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Coltrane Turning Point /The Bethlehem Years


pauln

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On 12/22/2004 7:04:19 PM paulparrot wrote:

Are you a jazz musician yourself? Interesting observations. I commend you for your courage in expressing an honest viewpoint likely to be unpopular.

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LOL! I do not think it is possible for any "jazz musician"

active today to not have immersed him/herself in Coltrane's music. Simply not possible. That's not to say he is univerally beloved by all jazz musicians, but to not even be AWARE of any recordings but the "Bethlehem Years"(I still laugh when repeating that IDIOTIC title!) is surely IMPOSSIBLE!

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I would also suggest you listen to some of Wayne Shorter, such as Adan's Apple, Night Dreamer, JuJu and Speak No Evil mentioned here recently. Also, Herbie Hancock from the same era, start with The Best of Herbie Hancock: The Blue Note Years. Also, as mentioned here, some of Coltrane's best stuff is as a part of the Miles Davis groups fo the era. Kind of Blue, Cookin' many others.

I found I would progress from one mucisian I liked to the next, to the next, in my journey into jazz, and on and on, but my favorite jazz music is the mid/late 50s, and early sixties quartets and quintets.

PS I still don't get, (although I do appreciate) Melodius Thelonious. I walked past Birdland of 44th Street last week and stood in awe for 15 minutes just soaking up the history.

Jazz is a journey, enjoy it and let it happen to you.

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On 12/22/2004 8:55:40 PM paulparrot wrote:

Reminds me of Kevin Kline's character in the movie "In and Out" when he insisted that *everyone* knows the song titles from Barbra Streisand's second album.
laugh2.gif

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This might be the most idiotic post you have ever made.

Amazing! Beaming with ignorance and feeling oh so clever . . .

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On 12/22/2004 7:17:28 PM paulparrot wrote:

LOL! I knew a kid in college who after hearing a few minutes of Mahler's Symphony 4 declared it wasn't much good and that he could easily have written a better one himself.

But Pauln has a right to his opinion and it is refreshing to read someone post now and then who doesn't feel compelled to repeat the party line like a mantra.
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I'm sure you commended that kid for his opinion! Hey, I used to be like that. When I was 15. You may find it refreshing, but I just find it foolish and egotisitical at this point. When I read his playing described as "noodling", I thought D0N was giving jazz another try...

As I said above, Coltrane's music is not for everyone, but his body of work sure deserves more respect than that.

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On 12/22/2004 6:05:01 PM Allan Songer wrote:

Sorry if I'm coming off like a jerk here, but Coltrane's music has had the most profound infulence on me over the last 30 years and it's really hard for me not to get emotional about it.

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I hadn't really noticed any particular difference.

But you would agree with Analogman, wouldn't you, that "for sheer musicality and musicianship Cannonball Adderley kicks Coltrane's a$$." Why did Miles feel sorry for Coltrane and have to give him work?

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Miles Davis never "felt sorry" for anyone in his life. For you to make that statement makes it painfully obvious once again that you are completely out of your element when discussing jazz. To avoid further embarassment you should either educate yourself or keep your fingers away from the keyboard during these ongoing jazz threads.

Cannonball was a hell of a player. I know Roy McCurdy rather well--he was Cannonball's drummer for nine years (he also spent quite a bit of time with Sonny Rollins). Roy loved Cannonball but even HE would laugh at the comparison! Cannonball was a hell of an improvisor and a great band leader, but to compare him with John Coltrane would be somewhat akin to comparing John Williams with John Cage.

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Paul,

Why don't you give some specific examples of how Adderly was superior to Coltrane. What differences do you hear throughout both their careers that would cause you to agree with such a statement? Miles Davis once said Adderly was the best musician he ever played with (or something like that) but how would YOU compare the two, technically speaking?

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I am certain that I have never tried to pass myself off as a jazz expert, unlike some people, hint, hint. But like A-Boy said, "It's a good thing Cannonball played alto and not tenor or Allan's hero would have been just another unemployed junkie."

You guys really need to lighten up. Just because a new poster, Pauln, happens to like one record and not another, you all go apoplectic.

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On 12/23/2004 11:53:40 AM paulparrot wrote:

I am certain that I have never tried to pass myself off as a jazz expert, unlike some people, hint, hint. But like A-Boy said, "It's a good thing Cannonball played alto and not tenor or Allan's hero would have been just another unemployed junkie."

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First off, who gives a rat's a$$ what A-Boy said? Second, I never claimed to be a jazz expert but I'm sure I know a hell of a lot more than you. Talk about something with which you have more expertise, like PP vs SET. If you're truly interested in jazz, I'm sure Allan would answer some basic questions for you.

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On 12/23/2004 12:01:55 PM bclarke421 wrote:

Paul,

Odd how you fail to grasp any complexity of the issue when you feel like being a dick. You seem like a much smarter guy on the odd occasion when you want to have a legitimate discussion.

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LOL! And this post and the couple above are examples of "legitimate discussion"? yelrotflmao.gif

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On 12/23/2004 12:01:26 PM garymd wrote:

First off, who gives a rat's a$$ what A-Boy said?

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This is unbecoming of you, Gary. Just because Analogman lost his patience with you over the RCA Shaded Dog label matter is no reason to hold a grudge and attack a guy who is not here to defend himself.

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