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<p class="MsoNormal"><span style="mso-ansi-language:EN-US"
lang="EN-US">It was for
me the other way around. I started with revival Dixieland in
1956, mainly
European trad like the Dutch Swing College Band, Chris Barber,
Acker Bilk etc. Then
Dave Brubeck, Oscar Peterson, the MJQ came, followed by Art
Blakey, Horace
Silver, Thelonious Monk … and after that I started with Miles
Davis during the
early 60’s, totally taken by the 1964 concerts that produced
the albums “Four
And More” and “My Funny Valentine”. From there I went back to
the beginning
period of Miles (the famous Prestige albums) and kept
following him until the
end (1991). I saw him some 25 times, during the period
1967-91. The first time
in Rotterdam (De Doelen), sitting in the front row. And,
indeed, the creative artist
is often ahead of his audience: here I was listening and sort
of expecting a
1964 Miles (that I knew so well from all the records), but
Miles had evolved a
little further and I felt not completely comfortable at the
time I must say.
However, listening to the same concert now (bootleg records)
it is all familiar
ground for me, only it took me some time to realize how great
the music is.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="mso-ansi-language:EN-US"
lang="EN-US">With
respect to jazz I became pretty much sort of an omnivore, both
going back to
the jazz beginnings (black and white early jazz, big band,
swing) and keeping
up with most of its developments. <span
style="mso-spacerun:yes"> </span>And it
gave me a lot of satisfaction. At first I lost my interest in
traditional jazz,
but that came back again (and I’m glad it did) at the age of
about 30 (early
70s).<o:p></o:p></span></p>
<p class="MsoNormal"><span style="mso-ansi-language:EN-US"
lang="EN-US">There were <span style="mso-spacerun:yes"> </span>years
that I saw Miles more than once and I’m
glad his final year 1991 was among those: New Orleans (Jazz
Fest) and The Hague
(North Sea Jazz). Especially the New Orleans concert was quite
impressive, with
mainly an enthusiastic black audience, and Miles starting for
BB King (Blues)
and Rocking Dopsy (Zydeco). The location: The Municipal
Auditorium in the Louis
Armstrong Park (north of the French Quarter). Great concert
and I’m glad I later
received an audience taped copy of it through my friend, the
Danish Miles
discographer Jan Lohmann. Miles had a deep respect for Louis
Armstrong and I
love the few existing photographs of their encounters. And
Miles never disliked
his audience, that is completely nonsense the stories they
made about “turning
his back”. Miles listened all the time to the music around him
and was fully
concentrated about it. And you know the famous stories such as
the one from pianist
Herbie Hancock, where he was playing a wrong note in a chord,
and Miles immediately
playing another note making Herbie’s note sound just right.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="mso-ansi-language:EN-US"
lang="EN-US">I often
have the unpleasant feeling that many “jazz purists” are
intolerant, wanting to
be more roman catholic than the pope.</span></p>
<p class="MsoNormal">Just my few cents.<br>
</p>
<p class="MsoNormal">Sep<br>
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<div class="moz-cite-prefix">Op 11-4-2017 om 1:31 schreef Marek
Boym:<br>
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<blockquote
cite="mid:CABGvO8AvZO=v6=_8fSdU1aV2h9c_kS0cXODrPueKL0AQSBaBaQ@mail.gmail.com"
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<div>Sorry. I didn't mean to be offensive.<br>
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I made the journey the other way round: I started listening
to everything when in my teens. including rock and roll,
which in my native Poland (and later here in Israel) was
considered jazz, and became greatly disappointed by
modernists, in particular by the then greatest hero, Miles
Davis, before I ever heard Wild Bill Davison. I had known
the Brubecks ("Blue Rondo a la Turk," for example) and the
MJQ records by heart before I ever heard ABOUT Wild Bill.
Gradually I lost all interest in their cool, to my ear -
lifeless - music. By the mid 1960's I dropped most
"modern" jazz and concentrated on jazz and swing. I cannot
see the connection between Miles Davis and jazz. nothing
wrong in liking Miles Davis - it just does not sound like
jazz. Eddie Condon had something to say on the subject: "A
terrible thing has happened to jazz: it became
respectable." That must be the reason while so many
musicians want their music classified as jazz. I wish I
could claim this is an original idea, but the explanation
comes from Hughes Panassie's "The Unreal Jazz."<br>
</div>
I apologize again,<br>
</div>
Marek<br>
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<div><br>
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<div class="gmail_extra"><br>
<div class="gmail_quote">On 11 April 2017 at 00:42, Charles
Suhor <span dir="ltr"><<a moz-do-not-send="true"
href="mailto:csuhor@zebra.net" target="_blank">csuhor@zebra.net</a>></span>
wrote:<br>
<blockquote class="gmail_quote" style="margin:0 0 0
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<div style="word-wrap:break-word">Marek, I came by my fandom
honestly. Born and raised in New Orleans; before my teens,
enchanted (still am) by Bunk, Louis, Bechet, and others.
Moved along, without burning the bridges of my love for
early jazz, to enjoying and playing drums in many styles.
Gigged with big band and modern jazz groups on some
weekends, on others with Armand Hug, Chink Martin, Paul
Crawford, etc. But from inside your bubble, I’m not a jazz
fan. You’re entitled to your opinion, man, but that’s an
insult.
<div><br>
</div>
<div>Charlie</div>
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<blockquote type="cite">
<div>On Apr 10, 2017, at 3:20 PM, Marek Boym
<<a moz-do-not-send="true"
href="mailto:marekboym@gmail.com"
target="_blank">marekboym@gmail.com</a>>
wrote:</div>
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<div>some of us do not consider Miles
Davis followers jazz fans, which makes
the preceding part of this post
irrelevant. <br>
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