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6237Re: [RedHotJazz] Bob Fuller musicians and recording

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  • Howard Rye
    Sep 1, 2008
      I 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 ŒJazz In Switzerland
      1930-1975¹ (Elite Special 9544002/1-4) make these points pretty
      dramatically.

      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
      recordings.

      The 1943 translation of ŒLe 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
      >
      > '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.
      >


      Howard Rye, 20 Coppermill Lane, London, England, E17 7HB
      howard@...
      Tel/FAX: +44 20 8521 1098




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