Make a Jazz Noise Here

[Leo K.]

What are the "DNA markers" of Bix's cornet style? Several individuals have contributed useful descriptions of what are, in their views, essential components of Bix's music. Here are some important points (in no particular order) that have been advanced -both things that Bix does and things that Bix does not do.

*big, open tone.
*lack of pyrotechnic flash (as a positive quality)
*emphatic attack
*notes are articulated, not slurred
*use of bending notes
*use of triplets
*chromatic runs
*deep harmonic thinking
*inventiveness, both melodic and harmonic
*subtle dynamics

Here a few more from Randy Sandke

*love of symmetry
*driving
*correlated chorus
*rhythmic delay
*use of grace notes or ghost notes
*avoided playing the same thing twice
*use of irregular rhythms
*strong and confident
*weak and vulnerable
*wide range of emotions within a solo
*rare and refined
*fragile
*poignant
*subtle yet highly distinctive vibrato
*fast an narrow vibrato: appears like a sheen or vibrancy on the note
*precise articulation
*dynamic shading
*rhythmic variety
*subtle choice of intervals
*inimitable sound
*starts solo in the high register and works his way down
*finishes solos lower, slower, and softer
*lyrical player, but also staccato and bright (Doc Cheatam)
*little legato flow between notes
*playing has sharpnes and definition
*stays within "vocal" range of horn
*rhythmic hesitation
*alternates on-the-beat figures with those containing irregular rhythm
*simple and complex at the same time

When I try to analyze Bix's special "DNA markers," I come up with three essential components: the tone, the inventiveness and geometric construction of the solo, and something that I find hard to define but can try to convey by using the word "propel." Bix is not just waiting passively for the rhythm section to provide him with the beat, Bix himself produces the rhythm by anticipating, by delaying, by hurrying, by slowing down, by driving.

[Conor71]

I was reading a thread about Jazz & Classical on the Amazon forum today so it made me want to play a few Discs in the afternoon. I am just starting out in Jazz - I collected about 100 or so albums from various box-sets last year and have played all of them though I dont know most of them real well yet.
Anyways this seems like the most appropriate place to post these listens. I like this thread and read it any time its updated as its an interesting one.
Heres what I played today - I especially enjoyed the Bill Evans one as it was very mellow and tasteful:

[Octave]

That Bill Evans is so beautiful, and I'm really overdue to hear it again.  I just (re-)purchased the Village Vanguard albums (in a 3cd box that probably could have been 2 discs) this past year, and I still get a charge out of hearing that trio live.  Fluid musicmaking.

[Leo K.]

01 I'm An Old Cowhand (Johnny Mercer)
02 Solitude (Duke Ellington)
03 Come, Gone
04 Wagon Wheels (Peter DeRose)
05 There Is No Greater Love (Isham Jones)
06 Way Out West

Sonny Rollins, tenor saxophone
Ray Brown, bass
Shelly Manne, drums

total time: 43:25

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The infinite vistas of the Old West. The recording of Way Out West took place in one marathon session which began at 3 a.m. March 7, 1957 — and stretched into the late morning hours. It is also one of his finest. The space Sonny takes is reminiscent of the wide open spaces of Monument Valley, where so many classic Westerns were filmed. "There Is No Greater Love," is another fine ballad, notable for Sonny's fluency, and a nice bass solo from Brown. Finally, we come to the title track, "Way Out West," written by Rollins. It is his own take on the genre, and evokes sort of a "Home On The Range" feeling, again reminding he was doing. In utilizing such a song, he points up the essential loner status of the cowboy. It also presents a great opportunity for Rollins to explore the depth of tone inherent in his playing. The bass solo from Ray Brown late in the tune is especially entrancing. Sonny's own "Come, Gone" ended side one of the original LP in an energetic manner. On this track, Rollins is very much the "saxophone colossus," as he completely dominates the song in a post-Bop frenzy. The longest track on the record is up next, the ten minute "Wagon Wheels." It is certainly the most cinematic of the six sides. took me to another place, and gave me hope that a Utopia did indeed exist in life." The sincerity Sonny felt towards the subject matter is apparent right from the start. "I'm An Old Cowhand" finds drummer Shelly Manne tapping out the beat like the clip-clopping of a horse before Sonny steps in. His tenor sax articulates the quirky lyrics composer Johnny Mercer originally utilized, right down to the immortal "Yippie-yi-o-ki-yay." The choice of the great Duke Ellington ballad "Solitude" as the next cut is an odd one at first glance. The sophisticated Duke may seem out of place on a record like this, but Rollins knew what From the hilarious cover art, through the amazing music of the Sonny Rollins Trio, Way Out West is a stone classic. Sonny was definitely on a roll in March 1957, when recording of the album took place. Having just issued such landmarks as Saxophone Colossus, Tenor Madness, and Tour de Force, Rollins was at an early peak in his career. Strangely enough, Way Out West was initially viewed as little more than a gimmick initially. Nothing could have been further from the truth. As a Depression-era youth growing up in Harlem, the movies provided an escape for him. "Westerns took me away from reality," says Rollins.

[Leo K.]

1935 ("Out of Nowhere," "Just One More Chance," "I'm Through with Love," "At Your Command"). Granted, he always makes it look easy, but his early recordings are throbbing, romantic, dramatic stuff--not unlike the heroic trumpet performances by Armstrong in front of large ensembles at this time. After listening to Bing and Louis enough, the years melt away: this music sounds fresher, more vital and inexhaustible than 80% of my overly large collection. deftness matching Armstrong's on "Shine" (which may also be the number featuring Stan Getz' most artful recorded tenor solo); it's about joy, brotherhood and celebration. If there's a qualifier about this recording, it's its one-dimensionality. Bing was a jazz singer and, perhaps as a direct result, far more. Remarkably, on the early pop recordings this calm and collected, serenely reassuring pipe smoker, comes off as the most emotional, urgent, melodramatic singer of them all, especially on so many of the hits before If Bing occasionally expresses the language of stereotype embedded in some of these songs, it's because he identifies so completely with the culture--especially, multicultural black/white/tan expressions--that it has become his own. There's no mockery or disrepect because there's no "distance" between him and the subject matter: he IS the characters he's singing about and along with, and he's all the greater, the more influential, the more singular and indispensable because of it. Listen to him mix singing, whistling, scatting with a tend to be so casual and even ignorant about--i.e., the American popular song. Crosby and Louis Armstrong 1930-1935 are simply a matched and unmatchable pair, both extraordinary artists showing the world what America and American music is all about. Check out "Bing: His Legendary Years" and the British box set "It's Easy to Remember." Crosby is at his most popular, pleasing, pleasant best after 1941; but he's at his most creative, imaginative, seminal best after 1931.

[Leo K.]

Ray Noble: Hot Sides 1929-1934

The reason I bought this is to hear the great cornest Norman Payne.

The New Mayfair Dance Orchestra is outstanding, so much so that on hearing it for the first time Hoagy Carmichael thought that it was Bix on cornet! Cornet player Norman Payne said that he was very proud of that solo on "Every Day Away From You"  and said to Ray Noble at the time that he was particularly pleased with it.

When Payne first heard Bix he was hooked and just had to buy all the records that featured Bix". Nick Dellow adds "From then on, until the mid-thirties, all Norman's solos were strongly Bixian in construction and delivery. In my opinion, he is the best of all those musicians who played under the influence of Bix. When he first heard Bix Beiderbecke, on the famous "Singin' the Blues," Lionel Clapper, who played in a sort of Trumbauerish style apparently (he recorded very little, unfortunately) had a copy of it and said to Norman "You must come back to my flat and listen to this great cornet player". Norman said "As soon as I heard that record I then returned to London" and was tutored by John Sullivan (Soloman?). He played gigs in the East End of London then turned professional to accompany a dancing act.

He played at the Florida Club, London, in a trio with Lionel Clapper (saxes) and Ginner Conn (drums) in 1927. Nick Dellow said: "It was while playing there that Norman Norman was regarded as one of the top trumpet players since, as a young man, he had played with the jazz stars under the direction of Fred Elizalde at the Savoy Hotel and on the legendary Brunswick recordings. Researcher Nick Dellow, who interviewed Norman Payne, has offered some career details of Norman Payne. He studied briefly in Germany,

[Bogey]

1935 ("Out of Nowhere," "Just One More Chance," "I'm Through with Love," "At Your Command"). Granted, he always makes it look easy, but his early recordings are throbbing, romantic, dramatic stuff--not unlike the heroic trumpet performances by Armstrong in front of large ensembles at this time. After listening to Bing and Louis enough, the years melt away: this music sounds fresher, more vital and inexhaustible than 80% of my overly large collection. deftness matching Armstrong's on "Shine" (which may also be the number featuring Stan Getz' most artful recorded tenor solo); it's about joy, brotherhood and celebration. If there's a qualifier about this recording, it's its one-dimensionality. Bing was a jazz singer and, perhaps as a direct result, far more. Remarkably, on the early pop recordings this calm and collected, serenely reassuring pipe smoker, comes off as the most emotional, urgent, melodramatic singer of them all, especially on so many of the hits before If Bing occasionally expresses the language of stereotype embedded in some of these songs, it's because he identifies so completely with the culture--especially, multicultural black/white/tan expressions--that it has become his own. There's no mockery or disrepect because there's no "distance" between him and the subject matter: he IS the characters he's singing about and along with, and he's all the greater, the more influential, the more singular and indispensable because of it. Listen to him mix singing, whistling, scatting with a tend to be so casual and even ignorant about--i.e., the American popular song. Crosby and Louis Armstrong 1930-1935 are simply a matched and unmatchable pair, both extraordinary artists showing the world what America and American music is all about. Check out "Bing: His Legendary Years" and the British box set "It's Easy to Remember." Crosby is at his most popular, pleasing, pleasant best after 1941; but he's at his most creative, imaginative, seminal best after 1931.

This is one I am considering, Leo:

[San Antone]

Vince Mendoza - an orchestrator who is, maybe, most famous for his work with Joni Mitchell on her "reportedly" last two CDs, Travelogue and Both Sides Now.  These are fantastic reinterpretations of some of her best songs with full orchestral accompaniment.  He has also worked with John Scofield on 54 and done some CDs under his own name, like Nights on Earth and Epiphany (OOP).  I think his tribute to Joe Zawinul is especially noteworthy, Fast City: A Tribute To Joe Zawinul.

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Some pretty cool orchestral jazz if you like that kind of thing.

[Leo K.]

This is one I am considering, Leo:

I don't have that one Bogey, but you can't go wrong with the years posted on the cover. I'll have to check that release out!

[Bogey]

I don't have that one Bogey, but you can't go wrong with the years posted on the cover. I'll have to check that release out!

I have been watching your posts here with interest.  I have a handful of discs from the era you have shown "the love" for.  Cool stuff and always a treat to put on.  I have noticed that anyone we have over for company finds it pleasing as well.

[Leo K.]

I have been watching your posts here with interest.  I have a handful of discs from the era you have shown "the love" for.  Cool stuff and always a treat to put on.  I have noticed that anyone we have over for company finds it pleasing as well.

Thank Bogey, I appreciate it, yeah, isn't this era great? Even my wife likes it

I've been getting into this era more and more since last year. Everyday I'm playing Bix on the way to work, it really makes me happy. I think this era is becoming my favorite jazz. My other favorites are Be-Bop and Cool Jazz.

But nothing stirs my soul like hearing a great cornet solo by Bix or Armstrong, or hearing Bing Crosby sing. The music makes me soar and alive.

[Leo K.]

Hey San Antone, thanks for the Vince Mendoza heads-up, I didn't realize his work was in my Joni Mitchell collection, I'll have to pay more attention!

[Bogey]

Thank Bogey, I appreciate it, yeah, isn't this era great? Even my wife likes it

I've been getting into this era more and more since last year. Everyday I'm playing Bix on the way to work, it really makes me happy. I think this era is becoming my favorite jazz. My other favorites are Be-Bop and Cool Jazz.

But nothing stirs my soul like hearing a great cornet solo by Bix or Armstrong, or hearing Bing Crosby sing. The music makes me soar and alive.

I do not believe I have any Bix on the shelf.  Plenty of Armstrong, especially those early years, but not any Bix unless it is buried on a compilation album.

I am peeling the wrapper off of this one tomorrow:

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[Leo K.]

I do not believe I have any Bix on the shelf.  Plenty of Armstrong, especially those early years, but not any Bix unless it is buried on a compilation album.

I am peeling the wrapper off of this one tomorrow:

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Oh yeah! Adrian Rollini, the Dorsey Bros. and the great Red Nichols (a Bix follower)! I was looking at that disk a little while ago, I should get that soon 

[Bogey]

Oh yeah! Adrian Rollini, the Dorsey Bros. and the great Red Nichols (a Bix follower)! I was looking at that disk a little while ago, I should get that soon 

These Timeless Holland discs seem to go in and out.  The Bing one above was oop for a time and now its back.  Get 'em while you can, but I'm tellin ya, the best one I have on the shelf is this beauty:

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If you can't find it, let me know.

[Leo K.]

These Timeless Holland discs seem to go in and out.  The Bing one above was oop for a time and now its back.  Get 'em while you can, but I'm tellin ya, the best one I have on the shelf is this beauty:

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If you can't find it, let me know.

I'll look for it, thanks for the heads up man!

[Bogey]

Hey Leo, you may like these past shows:

http://www.wgbh.org/programs/programDetail.cfm?programid=282

[Leo K.]

Hey Leo, you may like these past shows:

http://www.wgbh.org/programs/programDetail.cfm?programid=282

Thanks Bogey! I appreciate the link, I'll check these shows out. 

[Mirror Image]

I especially enjoyed the Bill Evans one as it was very mellow and tasteful:

I own Bill Evans' complete discography. There will never be another Evans. Incredible musician and such a lyrical player. As far as classical music goes, he was heavily influenced by Debussy and Ravel. I think I recall reading that Thelonious Monk liked Debussy a lot as well.

[Bogey]

I own Bill Evans' complete discography. There will never be another Evans. Incredible musician and such a lyrical player. As far as classical music goes, he was heavily influenced by Debussy and Ravel. I think I recall reading that Thelonious Monk liked Debussy a lot as well.

Greatest pianist I ever heard....any genre.