Date: 25-Jun-1998 14:02:35
From: Michael Addiego ( [email protected]
I am one week now seriously listening to jazz. I happened upon a website of a fellow named "Judsun" and he suggests his thirty favorite CDs. Miles Davis "Kind of Blue" and Coltrane's "Giant Steps" Monks "Best of ...the Blue Note Years and C. Adderley's "Live in S.F. He says that Monk is quite easy for newcomers. I have to disagree. I do admit to loving intensely "Four In One." I wish that I could appreciate the complexity of the other tunes. But I am trying. The C. Adderley album is the most "user friendly" The music "comes to you" as opposed to really having to try to engage it first. It's like Mozart as opposed to Stravinsky. Coltrane is beuatiful for the sheer musicianship and tragedy of his short short life. I would appreciate anything others could contribute to help me to understand this wildly complex and difficult music.
Date: 04-Jul-1998 19:25:51
From: Christine ( [email protected]
It has been my experience that a live sampling of jazz almost always brings someone in to the experience...with a want for more. Whether it be an outdoor type festival on a beautiful summer evening (A taste of Colorado in the civic center square, Denver)or a little known jazz club buried deep within a bustling city. (The Elchapultapeck in Denver) (try saying that one fast even once) I have converted even the most hard of rockers with this approach...of course combined with what I play in my own home. I think that the beauty and the ambience of the outdoor or subtle club scene simply cannot be ignored...unless of course the party in question has absolutely no soul whatsoever.
Date: 05-Jul-1998 12:49:27
From: rich powers ( [email protected]
Fellow jazz enthusiasts, I am convinced that a willingness to listen to jazz music and like it is a genetic trait. I have been a jazz devotee (at age 15) since my cousin took me to see Stan Kenton at a local D.C. jazz club that has suffered the same fate as most jazz clubs, extinction. My wife of 35 years professed to be indifferent about the music before we were married. However, about ten years later when I had enough money to begin acquiring a large jazz vinyl record collection she told me she loathed it and that I had not really showed the insatiable interest before we were married than I was showing after ten years. I disagreed and reminded her of us both before marriage going to see Dizzy Gillespie and Sonny Stitt and her appearing to like both. That leads me to my gravamen: our six children either hate the music or are truly indifferent. I've taken all of them to jazz clubs at one time or another and they dutifully endured the music I was enjoying, but afterwards I could not pursuade them to go to another gig on a gratus basis. When you won't go to a music venue for free, you know you don't like the music. When I play my 200 or so CDs without ear phones, they all make a mass exit even if they don't have a car at their disposal. (BTW, my collection is mainstream; it does not include the likes of Ornette Coleman, Andrew White and groups like the Art Ensemble of Chicago. Rest assured I am not knocking those who like those artists, but that kind of music is an acquired taste for even the most avid jazz fans.)
In my opinion, when it comes to jazz, people can be placed in three groups: lovers, haters, and those who will listen to it if there is no other music available. Unfortunately, in my household, there is one jazz lover, and seven others who would mostly fall into the "haters" group. The upshot of this whole post is "There is nothing we can do to change a person's genitically given music makeup." Schucks, alas, etc.!
Date: 08-Jul-1998 07:38:29
From: Mats Äleklint ( [email protected]
Play Kind of Blue for them....
Date: 15-Jul-1998 01:06:52
From: Josh Multack ( [email protected]
The only way you can successfully introduce jazz to someone is to seperate the ong or lyrics and the neccesity for such things, and attempt to demonstrate the lyricism and passion of the composition. If you rush a non-jazz fan into something too sophisticated like Giant Steps, he or she may say, I can't dig this noise or sounds, theres no lyrics. So you must slowly introduce them into music that contains no lyrics. I suggest starting with some of the masterpieces done by Jimi Hendrix, such as Little Wing, or some of the works of the late great Stevie Ray Vaughan, or even some of the Grateful Dead jams, such as Dark Star, the key is to let the novice appreciate the sound and beauty of the chord changes, and not be so damn dependant on lyrics.
Date: 20-Jul-1998 13:42:24
From: Dave Sletten ( [email protected]
I play jazz and have all styles of recordings; trad, swing, bop, fusion. Some I listen to for relaxation and some for education. I think the pretty and accessable recordings would be the best way to start someone off but little by little you could move them to the more sophisticated sounds until Lennie Tristano or even free jazz is acceptable. And why can't smooth jazz stations play more Bill Evans, Stan Getz bossas or even Coltrane ballads to move listeners toward mainstream without alienating them?
Date: 03-Aug-1998 00:34:47
From: Chandra ( [email protected]
Excuse me for being a women, but I definately side with live performances! I listen to jazz on the radio all the time, but I never really associated the tune with the artist. Then, some friends (2 guys and a gal) took me to see Keiko Matsui and Paul Taylor in concert. I was surprised that I knew most of the songs they played. I was totally mesmerized by their performance and talent. Keiko played the piano so beautifully. This is how Keiko playsThink of breathingyou don't think about it just works for you naturally. Then Paul Taylor came out and played that saxaphone, added a few smooth moves and wow! I was hooked. I never really appreciated the saxaphone until I heard Paul play. Now dont' get me wrong, especially for you "experienced" jazz ladies and gents. I'm not saying that Keiko and Paul and the best out there, but I had to start somewhere and these two artists were the first that I was introduced to. But you know, it doesn't really matter because it worked for me. And now I'm on this "jazz high." Today, I am so excited about the whole realm of jazz. I appreciate it so much more. Now I'm into Grover Washington, Jr. What I really like the most about jazz is that you can interpret its music into whatever you what it to be. I love to close my eyes, imagine and be taken far away to a place I've never been. Thanks to Paul Taylor and Keiko Matsui for bringing me there. If anyone out there can relate to what I'm sayinglet me know!
Date: 05-Oct-1998 09:04:56
I believe that if kids where tought harmony from kindergaten to high school, they probably wouldn't listen to today's pop music, where volume and effects have taken over. They'll find it to banal and they would become jazz addicts, so start teaching harmony in school.
Date: 05-Oct-1998 18:34:39
From: Paul Abella ( [email protected]
let me just quickly say that I have never been so terribly offended by a line of B.S. as that put forth by Micke. Some of the greatest Jazz moments I can think of started with pop tunes (Star Eyes, How High the Moon, I got Rhythm, This Masquerade, Norwegian Wood, Hi Heel Sneakers and about a million other jazz tunes started out life as pop tunes)and plenty of pop (yes, today's pop music, i.e. Maxwell, Daveena, Prince, and to a far smaller extent, radiohead, Nirvana and Nine Inch Nails) is still worthwhile. It is these types of remarks, though, that will forever have jazz labeled as a "niche" musical form. It is these types of remarks that will forever have people calling Jazz radio stations asking that they do a better job of educating their listeners. it is these types of remarks that produce Jazz anxiety. If you must think like that, please do not ever mention that you are a jazz fan in public. People may lump you in with the many of us jazz fans who are open minded individuals who don't see the non-jazz world as banal. Yes, I will admit that I have some odd ideas about the music (such as I feel that Miles Davis is the most overrated trumpet player this side of Wynton Marsalis), but I also realize that Jazz always was, always has been and always will need to be an open ended musical forum if it is to survive. It cannot do that as long as jazz is treated as an academic showpiece instead of first class entertainment. if these types of remarks about other musical forums are coming out of my generation of players, I am scared for this music.
Keep Your Ears Open, Paul
Date: 10-Oct-1998 13:10:30
From: Rob Klotz ( [email protected]
You have to be ready for jazz when it comes into your life. I recall seeing a Dixieland band in 7th grade in my school gymnasium (Paul Gray and His Gaslight Gang) in Lawrence, Kansas. I was a novice trumpeter in the school band, but I'd never heard anything like it. In reality, I was intrigued but didn't like the performance much. In college I listened to punk and other forms of progressive rock, and I signed up to do a college radio jazz show, and I took immediately to Coltrane's "A Love Supreme." Fusion and other glop that others were into didn't do much for my head, but Coltrane made a deep and lasting effect on my way of hearing music. At age 19, I was *ready* for jazz. Not long after that, I parlayed those experiences into a job as a public radio jazz host!
Date: 13-Oct-1998 06:39:45
From: David Becker ( [email protected]
2o years ago I didn't know Jazz existed, until I was introduced to Crusaders, Chick Corea Stanley Clarke, Weather Report. I still listen to (some of) those but have moved on to Metheny, Miles, Trane, Keith Jarrett, Jan Garbarek (in fact the list is endless). All the artists I've mentioned cover a wide spectrum of music and yet so little. How to introduce people to Jazz. I would give a number of CD's (MilesKind of Blue, Weather ReportHeavy Weather, Pat MethenyOfframp, Keith JarrettKoln and some Swing and Big Band plus a few others)to them. When I started listening many albums switched me off but some connected. Let us increase the odds for a connection to occur, because then 10 or so CD's opens up your mind to hundreds of thousands. This approach has worked for me in educating both friends and peers.
Date: 16-Oct-1998 15:56:50
From: Bob Margolis ( [email protected]
Interesting, as the much villified Wynton talks nicely about this very vexing connundrum in the most recent issue of Jazz Times Education Supplement. There is no loud and fast rule as to how one gets exposed to the music. It depends on where the subject is at during any time. Once you get to know someone's personality as well as musical leanings, then you have a starting point. It was surprising to see that Wynton would suggest "Transition," yes? As for Wynton's trumpet playing being over-rated, I must wonder, how often has the person making that statement seen Wynton play recently? Clearly, he has loosened up quite a bit, and his playing, while still technicall solid, has warmed up. He is killin' right now. This comes from a person who on my disc player right now is Dave Douglass, lee Konitz, Dinah Washington, Dave Holland and Greg Osby. We must move from an either/or type of mentality when it comes to the Marsalis issue.
Date: 21-Oct-1998 16:22:39
From: Dan Bonhomme ( [email protected]
I want to thank the jazz fans who responded to this thread for opening my ears to jazz. I was 12 when the Beatles hit North America and I've been a fan of various forms of rock ever since.
I've tried to appreciate jazz in the past and had bought and borrowed a few jazz records. I liked some cuts very much (especially Africa and Naima by Coltrane) and even one whole album (The LA4's "Pavane Pour Une Infante Defeunte," recorded direct to disk). Some of my favourite Santana albums (Caravanserai, Welcome, Barboletta) seem to me to be more jazz oriented than rock.
But after reading the above postings, one record came through loud and clear as holding the potential for bringing a neophyte an understanding of jazz, and that was Kind of Blue. I'm here to tell you that it worked for me. For the past few weeks I've been trotting out everything I have in the realm of jazz and listening with a completely changed understanding of the music. I made a list of the other selections listed in this thread and I will definitely be trying more.
I am listening almost exclusively to jazz and have changed my record club preference to jazz. Rock has been in a real slump for years and it is very exciting to have such a huge (jazz) catalogue to explore.
Thanks again, Dan
P.S. I agree with the people who expressed their appreciation of live music, but I think you still need a good stereo system at home for maximum appreciation. It's unfortunate that most people are taken in by amusical offerings from Sony, Technics, Pioneer, Bose, JBL etc. etc. and not audiophile brands. I truly makes a great difference.
Date: 22-Oct-1998 18:23:21
From: Roger Crane ( [email protected]
Dear Dan There are "jazz police" out there. Ignore them. This string of messages may help. I hope so. But the BOTTOM LINE is active listening. The operative word is "active." Find out what you like and go from there. Music (all music) should have three attributes: musicianship, passion and ideas. A performer should have "chops" (i.e., should know music and know his instrument). But that is not enough. The performer should also love what he or she is doing. But chops and love also are not enough in jazz. He or she must also give of themselves, that is must "add" something original to the performance. Jazz performers must have something to "say." Thus: musicianship, passion and ideas. If a piece has that, then most likely, it is wonderful. Have fun listening. Roger Crane
Date: 24-Oct-1998 20:20:19
From: Shingle ( [email protected]
I was introduced to Jazz in a real sense by moving in with two Jazz musiciansa baritone saxophonist and a guitarist.
I'd always been interested in jazz, but mostly as a type of background music... something to have on when something else was going on.
But all that changed when I got to hear many of the CDs and vinyl records my roommate (the saxophonist) has in his prodigious collection.
Some of the things I've heard Jazz musicians do are at least as stirring as what I've come to appreciate in bands like Pink Floyd and The Grateful Dead, and I've begun to more clearly see the relationship between the Rock music that I'd always enjoyed and its Jazz roots.
There's nothing like seeing live, though, too. CD players, as good as they are, can't bring the experience of a live performance to a listener quite the way actually seeing it first-hand does. And also, I've found that Jazz musicians are far more self-critical than Rock musicians, so it's unusual to come across a serious Jazz band that "sucks." There's plenty of Rock musicians out there that suck that don't know it (despite the fact that nobody comes to their shows or buys their CDs).
Thanks for reading, Shingle
Date: 26-Oct-1998 00:34:36
From: Mike Flinck ( [email protected]
If the person is a musician, find someone who plays their instrument and dazzle them. Especially drummers. A lot of drummers in "popular music" aren't that dazzling..... put in some Buddy Rich and play it for any given drummer and they'll drool over his awesome chops. Trumpet players go nuts when they hear Arturo Sandoval play those piercing high notes. Just a couple of examples. That's one way, at least, to get people started.
Date: 27-Oct-1998 18:32:08
For years, the only "jazz" I ever listened to was Harry Connick jr, because it was the only exposure I had in the classic rockland where I grew up. -And when I did hear something interesting, no one could tell me what it was.
-Jazz is a hard thing to pick up and run with. -It's like wine. You've got snobs that tell you what you should like, and then there are things that appeal to you immeditately. And you need to develop a "pallate" to determine what you do and don't like. I swear some people that claim to like jazz, just like feeling they're in a secret club, and don't feel the music.
I've been pretty much on my own discovering jazz in the last year or so, but had two events happen that acted as springboards: (1) I got to see Lionel Hampton on his 90th birthday tour with my fiancee's dad and I was finally in the right place to say "THERE -that's something I like! What's this style of jazz called? -Who are the other artists? etc." and her dad knew the answers. (2) I was sitting in a Starbuck's and heard Chet Baker's perfect version of "But Not for Me"
I picked up a 2 vol set from Decca called Hamp! which came with liner notes, a couple BlueNote Blend CDs and Chet Baker Sings, and I was on my way. I worked outwards from there. -Baker led to Mulligan & Art Pepper,Comparisons of Baker led to Miles & Diz, Comps of Hamp to Milt Jackson, Milt to Monk. Miles & Monk led to everyone else :) I tried to start with 40's swing/Big Band and move chronologically forward because jazz became more sophisticated somewhat chronologically, so it proved a suitable approach to pallate sophistication as well. Then I went back and got the Smithsonian collection to sample stuff I missed by this approach.
If someone had handed me "Kind of Blue" right away, I probably would have been turned off because I wasn't ready for it. I only truly appreciate Miles Davis' range and inovation after loving Chet Baker's style, consistency and lyricism.
I truly believe jazz has to move you to stay interested in it ( heck I almost drove off the road last week because I couldn't resist closing my eyes to listen to Mingus's Haitian Fight Song in my car)
-but I digress -Anyway I would give interested friends the Blue Note Blend CD's because it's a good 40-60's sampler, and because it doesn't seem as intimidating because you got it/heard it at a Starbucks. -Then ask them which tracks they liked, and lend/recommend comparable stuff. Variations on Gershwin standards is a good non-threatening way to go as well.
I just got into jazz last Feb. For many years, I heard things that interested me, but found that people who knew about jazz usually decided that
Date: 04-Nov-1998 16:03:40
From: Jason K
I played trumpet from grades 4-12 and I probably had a jump start on jazz because I was in the junior high jazz band (most of the music we did was my teacher's own numbersa puddle of washed-up cool and bop styles). But when I actually started to listen, I got hooked up with a Miles Davis box set (The Columbia Years). As someone who was just starting to listen, I found his work from the 50s to be accessible and so wonderful and hypnotic. Even when I went to college and would play them for people who never would have given jazz a second thought, they too were captivated by him. I'll never forget the one time I came home from a party and found my jockhead-gangsta rap loving roommate sitting there on the couch looking out the window into a snowstorm listening to "Blues For Pablo." Great moment.
Nowadays, when I'm trying to get friends and family into jazz, I tell them to get: Miles Davis: Kind of Blue or Miles Ahead Bill Evans: Sunday at the Village Vanguard or Portrait In Jazz Herbie Hancock: Maiden Voyage John Coltrane: Blue Train Horace Silver: Song For My Father Oliver Nelson: Blues and the Abstract Truth Dave Brubeck: Time Out
Everyone I've tried these albums out on has always come back wanting to know more. Until the formula doesn't work anymore, I'm sticking with it.
Date: 06-Nov-1998 12:55:03
From: José Domingos Raffaelli ( [email protected]
According my experience with three friends I tried to expose jazz, I've been succeeded with two of them. I suggested them to begin with piano-bass-drums trios, as George Shearing, Erroll Garner and the first and second Ahmad Jamal. Well, two of them were converted to jazz. Of course, I avoided to suggest trios of Thelonios Monk, Hsrbie Nichols and Bud Powell, really advanced for a beginner. Today both are fanatic jazz fans and they have beautifulk record collections with hundreds CDs. The other friend I couldn't call to our jazz army considered jazz too complicated, preferring stay listening pop music.
Date: 13-Nov-1998 10:29:25
From: David G. Whiteis ( [email protected]
Very interesting topic here& an important one. A lot of us (myself included) tend to let our enthusiasm slip over into prostelityzing (sp?), & it's easy to come off as judgmental or hipper-than-thou when doing that.
Back in the 70s, I ran in the same social circles as a set of brilliant & inspired, but definitely hard-core, aficionados. They were pretty harshyou almost felt as if you had to hide your record collection when they came over. I remember being so put off by their "jazz nazi" attitude that I pretty much abandoned the entire musical genre until a few years later, when I decided to give it another chance & get into it on my own. I really felt uncomfortable about the idea that music (in my case, hippie stuff like the Dead, the Allmans, etc.) that had, for better or worse, been a good friend to me, that had inspired me & helped me through times both good & bad, that was an integral part of who & want I considered myself (& my "world") to be, was somehow being deemed as beneath contempt by people using standards I didn't understand, & which they really didn't bother to explain to me.
It also didn't help that there were strong political, ideological, & (I must address this) racial isssues involvedGreat Black Music was the sound of the masses in revolt; most else was bourgeois pablum designed to keep people narcoticized, rip off their culture, & make money for the Estalblishment. Shit, I was half convinced that when the Revoltution came, I was gonna end up in a concentration camp or something for enjoying the music of the Oppressor!
In fact, however, it was that same "hippie music" that eventually inspired me to explore jazzI literally remember thinking to myself, "Duh! If improvization sounds so cool on a guitar, I bet it sounds even cooler on a saxophone!" So I went out & investigated some names I'd heard of Monk, Miles, Mingus, Pharoah Sanders, Coltrane & lo & behold! it WAS "cool" (in all senses of the term)!
AND, in addition, it turned out that those interminable (insufferable?) acid-laced guitar solos I remembered from Garcia & Co. actually opened my ears to the idea of free-form improvization, w/ out specific chord changes or melody linesafter hearing enough second sets of enough Dead concerts, I found that Pharoah Sanders didn't sound all that "unmusical" to me at allhe sounded, in fact, like someone who was thinking along the same lines as the people I was familiar w/, but doing it better, with greater vision & spirit. So, in fact, I owe that "incorrect" music a lotit got me to where I am today, aesthetically speaking.
All of which is to sayI think we need to be a little "zen" about this stuffbring folks to where they can experience & hear the music, & let it grow inside them & reveal itself to them in its own way.
Does that STILL sound patronizing? Hope not...
Date: 16-Nov-1998 00:57:44
From: Miles ( [email protected]
I totally agree with Jason that there are most certainly specific jazz artists and albums that should appeal to listeners.
That is, if the listener doesn't find something they appreciate when listening to Kind of Blue, My Favorite Things, Time Out, etc, then it probably doesn't matter what the listeners background is.
In any realm, music, architecture, literature, there are paradigms that have wholly influenced that realm and cannot be ignored. For good reason too. Ask anyone who likes rock and roll (hard, acid, alternative, speed metal, whatever) if they appreciate Jimi Hendrix?
Date: 19-Nov-1998 12:18:51
From: Kurtzie ( [email protected]
Introduce people to live jazz...the live experience explains the idea of improvisation and let's you see the swing. It is a sure-fire way to create a jazz fan.
The one great advantage that a jazz fan has over the music of other genres is that we get to see our heroes in great clubs all over the world on a regular basis. You think the Spice Girls are going to be playing clubs in their 70s? Rock fans have to go to overcrowded sweaty clubs where they can barely see their band play or else to huge stadiums which are simply a waste of money. A cool night at Yoshi's in Oakland or the Vanguard in NYC will make a jazz fan of anybody.
Date: 23-Nov-1998 20:04:49
From: Joe ( [email protected]
I just started seriously collecting and listening to Jazz about a month ago. Because I don't know any Jazz "mentors," I've been finding my own way by using the internet and reading books. I found a good list of recordings at http://charon.nmsu.edu/~mmarley/jazz.html and have been collecting from this list. Stuff like Miles Davis' Porgy and Bess, Kind of Blue, Miles Smiles; Thelonius Monk, the two CD set from Blue Note; and Coltrane's Giant Steps. I love what I am hearing and find it more satisfying and challenging than the 'alternative rock' I've been listening to and playing for the last 20 years.
The only problem is that I feel like I am somehow setting my standards too high by only listening to the best of the best. Does anyone know what I mean? It's like if you eat lobster every day, you forget how good it really is because you haven't had a hamburger in a while. Anyway.
I'm going to continue to work off this list and then expand as my tastes and interests follow. I'd also recommend this to anyone starting to get into jazz: don't just listen to it. Learn about the history, the people, the culture, the music theory. This is what has made it really interesting to me.
If anyone has any recommendations or knows of other good resources let me know. I'd especially be interested in recommended artists/albums that have organ music in them. Feel free to contact me directly at the e-mail address above.
Date: 24-Nov-1998 00:11:04
From: Mike ( [email protected]
My transition into listening to jazz was pretty seamless. Being in high school, though, it's pretty difficult to get many of my friends to listen to it. Anyway, I liked a lot of ska (I still do), and bands like Skavoovie & the Epitones (from Boston) and the Articles (from Detroit) play tunes by Ellington, Thelonious Monk, and Charlie Parker... this helped ease my way. Also, a group like Medeski Martin & Wood combines a few "alternative" techniques (they have a DJ on their latest release) and still maintains a grasp on jazz roots. A lot of my friends like groups who are HEAVILY influenced by jazz (Phish, Buckshot le Fonque, Beastie Boys, Soul Coughing) and even though these groups are seriously mainstream geared at young listeners, the mature ones will acknowledge the jazz influence and listen to you (and your jazz). Getting back to MMW issue, what is the general opinion of them now being on Blue Note?
Date: 25-Nov-1998 03:57:29
From: George Payton ( [email protected]
I recently started enjoying listening to jazz & R&B. I particularly like artists like Anita Baker, Diane Reeves and Luther Vandross. I especially like the smoothe story telling styled songs of Anita Baker and Diane Reeves. The kind you can close your eyes and listen to, after having a long stressful day at work and truly feel relaxed. I'm not much of a music historian, but I would like to expand my horizons and find different artists with simular styles. Can anyone out there advise me on some good artists.
Date: 25-Nov-1998 03:59:23
From: George ( [email protected]
I recently heard an artist named Neena Freelon on BET. Anyone know which label she's on?
Date: 13-Dec-1998 14:03:37
From: Brenda Carol ( [email protected]
What can I say? I went to the Blues Festival in Chicago. The festival was rained out! When I returned to my hotel, I heard great music seeping from the lobby bar. I saw 2 glorious nights and 4 shows of Max Roach and his quartet. Even though I am a blues singer, I had to sing jazz, instead. My first recording seems to be very popular with non jazz folk and jazz lovers everywhere! Peace.
Date: 22-Dec-1998 11:24:01
From: Brian White ( [email protected]
I agree with many of the views expressed,ie.you have to want to be interested,jazz has to reach you at the right time in your life.For me it came gradually after years of Yes,Zeppelin,James Taylor,Paul Simon etc.I heard (inevitably!) "Kind Of Blue"it was the hippest,most elegant album.Then Metheny's "The Pat Metheny Group" album with the beautiful "San Lorenzo,"wonderful Jack Teagarden's "This is Serious,"and on,and on.If you have a musical bone in your body,how can you resist Ellington ? or Basie ?.Try Monty Alexander's "Echoes of Jilly's" to see that the classic elegance of jazz is alive and swingin.' Be careful out there...Regards to all.
Date: 25-Dec-1998 04:12:33
From: Ian Gray ( [email protected]
I think you have to be ready to receive jazz in your life, no matter how old you are or what your musical interests are/have been.
Possibly ten years ago, I was exposed to Miles Davis/John Coltrane/Thelonious Monk and I bought some CD's of theirs, knowing that they were the right things to start with, but not yet being ready to listen/understand, other than as a long-term rock/new-wave music lover.
I listened with too narrow a mind, and lived with these CD's in my collection without really appreciating them until recently.
I still don't think I know how to listen yet, I don't really understand improvisation as a musician, when as a listener I have sought to understand and verbalise the feeling of the music.
Yet, right now in the development of music, I am seeking stimulation and not really finding it outside jazz from 40 years ago, ironically around about midnight on the date of my conception.
I have not given up on rock, but jazz is exciting me like no other music. It's not fair to compare the history of jazz to this year's model of rock, but we owe it to jazz to listen to it with an open mind now.
I guess my message is, even if you didn't relate to it when you first heard it, it might become relevant/important/stimulating later on. So hang in there and enjoy.
Date: 28-Dec-1998 04:04:07
From: marco ( [email protected]
Forget it!!! ive been trying for years and failed!!! Either you have jazz in your blood or you dont... Jazz is a self discovery process!
Date: 05-Feb-1999 00:43:13
From: nate dog
I love jazz, because everyone can do thier own solos and just JAM! The world would be a better place if everyone just smoked bud and play good music
Date: 24-Mar-1999 12:03:05
From: Mark Perrins
I agree with Marco (maybe its the name?) "Forget it!!! ive been trying for years and failed!!! Either you have jazz in your blood or you dont... Jazz is a self discovery process!"
Date: 24-Mar-1999 12:09:44
From: Mark Perrins
I agree with Marco (maybe its because of the name?) "Forget it!!! ive been trying for years and failed!!! Either you have jazz in your blood or you dont... Jazz is a self discovery process!" Jazz is a self discovery process, partly because Jazz is so varied, from Dixie to Freeform to Fusion to Muzak to Modern Acoustic Purists, you may love one form and hate another. I got into Jazz through Weather report and quite a few friends had the Heavy Weather album without considering themselves 'jazz fans.' From Weather Report I checked out the Miles Davis band that Zawinul and Shorter came from then got into other ex-Davis band members like Chick Corea, Herbie Hancock and Keith Jarret. Much of the mdern Electric jazz is easier for those not used to jazz to appreciate then Hard Bop or even Swing.
Date: 10-Apr-1999 11:16:20
why does jazz is so spectacular and romantic? Someone is able to answer this question?
Date: 16-Apr-1999 02:52:09
From: Pat Garvey ( [email protected]
I was lucky (didn't know it at the time!). When I was a kid, my mum played piano in pub jazz bands, and my dad was a good quality amateur. So I spent great times as a kid in the beergardens of old pubs.
Our parties were always on Sunday nights (the only night everyone had free!) and they always turned into jam sessions.
So I just thought having music in your life was what life was!
The way my parents judged whether somebody was an idiot, was if they clapped on the on or off beat!
Then as a teenager I had muso boyfriendsagain spent a lot of time listening to all kinds of stuff and loving it.
I guess if I was trying to introduce someone to jazz, I'd take them to festivals and let them just find out for themselves what appealed to them, and they can take it from there.
If they don't love it, no worrieswhat can you dobeat them over the head with a lump of 4x2?
Date: 25-Apr-1999 11:25:56
Someone spoke earlier about some audiophile brands making stereos that make listening to Jazz a whole new experience. Would you kindly share some of those brands (amps and speakers) with the non initiated please? I'd truly appreciate!! (my excuses for posting a question not directly related to jazz music, but if it really makes that much difference, then it could be worthy to many of us, couldn't it.)