hymnen Banned

Quoting Little, I couldn't help but listen again to one of the most terrifying live performances in history, featuring one of the most in-tune quintets ever, with two of the most skilled and prepared jazz improvisers I remember, who on this occasion give their all, squeezing two lemons like never before: "Eric Dolphy live At the Five Spot vol 1, 2, 3......"

In fact, if I really have to share my opinion, in free jazz there have been, and perhaps still are, noisy charlatans who could have very well spared us the pounding of our eardrums. This also applies to other styles, of course, but it's easier to view them for what they are—"normal" or maybe "nothing special”—rather than "giants," as tends to happen in free jazz. Perhaps the chaos makes for good broth, without any reference to Coltrane, of course.

Defining the margins of Hard Bop is musically wrong; the musician is not absolutely more prepared, he is simply more inclined. In other words, Morgan could have easily played it; maybe he just didn't have the opportunity or perhaps the compensation didn't appeal to him—we can't know. There are musicians who played in orchestras and in their spare time dabbled in bop just to warm up their hands.

Booker Little, perhaps... indeed the Phenomenal Little, but we are in '57.

"lazy Bird" Morgan from 0.40 to 1.40 is spine-chilling, a stunning attack with perfect intonation and a clean sound, doubles and creativity galore. Let’s note this: "how to play the trumpet chapter 36" - not at all like the schoolboys, those schoolboys were something else.

This is a great record and I don't understand if Pepper quoted the words highlighted by the user Darius or not. Morgan was the best hard bop trumpeter around at that time and one of the best of all time, and I truly believe that his performance here, in front of a Coltrane at his best, is superb.

He was truly on another level, backed by a masterful and meticulous preparation.

"Alright, come on, I had a bit of fun, I'm young... of course I couldn't really think those bullshit things (and I'm using a term that's way too kind to describe what I managed to come up with)." quote Matteodileonard review Tom Waits Bad as Me. unanimous winner human case 2011, I’d say winner Human case through the ages.

Really beautiful debut album by Hubbard, in my opinion only inferior to the subsequent and better Blue Note as a leader, "Goin' Up." This is a mature performance by a musician already well aware of his instrumental qualities, with a defined sound ("All or Nothing At All") and a crystalline lyricism (well, not on Hackett's level) "but beautiful." Among my favorites, I would add the second track written by Brooks, "Gipsy Blue," with its Latin-inspired theme introducing Tina's tenor sax in a perfect "solo" that is melodically spot-on, with a round sound full of pathos and goosebumps. The remaining tracks all maintain the same level, making this a top-notch album.

Having a natural talent with a strong sense of Swing is already a winning start to a game; it was a short but intense life for Clark, a complete pianist, a harmonically versatile accompanist, intelligent, capable of making the most of a musician's possibilities in every context and giving the piece that freshness it needs to come alive. The sweetness of his timbre, the notes that seem whispered even in full melodic frenzy would never tire me—they are his trademark. The vibrant touch of Farmer, composed and lyrical, at ease in beautiful duets with both Clark and McLean (less rough than usual, clear in sound and phrasing, more inclined to communication), "Blue Minor," and especially "Deep Night," are gems, with a rhythm section refined over time completing the work. I would recommend at least "Candy" with Morgan, a must-hear.