Let's Talk Jazz

@donjohano:

You're a guitarist?!  Me, too!!  Wes Montgomery, Joe Pass, Herb Ellis--all good stuff!  I'm also a horn man (trumpet--a disciple of Maynard Ferguson, Doc Severinsen, et al).  

What you say is so very true!  No matter what we use to convey our music--voice, horns, percussion, keys, strings--we all can (and, indeed, must) learn from one another.  For example, I can't play chords on a trumpet, but I can use phrasing and dynamics that are comprable to those of a guitar when I play the trumpet.  I can explore arpeggiation that is not considered "trumpet-like."

And, there is always more to learn.  That's why I implore, beseech and beg that we all take time to listen, listen, listen!  Check out the old tunes and artists as they are the ones who built this juggernaut.  Check out the new tunes and artists, as they are the ones who are keeping it going!

Support local music!  

Below are the list of my favourite Instrumentalist

SAX:      abroad= Justo Almario, Home= Mike Aremu
Guitar:   abroad= George Benson, Home= Agboola Shadare
Bass:     abroad= Abe Laboriel,  Home= Tope(CLAM-Lagos)
Keyboard: abroad= Oscar Peterson & Adlan Cruz, Home= too much to select
Drums:    abroad= Bill Maxwell,  Home=  too much to select

I understand, but the best saxophonist  usually play Tenor-sax, but for the keyboard, I think it as to do with applications, Adlan Cruz use to play grand piano and keyboard

Charlie "Bird" Parker  affected every musician regardless of what instrument they played. The biggest musical advance since Louis Armstrong.

Louis Armstrong had a similar effect in the 1920s with his Hot Five and Seven bands. People tend to remember Armstrong as a vocalist with a broad grin on his face. Originally, he only sang as an extra attraction during gigs.

Let me inform those who don't know, that if Armstrong had died in 1930 (and not forty years later), his legacy would have been intact as probably the most influential musician of the 20th century.

@drionnelli - don't you love the way Wes Montgomery (Far Wes) played his solos by fingering both ends of the octave simultaneously?  Did anyone do that before? Charlie Christian in the Benny Goodman Band, or Django Reinhardt?

@Miller:
I respect that you have made what you have determined to be your "last" post in this thread.  But, I do hope that you'll consider this:

As I'm sure you know, the topic of jazz is truly vast.  It encompasses and embraces more than most of us could ever begin to comprehend.  That is why, sir, I ask that you consider staying around in this thread.  Your expreience in the realm is much needed and your knowledge is appreciated. 

Consider that the French that is spoken in Paris is different that that spoken in Canada, Haiti or Madagascar.  But, it's all still French.  The same may be said of jazz.  No matter what its era or manifestation, it must be kept alive through performance and, as is the case here, discussion. 

No, Miller, not even true jazzers will agree on everything.  But we must assiduously continue to get the word out about all eras, all stylistic sensibilities, all instruments, voices--you name it.

Let's not let semantics get in the way of our keeping the art alive.

Would you please reconsider and afford us the depth of your background in this thread?


@donjohano:
Indeed, few guitarists of any ilk have executed octaves with the dexterity an aplomb of Wes! 

@Miller -  In an earlier post I mentioned the influence of Charlie Parker (Christian's contemporary) and Armstrong (even earlier) which resonates to the present day. Don't pick and choose your quotes to try to prove an argument ("this guy doesn't know his eras") that cannot stand.

See you at Ronnie Scott's.

@Miller:
Thank you for reconsidering.  Your presence here clearly means much to the depth of understanding in this thread of that about which you are clearly passionate.

You will be sticking around, won't you? 

@miller: "mixing up stuff"? Tell that to Quincy Jones who put Big Daddy Kane, George Benson, Ella Fitzgerald, Miles Davis, Dizzy Gillespie, and Kool Moe D, on one track in the "Back on the Block" album. The danger in all music criticism is the unncessary compartmentalization of different musical forms, and the further compartmentalization of forms within a particular genre such as "Jazz" which no two people can agree upon. I know people who regard anything after dixieland jazz as non-jazz. It doesn't matter. What matters is you, the musician, you the listener. Do you dig it? That is the question.

Even Louis Armstrong called Bebop "Chinese music".

But that's human nature - to differentiate, compartmentalize in all aspects of life - art in general, and of course, race (which has been a huge factor in the development of African-American music).

Peace.

Why did y'all decide to end this thread?
   MILLER,Where are you?
  I want to hear more stuff from you guys! Fire on.

@d venom:
Rest assured, my friend--there are a number of us who will keep this thread (and others akin to it) as long as we can!

@donjohano:
Miles and Jimi?  Well, I personally think it would have been a great musical "what if."  Clearly, Jimi had musical direction far beyond what was commercially exploited (by himself as well as others) during his life.  He certainly wasn't all freak-show fireworks.  Miles, of course, was always looking at other angles and trying to see ahead (much to the chagrin and frustration of many purists).  Who knows?  They might have developed a completely new genre of music!

@all:
What's up with Miller's last several posts?   As I recall, he always posted with such knowledge and passion about this topic. 

Oasis Smooth Jazz Awards 2000.

Relentless----------------------------------Brian Bromberg!

Latin Quarter-----------------------------------------Marc Antione!

In The City Life-----------------------------Gota!

What Does It Take------------------------------------------------------------Candy Dulfer!

Red Rocks-----------------------------------------------------Craig Chaquico!