Post: #51

(10-13-2015 11:44 AM)rw95 Wrote:  How does the jazz scene look like in other countries? Sadly, it seems jazz is dead as a cultural force in the United States, but I hear it's still fairly popular in Asia and Europe.

There was a small jazz niche in the city I lived in Europe, but that was second or third-tier city. I imagine it's more prominent in larger cities like Berlin, Paris, etc.

I wouldn't say jazz is entirely dead in the US, but now it's more of a niche genre. Most of the people that listen to jazz are musicians, or jazz musicians themselves. I always say it's a musicians kind of music. In the sense that most people that appreciate it now are only musicians or artists.

Jazz is still very well alive in New Orleans. It seemed to me there was a decent scene in San Francisco when I was there.

The cities that are more 'cultural' or 'artsy' are going to be more acceptable to jazz. i.e. SF, NYC, Portland, etc.

Hell, I was walking around the city of Berkeley one time and there were handlers playing jazz trumpet, sax. I stumbled upon an awesome jazz quartet playing in a cafe. So I don't think it will ever die. There's always someone who loves it.

It's a timeless music/art, and timeless music/arts never die. Just look at classical music or the paintings of Pablo Picasso.

Post: #52

Bad dude, on the court and off...started out jazzy but ended up fusing funk

Post: #53

Great crowd (Japan, of course...) and perfomance. I recommend his album with Wes Montgomery, another legend.

Post: #54

There was a small jazz niche in the city I lived in Europe, but that was second or third-tier city. I imagine it's more prominent in larger cities like Berlin, Paris, etc.

I wouldn't say jazz is entirely dead in the US, but now it's more of a niche genre. Most of the people that listen to jazz are musicians, or jazz musicians themselves. I always say it's a musicians kind of music. In the sense that most people that appreciate it now are only musicians or artists.

Jazz is still very well alive in New Orleans. It seemed to me there was a decent scene in San Francisco when I was there.

The cities that are more 'cultural' or 'artsy' are going to be more acceptable to jazz. i.e. SF, NYC, Portland, etc.

Hell, I was walking around the city of Berkeley one time and there were handlers playing jazz trumpet, sax. I stumbled upon an awesome jazz quartet playing in a cafe. So I don't think it will ever die. There's always someone who loves it.

It's a timeless music/art, and timeless music/arts never die. Just look at classical music or the paintings of Pablo Picasso.
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Aldo, are you a musician or are you one of the few non-musicians out there who is actually capable of appreciating jazz? I admit, I don't like all kinds of jazz (personally speaking I think fusion and the avant-garde was a mistake), but I can at least appreciate the styles that I wouldn't listen to on a regular basis myself. I really do pity people who won't even consider listening to jazz because the culture makes it look to be "boring." I used to think the same thing myself, and I couldn't have been more wrong. However, I am a musician myself, so I figure it was just a matter of time before I developed an interest in jazz.

Post: #55

(11-23-2015 11:27 AM)rw95 Wrote:  Aldo, are you a musician or are you one of the few non-musicians out there who is actually capable of appreciating jazz? I admit, I don't like all kinds of jazz (personally speaking I think fusion and the avant-garde was a mistake), but I can at least appreciate the styles that I wouldn't listen to on a regular basis myself. I really do pity people who won't even consider listening to jazz because the culture makes it look to be "boring." I used to think the same thing myself, and I couldn't have been more wrong. However, I am a musician myself, so I figure it was just a matter of time before I developed an interest in jazz.

I'm a musician.

Post: #56

I just want to put my input here with my views on jazz. I play saxophone, not professionally or anything more of a school and recreation thing. (also some guitar and piano[very little piano]) Anyone interested I play tenor, alto, and bari sax. not offering to play just input

Jazz (more improv I'm talking about) is not something you play or something you do. Its something you feel, (i suppose you do it then ha) its something you just go with. If the soul was truly a thing having played/ing a instrument of any sort you can get to know it. Depending on the song and type of music, you can determine who you are as a person. I have gotten to know myself and some others better by their own solos' and improvisations. Their tempo, their effort, their will, it really is beautiful no matter how it sounds (as long as they are truly trying). You understand them better; you hear them, i mean truly. I find jazz to be awesome and serene in a part of me. I'll link a video that states how playing instruments helps the brain (don't remember the whole thing just know it helps not sure if its entirely true)

https://www.youtube.com/watch?v=R0JKCYZ8hng

Post: #57

Cmon everyone, can we do better than just posting a video of a song by some band with no explanation in here? I thought we were music fans, not teenagers sharing individual songs on our mp3 players on the back of the school bus.

I truly believe jazz is the pinnacle of music in the 20th and 21st century. Jazz music has more complex and interesting harmony than any other type of music, and has a strong tradition of improvisation.

The best classical composers were before the twentieth century, and classical music has lost it's tradition of improvisation.

I think improvisation is an important element of music, unfortunately it is rarely heard in other genres, and pop music has a sterile sound because it's all pieced together with computers. There isn't even a slight bit of variation from one chorus in the song to another one.

This is what I mean by improvisation, it doesn't have to mean a solo, it could mean just a slightly different strumming pattern, or an extra note or word added to the vocals.

It is for these reasons that jazz is not only a genre of music with it's own musical characteristics, but also a musical philosophy or ideology.

You could take what you learn about harmony and improvisation in jazz and apply it to any other type of music. It does not have to be music with a swing feel, a saxophone, double bass, drums, piano, playing popular songs from the forties etc. That is the 'style' of bebop or jazz but the philosophy and knowledge of it can be applied to anything.

That's kind of what the genre of 'modern jazz' is because they're using other musical influences and moving away from the 40's bebop sound.

Unfortunately not enough people are interested in this after learning jazz and just want to play bebop inspired music. I don't want this type of music to turn into a museum piece as well.

Anyway let's share some of the greats and the lesser known artists, but divided by time or genre or instrument because jazz really is a huge genre of music. I am kind of unfamiliar with jazz that's beyond 1970 apart from a few artists, because I don't really like fusion, but it would be interesting to know more about it.

There's also a bunch of bands out right now that are brilliant and deserve our attention. I saw these two bands recently in my town, blew me away with their modern jazz. The Samuel Eagles Quartet and the Maszieck Pysieck trio. I'll write about them and others soon.

Post: #58

I've come to appreciate jazz very recently. It's perfect for reading or studying, or a great many things. It inspires me.

I still can't put a finger on how to describe it; pure expression, masculinity, and a little bit of chaos.

I'd highly recommend the "Pure Mellow Jazz" playlist on spotify as well as my favorite jazz musician Miles Davis for any curious ears.

Post: #59

Here's some cracking Crimbo jazz with Wynton Marsalis, one of the modern greats, and the latest musical wonder from the proud New Orleans tradition (of which his family are an important part).

I'm a big fan of Marsalis's sound, because whilst he pushes the boundaries and is incredibly inventive, he is able to retain a melodic coherence which I personally feel many of the greats were wont to lose sight of in favour of rhythmic effect. His is a less 'hard' sound, and more accessible for it.

Post: #60

And to add to RedpillUK's excellent post:

Jazz and blues are, for me, a symbolic repository of hope and unity. They are an expression of common, irrepressible emotion and soul - transcended of race and culture - an unrivaled exclamation of the capacity for human unity. When you see a bunch of old black, white, and brown dudes, playing in the same band as a bunch of young black, white and brown dudes, all perfectly in tune with each other, all trading fours and pushing each other to express the depth of emotion that is in all of them, it feels very close to a religious experience for me. There is understanding, harmony, support, real listening, and perfect cooperation to produce something that transcends the sum of its parts - it is a microcosm of all that is best in Man.

Post: #61

(10-14-2015 02:03 PM)AldoKelevra Wrote:  

(10-13-2015 11:44 AM)rw95 Wrote:  How does the jazz scene look like in other countries? Sadly, it seems jazz is dead as a cultural force in the United States, but I hear it's still fairly popular in Asia and Europe.

I wouldn't say jazz is entirely dead in the US, but now it's more of a niche genre. Most of the people that listen to jazz are musicians, or jazz musicians themselves. I always say it's a musicians kind of music. In the sense that most people that appreciate it now are only musicians or artists.

What I see in jazz show audiences in NYC these days are mostly older boomers who appreciate jazz. Usually its the man, who takes his wife or date. These folks keep the genre alive in the US, through attending shows and charitable giving to music endowments. I've inevitably become this too. You see some scattered youngsters in the crowd, but in large part the audiences are older adults. With the mix of younger hipsters, random attractive women, and older folks paying the cover and paying for pricey cocktails, its usually a really good scene and vibe. When I am more serious about a girl I take her to jazz clubs for dates, to see good music. The sex ensues.

Young cats take notice, if you like a girl, take her to a jazz club for a date. Its usually dark, you can sit off to the side or in a corner seat, she'll be dressed up, the cocktails are good, and its usually a good scene.

A senior Berklee guitar instructor told me once in a lesson, that if I chose to master jazz, that I would have to give up on every other type of music entirely. I couldn't commit to that, but I still have a deep appreciation for jazz and learn a little here and there.

Post: #62

(12-24-2015 09:57 AM)Vaun Wrote:  

(10-14-2015 02:03 PM)AldoKelevra Wrote:  

(10-13-2015 11:44 AM)rw95 Wrote:  How does the jazz scene look like in other countries? Sadly, it seems jazz is dead as a cultural force in the United States, but I hear it's still fairly popular in Asia and Europe.

I wouldn't say jazz is entirely dead in the US, but now it's more of a niche genre. Most of the people that listen to jazz are musicians, or jazz musicians themselves. I always say it's a musicians kind of music. In the sense that most people that appreciate it now are only musicians or artists.

When I am more serious about a girl I take her to jazz clubs for dates, to see good music. The sex ensues.

Young cats take notice, if you like a girl, take her to a jazz club for a date. Its usually dark, you can sit off to the side or in a corner seat, she'll be dressed up, the cocktails are good, and its usually a good scene.

A senior Berklee guitar instructor told me once in a lesson, that if I chose to master jazz, that I would have to give up on every other type of music entirely. I couldn't commit to that, but I still have a deep appreciation for jazz and learn a little here and there.

All true. Especially about being a jazz master. But I've always believed that once you know how to play jazz, you can pretty much learn how to play anything else pretty easily.

A rock musician can't always play jazz, but a jazz musician can always play rock.

Jazz dates can be some of the best. They have been my most memorable. If the girl truely appreciates it, you know she's worth it and you can keep her around for a bit.

Post: #63

For those of you who play jazz, how is the best way to really go about mastering your instrument? Should one focus on reading and theory above all else and try to incorporate what you have learned into your soloing? (I once read somewhere that a lot of jazz musicians have some kind of classical training, though I'm not sure how true that is.) Or should you learn as many scales and arpeggios as possible and try to play by ear? I'm asking this as someone who recently took up the tenor sax and would like to play jazz at least recreationally if not professionally someday. I am well aware that it is a long route to really master an instrument no matter what, but what would be the best way to do so?

Post: #64

I think there are a few different things to focus on specifically for saxophone.

Firstly and most importantly you must develop a good tone. If your tone is weak than it doesn't matter how fast you can play and how much knowledge you have.

Being able to read simple melodies in the treble clef is useful to learn jazz heads so at some point you will want to spend time on that.

To begin improvising just learn the blues scale and try improvising with it over a blues. You will probably be surprised when you eventually come up with stuff that sounds good. You can also use this scale or a few different blues scales on a jazz tune. Then if you want to improve that further you can learn what others play scales theory etc. But first focus on one thing at a time.

I'm currently writing down a lot of my thoughts about learning music and have a lot more advice but that should be enough for now. I'm not at home or on my laptop right now anyway.

Post: #65

Anybody read any good books on jazz? I read a bit of Leonard Feather's Encyclopedia of Jazz, but that's more of a reference book (and woefully out of date at this point).

Post: #66

For musicians, there's Mark Levine's book, and the best book I've read on jazz theory, with wider application, is Hal Galper's book Forward Motion, which is phenominal and presents a 'new' way of looking at reading, hearing, and playing music.

Post: #67

+1 on the Levine book, BTW.
I also recommend the Jamey Aebersold playalong-books, for practice purposes.

And as far as "A rock musician can't always play jazz, but a jazz musician can always play rock", it's all in the feel and the phrasing, IMO.
Especially when both genres have their roots in the blues...

Post: #68

Post: #69

I've got Forward Motion on my computer. Maybe I'll check it out again. I remember something about the concept of 'harmonic forward motion' basically you're playing notes that anticipate the harmony of the upcoming bar. Is there more to it than that?

Post: #70

Jazz is such a huge genre of musical works that it's hard for me to get my head around it all. I think it's some of the most relaxing music ever and it's really helps me to wind down after a long day. It's also great to just play as background music with company or when I have a woman over at my crib.

One of my favorite jazz musicians is Cannonball Adderley. His monologues alone are worth listening too and his music is amazing. His album "Somethin' Else" is also a personal favorite:

Post: #71

I grew up playing classical piano since I was 11, but jazz took over by a storm when I hit around 18. Since then it's become necessary to my existence. To me jazz is like gourmet food. People believe that KFC is delicious i.e. Rihanna, Justin Bieber, One Direction and other shit that has consumed the younger generation today. The only reason is because they haven't ever tasted gourmet food of the highest pedigree i.e. Oscar Peterson, Art Tatum, Bill Evans, Ray Brown, Joe Pass, etc. It takes time to appreciate this art. The development in performance and understanding of music, harmony, rhythm takes an incredible of amount time. Then the insight that comes after decades of daily commitment and love to the craft. Its sad how this is a dying art. I barely come across anyone my age, mid twenties, that listens to jazz.


Here are some of favourites:

This first one is beyond words. Welcome to the finest jazz pianist of all time and one of the greatest musicians that ever lived. His technical prowess and musicianship will be unmatched for eternity. He's that good. And because he was that good, he stopped playing in trios because the other musicians couldn't keep up with him. In other words, he was too good for them. This was in the golden age of jazz. They say that no one can ever master their instrument, but he's probably come the closest. Art Tatum.





Bill Evans. Another of one of the jazz greats. His virtuosity doesn't come close to Art Tatum, but his melodies 'sing' like no one else. His distinct sound was influenced by impressionistic composers of the past such as Maurice Ravel and Claude Debussy. The Bill Evans trio (piano, double bass and drums) is one the finest of all time. His 'Waltz for Debby' has become a standard in jazz.





Oscar Peterson. Top five jazz pianists of all time. You haven't listened to jazz without listening to Oscar Peterson. The trio of him, Ray Brown (double bass) and Herb Ellis (guitar) is considered to be the best jazz trio ever to walk the stage. Ellis being white left the group because of complications due to segregation between blacks and whites at the time. For years Oscar's trios never equalled the musicianship of his trio with Brown and Ellis but it achieved similar excellence with him, Joe Pass (electric guitar) and Niels-Henning Pederson (double bass) about a decade and a bit later. He was a genuine gift to jazz.

Post: #72

(03-13-2016 03:36 AM)Akula Wrote:  Jazz is such a huge genre of musical works that it's hard for me to get my head around it all. I think it's some of the most relaxing music ever and it's really helps me to wind down after a long day. It's also great to just play as background music with company or when I have a woman over at my crib.

One of my favorite jazz musicians is Cannonball Adderley. His monologues alone are worth listening too and his music is amazing. His album "Somethin' Else" is also a personal favorite:

My favorite cut on this album is "One for Daddy-O" dedicated to the late great Chicago jazz DJ and impresario Holmes (Daddy-O) Daylie.

http://articles.chicagotribune.com/2003-...unications

Post: #73

To answer your question about jazz in the US, unfortunately one of the better known jazz clubs in my city (Washington, D. C.), Bohemian Caverns, is closing as soon as their lease is up. Some of the greats have played there, and I have been fortunate to have attended a few shows there, but I guess jazz music, at least in the nations capital, is not economicslly viable. I think it truly is niche music in the US, and probably has been for sometime.

Post: #74

Went through a jazz phase at the start of the year. I've recently started getting into prog again. It struck me how comfortably the two genres sit together in terms of musical expression.

Kind Of Blue was my first jazz record and still one of my favourites.

Post: #75

Some jazz musicians I feel are criminally overlooked in one way or another:

Pete Fountain:




In my opinion, the greatest clarinetist of all time. Here he is on Lawrence Welk in the 50s, where he got his big break. He released a string of albums throughout the 60s and 70s, and appeared numerous time on Johnny Carson's show, but he remains overshadowed by Benny Goodman. Highly overlooked and underrated. He's still alive, but he retired a couple years ago. Sucks, I had wanted to go to New Orleans and see him play.

Paul Gonsalves:




Born to Cape Verdean immigrant parents, Paul Gonsalves was a tenor saxophonist best known for his association with Duke Ellington, which lasted 2 decades. He is tragically (though understandably) overshadowed by his predecessor in the Ellington outfit, Ben Webster. However, Gonsalves was a powerhouse of a tenor player in his own right, and was equally at home on stomps and ballads. This is his best known work, a 27 chorus solo on Ellington's Diminuendo and Crescendo in Blue at Newport, 1956 which revitalized Ellington's career.

Scott Hamilton:




Scott Hamilton first came to prominence in the 1970s, and was credited with being a major force in the revival of mainstream jazz. Sadly, by the time he was making his mark on the jazz scene, jazz had already ceased to be a major force in the American music market. As such, he probably remains largely unknown to most American listeners. Nevertheless, his playing speaks for itself. He does a phrase at the beginning of his last chorus where he trades fours with the guitarist that just knocks me out.