6237Re: [RedHotJazz] Bob Fuller musicians and recording
- Sep 1, 2008I was afraid you¹d ask that since most of the examples that come readily to
my mind are blues rather than jazz. Compare B.B. King Live At The Apollo
(1990, MCA MCD09637) with any of his MCA studio albums, which have their
merits, but if I had to choose, no contest. I think it would be well
off-topic to pursue this line. Another blues artist who comes to mind whose
live performances far outclass his records is Bobby Rush.
One of the problems with earlier material is that live recordings tend to be
sonically much poorer, which can sometimes lead to difficulty in judgement.
There is astoundingly little difference in musical quality between the
various live recordings of Coleman Hawkins in Europe in the 30s which have
trickled out and the studio recordings which were made. It seems clear he
really did achieve that standard night after night after night as our elders
told us. Clearly he could also blithely ignore the ghastliest rhythm
sections. Three 1936 sides with Morris & His Music at the Club MacMahon,
Genève, on 15 October 1936, which recently appeared on Jazz In Switzerland
1930-1975¹ (Elite Special 9544002/1-4) make these points pretty
The legendary and brilliant 1940 Fargo concert by Duke Ellington¹s orchestra
displays a side of the band not entirely captured on disc but it would be
cavalier to suggest it was better than the generality of the studio
The 1943 translation of Le Vrai Jazz¹ was for fairly obvious reasons not
seen or authorised by the author and had been translated from a manuscript
badly damaged in transit under war conditions. This edition was disowned by
the author, but the passage quoted by Yves does appear in the authorised
translation of 1960. The next sentence is revealing: ³All of this only goes
to prove that it is just as difficult to judge a musician correctly after
many direct auditions as after many recordings.² The context is one of
establishing the value of recordings against those who say that a musician
can only be judged by live performance.
A bit further on my eye was caught by a reference to ³the shopworn
sentimentalism which is crushing the real heart of the world,² which is a
nice turn of phrase.
on 01/09/2008 15:09, David Brown at johnhaleysims@... wrote:
>Howard Rye, 20 Coppermill Lane, London, England, E17 7HB
> 'Recent years' I generally don't do but would be interested in examples.
> Also when is live live ? Performing on stage before a battery of mikes and
> engineers is different from performing to surreptitious cassette machine in
> a handbag or Dean Benedetti in the toilet. And I guess Parker could be
> considered an example of 'live' enhancement but no means always.
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