tag:blogger.com,1999:blog-1959286621592188397.post8762741232235412305..comments2024-02-20T07:06:18.516-05:00Comments on Brilliant Corners: Codification and the "Great Man"Steve Provizerhttp://www.blogger.com/profile/09757505876939504133noreply@blogger.comBlogger9125tag:blogger.com,1999:blog-1959286621592188397.post-91129042962020750732010-04-14T11:11:19.506-04:002010-04-14T11:11:19.506-04:00But you see, that's part of the myth of Bird (...But you see, that's part of the myth of Bird (more on that in my next posting). I'm not convinced he was the only one who could just walk in and cut it-although he may have been the only one who could wake up from The Nod and start blowing immediately... There are numerous stories of jazz musicians hearing something once and knowing it, or reading a chart once and knowing it. This is the level of talent you need to walk in and deal with any situation. <br /><br />As far as Tyner, a case could certainly be made that he changed the language. He started with bop/post bop, but after he got done, pianists had to know much more about the use of pentatonics, pedal tones and modes.Steve Provizerhttps://www.blogger.com/profile/06970532291417480963noreply@blogger.comtag:blogger.com,1999:blog-1959286621592188397.post-14263908299684374782010-04-14T05:26:28.516-04:002010-04-14T05:26:28.516-04:00Okay, if you would refer to only improvisation whi...Okay, if you would refer to only improvisation which makes a jazz musician influential or not, you wouldn't find many pianists on the Monk-track, but on Bill Evans' or McCoy Tyner's who both learned their language from Bud Powell and Lennie Tristano (disregarding Bill's classical training and knowledge).<br /><br />Bird had a photographic memory; that's why we won't find many sheets of handwritten music, coming from him. He had it all inside. It's amazing when listening to some of his live recordings, while having in mind that he arrived from nowhere at some club, and play there with a big band, or in whatever the setting was, without any rehearsals. <br /><br />The recordings are there: "Bird with the Herd", and "One Night in Washington". No other jazz musician was capable of doing this, but Bird. I would even claim that his playing (not his attitude) saved Massey Hall which could have easily ended in a catastrophe, if there wouldn't have been Bird and his musical reliability. As we know today, was it not Dizzy with his clownesque interludes who made that a memorable event.Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-1959286621592188397.post-5293385809236489592010-04-13T10:44:32.683-04:002010-04-13T10:44:32.683-04:00Bruno-thanks for the input. No argument concerning...Bruno-thanks for the input. No argument concerning the greatness of those on your list. However: Ellington's influence is not as an improviser, but as arranger/ composer/cat wrangler. Monk's influence was felt, but the waves he made did not ripple out as deeply as did those of Louis, Bird and Trane. Ditto for Ornette and Bud. Because of his teaching, a better case could be made for the wider influence of Tristano, but still... Tatum was almost sui generus. However, there are certainly parallels in his playing to what Bird did-bridged swing and bop, raised the virtuosity bar-including increasing tempi, while managing to integrate the stride of his forefathers...Steve Provizerhttps://www.blogger.com/profile/06970532291417480963noreply@blogger.comtag:blogger.com,1999:blog-1959286621592188397.post-58049335246285011262010-04-13T06:54:13.970-04:002010-04-13T06:54:13.970-04:00Defintely more than only these three (Pops, Bird &...Defintely more than only these three (Pops, Bird & Trane) stand out, when "greatness" (in music) is the topic: <br /><br />Duke Ellington, Thelonious Monk, and Ornette Coleman, for being the "greatest" composers in jazz; and Art Tatum, Bud Powell, and Lennie Tristano for being the most influential pianists, and instrumental virtuosos (Lennie counts as composer too) who left thousands of "copycats" and followers.Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-1959286621592188397.post-64149677108649101412010-04-12T11:48:52.323-04:002010-04-12T11:48:52.323-04:00of course, before wide recording dissemination, yo...of course, before wide recording dissemination, you couldn't play a solo over and over... I like the Druidic symbology of the handkerchiefSteve Provizerhttps://www.blogger.com/profile/06970532291417480963noreply@blogger.comtag:blogger.com,1999:blog-1959286621592188397.post-50828749564475304462010-04-12T11:23:59.651-04:002010-04-12T11:23:59.651-04:00Covering valves to disguise fingering wouldn't...Covering valves to disguise fingering wouldn't slow down too much any trumpet player with a good ear intent on copping licks. New Orleans musicians were highly competitive, and skills kept sharp.<br /><br />Armstrong: what key is it in?<br />King Oliver: what key!? you're a musician, ain't you?rob chalfenhttps://www.blogger.com/profile/09456519158892216145noreply@blogger.comtag:blogger.com,1999:blog-1959286621592188397.post-47177938799092634772010-04-12T10:14:39.908-04:002010-04-12T10:14:39.908-04:00You gotta wonder about the generation of the handk...You gotta wonder about the generation of the handkerchief story. What's behind it? Was such knowledge esoteric enough or powerful enough to be considered priesthood stuff?<br /><br />The whole area of listening at different speeds is something we should make a point of exploring pseudo-scientifically. When you change octaves, not only can you do alto/tenor/baritone comparisons, you can also get into trombone/trumpetSteve Provizerhttps://www.blogger.com/profile/06970532291417480963noreply@blogger.comtag:blogger.com,1999:blog-1959286621592188397.post-27441530889938115032010-04-11T20:22:43.292-04:002010-04-11T20:22:43.292-04:00An instructive exercise in the roots of Bird quest...An instructive exercise in the roots of Bird question is to play Pres' solos on the Jones/Smith Inc dates at x50% and x100% speed. Voila!rob chalfenhttps://www.blogger.com/profile/09456519158892216145noreply@blogger.comtag:blogger.com,1999:blog-1959286621592188397.post-83857823424486587342010-04-11T20:19:31.130-04:002010-04-11T20:19:31.130-04:00George Baquet, Bill Johnson & other members of...George Baquet, Bill Johnson & other members of the Original Creole Band aver that it was more financial than musical rip off Keppard feared - when he found out that Victor wouldn't pay for the demo session, he bailed on the deal. Then he further dissed the A&R guy, demanding the same royalties they paid Caruso! The handkerchief story is apocryphal and also attributed to Bolden.rob chalfenhttps://www.blogger.com/profile/09456519158892216145noreply@blogger.com