BUD POWELL Jazz Quotes

• "No one could play like Bud; too difficult, too quick, incredible!" - Thelonious Monk

• "Bud was the most brilliant that a spirit might be, a unique genius in our culture." - Max Roach

• "Bud is a genius." - Charlie Parker

• "He laid down the basis of modern jazz piano." - Dizzy Gillespie

• "Bud is a genuine genius." - Duke Ellington

 

THELONIOUS MONK Jazz Quotes

“I don’t consider myself a musician who has achieved perfection and can’t develop any further. But I compose my pieces with a formula that I created myself. Take a musician like John Coltrane. He is a perfect musician, who can give expression to all the possibilities of his instrument. But he seems to have difficulty expressing original ideas on it. That is why he keeps looking for ideas in exotic places. At least I don’t have that problem, because, like I say, I find my inspiration in myself.” - Thelonious Monk


"At this time the fashion is to bring something to jazz that I reject. They speak of freedom. But one has no right, under pretext of freeing yourself, to be illogical and incoherent by getting rid of structure and simply piling a lot of notes one on top of the other. There’s no beat anymore. You can’t keep time with your foot. I believe that what is happening to jazz with people like Ornette Coleman, for instance, is bad. There’s a new idea that consists in destroying everything and find what’s shocking and unexpected; whereas jazz must first of all tell a story that anyone can understand." - Thelonious Monk 


Interviewer: 'What other interests do you have?'
T.Monk: 'Life in general.'
Interviewer: "What do you do about it?"
T.Monk: 'Keep breathing.' "
"Interviewer: 'What do you think the purpose of life is?'
T.Monk: 'To die.'
-- Down Beat magazine

“I say, play your own way. Don’t play what the public want — you play what you want and let the public pick up on what you doing — even if it does take them fifteen, twenty years.” - Thelonious Monk

“Where’s jazz going? I don’t know? Maybe it’s going to hell. You can’t make anything go anywhere. It just happens.” - Thelonious Monk

FATS NAVARRO & TADD DAMERON - The Complete Blue Note and Capitol Recordings (1947-48)

One of the greatest jazz trumpeters of all time, Fats Navarro had a tragically brief career yet his influence is still being felt. His fat sound combined aspects of Howard McGhee, Roy Eldridge, and Dizzy Gillespie, became the main inspiration for Clifford Brown, and through Brownie greatly affected the tones and styles of Lee Morgan, Freddie Hubbard, and Woody Shaw.

Many valuable performances from the height of the bop era are included on this double CD. Subtitled "The Complete Blue Note and Capitol Recordings" and comprised of 23 songs and 13 alternate takes, the reissue features the great trumpeter Fats Navarro in peak form with three groups headed by pianist/arranger Tadd Dameron, in trumpet battles with one of his major influences, Howard McGhee, and on a remarkable all-star quintet with pianist Bud Powell and the young tenor Sonny Rollins; among the other sidemen are altoist Ernie Henry; tenors Charlie Rouse, Allen Eager, Wardell Gray, and Dexter Gordon; and vibraphonist Milt Jackson. In addition to such gems as "Our Delight," "Lady Bird," "Double Talk," "Bouncing With Bud," "Dance of the Infidels," and "52nd Street Theme," Fats is heard with the 1948 Benny Goodman septet ("Stealin' Apples") and Dameron leads a group with the 22-year-old Miles Davis. On a whole, this double CD has more than its share of essential music that belongs in all historical jazz collections. (allmusic.com)

part one

part two

MUSICAL PAINTINGS

I said to you that quality is much better than quantity, and that I'm totally absorv with my Traditional Brazilian music band, but I'll sugest for you an amazing blog from adorable Mara with an exceptional Jazz section. Enjoy: http://pintandomusica4.blogspot.com.br/

Best wishes,

Augusto Senna.

Jimmy Smith - The Cat (1964)

Jimmy Smith - The Cat (1964)

Tracklist:

1.Theme from Joy House
2.Cat
3.Basin Street Blues
4.Main Title from "The Carpetbaggers"
5.Chicago Serenade
6.St. Louis Blues
7.Delon's Blues
8.Blues in the Night

One of the essential Jimmy Smith albums that all record collections should contain. Moving from Blue Note to Verve, Smith swapped the small band for the large orchestra. The instrument Smith pioneered was the Hammond B3 organ, which had been labelled
"the poor man's orchestra" because of the depth of sound it could create, so when that met a real orchestra under the guidance of arranger Lalo Schifrin the result is explosive. Especially when the orchestra itself contains musicians of the class of Kenny Burrell and Thad Jones. Now remastered the album hasn't a dull moment, with blues, pop and two cracking film scores (The Cat and "Main Title from The Carpetbaggers", which is used on BBC2's Money Programme). Then of course there is Smith's masterful playing that never fails to raise the hairs on the spine or get the fingers clicking. A cool, swinging, fun and indispensable record.
http://www.mediafire.com/?ymmo3nf19yc

BANDA BLACK RIO (1983)

http://pt.wikipedia.org/wiki/Banda_Black_Rio

Jacob do Bandolim & Época de Ouro - Vibrações (1967)

Jacob do Bandolim & Época de Ouro - Vibrações, é uma obra-prima do choro realizada em 1967, considerado o melhor trabalho de Jacob Bandolim, e um dos melhores discos de choro já feitos.

Músicas: 
01- Vibrações (Jacob Bittencourt)
02- Receita de samba (Jacob Bittencourt)
03- Ingênuo (Benedito Lacerda - Pixinguinha)
04- Pérolas (Jacob Bittencourt)
05- Assim mesmo (Luis Americano)
06- Fidalga (Ernesto Nazareth)
07- Lamento (Pixinguinha)
08- Murmurando (Fon)
09- Cadência (Joventino Maciel)
10- Floraux (Ernesto Nazareth)
11- Brejeiro (Ernesto Nazareth)
12- Vésper (Ernesto Nazareth)

http://www.mediafire.com/?0uvwr1eodzz

Hitler against Jazz

FOR THAT HISTORY DOES NOT REPEAT ITSELF ...

... Here are some of the conditions that the Ministry of Popular Education set during Hitler's government to the granting of licenses for dance's music performances:

DEPARTMENT OF POPULAR EDUCATION AND ART

Conditions Governing the Grant of Licenses for Dance Music

NEGROID: Belonging to a Negro race. This includes the African Negroes (and also those living outside of Africa), also Pygmies, Bushmen and Hottentots. NEGRITO: In the wider sense of the term, the short-statured, curly or frizzy-haired, dark-skinned inhabitants of Southeastern Asia, Melanesia and Central Africa.

1. Music: The Embargo on Negroid and Negrito Factors in dance Music and Music for Entertainments.

2. Introduction: The following regulations are intended to indicate the revival of the European spirit in the music played in this country for dances and amusements, by freeing the latter from the elements of that primitive Negroid and/or Negrito music, which may be justly regarded as being in flagrant conflict with the Europeon conception of music. These regulations constitute a transitory measure born of practical considerations and which must of necessity precede a general revival.

3. Prohibition: It is forbidden to play in public music which possesses to a marked degree characteristic features of the method of improvisation, execution, composition and arrangement adopted by Negroes and colored people. It is forbidden in publications, reports, programs, printed or verbal announcements, etc.: (a) to describe music played or to be played with the words "jazz" or "jazz music." (b) to use the technical jargon described below, except in reference to or as a description of the instrumental and vocal dance music of the North American Negroes. Exceptions may Be permitted where such music is intended for a strictly scientific or strictly educational purpose and where such music is interpreted by persons having two or more Negroid or Negritic grandparents.

4. Descripton of The Main Characteristic Features of the Above-Mentioned Music which Differ from the European Conception of Music: The use of tonally undefined mordents, Ostentatious trills, double-stopping or ascendant glissandi, obtained in the Negro style by excessive vibrato, lip technique and/or shaking of the musical instrument. In jazz terminology, the effects known as "dinge," "smear" and "whip." Also the use of intentional vocalization of an instrumental tone by imitating a throaty sound. In jazz terminology, the adoption of the "growl" on brass wind instruments, and also the "scratchy" clarinet tone. Also the use of any intentional instrumentalization of the singing voice by substituting senseless syllables for the words in the text by "metalizing" the voice. In jazz terminology, so-called "scat" singing and the vocal imitation of brass wind instruments. Also the use in Negro fashion of harshly timbered and harshly dynamic intonations unless already described. In jazz terminology, the use of "hot" intonations. Also the use in Negro fashion of dampers on brass and woodwind instruments in which the formation of the tone is achieved in solo items with more than the normal pressure. This does not apply to saxophones or trombones. Likewise forbidden, in the melody, is any melody formed in the manner characteristic of Negro players, and which can be unmistakably recognized.

5. Expressly Forbidden: The adoption in Negro fashion of short motifs of exaggerated pitch and rhythm, repeated more than three times without interruption by a solo instrument (or soloist), or more than sixteen times in succession without interruption by a group of instruments played by a band. In jazz terminology, any adoption of "licks" and "riffs" repeated more than three times in succession by a soloist or more than sixteen times for one section or for two or more sections. Also the exaggeration of Negroid bass forms, based on the broken tritone. In jazz terminology, the "boogie-woogie," "honky tonk" or "barrelhouse" style.

6. Instruments Banned: Use of very primitive instruments such as the Cuban Negro "quijada" (jaw of a donkey) and the North American Negro "washboard." Also the use of rubber mutes (plungers) for wind brass instruments, the imitation of a throaty tone in the use of mutes which, whether accompanied by any special movement of the hand or not, effect an imitation of a nasal sound. In jazz terminology, use of "plungers" and "Wah Wah" dampers. The so-called "tone color" mutes may, however, be used. Also the playing in Negro fashion of long, drawn-out percussion solos or an imitation thereof for more than two or four three-time beats, more frequently than three times or twice in the course of 32 successive beats in a complete interpretation. In jazz terminology, "stop choruses" by percussion instruments, except brass cymbals. There is no objection to providing a chorus with percussion solos in places where a break could also come, but at not more than three such places. Also the use of a constant, long drawn-out exaggerated tonal emphasis on the second and fourth beats in 4/4 time. In jazz terminology, the use of the long drawn-out "off beat" effect.

JOHN COLTRANE Jazz Quotes

“Over all, I think the main thing a musician would like to do is give a picture to the listener of the many wonderful things that he knows of and senses in the universe. . . That’s what I would like to do. I think that’s one of the greatest things you can do in life and we all try to do it in some way. The musician’s is through his music.”

“Sometimes I wish I could walk up to my music for the first time, as if I had never heard it before. Being so inescapably a part of it, I’ll never know what the listener gets, what the listener feels, and that’s too bad.”

“All a musician can do is to get closer to the sources of nature, and so feel that he is in communion with the natural laws.”

“My music is the spiritual expression of what I am — my faith, my knowledge, my being … When you begin to see the possibilities of music, you desire to do something really good for people, to help humanity free itself from its hangups … I want to speak to their souls.”

“Sometimes I’d think I was making music through the wrong end of a magnifying glass.”

“I’m into scales right now.”

“I’ve found you’ve got to look back at the old things and see them in a new light.”

“You can play a shoestring if you’re sincere.”

"I think playing and writing go hand in hand. I don't feel that at this stage of the game I can actually sit down and say I'm going to write a piece that will do this or that for the people -a thing which some artists can do- but I'm trying to tune myself so I can look to myself and to nature and to other sounds in music and interpret things that I feel there and present them to people. Eventually I hope to reach a stage where I have a vast warehouse of study and knowledge to be able to produce any certain thing.
Duke Ellington is one person who can do this -that's really heavy musicianship and I haven't reached that stage yet. I've been predominantly a soloist all my natural life, and now I'm a soloist with my own band, and this has led me into this other thing: what am I going to play and why?
My material is mainly my own, and I find some of my best work comes from the most challenging material. Sometimes we write things to be easy, sometimes to be hard, it depends on what we want to do. A year ago we had quite a few standards which made up a third of the book, but now other people, certainly Ornette (Coleman) and Eric (Dolphy), have been responsible for other influences."
-John Coltrane
1962 interview, Jazz Monthly

"It's more than beauty that I feel in music -that I think that musicians feel in music. What we know we feel we'd like to convey to the listener. We hope that this can be shared by all. I think, basically, that's about what it is we're trying to do. If you ask me that question, I might say this today and tomorrow something entirely different, because there are many things to do in music.
But over-all, I think the main thing a musician would like to do is to give a picture to the listener of the many wonderful things he knows and senses in the universe. That's what music is to me -it's just another way of saying this is a big, beautiful universe we live in, that's been given to us, and here's an example of just how magnificent and encompassing it is. That's what I would like to do, I think that's one of the greatest things you can do in life, and we try to do it in some way. The musician's way is through his music."
-John Coltrane
(When asked what he and Eric Dolphy were trying to achieve)

Miles Davis, in addition to being one of the most talented and distinctive musicians to grace the annals of jazz history, had a unique reputation when it came to his speaking voice–both for his hoarse whisper and his pithy, rather Zen-like way of communicating with his band members, which sometimes resulted in amusing exchanges, such as his retort to John Coltrane’s lament that he couldn’t stop soloing: “Try taking the saxophone out of your mouth.”

Tal Farlow - Tal

Tal Farlow - Tal

Tracks:
01 Isn't It Romantic
02 There Is No Greater
03 How About You
04 Anything Goes
05 Yesterdays
06 You Don't Know What Love Is
07 Chuckles
08 Broadway 


Talmage Holt Farlow ( June 7, 1921 – July 25, 1998 ), better known as Tal Farlow, was a jazz guitarist born in Greensboro, North Carolina in 1921. Nearly as famous for his reluctance to play as for his outstanding abilities, Tal did not take up the instrument until he was already 21, but within a year was playing professionally and in 1948 was with Marjorie Hyams’ band. While with the Red Norvo Trio ( which originally included Charles Mingus ) from 1949-1953, Farlow became famous in the jazz world. His huge hands and ability to play rapid yet light lines made him one of the top guitarists of the era. After six months with Artie Shaw’s Gramercy Five in 1953, Farlow put together his own group, which for a time included pianist Eddie Costa. Late in 1958, Farlow settled in Sea Bright, New Jersey, became a sign painter, and just played locally. He only made one record as a leader during 1960-1975, but emerged a bit more often during 1976-1984, recording for Concord fairly regularly before largely disappearing again. Profiled in the definitive documentary Talmage Farlow, the guitarist can be heard on his own records for Blue Note (1954), Verve, Prestige (1969), and Concord. He died of cancer at Memorial Sloan-Kettering Cancer Center in New York City on July 25, 1998 at the age of 77. ~ from wikipedia

The perfect setting for the brilliant guitarist Tal Farlow is the format heard on this classic LP, a drumless trio. Farlow, pianist Eddie Costa and bassist Vinnie Burke made for an exciting team, really romping on the up-empo pieces. Highlights of the often heated set include "There Is No Greater Love," "Anything Goes," "Yesterdays" and "Broadway," but all eight numbers are quite enjoyable. ~ Scott Yanow - Courtesy All Music


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