Maybe someone in here can help me. I got these two posters and have no idea who the players are. They could just be fictitious musicians, but I thought the Sax player looked like Bird. No clue who the trumpeter is though. Any ideas?
Concerning Coltrane, A Love Supreme was just the beginning.I'm wondering if you jazz cats could give me some recommendations. My favorite jazz albums of all time are A Love Supreme by Coltrane and Empyrean Isles by Herbie Hancock. I love 1960's jazz of that type and want to get into more because that playing is just inspiring. The sound, the expression, technicality, the feeling. Any recommendations for that kind of style? I prefer quartets. Thanks!
If you ask me, the trumpet guy shares a closer resemblence to Roy Eldridge...looks to be fictitious characters loosely based on Bird and Diz ...who were a dynamic duo in the 40s
If you ask me, the trumpet guy shares a closer resemblence to Roy Eldridge...
JMHO.
Elvis
P.S. Those are beautiful paintings. I'm a bit of art collector myself. Where did you get them?
Can you show me a pic of Diz, from back then, wearing the beret?
I've heard this from othes, but have yet to see a pic of him actually wearing one.
Elvis
Oh hell yeah. I just revisisted this because you guys mentioned it a couple weeks ago.
I agree. Tony was just at a different level. I seriously prefer his playing circa 1963-1965 over anything he did later.
I know he's probably even more famous for the stuff he did years later, like the "blushda" licks, the quarter note on the hats and all the fusion stuff. That's what people seem to remember most, that's what the Lifetime tribute band with Cindy Blackman celebrates.
But, to me, this stuff was the pinnacle of Tony. And maybe jazz drumming in general.
He was so fresh at this point, played stuff so swinging, yet so advanced. His inventiveness seemed to have no limits. No repeating himself, no contrived "licks." His drum sound is so musical. His cymbal sound is the standard for the instrument in this music, for so many.
Oh hell yeah. I just revisisted this because you guys mentioned it a couple weeks ago.
I agree. Tony was just at a different level. I seriously prefer his playing circa 1963-1965 over anything he did later.
I know he's probably even more famous for the stuff he did years later, like the "blushda" licks, the quarter note on the hats and all the fusion stuff. That's what people seem to remember most, that's what the Lifetime tribute band with Cindy Blackman celebrates.
But, to me, this stuff was the pinnacle of Tony. And maybe jazz drumming in general.
He was so fresh at this point, played stuff so swinging, yet so advanced. His inventiveness seemed to have no limits. No repeating himself, no contrived "licks." His drum sound is so musical. His cymbal sound is the standard for the instrument in this music, for so many.
take 9:49 and treat yourself to some of the .....if not THE best drumming you will ever hear in your life.......and I'm dead serious
I'll throw my hat into the ring as a "jazz cat"!