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Consummate jazz musicians play what they hear. A performance, recording may be so unique that it becomes ensconced in our music psyche forever i.e., Coleman Hawkin's "Body and Soul," James Moody's "Moody Mood for Love." This site is dedicated to their mastery of the moment, And we, the listeners, are so richly endowed. |
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| Jasbo, a legend in his own mind, identifies with the
creative - musician. He listens. He hears what they play
especially an original jazz compositions. The early years
of bebop was a time of assimilation and posturing;
mainly to thwart the competition. The in-crowd of
selected musicians would hide the melodic line deeply within the composition. These "creative geniuses," described by Dizzy, raised the practice to an art form. "Dizzy in South America 1962" [Introduction | Selection.] Barry Harris's "How High the Moon" version; Bird Parker, the voice of the music sprayed notes in every direction over originals, standards, evergreens spreading the sound. Then the sound of the music changed, never to be the same. Eventually, everyone had to get with the program. Clark Terry described how Lawrence Welk played " The Train." On Monk The onliest, Percy heath added that he played what he heard -- "The Merry Go Round, broke down, broke down. Then there was Trane, and even 'Hey babba rebop, Boplicity, Euphoria . . . . But the Sound of Music is our gift from a loving God. We are encouraged to make a joyful noise. The best things in life are free.Rompin', stompin in' and groovin' hi. Confusion music not withstanding. Like Chick Corea interjected. The musical bridge is too narrow for all to cross at once: Different strokes for different folks -- Where the Rainbow Ends! |
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