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Posted: |
Feb 29, 2008 - 7:59 AM
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By: |
Jim Phelps
(Member)
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Even though I've been an avid Jazz listener (at least pre-1969 Jazz) for over fifteen years, it has been only recently that I finally had a "breakthrough" of sorts and began appreciating Miles Davis' 1965-68 quintet, commonly referred to as the "Second Great Quintet," the one that featured Wayne Shorter, Herbie Hancock, Ron Carter, and Tony Williams. For whatever reason, that group's music never appealed to me. I believed it to be harsh, cold, and unswinging. How wrong I was! Been listening obsessively to the group's albums Sorcerer and E.S.P.
I love it when I finally "get" it!
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I like
The Rippingtons
Pat Metheny (Group)
Jan Garbarek
Mezzoforte
...and I´m sure some others too.
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Posted: |
Feb 12, 2012 - 3:06 PM
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By: |
Mark Ford
(Member)
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Jazz is generally considered America's one and only truly indigenous art form and one that I was raised on as a kid thanks to my dad. I'm partial to the big band stylings of Ellington & Basie and am totally enamored of the progressive big band sound of Kenton & Rugolo and the smaller ensemble Brubeck. Once free form jazz came into its own my interest pretty much stops there. The rhythms of jazz are the life's blood of ultimate cool and the swinging vibes. Jazz is in my blood.
Where would we be without film/TV composers who came from a jazz background? Think Williams, Mancini, Schifrin, Isham, Grusin, Rugolo, Hagen, Mays, Riddle, etc.
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Posted: |
Feb 13, 2012 - 9:23 AM
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By: |
Jim Phelps
(Member)
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Anyone else love the crazy free jazz/avant garde stuff from the 60s? I'm talking music by the likes of Albert Ayler, Cecil Taylor, Ornette Coleman, John Coltrane, Sun Ra, Sonny Murray, Giuseppe Logan, New York Art Quartet, et al.
I love Ornette's time on the Atlantic label and Coltrane up to 1964. Afterwards, my interest begins to wane.
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Off kilter, soulful, on fire with passion, and above all--haunting. "Lonely Woman" is a gorgeous and evocative composition with some amazing soloing from Coleman.
I love Branford Marsalis' tenor rendition of Lonely Woman, just one of those tracks you can be swallowed up by and time stands still. I can't listen to Ornette's original, as at work, so can't compare it at this time.
As regards jazz, I see jazz and film music as relations. One can equally ask 'what IS jazz, exactly?' and 'what IS film music, exactly?' and go off at a tangent. Jazz, like film music, draws its inspiration from the entire history of music before it and interprets the current musical vernacular in popular music and gives it a twist. However, film music more than jazz I think is slightly 'behind the times' when one hears a pop sound as score (rather than source). I'll refrain from using words like 'diegetic' and 'non diegetic', you'll be glad to know!
I play saxophone, so play some jazz at least (contrary to popular belief, sax - nay, no instrument - was invented for jazz specifically). I have an appreciation for a lot of jazz but listen to more film music than jazz. The history of jazz is so vast, that I couldn't possibly buy everything (ditto film music), so have to pick and choose. I do that by buying the odd artist here and there, the odd compilation and centre on one or two where I buy almost everything by that artist.
Naturally, saxophonists are the ones I focus on and I have many recordings by Branford Marsalis and Sonny Rollins. I also seek out certain recordings, such as a great CD of Charlie Parker With Strings mastertakes and the double CD edition of John Coltrane's A Love Supreme. I have the odd recording of but still great love for artists who have tangential jazz associations - for example, Frank Sinatra and Barbra Streisand.
Why Branford Marsalis as a main purchase, you may ask? Well, as I mentioned before years ago, Branford's playing on The Russia House was the score that made me want to play saxophone. It took me another five years before I got around to it but now play 'semi professionally' - meaning you get paid for it sometimes! - and teach the instrument also (and Mr Holland's Opus is the film that made me want to teach music!). I told Branford after a gig at the Royal Festival Hall once that I loved his performance on The Russia House and he said 'when the music's that good, it's easy' (to play so well). But I doubt I'll buy his latest recording (also been released on vinyl!), just because it's called 'Four MF's Making Music', unless 'MF' doesn't mean what I think it means!
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When I met Howard Shore after a Music From The Movies event in London (the on stage interview chaired by the over-enthusiastic Rudy Koppl, who was bouncing around like a bunny rabbit - wonder where he disappeared to?), the poor guy had had so many questions flung at him about the yawnfest film Lord Of The Rings, I thought I'd talk to him about Naked Lunch and Ornette's contribution to the score 'for a change'.
Although I rarely ask composers for autographs (DMD, there's some good ones I could have got you over the years but thought it unprofessional when interviewing them!), I did get him to sign my Naked Lunch CD booklet cover.
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