[Dixielandjazz] Steve B ~ Body & Soul

Sun Oct 11 12:56:51 PDT 2009

Brilliant SB, I'll say more later, read Humph Book Jazz Greats 2.
Interestingly Chu thought Hawk was playing wrong notes. Hawk thought it nothing special, "I've been playing like that for years".

You may have said that in your notes. But only taking a break from playing I save and read later. I've found some D'Amico I missed him sound wise 1st time around, he was up against LYoung.
He's also on an dire Bobcats record something about a Monkey, I'll listen to D'Amico's contibution if he had any.

Richard 

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> Today's Topics:
> 
>    1. Bean and Body & Soul (Stephen G Barbone)
>    2. De Paris Bros & Clayton (richard.flecknell at ntlworld.com)
>    3. Blind Spots 2 (richard.flecknell at ntlworld.com)
>    4. blind spots??? (Jim Kashishian)
> 
> 
> ----------------------------------------------------------------------
> 
> Message: 1
> Date: Sun, 11 Oct 2009 13:00:01 -0400
> From: Stephen G Barbone <barbonestreet at earthlink.net>
> To: dixielandjazz at ml.islandnet.com
> Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
> Subject: [Dixielandjazz] Bean and Body & Soul
> Message-ID: <5492F17E-0F11-4391-A84D-1FB133384F73 at earthlink.net>
> Content-Type: text/plain;	charset=US-ASCII;	format=flowed;	delsp=yes
> 
> 
> > <richard.flecknell at ntlworld.com> wrote:
> >
> > Due to backlog of email report on Hawks solo is delayed.
> > I wanted to be able say it was not the masterpiece claimed, but now  
> > having fallen off the fence (I'm clinging by my fingertips to it and  
> > about to fall off), and listening on a repeat loop for 2 days I'm  
> > 'bout to give my humble verdict. Not worth the salt but fun. I still  
> > prefer sax player in ODJB to Hawk, talk about advanced.
> > I'll explain later.
> 
> Opinions are what makes horse racing. I am firmly in the camp of those  
> who say Bean's Body & Soul was a masterpiece.  And In its exploration  
> of harmonic structure it is considered by many to be the next  
> evolutionary step in jazz recording from where Louis Armstrong's West  
> End Blues in 1928, left off. You can see a transcription of the solo  
> at: :
> 
> http://www.lucaspickford.com/transcolemansoul.html
> 
> Here are two other opinions:
> 
> Historian Ted Goia calls this "the most celebrated saxophone solo in  
> the history of jazz" and "a landmark, breakthrough performance" that's  
> been "studied by generations of musicians and is loved by countless  
> jazz fans." Of course, not every listener will care to analyze  
> pedagogically a musician's chordal navigation. Moreover, what Gioia  
> describes as Hawkins's "ponderous tone" and "baroque arpeggios"  
> assembled in "rigidly logical" construction may strike today's ears as  
> mechanistic and old-fashioned. Even so, "Body and Soul" deserves its  
> due. No trailblazer in tenor sax balladry cut a wider swath than  
> Coleman Hawkins.  (Source: Jazz.com)
> 
> This one from is from Tom Moon, All things Considered PR: "That year  
> marked a moment of transition for jazz . . . Hawkins' "Body and Soul"  
> replaced blues-based riffing with brisk arpeggios, sharp-cornered  
> phrases and endless lines that were the jazz equivalent of run-on  
> sentences. He danced at the upper extremes of chords, foreshadowing  
> the altered harmonies that later were so important to bebop. But he  
> was hardly academic. His spry, seductive tone gave every phrase an  
> unmistakable passion."
> 
> 
> 
> "Right away, the Hawkins version of "Body and Soul" became one of the  
> essential documents of jazz. It was not only a hit on jukeboxes until  
> the 1950s, but also a textbook lesson in ballad playing. Its blend of  
> technical mastery and tender lyricism proved that it was possible to  
> modernize well-worn Tin Pan Alley standards."
> 
> "Despite the enormous popularity of the original recording, Hawkins,  
> who died in 1969, never played it exactly the same way again. He knew  
> that the ideas in that solo had become part of the jazz vernacular.  
> But he was more interested in creating something new than simply  
> repeating himself. He eventually developed a solo piece titled  
> "Picasso," which incorporated some of the melodic ideas from "Body and  
> Soul.""
> 
> "Saxophonist Joe Lovano says that Hawkins' dedication to improvisation  
> is a legacy perhaps even more important than the endlessly studied  
> notes and inflections of the original recording."
> 
> "That really taught me a lot about trying to learn how to improvise  
> and to be creative with the material and not be a repeater," Lovano  
> says, "because throughout his whole career, he didn't repeat that  
> solo. That was it. He recorded it once, and then, every time he played  
> that tune, it was a new expression on it, you know? And that's what  
> really separated him from everybody else, because he was so free on  
> his horn and so creative."
> 
> Cheers
> 
> Steve Barbone
> 
> www.myspace.com/barbonestreetjazzband
> 
> 
> 
> 
> 
> 
> 
> ------------------------------
> 
> Message: 2
> Date: Sun, 11 Oct 2009 18:29:14 +0100
> From: <richard.flecknell at ntlworld.com>
> To: dixielandjazz at ml.islandnet.com
> Cc: dixielandjazz-request at ml.islandnet.com,	Dixieland Jazz Mailing
> 	List <dixielandjazz at ml.islandnet.com>
> Subject: [Dixielandjazz] De Paris Bros & Clayton
> Message-ID:
> 	<20091011182914.A7EIA.654683.root at web03-winn.ispmail.private.ntl.com>
> Content-Type: text/plain; charset=utf-8
> 
> Just a quicky
> ie, back distance days found a Temp Ep of above.
> 
> Listen to Persian Market ~ still brings quivers to my soul.
> King Zutty, great tune as well
> 
> I just found what Sweet Peter stood.
> Gives a New meraning to Dixieland.
> 
> Richard
> 
> Marek, must find those Clayton / Guarnieri recordings. Clayton's one of my tops.
> 
> Cheers for now.
> Must remember to get back to Steve B on D'Amico & NY Clubs. Fascinating.
> Steve could Buck & Roy make a reasonable living as professional back then?
> 
> 
> 
> ------------------------------
> 
> Message: 3
> Date: Sun, 11 Oct 2009 18:47:41 +0100
> From: <richard.flecknell at ntlworld.com>
> To: dixielandjazz at ml.islandnet.com
> Cc: dixielandjazz-request at ml.islandnet.com,	Dixieland Jazz Mailing
> 	List <dixielandjazz at ml.islandnet.com>
> Subject: [Dixielandjazz] Blind Spots 2
> Message-ID:
> 	<20091011184741.7KMVP.655126.root at web03-winn.ispmail.private.ntl.com>
> Content-Type: text/plain; charset=utf-8
> 
> Add John Kirby Sextet.
> I see the pigeons scattering.
> 
> Maynard & Al Hurt: These two remind of a trip to the dentist, you know where he says this won't hurt.
> 
> (I know, the spellings quite deliberate)
> Must find Screamin' Blues.
> richard
> 
> 
> 
> 
> 
> ------------------------------
> 
> Message: 4
> Date: Sun, 11 Oct 2009 20:00:24 +0200
> From: "Jim Kashishian" <jim at kashprod.com>
> To: <dixielandjazz at ml.islandnet.com>
> Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
> Subject: [Dixielandjazz] blind spots???
> Message-ID: <B2C4060F40D647ADB2473F96E5315072 at JIM>
> Content-Type: text/plain;	charset="us-ascii"
> 
> I'm not sure what this "blind spots" thread is all about.  However, if it is
> about bands or musicians one or the other member on djml doesn't like, it
> seems to me to be a never-ending-meaningless thread.  Each of us has his or
> her likes & dislikes.  Might as well discuss politics on this list.  There's
> never going to be an agreement....
>  
> Jim
> 
> 
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> End of Dixielandjazz Digest, Vol 82, Issue 21
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