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Highlights von Rolling-Stone.de
So 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
Werbunges kappt unsere verbindung zu tausend sachen
rip
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Oh verdammt, das ist traurig.
Danke für all die Musik!--
"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: tbaAus dem oben schon verlinkten, tollen Nachruf von Howard Reich:
Von Freeman always considered his relative obscurity — which lasted nearly until the final years of his career, when the world started to recognize his genius — a blessing. It enabled him to forge an extremely unusual but instantly recognizable sound, to pursue off-center musical ideas that were not likely to be welcomed in the commercial marketplace.
„They said I played out of tune, played a lot of wrong notes, a lot of weird ideas,“ Freeman told the Tribune in 1992. „But it didn’t matter, because I didn’t have to worry about the money — I wasn’t making (hardly) any. I didn’t have to worry about fame — I didn’t have any. I was free.“
Freeman used that freedom from commercial pressures to pursue a music that was as unorthodox as it was intellectually demanding, as idiosyncratic as it was deeply autobiographical. In this sense, he represented the quintessential jazz musician, forging a musical voice that was unique to him, an art that was influential but ultimately inimitable.
„You hear one note, you know that’s his sound,“ Fred Anderson, another iconic Chicago tenor saxophonist, once said of his colleague. „It’s a personal sound. You can tell he listened to all the guys — he listened to Lester Young and Charlie Parker; he took a lot from a whole lot of people and created Von Freeman.“
That sound seduced some listeners and puzzled others, but no one could mistake it for anything but that of the great Vonski, as he was affectionately called by friends and admirers. Sharply acidic in the top register of the instrument but full and throaty down below, whinnying and squealing in some passages, whispering tenderly in others, Freeman’s tenor work utterly defied categorization. Every sweet-sour note, every intricately etched phrase, it seemed, was crafted to sound as unexpected and as intensely expressive as possible.
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„I got all this music by osmosis,“ said Freeman in the Tribune interview.
„Louis Armstrong used to come by from the time I was about 3 years old, and he’d always say to me, ‚Hi Pops,‘.“ recalled Freeman, pointing to the era when Satchmo was enjoying his first blush of success as a Chicago bandleader and emerging recording artist. „Earl Hines came over, and Fats Waller played this (Starck) piano of mine.“
In effect, Freeman was a living, breathing link to the first generation of jazz stars that emerged in Roaring ’20s Chicago. With his father constantly playing jazz records at home and his mother entertaining him and his two brothers by playing guitar and singing, Freeman early on realized music was his calling.
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By the ’50s, trumpeter Davis was looking for someone to take Coltrane’s tenor chair, and Freeman again took a pass. „Actually, my mother got the phone call because I was in New York playing (a one-nighter) with a blues band,“ recalled Freeman.
„And she said, ‚Well, he has four kids, and he’s got a wife,‘ so Miles said he understood. That probably would have been my big break, but I missed it,“ said Freeman, who added that he never bothered calling Davis back.
Toll auch der Satz: „I just think you try to get famous within yourself.“
Mit Reichs Aussage, dass „The Improviser“ und „The Great Divide“ (die meinte ich gestern, nail, als jene die gemeinhin von den Premonitions als die beste gelte) seine besten Aufnahmen überhaupt sind, gehe ich gar nicht konform, jedenfalls nicht, was „The Improviser“ betrifft. Ich kenne keine Schlechte Aufnahme von ihm (Sterne-Thread), aber die besten bleiben die Nessas von 1975 und die Live-Aufnahme von 1977, gefolgt von „Vonski Speaks“ und „The Great Divide“ und dann wohl „Good Forever“, „Live at the Dakota“ und den drei Steeplechases.
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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: tbaIm r.i.p. Vonski-Thread auf Organissimo gibt’s inzwischen ein paar schöne Rückblicke und Stories, u.a. von Michael Weiss und Chuck Nessa:
http://www.organissimo.org/forum/index.php?/topic/70749-von-freeman-rip/Und hier spielt er Bewitched, Bothered and Bewildered, im Februar 2011 – unglaublich!
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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: tbaschöner nachruf auf von freeman mit einer kommentierten diskographie der letzten jahre in der chicago sun times:
http://www.suntimes.com/entertainment/music/14518014-421/mighty-torrent-of-sound-flows-from-the-late-von-freemans-best-albums.html--
Sean Bergin (1948-2012)
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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: tbagypsy tail wind
Sean Bergin (1948-2012)
noch vor 2 jahren als gast bei einem konzert von toby delius gesehen…
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vorgartennoch vor 2 jahren als gast bei einem konzert von toby delius gesehen…
Oh, das hat sicher gut gepasst!
Hab Bergin selber leider nie live gehört, aber was ich von seiner Musik kenne, hat mir sehr gut gefallen.--
"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: tbar.i.p. John Tchicai
sehr, sehr traurig.
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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: tbagypsy tail windr.i.p. John Tchicai
sehr, sehr traurig.
ja, schlimm. hatte gerade erst gehört, dass er schwer krank sein soll.
verbinde eher seinen altsax-ton mit ihm. kennt jemand eigentlich sein YO-MILES-projekt mit leo smith (crosspost)?
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Er hat halt früh eher Altsax gespielt … als er hier war allerdings auch, Altsax und Flöte. Aber ist ja auch egal, ich wollte einfach irgendwo erwähnen, dass er nicht mehr ist und in den derzeit so gehässigen Glossen passte das nicht hin. Mir bleiben aber auch die Dylan-Aufnahmen sehr nahe – wegen Pukwana und wegen Tchicai gleichermassen.
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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 derzeitigen Angaben zu Tchicai sind widersprüchlich – im London Jazz Blog heisst es, er sei im Koma eingeschlafen und gestorben, die angegebene Quelle (das Update im Eintrag hier, in dem Pierre Dorge auch die mir unbekannte Vorgeschichte vom Fall und der darauffolgenden Hirnblutung erzählt) wird mir von Google Translate aber so übersetzt, dass Tchicai noch immer im Koma liege (dennoch stehen da die Jahre 1936-2012 über dem Foto).
Jedenfalls ist das verdammt traurig. Ich wollte ja eigentlich letzten Sommer einen Tchicai-Thread starten und etwas berichten über das Wiederhören der Aufnahmen, die ich habe und die neuen, die ich mir damals kaufte (darunter die grossartige Cuneiform-CD „Old Stuff“ von 2010, die erstmals veröffentlichte Aufnahmen des New York Art Quartet in der Besetzung mit Finn von Eyben und Louis Moholo vom Oktober 1965 aus Kopenhagen enthält).
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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: tbar.i.p. Cozy Eggleston
Cozy Eggleston – Big Heavy (Single, rec. anscheinend 1952)
Sweet Merri Dee (von der Co Egg LP „Grand Slam“, vermutlich 1969)
Moon Ray (ibid)--
"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: tbaHafer, Dick
May 29, 1927 – December 15, 2012
Dick Hafer, a fine veteran tenor saxophonist who played for many of the big bands in jazz, died peacefully on December 15, 2012. He died at La Costa Glen a retirement community in La Costa, CA. He was born in Wyomissing, PA on May 29, 1927. Dick’s 60-plus years in the music business started with the Charlie Barnet orchestra. He played with Woody Herman, Claude Thornhill, Benny Goodman, Lionel Hampton and many others. He was also on recordings led by Ruby Braff, Herbie Mann, Bobby Hackett, Charlie Mingus and Nat King Cole. He played with the studio band on The Merv Griffin Show in the 60s. He also worked with such legendary vocalists as Peggy Lee, Billie Holiday, Ella Fitzgerald, Tony Bennett and Johnny Hartman. Dick spent many years playing on Broadway shows and recording. In the 1990s Dick released two albums under his name titled, In a Sentimental Mood and Prez Impressions (a tribute to Lester Young). Dick was preceded in death by his son Timothy. He is survived by his wife Betty, a brother Donald Hafer, a daughter Lisa and son-in-law Bryan, three grandsons, Taro, Alex and Chris and a granddaughter, Cameron.Published in the Los Angeles Times from December 21 to December 22, 2012
Mit Mingus habe ich ihn zum ersten Mal wahrgenommen … ein Bleichgesicht, das ein ziemlich tolles Tenor blies. Letztes Jahr stolperte ich eher zufällig über seine CD für Progressive und kann sie durchaus Empfehlen:
Auf Jazzwax gibt’s ein interessantes Interview mit Hafer zu lesen:
http://www.jazzwax.com/2011/11/interview-dick-hafer-part-1.html--
"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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