verändert, verhärtet, an Vibrato und Charme verloren, auch an Volumen. Dass das ganz ohne Coltrane-Einfluss von sich ging glaube ich nicht, aber zum Epigonen macht das Land noch lange nicht.
Die Enja-Compilation sieht toll aus – hab ich noch nie davon gehört!
Was nun Sonny Rollins betrifft… nur mit Piano? Aber HALLO! Da verpasst ihr ja eine ganze Menge vom besten: die Village Vanguard Aufnahmen, die Aufnahmen mit Don Cherry, die RCA-Sessions mit Jim Hall, „Way Out West“… das alles möchte ich nicht missen und höre einiges davon als besser als die meisten Sessions mit Piano (davon sind wohl „Saxophone Colossus“ und auch die späten RCA-Sessions, aber auch „Sonny Rollins on Impulse“ mit Ray Bryant meine liebsten… und „Brilliant Corners“ gehört natürlich auch mit dazu!).
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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, #158 – Piano Jazz 2024 - 19.12.2024 – 20:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tbaHighlights von Rolling-Stone.deSo klingen die größten Schlagzeuger ohne ihre Band
Welches Equipment verwenden eigentlich…Pink Floyd?
Musikalische Orgasmen: 6 Songs voller Höhepunkte
Dies ist (laut Fans und Kritikern) die beste Folge von „Friends“
Studio-Magier: Die 8 besten Musikproduzenten
So arbeiteten die Beatles am „Weeping Sound“ für das White Album
Werbunggypsy tail windWas nun Sonny Rollins betrifft… nur mit Piano? Aber HALLO! Da verpasst ihr ja eine ganze Menge vom besten
Finde ich auch eine sehr erstaunliche Aussage.
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Ohne Musik ist alles Leben ein Irrtum.THELONICAIch mag Rollins sehr, aber dann eigentlich nur/lieber mit richtig guten Pianisten (Monk, Silver, Kelly etc.), ganz klassisch also.
So besser? Die „Freedom Suite“ mag ich natürlich, „The Bridge“ dagegen eher nicht.
Ich muss Sonny Rollins aber nicht unbedingt komplett haben.--
THELONICASo besser? Die „Freedom Suite“ mag ich natürlich, „The Bridge“ eher nicht.
Ich muss Sonny Rollins nicht unbedingt komplett haben.Selbst ich, der ich das Klavier sehr schätze und immer wieder Probleme mit klavierlosen Gruppen habe, weiß, dass man bei Rollins nicht auf die klavierlosen Sessions verzichten sollte. Die erwähnten Village Vanguard-Aufnahmen oder „Way out West“ sind absolute Sternstunden in Rollins Karriere und bieten einen klaren, unverstellten Blick auf Rollins als Spielmacher. Da kommt man nicht dran vorbei!
„The Peace-Maker“ war ja das erste Zusammentreffen von Land und Hutch und aus der Perspektive der früheren Land-Sessions ein etwas radikalerer Bruch. Aus der Perspektive der späteren Aufnahmen kann es gut sein, dass der dyadische Perfektionismus und die Harmonie der beiden noch nicht ausgereift waren. Ich finde ja, dass gerade Land und Carmell Jones ein wunderbares Team wurden, die sich kongenial zu befruchten wussten. Insofern ein dringender Aufruf für die von redbeans bereits genannte Mosaic-Box.
gtw beschreibt aus meiner Sicht auch recht passend, wie Land sich verändert hat. Ich wollte dabei aber keineswegs den Eindruck erwecken, als sei Land Coltrane-Epigone, oder als würde ich das jemand anderem unterstellen.Der bft wird übrigens wirklich bald folgen, versprochen. Ich bin mit allem nur so hinterher gerade, aber bald! :sonne:
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"There is a wealth of musical richness in the air if we will only pay attention." Grachan Moncur IIIich wünsch dir jedenfalls, dass du mit deiner Arbeit nicht soweit hinterher bist wie ich mit meiner, insofern vollstes Verständnis! :lol:
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.katharsis Die erwähnten Village Vanguard-Aufnahmen oder „Way out West“ sind absolute Sternstunden in Rollins Karriere und bieten einen klaren, unverstellten Blick auf Rollins als Spielmacher. Da kommt man nicht dran vorbei!
Die Vanguard-Aufnahmen habe ich immer gemieden, die liegen mir einfach nicht so. Hier ist es vor allem die Songauswahl (zu wenig eigene Stücke!), die seltsamen Geräusche aus dem Publikum usw. Das hat nichts mit Wilbur Ware zu tun, der großartig spielte.
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Ach nein… die Vanguard-Aufnahmen klingen so übel nicht! Ich durfte mal auf einer guten Anlage Teile der Original-LP hören – sehr toll! Aber klar, wie weit man da tolerant sein mag, ist unterschiedlich… für mich geht fast alles (die Joe Brasil Session von Coltrane ist vielleicht die einzige, bei der ich wirklich Mühe habe… aber die klingt eben auch wie durch sieben dicke Teppiche unter Wasser im übernächsten Raum auf einem welligen Tape aufgenommen…)
Die „Freedom Suite“ hab ich oben vergessen… kein Wunder, denn von den Trios hör ich sie wohl knapp hinter „Way Out West“ (und diese auch eine Spur hinter den Village Vanguard-Aufnahmen).
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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, #158 – Piano Jazz 2024 - 19.12.2024 – 20:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tba
r.i.p. Frank Foster (1928-2011)
http://www.youtube.com/watch?v=aH3Eeke0dzs
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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, #158 – Piano Jazz 2024 - 19.12.2024 – 20:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tba
http://www.youtube.com/watch?v=3LtcT5tmHr0
Count Basie – Mailand 1960
zuerst Marshall Royal (as) und ? (t) in „Yound and Beautiful“ (George Williams), dann Joe Newman (t), Frank Foster (ts) und vermutlich Al Grey (tb) in „Blues in Frankie’s Flat“ (Frank Foster).
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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, #158 – Piano Jazz 2024 - 19.12.2024 – 20:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tbahttp://www.youtube.com/watch?v=CrsP0AaoM-8
„The Leaving New York On a Rainy Friday And Arriving at 5:15 at Logan Airport in Boston On a Rainy Friday and Having One Heck of a Time Getting to Wellesley Blues“
Wellesley College, 4.10.85
Frank Foster – tenor sax
Kenny Barron – piano
Rufus Reid – bass
Terri-Lyne Carrington – drums(ab 2:52 zitiert er ausführlich Johnny Carisis „Israel“)
Und hier noch eine Pablo Scheibe, die ich haben will:
Von den beiden Franks hab ich bisher nur das Concord-Album „Frankly Speaking“ von 1984, auf dem Kenny Barron, Rufus Reid und Marvn „Smitty“ Smith die beiden Franks begleiten.
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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, #158 – Piano Jazz 2024 - 19.12.2024 – 20:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tbaOh, schade!
Da werde ich heute noch
hören müssen.--
"There is a wealth of musical richness in the air if we will only pay attention." Grachan Moncur IIILockjaw Davis had given Basie his notice and the Count was looking for a new tenor, so Eckstine and the Wilkins brothers recommended Foster. „They said,“ Foster notes, still amused by it all, „`We don’t know where he is, but if you can find him, he’s a good tenor player.‘ At that time I was still in the Army in Korea, wishing I could be in Count Basie’s orchestra.“
Foster was discharged in May of 1953 and headed back to Detroit where the Basie band just happened to be playing. „I was walking down the street, still with my army suit on, in Detroit, and I ran into a friend who I hadn’t seen since I’d left Cincinnati. He said, `Hey, Count Basie’s looking for you.‘ And I said, `How can Count Basie be looking for me? I just got in town and nobody knows I’m here.‘
„`Count Basie’s looking for you, so you better go down there where he’s playing.'“ Wisely, Foster fell by the club that night, and asked for an audition. After two numbers Basie, a man of few words, told him, „I’ll be in touch.“The rest of May passed, then all of June, and as the end of July neared, Foster gave up hope. „I figured, `Well, I guess they found somebody else.‘ Then the next thing, I got a telegram from Mr. Basie with a one-way airline ticket to New York, and I said, `This dream is really gonna come true.‘ On Sunday, July 26, 1953 I flew to New York City. And on Monday, July 27, 1953, a good friend of mine, [singer] Sheila Jordan took me to Birdland, where Charlie Parker was appearing. Sheila was a good friend of Bird’s and she persuaded him to let me sit in. People don’t have dreams this fabulous!
„Now, at that time, as far as I was concerned, nobody could play like Charlie Parker, nobody. I mean, he was just God on the alto saxophone, as far as I was concerned. He did what a lot of seasoned professionals do when they encounter a youngster-they call difficult tunes at fast tempos. He did this, put me on trial, and I rose to the occasion and impressed him, and got a compliment from him. That was better than getting the Medal of Honor.
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Basie’s other tenor soloist was the smooth, confident Frank Wess, whose refined lyricism offered an distinct contrast to Foster’s more strident approach. „I never will forget,“ Foster remarks, shaking his head, „my first wife said, `The difference between your tones is that his is warmer.‘ To which I replied, `Thanks a lot!‘ But it was true. He had a sound that was suited for ballad playing and medium tempo playing, and Basie realized this early. And my tone was better suited to uptempo songs, like `Little Pony‘ and `Jumpin‘ at the Woodside.‘
„I remember once after I’d been in the band a year or two, maybe three, even, I asked Basie, `Why don’t you let me play more ballads?‘ And his answer was simply, `You do all right on the fast tunes. You don’t need to play no ballads.‘ And I didn’t argue with that. I knew what he meant, ‚cause when I came into the Count Basie orchestra in 1953, my sound was still not mature on tenor saxophone. I had the technique down. I had the facility to play uptempo `around the corner,‘ but my tone was still not mellowed out.“
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Already an experienced writer, Foster learned Basie’s three keys to a successful arrangement-„simplicity, swing, and leaving spaces for the rhythm section. One of the main things he always said to me was, `Kid, swing that music.‘ In other words, don’t write too many complicated arrangements with all kinds of stuff going on everywhere. In that way he was almost as great an arranger as anybody out there, because he was a master at what to take out, what to leave out.
„A case in point is one selection we play now called `Good Times Blues,‘ which features trombone and bass as soloists. There was a lot of writing in this-it was arranged by Ernie Wilkins-a lot of writing in the first part of it, and then there was this out chorus. Well, Basie took out the whole first segment, he took out everything but the closing, the out chorus, and he just had solos up until the out chorus, and it builds nicely. He really knew what to do.
„`Li’l Darlin‘,'“ Foster continues, „by Neal Hefti, was brought in as a medium-tempo, sort of bounce tune. Basie listened to that and he said, `Let’s slow that down and make a ballad out of it,‘ and it got to be one of the band’s most popular songs. Still is. That was the genius of Basie, to listen to something and decide what had to be done with it. And the arranger-composer could only have felt complemented if Basie decided to keep the arrangement, no matter what he did with it, no matter how much he chopped it up or took out of it.“
In his 11 years with the Count, Foster contributed a tall stack of marvelous charts to the Basie book („Blues Backstage,“ „Down for the Count,“ „Blues in Hoss‘ Flat,“ „Back to the Apple,“ „Discommotion,“ the entire Easin‘ It album), but none suited the Chief’s prerequisites better than „Shiny Stockings.“
„I wrote `Shiny Stockings‘ in 1955 and we had a rehearsal at a place called Pep’s Bar in Philadelphia. We had just arrived in town. Everybody was sleepy, tired, hungry, and evil. Nobody felt like rehearsing. We rehearsed `Shiny Stockings‘ and it sounded like a bunch of jumbled notes, just noise, and I said, `Wow, all the work I put into this, and it sounds so horrible. I know Basie will never play it.‘ And then something very strange happened. He continued to play and it came together. Finally, we recorded it and, well, it’s the very best known piece that I have contributed to the Basie book.
„Years later,“ Foster remembers with pride, „Basie gave me the supreme compliment. Every now and then, he’d say about a chart, `Oh, it’s very nice, kid,‘ and then leave it at that. Well, he grabbed me, he said, `Junior, you know that „Shiny Stockings“? You really put one down that time.‘ You couldn’t receive a better compliment from Count Basie.
„It embodies all the things that were important to him. It builds-it starts soft and ends with and explosion. It leaves space for the rhythm section to do whatever it’s going to do. It has that ensemble writing which the band can sink their teeth into and really make happen-and a wonderful trumpet solo by Thad Jones.“ One more thing: it swings.
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During this time Foster, ever the big band partisan, also began leading his own band, which he eventually decided to call, with no apologies to Spiro Agnew, The Loud Minority. „I was definitely making a statement,“ he insists. „I was all for civil rights and I got sick of hearing this expression, `the silent majority.‘ Now what I understood by `silent majority‘ was a group of white folks who didn’t go along with the civil rights movement and whose basic premise was, `What do those people want?‘ So I said, `I’m gonna call my group by a name that means the opposite of the silent majority.'“
http://www.youtube.com/watch?v=MFHPmlAe_Co&NR=1
Frank Foster’s Loud Minority – 4, 5, 6 (mit Benny Powell – tb)
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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, #158 – Piano Jazz 2024 - 19.12.2024 – 20:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tbaDie News kommt übrigens von Fosters Witwe, Cecilia – ich bin sonst nicht so schnell damit, solche Dinge rauszuposaunen, wenn sie noch nicht durch Berichte bestätigt sind.
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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, #158 – Piano Jazz 2024 - 19.12.2024 – 20:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tbaUnd noch gute News, Von Freeman betreffend:
http://www.chicagotribune.com/entertainment/music/ct-ent-0727-jazz-von-freeman-20110727,0,4332176.column--
"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, #158 – Piano Jazz 2024 - 19.12.2024 – 20:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tbaNochmal zu Frank Foster: Hier gibt’s Nate Chinens Obit aus der New York Times:
http://www.nytimes.com/2011/07/27/arts/music/frank-foster-jazz-saxophonist-and-composer-dies-at-82.html?_r=1Kennt jemand das Loud Minority Album, das er erwähnt hat? Muss ich mir mal kaufen… die CD heisst Well Water (Piadrum, rec. 1977).
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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, #158 – Piano Jazz 2024 - 19.12.2024 – 20:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tba
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