Hører nu Jazz after Dark.

CD2:

• track 1, Dave Brubeck: Take Five (1974)
• track 7, Billy Taylor Trio: I wish I knew (how much it would feel to be free) (1964).

Især den sidste er god, rent musikalsk.

Har man har haft en DÅRLIG dag, kan den ALTID få mig i godt humør!

Jeg vil vove den påstand at vipper foden, hovedet eller noget andet er det ikke swing jazz, der trigger én

Denne 2CD kan varmt anbefales!

Harry Connick Jr. - Blue Light

Rigtig underholdende og let tilgængelig jazz, og samtidig rigtig godt produceret. Her er stille numre og andre med fuldt orkester.

 

 

Curtis Stigers, Secret Heart.

På Track 1: "How could a man take such a fall" er der virkelig noget skummelt subsonisk bas. Første gang jeg hørte nummeret troede jeg at der kom en bil!

Tillad mig at nævne Milestones (igen). Jeg har selv en vinyl-udgave men mon ikke CD'en er vær at invistere i?

Allmusic.com om CD'en:

What is immediately noticeable upon listening to this delicately and superbly remastered version of Miles Davis classic first — and only — album with his original sextet is how deep the blues presence is on it. Though it is true that the album's title cut is rightfully credited with introducing modalism into jazz, and defining Davis' music for years to come, it is the sole selection of its kind on the record. The rest is all blues in any flavor you wish you call your own. For starters, there's the steaming bebop blues of "Dr. Jackie" — recorded in 1955 for a Prestige session with Jackie McLean. Davis is still in his role as a trumpet master, showing a muscularity of tone that reveals something more akin to Roy Eldridge or Louis Armstrong than Dizzy or Fats Navarro. The tempo is furious as all the members of the sextet solo except for Jones. The saxophonists trade choruses and come off sounding like mirrored images of one another in the slower, post-bop blues that is "Sid's Ahead." With a slippery melody line that quotes two harmonic lines from early New Orleans-styled blues, Davis drives the band into the rhythm section's garage. It's Cannonball first with his stuttered, angular lines, hiccuping halfway through the interval before continuing on with a squeak here and the slightest squawk there. Next up is Davis, blowing fluid and straightened lines, ribbons through the rhythm section's center as Red Garland lays out and leaves it to Paul Chambers and Philly Joe Jones to provide the earnest, time-keeping 4/4 that Davis sidles to in the tune. When Coltrane solos, all best are off as he plays as pure a blues as he was capable at the time. Nonetheless, there are the long lines of slurred notes, smattered against Garland's harmonies and he slips into quoting "Skip to my Lou" before knotting it back down to the basics and even then not for long. Coltrane was already exploring the edges of mode and harmony; he used an intervallic invention in the choruses to juxtapose his solo against the rhythm section and it worked — but it must have made Davis raise an eyebrow. Chambers' solo is as tasteful and as breezy and free as only he could be. His contrapuntal soloing rides the rhythm out, Garland striding along quietly until the tune returns.

"Sid's Ahead" is followed by the track "Two Bass Hit," written by Dizzy and John Lewis. It's an off-kilter blues with a wide middle section, no doubt for Lewis' piano to fill. It's a wonderful ensemble showcase but Davis blows his ass off in his solo, riding through the two saxophonists and challenging them at the same time. But then comes "Milestones" with its modal round and interval, where harmony is constructed from the center up. It is a memorable tune for not only its structure and how it would inform not only Davis' own music, but jazz in general for the next seven years. It would also change John Coltrane's life. The exploratory style of soloing was already revealing itself in Trane's playing, but he loosens it up even more here. More importantly, this is the first place we get to see it in Davis, where there is no goal at the end of the rainbow, there is merely the solo itself in the heart of the mode. The alternate take of this tune, which is featured at the end of the album, tagged on with two others of "Two Bass Hit" and "Straight, No Chaser," has an even longer and weirder solo by Davis where he plays notes he probably never played again. The album's closer is Monk's "Straight, No Chaser," which became a signature tune for the sextet even when Garland and Jones left to be replaced by Bill Evans and Jimmy Cobb and later Evans by Wynton Kelly. Like "My Funny Valentine," it was a Davis staple that accented how intuitive the band was with unusual harmonic structures like Monk's. The Adderley solo is remarkable for its fluid, bebop-style runs over Garland's extended chords and flatted sevenths. Cannonball quotes the melody in a myriad of ways and goes off the deep end each time he does, taking the new rendition to its limit, always returning it to the blues root. Davis plays it cool, slithering around the rhythm section staying firmly in blues phraseology, even quoting a reverse harmonic melodic read of "When the Saints Go Marching In," bringing it in and out three times while pushing the blues line to its edge. Coltrane's solo is all over the place, slurring notes as he plays weird scales all over the blues and triple times the rhythm section. But he knows the tune better than anyone here — he spent six months with Monk just previous to this playing it every night. Coltrane knows how much he can stretch the intervals without breaking apart the body. He inserts his own modal interpretation on the blues halfway through his solo before slipping into the straight, swinging groove of his Blue Train album, finished only two months before. Garland, oddly enough, is the one to travel the furthest from Monk here, coming off with a Bud Powell-esque blues muscle that shifts the entire tune into a straight bebop blues before sifting in a few Errol Garland quotes as the bass solos and then the front line comes in to take it out. The alternate take is even stranger as Garland falters in his time not once but twice and has to find his way back in.

Legacy has done it proud on this series of reissues, as the sound is as fine as technology can currently make it, the notes are terrific, and the alternate takes offer additional delights to fans of the original recordings. They should also be commended for leaving them at the bottom of the album instead of placing them in with the original album's sequence, a practice that though widely used is distracting nonetheless. This is a fine issue of a classic, and treated like the piece of art it is.
  — Thom Jurek

Vil da os lige komme med mit Input: læste både denne tråd og blues tråden igennem i nat og skrev en lille liste med dem der lød til at blive anbefalet til begyndere.

Her er hvad jeg kom hjem med efter en tur i Pladekisten og studio 66

Miles Davis: Kind of Blue 200 g (ny)

Muddy Waters Folksinger 200 g (ny)

John Lee hooker: the healer (brugt)

Stevie Ray Vaughan: In step 180g (ny)

Sarah Mclachlan: Surfacing 200 g (ny)

Soul Asylum: Let your dim light shine (ny)

De to sidste har ik meget med denne genre at gøre.. men første indtryk af de andre er at det er fede skiver.. kanon stemning og optagelserne er helt i top, der skal helt klart lyttes mere på det. Muddy Waters er den der pt får et par spinde ture på ploven. Og enig med dem der anbefalede dem at det er et godt sted at starte fr os der endnu ik har stiftet bekendskab med disse genre..

En lille bøn.. post et link hvor Jeniffer Warnes The Hunter kan købes på vinyl 

Jeg vil da også lige koble mig på tråden - sådan lidt fra baghjul...

Muskuløs, melodiøs og grovswingende triojazz: Oscar Peterson - The Sound of the Trio.

Miles Davis: Porgy and Bess - Miles Davis og Gil Evans udgave af Gershwins opera af samme navn. Opera er måske så meget sagt - den er fuld af evergreens, bl.a. stammer "summertime" herfra. Miles er i front for et mini-bigband på 14-15 mand. Det rykker og er samtidig meget melodiøst, sangbart og lettilgængeligt.

Jeg bakker op om dem, der har foreslået Bodilsen m.fl. Mi ritorni al mente. Det er en rigtig fed skive. I øvrigt har Bodilsens kone, Katrine Madsen, netop udgivet en CD, Close to you, med stort set identisk besætning, blot tilsat hendes vokal. Det er mere rolig, men stadig meget lækker musik.

Et par CD'er der har snurret hos mig i de sidste par dage er Jens Winther: Pluto and Beyond (stort orkester) og Cheek to Cheek med New Jungle Orchestra. Ud over god musik får man også optagelser med masser af dynamik, detaljer og nuancer - velegnede skiver til hifinødder.

I det hele taget vil jeg i lighed med nogle af de tidligere indlæg, gerne anbefale jazzklubben. Jeg plejer som regel at købe deres månedens CD'er - typisk 4 nye CD'er for 219,- Jeg synes næsten altid investeringen kan svare sig. At deres ordrebehandling af og til lader lidt tilbage at ønske har jeg indtil videre valgt at bære over med.

/Mads

 

 

 

 

Så er der blevet lyttet lidt mere:

Hvilket musik minder om John Lee Hooker og Bonnie Rait på I´m in the mood ? fed optagelse og musik.. mere af det tak

zaka skrev: Check lige denne side - man kan læse om den vigtigste jazz historie med udgangspunkt i et enest fotografi fra 1958 af 57 jazz kunstnere i Harlem. http://www.harlem.org/ Cool! mvh

I aften står den på:

A Great Day in Harlem is a wonderful documentary about a seemingly ho-hum subject — the taking of a photograph. Even when the photograph in question involves some of the greatest jazz musicians who ever lived, building a film around a static subject like a photograph is not an easy task. Jean Bach's achievement lies in making this come brilliantly alive; indeed, there's a surprising buoyancy and a sprightliness to the entire enterprise that makes the film unique. True, there's a great deal of information that is imparted — delightful little tidbits such as Maxine Sullivan having a gift for remembering even the most obscure of lyrics, or that asking Thelonious Monk (who wore a light-colored jacket to make sure he stood out in the picture) a question meant one would get a remarkably frank and truthful answer — but what one remembers after viewing Great Day is not the various facts presented, or even the personalities of those discussed and/or interviewed. What one remembers is the feeling of joyful immediacy that the film evokes, truly making the viewer feel as if he or she were actually there in Harlem on the day in question. There are a number of complaints one could have about the film (such as the flatness of the lighting and the subsequent dullness of some of the shots), but the little flaws seem truly miniscule in comparison with that wonderful feeling. — Craig Butler

 

I går var det:

Jazz on a Summer's Day is a priceless record of the 1958 Jazz Festival at Newport, Rhode Island. It just doesn't get better than this. We see Louis Armstrong, Mahalia Jackson, Dinah Washington, Chuck Berry, Thelonious Monk, Gerry Mulligan, George Shearing, Jack Teagarden, Sonny Stitt, Chico Hamilton, Anita O'Day and Big Maybelle, so we'd stay glued to the screen even if the film was poorly made. But it isn't: director Bert Stern not only does a masterful job of filming these imperishable greats at their very best, but he manages to make the whole enterprise fascinatingly fluid and thoroughly cinematic. Even non-jazz buffs will be exhilarated by Jazz on a Summer's Day. — Hal Erickson

(Der er tale om dokumentarfilm - skulle nogen være i tvivl).

Macwerk skrev: I aften står den på: A Great Day in Harlem ...

Dobbelt-cool . Den ser spændende ud. Meld lige tilbage hvis den holder .

Macwerk skrev: I går var det: Jazz on a Summer's Day ...

Hvad synes du?

Jeg så den på SVT. Fremragende film efter min mening. Især Anita O'Day's optræden fik mig til at tabe både næse og mund . Timing og så så det så legende let ud - ja det gjorde så ... sådan!

Mahalia Jackson's Amazing Grace og (så vidt jeg husker) afsluttende The Lord's Prayer gav mig gåsehud. Hun synger fantastisk.













__________________
Med venlig hilsen

"There are more love songs than anything else.
If songs could make you do something we'd all love one another."
- Frank Zappa

Som sagt tidligere: Count Basie - The complete atomic basie!!!

Når det kommer til Big Bands "there's no substitute" (så fik vi også lige et film-citat)

Chris Minh Doky - Listen Up! er desuden et super jazz-album hvis man er lidt grøn vil jeg mene...

__________________
Mrs. Lindsay - "You certainly look cool." - Yogi Berra - "Thanks, you don't look so hot yourself."

Tak for denne tråd. Jeg er også først for kort tid siden blevet "gammel nok" til god jazz og synes at det er svært at finde i alm pladeforretninger når man ikke kender nogle i "miljøet" og den ene jazz plade forretninger der er her i byen er mere til fusions jazz og det er jeg BESTEMT IKKE umiddelbart. Er mere til "gammel" jazz....

 

Hvad kan der anbefales i den genre at indkøbe?

 

 

Michael

Hej

Prøv at tjekke op på :

-Cæcilie Norby

-Debbie Cameron

-Etta Cameron

-Norah Jones

-Sinne Eeg

-Rigmor Gustafsson

-Marlene Mortensen

-Josefine Cronholm

-Patricia Barber

Hvis du ønsker at lytte til nogle af de gode kvindelige solister indenfor genren.

Mvh. Troels

__________________
Nyd musikken!!!

 Macwerk - det ligner noget for mig. Ska man virklig køve en DVD?

Her lidt gammelt swingguld:

 

 

zaka skrev: Macwerk skrev: I aften står den på: A Great Day in Harlem ... Dobbelt-cool . Den ser spændende ud. Meld lige tilbage hvis den holder .

Den holdt

For mig - måske mest af alt en rigtig fin introduktion til de forskellige musikeres 'storhed'. Så hullerne i min pladesamling er blevet flere og større. Jeg tabte ihvertfald hurtigt tråden i alle de ting der skal checkes ud.

zaka skrev: Macwerk skrev: I går var det: Jazz on a Summer's Day ... Hvad synes du? Jeg så den på SVT. Fremragende film efter min mening. Især Anita O'Day's optræden fik mig til at tabe både næse og mund . Timing og så så det så legende let ud - ja det gjorde så ... sådan! Mahalia Jackson's Amazing Grace og (så vidt jeg husker) afsluttende The Lord's Prayer gav mig gåsehud. Hun synger fantastisk.

Og så er Anita-optagelserne samtidig kanon flotte rent billedeligt
Musikalsk var der måske ikke så meget nyt i mine stile/genre - sådan ca. et par piger og Chico Hamilton. Men filmen er meget flot lavet og giver indtryk af en rigtigt fed stemning - holder bl.a. meget af optagelser af pubilkums reaktioner. Er Chuck Berry ikke lidt 'out of place'?

SES. skrev: Macwerk - det ligner noget for mig. Ska man virklig køve en DVD?

Jeg synes det er et scoop at få billeder af musikken. I morgen fare jeg ikke ud i den nærmeste vinyl-shop, næh jeg vil prøve at opstøve nogle af de koncertoptagelser som der er vist klip af i Harlem-filmen.

Men billederne kan også åbenbare de mere kedelige overraskelser. Jeg har således (mere eller mindre uretfærdigt måske) smidt Louis Armstrong i skuffen for brugtbilsforhandlere og vaskepulver-sælgere efter hans optræden i Newport-filmen.

Hvis du køber DVD-afspiller så et lille teknisk råd; sørg for at den er kodefri og kan afspille NTSC - Og kan læse DVD-R.

Er der nogen der kan hjælpe med at opstøve Basil Dearden's "All Night Long" fra 1961?

The British All Night Long is Othello to a jazz beat. Paul Harris is the Othello counterpart, a bandleader happily married to "Desdemona" Marti Stevens. Patrick McGoohan plays the film's funky Iago character, who covets Harris' job. McGoohan hopes to unnerve Harris by spreading rumors that Stevens has been unfaithful. Like the 1956 Joe MacBeth, All Night Long can either be taken seriously or as what used to be called 'high camp." Jazz aficionados will appreciate the brief appearances by Dave Brubeck, Johnny Dankworth, Paul Mingus, Tubby Hayes, Charles Mingus, Kenny Napper and several other top musicians. Also showing up in a cameo role is dancing star Geoffrey Holder, who wouldn't make a bad Othello (or Iago) himself. — Hal Erickson

The works of William Shakespeare have inspired many films, including page-to-stage adaptations like Kenneth Branagh's Hamlet and much looser inspirations, such as West Side Story. All Night Long very definitely belongs to the latter category, keeping the plot of Othello, but re-setting it in an early '60s jazz milieu. An unfairly neglected little treasure, All Night Long is an intriguing and atmospheric thriller that updates Shakespeare most effectively. Set over the course of one late night party, the film is virtually a continuous jam session between some of the brightest lights of the jazz world. This constant musical background infuses every scene, creating a backdrop that contextualizes the dramatic events and adds a purposefully intrusive feel to the scenes. Johnny Cousin is obsessed with making his mark in the jazz world and the music reflects and intensifies that obsession. Patrick McGoohan is excellent, a wound coil ready to spring at the slightest provocation, but battling to keep himself taut. He is sly, scheming, and duplicitous, but capable of presenting himself as genial and sympathetic when needed. The audience, however, is ever aware of his ambition and of its overwhelming influence upon him. His breakdown at the end is superb. All Night Long cops out a little at the finish, replacing the original tragedy's deaths with a happy ending, but until then, it is engrossing and original. — Craig Butler

Jeg er ellers ikke meget til Jazz der svinger, men SP Just Frost, kan altså et eller andet. Det svinger så det er helt og aldeles umuligt at sidde stille.

__________________
Mvh
Lars P. Madsen

Har lige genfundet min gamle tråd og vil bestemt få gennemlyttet nogle flere af de mange forslag, som allerede er postet i tråden. Tak for indsparkene...

Check liiiiige denne perle! http://www.youtube.com/watch?v=KiWchoEo2Vw

Så vidt jeg kan tolke er det Keith Jarrett Trio...

Er det mon fra Paris Concerts, The Blues

I hvert fald er Radience, Paris Concerts og Köln koncerterne på vej fra biblioteket på en låner der...

Suverænt klip, de kan virkeligt få det til at svinge de tre gutter, og Jarretts "mundjam" er fint afdæmpet.

__________________
So long and thanks for all the fish.

quad skrev: Suverænt klip, de kan virkeligt få det til at svinge de tre gutter, og Jarretts "mundjam" er fint afdæmpet.

Ja, det er dælme fedt. Jammen lad dog manden mundjamme - fint med mig.

Lyder nøjagtig som det man hører på Kurt Ellings, Man in the air...

Eller hvad med denne? http://www.youtube.com/watch?v=HPqK1JJOFxw

Manden har jo bare så meget krudt, som skal UD. Dælme om ikke det ligner S*X den mand har!