[JPL] "From the Plantation to the Penitentiary" - to TheJazzStandard?

Jackson, Bobby Bobby.Jackson at ideastream.org
Wed Mar 7 11:48:43 EST 2007


The crackle or flatness in a beautiful ballad played by Miles Davis is
also an "intentional" and emotional punctuation. You can't write that on
sheet music.  That comes from within and it communicates more elegantly
than anything. There is more to this music than playing pristine notes.
There is the element of the context of humanness that we must not miss
out on.  It makes the music making more earthy and real to me. 

Bobby Jackson 

-----Original Message-----
From: jazzproglist-bounces at jazzweek.com
[mailto:jazzproglist-bounces at jazzweek.com] On Behalf Of Jae Sinnett
Sent: Wednesday, March 07, 2007 11:36 AM
To: Jazz Programmers Mailing List
Subject: RE: [JPL] "From the Plantation to the Penitentiary" - to
TheJazzStandard?

This Week's JPL Sponsor: SUMMIT RECORDS


Brad, 
   
  Intonation problems are common in this music for various reasons. I
think now because of the many discussions we've had on the list about
this some would perhaps pay more attention to these things. If so,
you'll notice them more. Some are worse than others. Just like time
problems.....they're common. 
   
  Jazz presents a plethora of challenges to the musicians that can bring
out the best....and at times the worst in the artist. I don't think
Sanon's intonation is that bad really. Not great like Dianne Reeves or
Kurt Elling but considering what she is singing over I give her a three
out of a five. Be careful not to confuse her intonation with the
dissonance underneath her.....particularly in that first track. The song
is purposely written and arranged this way and I understand very clearly
why someone would say it's out of tune - because the tension makes it
sound that way. Listen to the second track and you'll hear a noticeable
difference in how she relates to the pitch. In saying this it's also
important to note that there is a difference when things are written to
sound this way vs sounding this way because the musicians can't play the
sections in tune. The most impressive thing for me on this CD is the
writing and Wynton's....comparatively....smaller ensemble arranging.
 He out did himself here in my opinion. The vocalist is simply the
finishing touch to these deep and provocative stories. 
   
  Jae Sinnett

"Bradley M. Stone" <bstone at science.sjsu.edu> wrote:
  This Week's JPL Sponsor: SUMMIT RECORDS


Jae et al.,

I'm certainly going to program Wynton's new release, partly because of
the strong message - but (going back to our discussion on the
intonations of horn and reed players) am I the only one who is having
difficulty with Jennifer Sanon's intonation?

Brad

________________________________

From: jazzproglist-bounces at jazzweek.com on behalf of Jae Sinnett
Sent: Tue 3/6/2007 10:24 PM
To: Jazz Programmers Mailing List
Subject: Re: [JPL] "From the Plantation to the Penitentiary" - to The
JazzStandard?



This Week's JPL Sponsor: SUMMIT RECORDS


Jim,

I haven't heard the Douglas you're referring to but what I will say
Wynton is not "married" to history on this recording or anything else
for that matter. Nor did he "need" a vocalist to tell his story. The
story is told the way it is because it was purposely written that way.
That was a choice - not a necessity. Perhaps you're misunderstanding is
compositional intentions...... What history are you referring to by the
way? I don't hear much in this recording that could be relegated to him
being "married" to the history. I hear points of departure but isn't
that with everyone who plays today? I hear so many different things in
his writing that I haven't heard before from him on this recording. His
forms, harmonic choices, rhythmic structures are all fresh sounding to
me. His organization is amazing on this CD. Then there is that message
thing.....it's profound. Perhaps not to you and if there is anything
that is for the "moment" this is it.

Now you talk Douglas....I remember his "The Infinite" release and all
the critics praising it. From what I heard it was simply an attempt to
repeat Miles' late 60's vibe so I mean really....who's married to the
history? Douglas plays from a visionary platform which I admire but from
a swinging perspective I haven't heard much of it so perhaps that's why
he's appealing more to a younger base - in the moment. Swinging phrasing
is not the flavor of the moment with most critics today. Nor are II V
structures. It seems the more you get away from that concept the more
the critics like it. I'm also wondering how objective can critics be
with Wynton today? And by the way, who are you addressing when you
say..."okay got that, you're both Wynton fans." See, I'm writing to you
not around or at you. That's courtesy 101. 

Jae Sinnett



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This Week's Sponsor: SUMMIT RECORDS
-------------------------------------------

ON YOUR DESK THIS WEEK FROM SUMMIT RECORDS:

TED HOWE ''Love Song'':  The third release from Ted invites the listener
into a jazz time capsule of love songs.  And as fans and critics alike
found with ''Ellington'' and ''Elton Exposed'', Howe's virtuosic piano
style and arrangements lead straight to surprise.

Featuring the great jazz baritone Giacomo Gates and star of stage,
screen and television, Lainie Kazan on a couple of tunes, Ted Howe
delivers a beautiful recording of masterfully arranged standards (Arlen,
Van Heusen, Porter) and originals; a perfect mix of instrumentals and
vocals.  http://www.summitrecords.com/product.tmpl?SKU=477

BOB FLORENCE LIMITED EDITION ''Eternal Licks and Grooves'':  Featuring
Peter Erskine, Carl Saunders and Scott Whitfield, this all-star big band
offers the listener what they have come to expect from the
award-winning, legendary bandleader Bob Florence - Sensitive yet
powerful arrangements with a HUGE sound that will put you on the edge of
your seat.  Spectacular outing!

Includes ''Eternal Licks and Grooves'' commissioned by ASCAP and IAJE
honoring Count Basie and ''Appearing In Cleveland'' commissioned by the
LA Jazz Institute honoring Stan Kenton.
http://www.summitrecords.com/product.tmpl?SKU=478

Radio and print media promotion by Dr. Jazz, 800-955-4375,
drjazz at drjazz.com



To become a sponsor contact Devon Murphy 
at devon at jazzweek.com / 866-453-6401 x3 or Ed Trefzger at
ed at jazzweek.com / 866-453-6401 x1.


+++++++++++++++++++++++++++++++

Send jazzproglist mailing list submissions to
	jazzproglist at jazzweek.com

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