mingus@sfsup.UUCP (Damballah Wedo) (09/04/87)
> adlaia@witold.UUCP (in <27108@sun.uucp>): > In article <810@cod.UUCP>, rupp@cod.UUCP (William L. Rupp) writes: > > Probably lots of other [flutists]. ... my choice would be Tabackin, > > who is matchless both on tenor and flute. [ adlaia disagrees with the `matchless' adjective ] > Not to be too negative BUT the Shank, Rogers, Horn, Mariano, Tabackin > crowd always seemed to me to represent a watering down of good jazz. > Kind of like the impact Pat Boone and Paul Anka had on rock. And > today the same thing is happening with the advent of the "new age." Well, that's a bit severe, methinks. Tabackin, as I said in another article, has forged a unique sound, between the standard Western flute and Japanese shakuhashi, and he makes some tremendous music with that sound, both in the context of the Akiyoshi orchestra and elsewhere (see Freddie Hubbard's SWEET RETURN on Atlantic, for example) I would agree that he is not the instrumentalist Dolphy was. I will also agree that he is not the rigorous and inventive composer James Newton is. I will vehemently disagree with the Pat Boone/Paul Anka comparison, especially with such poseurs as Thijs van Leer and (lately) Bobby Humphrey still living. As for Mariano, I suggest you give a listen to Charles Mingus' THE BLACK SAINT AND THE SINNER LADY to convince yourself that given the right surroundings he is anything but watered down. > [in] "Round Midnight," while the Dexter Gordon character was struggling > with his greatness, guys like those above were making a killing; at > least for jazz). In 1959, Mariano was quite an unknown, Tabackin was playing local LA gigs, and Paul Horn was barely a professional musician. You weaken your own arguments by using incorrect facts to buttress them. -- Marcel-Franck Simon attunix!mingus Min pouki sa tout moun ap mande'-m' ki sa siyati-moin vle' di?