sábado, setembro 23, 2017

OM

An album that occupies a very special (and controversial) place in Coltrane opus: "Om", the recording more directly related with his "LSD period".
Althought many critics consider it as his worst album, it represent a moment of quest, inner search and proximity with Eastern spiritual thinking of Sri Ramakrishna, Paramahansa Yogananda and the book Bhagavad Gita.
Researchers and band members agree that Coltrane was on LSD during this recording, some of them saying it was a one time only experience, other stating he used it during the whole year of 1965.
The value of "Om" comes much more from the musical drama that is evolving before your ears than from this kind of biographical details.
Worth listening.


sexta-feira, setembro 22, 2017

Bandstand psychology


"Mingus psychologically dominated the musicians, on and off the bandstand, toward the end
of getting them to bring every bit of themselves to the performance, so that the arrangements would be reflective of the individuals involved, rather than of a mere collection of instruments. This goal is a composerly one (if not a tactic) that Mingus shared with Ellington. The performance culminated in a performance of "Meditations on Integration":

Every one was getting into it, playing solos. Mingus had two other trumpet players
(besides Bobby Bryant) Lonnie Hillyer and Mélvin Moore, and he let them
play.
Bobby knew he wasn't going to get a chance. It was getting louder, more
intense, really screaming .Then Mingus looked at Bobby and said," Now!" Bobby
at this point was so angry he hadn't played that he took his horn and blew the
bell off it to show Mingus what he could do. And that did it. Mingus got the climax
he wanted and the people just went crazy.... He had psyched Bobby out.
He knew Bobby was strong as a bull and he wanted a killer punch.... There it
was.
Mingus had captured all these moods. He knew how to get them.
He was
like a littlet ease:" Noty et"o r "Maybyeo u won't get any"a ndt hen "Okayn, ow!"
It does work. It's what coaches do for fighters. Sometimes you need that little
kick. 

(Buddy Collette)

"A Unique Chunk of Jazz Reality: Authorship, Musical Work Concepts, and Thelonious Monk's Live Recordings from the Five Spot, 1958”
Gabriel Solis. (Ethnomusicology, Vol. 48, No. 3 (Fall, 2004), pp. 315-347)

"They've heard me"


Asked why he played relatively short solos and did not solo on every number in a series of performances [……] Steve Lacy replied:
"See, they've heard me. I mean, you mustn't bore the band. If you want to keep a band, you mustn't bore them. You've got to pay them well, you've got to give them good material to play with, you have to turn them on, and you mustn't bore them... And Monk was exemplary, that's for sure"
 
in
"A Unique Chunk of Jazz Reality: Authorship, Musical Work Concepts, and Thelonious Monk's Live Recordings from the Five Spot, 1958”
Gabriel Solis. (Ethnomusicology, Vol. 48, No. 3 (Fall, 2004), pp. 315-347)

sexta-feira, setembro 15, 2017

Joel Frahm on "Someday my Prince will Come"


Beautiful solo, beautiful sound.
Simple ideas, space, great control of harmonic tension , great storytelling as required by the title of the song, proving, once again, Joel Frahm is a master player.
Solo starts @ 2' 36''.
Sax solo transcription  PDF here







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