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Welke muziek staat er nu op (part 5) ???

Ome Henk

By Ome Henk,
in LP en CD

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Henrie

Henrie

Posted
Posted

Ik heb deze gedownload om eens te luisteren. Er staat in ieder geval 1 top-nummer op (One Day All This Could Be Yours)...

 

Oceansize - Effloresce

 

 

Bij gebrek aan een werkende internetverbinding met Amerikaanse sites (op dit moment) ff geen plaatje... ;)

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Alco

Alco

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Heb in m'n hoofd nog even de live versie van 'Bad' opstaan, van U2. B)

u2wideawake9bg.jpg

Ben net terug van een rock-classics avond in Assen.

Wat een aanfluiting. Was een experiment van de betreffende discotheek/theater, maar ook een eenmalige <_<

Op 't drukste moment van de avond/nacht telde ik welgeteld 16 bezoekers.

(en 8 man personeel :blink::D )

 

De muziek en de DJ was ook een drama. Alleen de oooverbekende nummers die al tig keer gedraaid zijn, en een DJ die er steeds doorheen lult.

De DJ probeerde de mensen enthousiast te krijgen door hen uit te nodigen om verzoeknummer aan te vragen. What's the use...hij draaide ze toch niet :angry:

 

Uiteindelijk,..vlak voordat we de moet wilden opgeven,...het hoogtepunt van de avond.

'Bad' van U2, in de live uitvoering! 1 van de mooiste klassiekers uit m'n vroegere uitgaanstijden, waarbij ik altijd in trance op de dansvloer stond, tussen (toen nog) menig new-wave aanhangers, die zo hun eigen zweverige, 'dans'stijl hadden.

(wat een tijd :rolleyes: zucht)

 

Zo,..en nu is 't bedtijd. yawn.gif

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Scat-Man

Scat-Man

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Booker Little - Out Front

 

d906673f2zd.jpg

WIE???????????????????????????????????? :D:D

Voila speciaal voor JOOOOOOOOOOOOOOOOOOOpus,dus.

 

Booker Little Discography

A Picture (128K)

 

Booker Little was born in Memphis, Tennessee on April 2, 1938. His sister Vera was an opera diva. Booker played with many of the great Memphis musicians, including Phineas Newborn and George Coleman. Dee Dee Bridgewater reports that her father, Matthew Garrett, taught many of these Memphis musicians at Manassas High School. Little attended the Chicago Conservatory of Music in the mid 50s. For part of his time there he roomed at the YMCA with Sonny Rollins. Sonny introduced him to Max Roach in June of 1958. Clifford Brown had of course died, and Max hired Booker, perhaps partly because of the similarities between these two master trumpet players. The collaborations between Booker and Max are, to my mind, as important as the Brown-Roach work. The music they made ranges from hard-bop to avant-garde to the political lyricism of Percussion Bitter Sweet.

 

Booker was apparently one of the world's beautiful people. Musically, he was of the school that practiced non-stop. Art Farmer recalled staying at a hotel where Booker was staying, and noted that Booker's technical skill was easy to explain by hearing him playing at all hours. Whether these habits started at a young age and to what extent Sonny's influence was important will have to wait for the needed research into Booker's biography.

 

Doug Wamble, a guitarist from Memphis, related the following:

 

"I got to know a few older locals who were always quick to offer stories about the old days. One guy no one talks about is Calvin Newborn, Phineas' brother, who is a guitarist. Calvin is one of the greatest guitarists I've ever heard. But unfortunately he is the most inconsistent. Anyway, he asked me if I liked Booker Little, and at the time I hadn't heard of him. He gave me a disgusted look and walked away. About a week later, I saw Calvin in a music store and he said he had been looking for me. He then took me out to lunch where he told me all about Booker. He said he was a practice fanatic. He used to hear Phineas play on gigs and he would have his horn with him and go shed what he had just heard in the men's room! Calvin also said that Booker was one of those guys you could easily pour your heart out to and he could give you the most uplifting insights and be of great encouragement. There was some trumpet player around town back then who thought he could cut Booker and he was always bad mouthing him to everyone saying how stuck up he was. Well, Booker came to this guy's gig and spoke with him on the break. He told this guy that he really enjoyed his playing, in spite of the fact that he had heard how this guy disliked him. Booker then apologized for whatever he had done to the fellow and asked him if they could get together and practice sometime. Calvin said that was just how Booker was...full of love for everyone. I wish there were more guys like Booker around today, what with all the Wynton bashers and the negativity between musicians. Oh well, one can only hope things change and people learn to embrace our differences rather than use them as means for animosity."

Booker got to know Eric Dolphy (click here to see a Dolphy discography) when Eric moved to New York in 1959. The two of them had similar personalities and their collaborations are probably the best-known of Booker's work. Booker was a rare match to Eric's virtuosity, as is perhaps best exemplified on Like Someone in Love from the Five Spot sessions. These live recordings provide an opportunity to hear Booker playing with relatively few restrictions. His solo on his composition Aggression is phenomenal. The majority of his solos have an edge of pathos, reminiscent of Beethoven's Opus 131 quartet. He weeps emotionally without playing sentimentally, and without relying on standard musical devices. His comments about using dissonance are well known:

"I think the emotional aspect of music is the most important.... Those who have no idea how classical music is constructed are definitely at a loss - it's a definite foundation.... I can't think in terms of wrong notes - in fact, I don't hear any notes as being wrong. It's a matter of knowing how to integrate the notes and, if you must, resolve them.... I'm interested in putting sounds against sounds and I'm interested in freedom also. But I have a respect for form.... In my own work I'm particularly interested in the possibilities of dissonance. If it's a consonant sound, it's going to sound smaller. The more dissonance, the bigger the sound. It sounds like more horns; in fact, you can't always tell how many there are. And your shadings can be more varied. Dissonance is a tool to achieve these things."

[This quote was taken from the liner notes to Prestige 7611, originally from an interview for Metronome by Robert Levin which is quoted even more extensively on Prestige 7826. I'll add this at the end.]

 

Booker was also an inventive composer. His quartet recording from April of 1960 shows some of his thought processes, as do his tunes from the Five Spot sessions, especially Bee Vamp. The quartet record additionally lets us hear him without distractions from other frontmen. Max continues to play Booker's beautiful Cliff Walk to this day. The only Little composition that I know of that wasn't recorded by Little himself is Sweet Silver, which appears on the MJT+#'s "Make Everybody Happy", Vee Jay 3008. It's a blues inspired by Horace Silver.

 

In conversations with bassist Anthony Cox and trumpet player Dave Douglas, the importance of composition in Booker's legacy has been emphasized. Douglas talks about the two sextet records as being key, and he makes some powerful statements about them on his 1995 CD In Our Lifetime. I digitized samples from Douglas' music that can be studied next to Little's original performances. Click here to see this page.

 

Booker suffered from uremia, apparently as a consequence of Lupus, and died of kidney failure on October 5, 1961, at the age of 23. Presumably his kidney disease was treatable, but his status as a black artist perhaps made medical care impossible. Instead he suffered terribly, yet continued to make great music through the pain. I hope to pursue his biography and would appreciate further leads.

 

The TCB records are somewhat rare but very worthwhile. The Teddy Charles/Booker Ervin session is lush and lovely, with a lot of latin percussion and feel. My wish is that by putting this together other people will have a chance to check out this heavenly music, and that I will find out about things I haven't heard. Please let me know what you know at

 

Alan Saul

817 Hickman Rd A-39

Augusta GA 30904

706-733-5739

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