^Yes indeed, now fuck off onto another topic, this one is for 'Oorible 'Oo fans only.  Quadrophenia the double album, ah, the work of true genius.

If you ever purchase any of the live DVD's of The Who or Townsend, there's always some excellent interviews included as extras.  Always inciteful, interesting perspectives on dear old Blighty in the last 60 years.

Fuck, this thread has improved while I was down the curry house!

I've no input now apart from saying that I admire all of your input.


Now I shall go and do another one of my bullshit threads just to lower the tone once more!


Best -

Go to bed!

Brubeck was a smart faker, that's all.  Paul Desmond is a different matter.  Brubeck was artsy - although not in quite the same way as, say, Freddie Hubbard or Chico Hamilton (as experienced in 'JOASD').  He was also - although unlike Armstrong - a pop musician.  Don't get me wrong, Armstrong was awful when he succumbed to that temptation later in his career.  Above all, Brubeck was fucking boring - an unforgiveable crime for any jazz musician.

Agreed:  Coleman, Ayler, Shepp.  'Take Five' was a novelty record.  Early Armstrong is unbeatable.

Oh yes.  That fucking drum break.  Thanks for reminding me.  Almost as tedious as 'bomb dropping'.  Repeat to yourself:  Jimmy Cobb, Jimmy Cobb, Jimmy Cobb...

Re: Joe Morello -


From Drummer World and there are numerous other credits in other journals by learned critics and musicians. Only people who might not like it are Non Drummers (and they don't count). Respected by Blues, Jazz and Rock Drummers.  It's not when he hit the skins, its when he didn't. Less is more.

Quote:
"His 12-year stint with Brubeck made Morello a household name in the jazz (and drumming) world, and on the quartet's recording of "Take Five" he performed one of the most famous drum solos in jazz history. "When people use the word ‘technique,' they usually mean ‘speed,'" Morello says, commenting on the solo. "But the ‘Take Five' solo had very little speed involved. It was more about space and playing over the barline. It was conspicuous by being so different."
Un Quote.


Yrs,

Mrs Gladys B, Queen of Behind The Scenes.

Worth a read through - Austins gets a mention down the bottom:

http://themusicologist.wordpress.com/2009/05/15/musicology-377/

Some rather nice demystifying of the myth.


My thanks to Chris_H. for the above - "Fellow Jazz Warrior" as he appears in a very good book on Jazz which was, in part, dedicated to him by the author.

http://www.amazon.co.uk/Points-Departure-Essays-Modern-Jazz/dp/1900152797%3FSubscriptionId%3D0JRA4J6WAV0RTAZVS6R2%26tag%3Dworldcat-21%26linkCode%3Dxm2%26camp%3D2025%26creative%3D165953%26creativeASIN%3D1900152797

Mm hmm.

Thing I've got against it overall is, it's chilly and mechanical.  Listen to really good jazz, like Baker playing 'My Funny Valentine', you're lifted - because it's beautiful.  Is it art?  Probably.  I have the same feeling with Robert Johnson and Muddy Waters - 'Rollin' And Tumblin''.  A feeling at the pit of the stomach, of tension, of soaring.  'Take Five' reminds me more of B.B. King: a bit of flashy showing off.  I'm not struck on experimental jazz, either, on the whole.  Davis leaves me cold after a certain point; and I much prefer Grey to Parker.