These cats are two of the least appreciated jazz musicians of our time. I love them both, and listening to them work over Sonny's "Oleo" is an enormous feast for the ears, the soul, the gut and my right foot, which cannot stay still, but also cannot keep up.
Thank you so much for sharing this, what a pleasure to hear those two Masters playing the hell out of "Rhythm Changes". The rhythm section was cooking too.Even the kids were digging it. They probably will remember this event for the rest of their life. In spite of all the Jazz Education and abundance of learning tools there are very few tenor players today that come anywhere near the level of creativity, swing, sound and soulfulness displayed here.
Clifford Jordan made one of the outstanding jazz recordings of all time for an obscure label in the mid '70s. It's called "Glass Bead Games," based on the Pulitzer-Prize winning novel by Herman Hesse. It's too bad all "disc sales" are disappearing, because an album like that (or many of Duke's) can't be represented by singling out separate tracks. Clifford uses two ultra-great rhythm sections; one with the brilliant Stanley Cowell on piano and Bill Lee on bass (Spike's dad); the other with Cedar Walton and Sam Jones. Billy Higgins is with both editions (I find the first ensemble more "in tune" with the concept of the album--it's just too bad Spike never made a film worthy of the art form that his father participated in). On the present session, Von is certainly "game," but he's playing through many of the changes as though they didn't matter. A playing partner more in line with Jordan would be Stitt, Rollins or Dexter (always inventive while staying with the chord structure), Even at this wild tempo, Clifford is full of humorous quotations and playful tricks (e.g. alternate fingerings of the same note) that Dizzy Gillespie was the master of (it may be serious music, but that doesn't mean it can't be "fun").
This was a great tip. I've been a fan of & aware of Clifford Jordan for over 15 years, but didn't know about that album. Maybe that is a sin. It feels like one. If anybody has been interested in Jordan but not heard that album, like me you have missed out on possibly his best work til now.
yes, the great von freeman and the wednesday nights at the new apartment lounge, south side chicago, and all the musicians he supported up and coming. and the fabulous clifford jordan and his heart-tuning music reaching into the folk of all of us and the life beating force which lauren deutsch and her people at the jazz institute who saw and kept the flame going. yes. all these things, the marvel and love of the city's heart.
Segal may be the most valuable source of the music's past,1945 to the present. If you could get him to open up, it would be one of the most colorful, intimate, swinging accounts of the jazz life. And he shocked all tenor players (who hadn't died of lung cancer) when he went to a smokeless policy. He's still at the door taking tickets, a grumbling troll in his 90s. If jazz commanded respect, he'd be a sought-after guru. I must have caught the Lone Wolf (Sonny Stitt) 20 times. Segal knew him best.
"Swing" began to disappear from the vocabulary of Americans--as a noun, adjective, and verb (except for describing group sex)--in the late '60s (the reason Sinatra decided to retire for 3 years). But its distressing to see so many drummers who downplay the imporance of the high hat and keeping a tight 'chic" on every off-beat. Granted, it takes a strong left foot, especiallly on tempos like this, but I recall times when Ed Thigpen would drop his hands to his sides and keep the high-hat clapping on 2 and 4 whenever Oscar turned to Ray Brown for a solo. Willie Pickens has got those slick alternate rhythm changes going during his intro. I'm surprised he doesn't get solo time. Von really looks slim and buffed, like a guy who knew how to take care of himself. (Wish the bass were audible--but at least they can hear it.)
RIP, Von - thanks for all the wonderful sounds!
I attended this festival and saw this! So great that it's on utube!
How about a little love for Willie Pickens, too!
the most beautiful music of angels
These cats are two of the least appreciated jazz musicians of our time. I love them both, and listening to them work over Sonny's "Oleo" is an enormous feast for the ears, the soul, the gut and my right foot, which cannot stay still, but also cannot keep up.
Thank you so much for sharing this, what a pleasure to hear those two Masters playing the hell out of "Rhythm Changes". The rhythm section was cooking too.Even the kids were digging it. They probably will remember this event for the rest of their life.
In spite of all the Jazz Education and abundance of learning tools there are very few tenor players today that come anywhere near the level of creativity, swing, sound and soulfulness displayed here.
Thank you for sharing the post, and all the others you have put up.
Clifford Jordan made one of the outstanding jazz recordings of all time for an obscure label in the mid '70s. It's called "Glass Bead Games," based on the Pulitzer-Prize winning novel by Herman Hesse. It's too bad all "disc sales" are disappearing, because an album like that (or many of Duke's) can't be represented by singling out separate tracks. Clifford uses two ultra-great rhythm sections; one with the brilliant Stanley Cowell on piano and Bill Lee on bass (Spike's dad); the other with Cedar Walton and Sam Jones. Billy Higgins is with both editions (I find the first ensemble more "in tune" with the concept of the album--it's just too bad Spike never made a film worthy of the art form that his father participated in). On the present session, Von is certainly "game," but he's playing through many of the changes as though they didn't matter. A playing partner more in line with Jordan would be Stitt, Rollins or Dexter (always inventive while staying with the chord structure), Even at this wild tempo, Clifford is full of humorous quotations and playful tricks (e.g. alternate fingerings of the same note) that Dizzy Gillespie was the master of (it may be serious music, but that doesn't mean it can't be "fun").
It's included in the Mosaic box The Complete Clifford Jordan Strata-East Sessions (#256)
This was a great tip. I've been a fan of & aware of Clifford Jordan for over 15 years, but didn't know about that album. Maybe that is a sin. It feels like one. If anybody has been interested in Jordan but not heard that album, like me you have missed out on possibly his best work til now.
Thanks for sharing
wonderfully expressed, thanks for your comment!
Man do I miss my cousin Clifford
yes, the great von freeman and the wednesday nights at the new apartment lounge, south side chicago, and all the musicians he supported up and coming. and the fabulous clifford jordan and his heart-tuning music reaching into the folk of all of us and the life beating force which lauren deutsch and her people at the jazz institute who saw and kept the flame going. yes. all these things, the marvel and love of the city's heart.
You are soooooo right!
Segal may be the most valuable source of the music's past,1945 to the present. If you could get him to open up, it would be one of the most colorful, intimate, swinging accounts of the jazz life. And he shocked all tenor players (who hadn't died of lung cancer) when he went to a smokeless policy. He's still at the door taking tickets, a grumbling troll in his 90s. If jazz commanded respect, he'd be a sought-after guru. I must have caught the Lone Wolf (Sonny Stitt) 20 times. Segal knew him best.
He wrote a nice Book, with some Awesome photos
Chicago Old Style Jazz Festival. That meant no Kanye, Taylor Swift, Kenny G, Eminem.
"Swing" began to disappear from the vocabulary of Americans--as a noun, adjective, and verb (except for describing group sex)--in the late '60s (the reason Sinatra decided to retire for 3 years). But its distressing to see so many drummers who downplay the imporance of the high hat and keeping a tight 'chic" on every off-beat. Granted, it takes a strong left foot, especiallly on tempos like this, but I recall times when Ed Thigpen would drop his hands to his sides and keep the high-hat clapping on 2 and 4 whenever Oscar turned to Ray Brown for a solo. Willie Pickens has got those slick alternate rhythm changes going during his intro. I'm surprised he doesn't get solo time. Von really looks slim and buffed, like a guy who knew how to take care of himself. (Wish the bass were audible--but at least they can hear it.)
Giants.
B c.d.s vCard lool