Кто слушает джаз?

Мож посоветует кто-нить, что нить клевое послушать из классики или современности jazza?
Чтоб достать без проблем было.
Особенно интересует вокал, фортепиано, саксофон, гитрара...

Take Five

2afigegoznaet:

>Take Five

Это мне? Тогда дай пять!

Dave Brubeck - Take Five
Это музон такой

да понЯл-понЯл... Спасибо.

2afigegoznaet:
Michel Petrucciani в "Promenade with Duke" исполняет стандврты Strayhorn'а и Ellington'а, в том числе и Take the "A" Train. Имеется и концертное ее иополнение в "Concerts Inedits".

2OnlyOne:
>Take Five
Вообще говоря, мысль самая правильная:-)
Dave Brubeck - Time Out
Весь диск - классика :-)
И я бы еще что-нибудь из Modern Jazz Quartet порекоммендовал. Они достаточно универсальны. Хороши и когда "Порги и Бесс" играют и когда классику переигрывают и когда вместе с автором Take Five кусочек из Jesus Christ SS играют...
Это из классики.

2г-н Карп & г-н Фиг Е. Знает:

Спасибо! Поищу. Вы уж пока меня не заваливайте. я много сраз не переварю. НАчну с тейкфайвов!

Поимел пару замечательных пластинок:
-- Кенни Баррелл "Печальная муза" (блюнотовский 2003). Неожиданно печальный, балладийный Кенни. Несколько песенок с вокалом гитарного гения...Даже монковская "раунд миднайт"... Понравилось оч. сильно... Наверное, совпало с настроением...
--Хэрб Эллис на "Мэллоу тон" -- славный двойничок 2000-го гэ блистательного мастера джазовой электрогитары...
Обоих рекомендую фсем, кто любит хороший джаст, и кто ещё не знаком (а есть ли такие?) с этими товарисчами...
Очччень фкусно!

Нашел Petrucciani, ура!!!
Это как раз то что я искал
Афигенный пианист.
Большое спасибо господину Панину

2afigegoznaet:
Мишель, один из двух моих самых любимых пианистов!
ПРЕКРАСНЫЙ МУЗЫКАНТ!

Но сейчас, о первом...

Только что купил его выступление на LUGANOJAZZFEST 2005...
Просто потеря здравого смысла...

... Джо Сэмпл!!!

John Scofield
By Barry Cleveland | November 2005

John Scofield has recorded dozens of albums as a bandleader, in addition to working with scores of legendary artists such as Charles Mingus, Herbie Hancock, Chick Corea, Joe Henderson, McCoy Tyner, Jim Hall, Gary Burton, and Miles Davis. The one thing he hadn’t done was feature a vocalist on one of his releases, so when Verve Records suggested that he record an album of songs sung by the late Ray Charles, the veteran guitarist was all ears.

“Ray’s music is jazz-inspired R&B, which I love, and I thought it was something I could easily and naturally do in my own way,” he says. “I’d also been trying to figure out how to work with singers, and this was an opportunity to do that, as well.”

To that end, Scofield enlisted organist Larry Goldings, bassist Willie Weeks, and drummer Steve Jordan as his core band, along with seasoned backing vocalists and a crackerjack horn section. Then, he and Jordan (who also produced the disc) invited Mavis Staples, Dr. John, Aaron Neville, John Mayer, and Warren Haynes to add vocals and a few additional instrument tracks. Saxophonist David “Fathead” Newman, who accompanied Charles for decades, also contributed some soulful solos.

Despite the album’s vocal emphasis, That’s What I Say: John Scofield Plays the Music of Ray Charles [Verve] is chock full of great guitar playing—including some inspired bottleneck lines by Haynes on “Night Time is the Right Time,” deft blues licks by Mayer on “I Don’t Need No Doctor,” and Sco’s spirited comping and restrained soloing throughout.

“I was trying to be especially tasteful and play more sparsely,” he says. “When you’ve got a great vocal part, you don’t want to hear some guy playing a million notes over it.”

To capture the vibe and immediacy of an old-style studio performance, the guest singers cut their vocals alongside the rhythm section on every song except “What’d I Say” (where they sing a verse each), and only the horn section was overdubbed. “I didn’t overdub my solos, either,” explains Scofield. “I punched-in in a few places, but, mainly, I just kept what was there.”

Serendipity entered into the process in other ways, as well, including recording the album’s opener.

“‘Busted’ started out as just a jam,” says Scofield. “We were going to do another organ trio tune, but Steve suggested playing it instead. It’s really simple, and everybody kind of knew it, so we just jammed it out. It was completely spontaneous.”

Excluding a 14th hidden track, the album closes with a heartfelt rendering of “Georgia on My Mind,” performed on a Ramirez classical guitar. “That’s the one I wanted to play all by myself,” enthuses Scofield. “It’s Ray’s signature tune, and what a chord progression!”

Scofield is currently performing the music of Ray Charles live with his new quintet. “It’s not the guys on the album, because they are expensive studio professionals [laughs]. It’s Gary Versace on organ, John Benitez on bass, Steve Hass on drums, and a great singer from the wedding band circuit in Boston named Meyer Statham.”

Were you concerned that having well-known vocalists on your CD might confuse listeners into thinking it was their record rather than yours?
I’m sure a lot of the general public will think that “I Don’t Need No Doctor” is a John Mayer track when they hear it, but, hopefully, they’ll figure out it’s on my record and buy it. At the same time, maybe some of those vocalists are playing songs from the record, or getting requests for them at their gigs. But I’ve made so many albums now that I’m just looking for new stuff to do. I’m not that worried about that sort of confusion.

How did John Mayer get involved?
John knows Steve Jordan, and, one day, Steve told me that John wanted to be on the record. At first, I wasn’t sure how we could use him, but when we got together he played his ass off. He has that whole singer-songwriter thing going, but he’s also a strong guitar player. He plays blues really well, he understands jazz, and he has a very creative mind. He has a big portrait of Stevie Ray Vaughan on the mantle at his house, and he told me his new record is going to be along those lines. The guy’s for real.

2
How did you connect with Warren Haynes?
I was playing at this jazz club called Sweet Basil in the late ’80s or early ’90s, and this really longhaired guy wearing a leather jacket came in and asked if he could sit in. He didn’t look like your normal jazz head, and I was up there with my band playing original music, so I declined. He said, “Okay, I just wanted to know. I’m a guitar player, and I really dig your playing. See you later.” He was very nice. As he was leaving, somebody hipped me to the fact that he was the new guitar player in the Allman Brothers. Warren forgave me when he got in touch a few years back, and we ended up doing a few gigs and recording together. Since then, I bought a Warren Haynes “learn to play slide guitar” book and CD, and I’ve been practicing bottleneck guitar.

How’s that coming along?
I actually played slide for the first time on a gig last night, and it wasn’t so hot. It’s hard! Those frets keep the thing in tune more, you know?

Some of the arrangements on the new album are significant departures from the originals—particularly “Sticks and Stones” and “What’d I Say.”
Some of them are really different. For “Sticks and Stones,” I thought, “This would be good to really funk up,” and it turned into this kind of backbeat thing, which is really different from Ray’s version. Same with “I Don’t Need No Doctor.” We put more of a funky beat on it. On “What’d I Say,” it was my idea to make it into more of a Latin track. Jordan just jumped on that, because he loves that New York Afro-Cuban salsa music.

Are you playing your Ibanez AS200 on all the songs?
Mostly, though on a few cuts—I can’t recall which ones—I played my ’58 Gibson ES-335. I had roundwounds on the Gibson, and flatwounds on the Ibanez. It was Steve’s assistant, Artie Smith, who got me to play the ES-335. He also provided me with the Ramirez classical guitar I play on “Georgia on My Mind.”

What amp did you use, and how was it recorded?
Artie has a bunch of old amps and guitars, and he brought in a ’58 Fender Twin and an early-’60s Vox AC30 to use along with my ’65 Fender Deluxe Reverb. We connected the amps to a Radial JD•7 Injector switching system that lets you play through all three at once, which was really different for me. During the mix, we panned the amps in various ways and blended them according to what was needed for a particular song. It’s a better sound than I’ve ever gotten before. The only exception was on “I Can’t Stop Loving You,” where I just used the Deluxe for a Pops Staples kind of vibrato sound.

Revisiting Ray Charles’ music reminds one of the richness of the ’50s and ’60s music scene—including the many revolutionary things that were happening in jazz. Are you aware of any young cats out there who have the potential to affect contemporary jazz as much as, say, Coltrane or Miles did?
I think that when the revolution comes, we’re not going to be worried about whether it’s “jazz” or not. Right now, there’s not that kind of innovation because jazz was this incredible concept that started at the beginning of the century in New Orleans or wherever. It spread throughout the country, and was translated into big bands and swing. Then came bebop, and the idea of taking advanced musical concepts and applying them to the heads and just soloing. Then, there was a re-simplifying of the music, and playing free with it. And there were these really talented African American musicians who were on hand at the time to be caught up in this natural force.

But now I think we’ve come to a point where jazz is moving on. It’s fantastic music, but there’s no focal point anymore. There are still geniuses, and I’ve heard some great young players—like this guy in Australia named James Muller who is in his 20s—but it’s not like with Coltrane, where everybody heard him and started to play like that.

What about the whole retro thing, where they’re trying to almost formalize jazz in the same way classical music was formalized?
I guess that’s natural because people do tend to formalize things. Musicians are always working on systems, and the further you get from the original ideas, the more time people have to formalize them. Certain people will tell you what they think music will be, and the problem with anybody telling you what’s up, is that somebody else will say, “Uh uh, check this out.” And that’ll be valid, too. I think bebop has become like classical music. I hate to say it, because I love it. I love the feeling of playing jazz, and the visceral thrill of swinging. But it exists in the academy now. It doesn’t exist in the nightclubs for people to drink and make love to.

I guess the next thing will be formalized free jazz.
Oh man, I can’t wait for that!

john lee hooker***
Была возможность взять "Blue Muse".Если бы всё было как первый и последний трек...Короче ,заказал "For Charlie Christian and Benny Goodman",во вторник буду слушать.А что за двойник Эллиса? У меня есть несколько альбомов с его участием,лучший двойной живой с Джо Пассом "Arrival",запись 1973.

pempe***
Очень люблю Скофилда,особенно за его разнообразие.Номер два среди джазовых гитаристов у меня Майк Стерн.

2papan
неблагодарное занятие номера выставлять - все очень достойные. Для себя первым Маклафлина поставилбы, далее без номеров Стерн, Скофилд, Holdsworth, Bill Frisell, Metheny, Di Meola, Coryell, Martino.

Какое-то время и у меня Маклафлин первым был, но сейчас выпал за пределы даже первой моей десятки, которая в настоящий момент выглядит так: Grant Green, George Benson, Melvin Sparks, Gabor Szabo, Charlie Christian, Wes Montgomery, Django Reinhardt, Kenny Burrell, Pat Martino, Bireli Lagrene.

2Александр Панин
суть то не в исполнителях, а в музикальных вкусах. Если неслушаеш Grant Green'a, то и нецениш его. Когда вес поднимают, так там яснее - сильнее кто больге поднял, и то вводятся весовые категории и т.п. А тут критевии другие.