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Customer Discussions > Jazz forum

How did you become interested in jazz, & at what age?

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Showing 26-50 of 73 posts in this discussion
In reply to an earlier post on Nov 17, 2011 6:19:41 PM PST
Last edited by the author on Nov 17, 2011 6:20:33 PM PST
willm says:
The best bootleg around for Allman' fans-

blend of blues/soul/jazz

raw but powerful

Hot 'Lanta

In reply to an earlier post on Nov 16, 2011 11:28:32 PM PST
i agree, commerical music has deteriorated to real garbage.
the young jazz musicians are the only class act we have here!!!

Posted on Nov 16, 2011 4:27:50 PM PST
J. Russell says:
For me it was Dave Brubeck's Take Five which I heard as a Senior in High School.
I also liked The Allman Bro's Band "Live from Filmore East" although that has lots of improvization it is really blues not Jazz.
I was actually am a Dead Head also.

Posted on Nov 16, 2011 9:36:16 AM PST
willm says:
Saw Brubeck at a rock festival where Janis Joplin was headlining.The Allman Brother's were excellent improvisers.Listen to Fillmore East vs Bitches Brew;The Allman's instrumentals are superior(dreaded IMO);they don't noodle around in one key.Zappa's Hot Rats was a big influence,but Jimmy Giuffre w/Bley and Swallow was the clincher:Emphasis & Flight.

Posted on Nov 16, 2011 4:40:36 AM PST
L. Thompson says:
Became interested as a young person listening to episodes of The Little Rascals. In college, I discovered the Ella Fitzgerald and Louis Armstrong duets. Haven't looked back since.

Posted on Nov 14, 2011 3:56:33 PM PST
Zolar Waka says:
Legends of Acid Jazz by Sonny Stitt. The 3rd song on this disc is what first really got me interested in jazz.

Posted on Nov 13, 2011 4:35:58 AM PST
Last edited by the author on Nov 13, 2011 7:06:50 PM PST
M. Butler says:
My first exposure to Jazz was as a child hearing my dads favorites, Erroll Garner, Brubeck, Lennie Tristano, Stan Getz, Cal Tjader and others whose names escape me at the moment. Growing up in Washington DC during the time of AM radio most of my exposure was to R&B and Soul music compliments of WOOK, WUST and WOL (featured in the movie "Talk to Me"). These were not your typical Soul stations playing mostly Motown and Stax, although there's nothing wrong with that. They allowed their DJ's to play what they liked, which included Les McCann and Eddie Harris, Stanley Turrentine, Charles Earland, Bobby Hutcherson and Washington's own Buck Hill. We also had WMAL, and one Felix Grant, who introduced Latin jazz not only to those of us in DC, but to much of the US. These early influences have led me to 50's and 60's Blue Notes, Miles, Trane, David Newman, Walter Bishop Jr., Steps Ahead, Melody Gardot and many many others. Though not jazz, Tower of Power, Cold Blood, The Brecker Brothers, James Brown, Gil Scott-Heron, St. Germain, Marc Moulin and many others are never too far away. Thanks for this opportunity to take a trip down memory lane. The lack of commercial viability will aways have jazz on the ropes. I've found internet radio to be an invaluable source for just about all genres.

In reply to an earlier post on Nov 11, 2011 4:36:35 AM PST
Last edited by the author on Nov 11, 2011 4:38:18 AM PST
Edwardobop says:

Re your comment ..."My problem is that I'm too simple to know the difference between good and bad music, and that I rely of the vagaries of my feelings and emotions to tell me if music is good".

I'll let you into a secret ... THAT'S WHAT WE ALL DO! ... so join the dolt's club where we all spend our time and $$$$ on the music we enjoy.

Susan is right. Your ears and heart are the best judges of what you will enjoy ... TRUST THEM.

I have two albums (amongst a couple of thousand jazz recordings) that I regularly play and which my jazz pals scoffed at before they had even heard them. Both are by so called smooth jazz musicians. After hearing them they all agreed they were "real" jazz recordings (whatever that means) and several have bought their own copies.

David Sanborn's "Another Hand" Another Hand and Lee Rittenour's "Stolen Moments" Stolen Moments sit right alongside my Charles Mingus, Stan Getz, David Murray, Dave Douglas etc. and hit the spot everytime I play them. Enjoy what you enjoy.


Posted on Nov 10, 2011 6:31:11 PM PST
Hey, the kind of music you like is popular. Why is it popular? Because people like it.

All music, as well art, food, etc., is a matter of taste. My taste is no better or worse than yours, it just happens to be different. Be happy and enjoy the things you like, and be thankful that you're capable of enjoying them. If at some point in the future you find yourself gravitating to something "better" or more critically acclaimed that's fine. If not, that's OK. too.

Posted on Nov 10, 2011 6:24:58 PM PST
John says:
What's the purpose of music?

I know that's kind of a crazy question, but I've been asking myself this a lot lately, because I like a brand of music that people with much more knowledge and understanding on the topic than I'll ever have consistently label as insipid, boring, and uninspiring. It all makes me think there's something wrong with me. I like smooth jazz.

Right now I'm listening to Brian Culbertson and I absolutely love it. It makes me want to dance and sing, but I can't help but feel like someone without taste who couldn't tell the difference between Miles Davis and someone beating on a garbage can lid. I feel stupid and simple.

I'm 52 years old and my foray from rock to "jazz" started with Steely Dan and moved into fusion through Weather Report and then Matheny and then back to Wes Montgomery and the Jazz Crusaders forward to Bob James and then, God help me, I was hooked on the smooth sounds of Sanborn, Jarreau and the rest of the smooth jazz folks.

My problem is that I'm too simple to know the difference between good and bad music, and that I rely of the vagaries of my feelings and emotions to tell me if music is good. That's obviously my problem. Any advice out there on how I can stop being such a dolt?

In reply to an earlier post on Oct 16, 2011 6:52:26 PM PDT
Jerlaw says:
I understand your views on racism, & wish they were true. But the sad fact is that racism permeates American society just as much now as it always did. In the old days, racism was more overt. Now, using the n-word isn't "cool," but it's still with us. It just isn't politically correct, so it's more covert. I've gigged with many African-Americans in Europe, & they are treated much better over there. They will tell you that racism is as alive & well in the U.S. as it ever was; sad, but true. For those of us who appreciate jazz, we don't care if a guy is blck or white. It's his/her music that interests us. Did you care whether Stan Getz was white or black; Dexter Gordon; Kenny Burrell & a hundred more I could name. Of course not. But for some people jazz will always be black music.
Have things improved? I really don't know. I hope they have. Time will tell, I guess. I don't think race is is a factor in the decline of jazz, so on that we can agree.

Posted on Oct 16, 2011 2:47:10 PM PDT
Marc Davis says:
I don't see race as a factor in jazz's popularity. Look at the 1930s and 40s, a time that was perhaps more racist than our own. In the US, blacks and whites were physically separated. And yet jazz was never more popular. Look at the 1960s, 70s and 80s, when Motown, R&B, funk and the Jackson Five (and Michael Jackson) were enormously popular. During the past decade, rap and hip-pop have been hugely popular, even among young whites. No, I don't think race is a factor in jazz's decline.

Posted on Oct 16, 2011 6:47:16 AM PDT
Jerlaw says:
[Customers don't think this post adds to the discussion. Show post anyway. Show all unhelpful posts.]

In reply to an earlier post on Oct 15, 2011 12:49:39 AM PDT
Jerlaw says:
You make a very valid point, & if I weren't so tired right now, I'd love to discuss it with you. But my old eyes are closing and my better half summons me to bed, so we'll have to leave it for now. But you can be sure that we will discuss your thoughts on the "democracy" of jazz. I've never quite heard it in those terms, but you may have something there and we will discuss it agin very soon. Hang in there.

In reply to an earlier post on Oct 15, 2011 12:33:19 AM PDT
Jerlaw says:
I hear what you're saying and agree that it's an "uphill battle." But I think that not all kids are the same; some will be open to it but most won't.
Our children have so many things open to them today (and wanting to be part of the in-crowd) it's a precious few who will be willing to be different, & expose themselves to the complex sounds of bebop. All we can do is to give them the opportunity to cultivate the sounds of jazz. We can't force it on them.
Let's face it: bebop has never been "popularr." And it will never be popular. But we don't want to see it die either.
On a per-capita basis, jazz is much more listened to and loved in other countries than right here where it was born. Take Japan, for example. They have only half the population than the U.S., yet they buy twice as much jazz. Why?
It's a big topic, and I am certain it won't be answered in my lifetime, but the very least we can do is give our kids a chance to derive the same joy from jazz as we had.
One question I don't like to ask, but must ask it anyway: "Does the fact that jazz came out of the African-American culture have any bearing on it's acceptance? I think that it has. Racism may not be as overt as it once was, but under the surface it's still there, covert, but still there. In countries overseas you will see that blacks are treated with more respect than here.
Well, I'm getting into a subject that can be discussed ad infinitum, but my eyes are closing as is my brain, so I'll be off to bed now. But if you happen to think of something we haven't mentioned yet, I'm right here to put in my two cents' worth.

Posted on Oct 14, 2011 8:38:44 PM PDT
Another thing I'd like to say, as an addition to my earlier post, is that one of the reasons I love jazz so much is that it's such a democratic form of music. I don't know any other form of popular music where anyone can attend, not have to spend a lot of money (there is a lot of "free" music in my city), and possibly even get to hang out with the musicians. At the aforementioned show at the Quecumbar in London, my wife and I got to the club very early, in fact they weren't even open yet when we arrived, but we managed to reserve a table next to the stage, and when the musicians arrived I was able to engage them in a very lively and enjoyable conversation. I've been able to do this several other times in my jazz listening lifetime, including once many years ago when I saw the late, great Joe Pass at Donte's. I was able to ask him for a request and got an immediate granting of that request. Try doing that with any of today's pop "superstars" First of all, for some of these stars,you'll be lucky to even get inside the arena for under a hundred bucks, (I've always thought that these ridiculous ticket prices shows the height of arrogance on the part of these performers) and then you'll have to pay even more to get closer than a hundred feet from the stage. As for schmoozing with them like I was able to do with Pete Sheppard, yeah right - in your dreams!

In reply to an earlier post on Oct 14, 2011 1:00:07 PM PDT
Marc Davis says:
Absolutely, but it's an uphill battle. Kids will also gravitate toward whatever is popular first. I grew up in the 60s and 70s, so it was the Beatles, the Stones and the Who. Today it might be hip-hop, country and Lady Gaga. It's never a bad thing to promote alternative music in early childhood, but jazz and classical will also be at a competitive disadvantage to popular music. Unless, of course, jazz became popular again, as it was in the 30s and 40s.

In reply to an earlier post on Oct 14, 2011 6:34:13 AM PDT
Jerlaw says:
I read your post & found it quite interesting. As I've told others, the reason I started the thread is to see how people got interested in Jazz.
I'm living in Canada & many schools are starting with the kids, very young. They first hear the music of the Swing Era, & love it because they can dance to it. Our hope is that as they grow older they will want to cultivate more complex forms of jazz like bebop.
I think that if we are to engender a genuine interest in jazz, it's got to start with our children. Do you agree?

Posted on Oct 14, 2011 5:46:40 AM PDT
Marc Davis says:
I came in through the back door, so to speak -- through fusion and horn-oriented rock like Chicago and Chase. This was during my college years in the 1970s. Chick Corea fusion led to Chick Corea acoustic piano, which led to other pianists, which led to the whole pantheon. I discovered one of my very favorite jazz records during that period: That's The Way I Feel Right Now, a tribute to Thelonious Monk which nicely straddles the fence between straight-jazz and jazz-rock. There's a terrific version of Work by Peter Frampton and Chris Spedding.

In reply to an earlier post on Oct 13, 2011 4:16:43 PM PDT
[Deleted by the author on Oct 13, 2011 4:25:57 PM PDT]

In reply to an earlier post on Oct 13, 2011 4:14:15 PM PDT
Last edited by the author on Oct 13, 2011 4:25:19 PM PDT
Jerlaw says:
I read your story with interest. My reason for starting the thread was that, unlike many other countries where the popularity of ey can dance to itjazz is increasing, in the U.S. only 3% of album sales are jazz related. And that coints "smooth jazz" (ugh). I'm living in Canada at the moment although I was born in N.Y.C.
Shay, here in Canada they are now exposing very young grade school students to the Swing Era. The kids love it,they can dance to it, & have a great time. Hopefully they will eventually get into the more complex modern jazz (bebop); at least a certain percentage of them, and we will see a resurgence in its' popularity.

Posted on Oct 13, 2011 2:29:54 PM PDT
No one in my family likes jazz. I got into it when I took a Jazz History course as an undergrad to get an easy A to fulfill my art requirement. I ended up with a lifelong passion. Now I have several hundred CDs in my collection and a nice stack of books. I live in Tucson, Az. which may have a jazz society but there's hardly anything to watch except for occasional shows at the U of Arizona which brings in a three or four big names a year.


In reply to an earlier post on Oct 13, 2011 5:44:13 AM PDT
Jerlaw says:
I read your story with great interest. There are many parallels to my own. Like most of the other posts on this thread, it points to the fact that if there is any chance of a revival in U.S. jazz, it's got to start with the children. I live in Canada now, & they are beginning to start the kids with the Swing ERA. They have great fun, and they can dance to it. A certain percentage of these kids will become curious about bebop, & hopefully cultivate a taste for it. Music, like everything else begins with our children. Thank you for your post.

Posted on Oct 12, 2011 9:09:18 PM PDT
I have been listening to jazz for over 50 of my 63 years. I suppose that what got me started listening was that I have three older brothers, each of whom is a jazz fan, so I started hearing jazz records (I wasn't actually 'listening' at first) when I was 7 or 8, which would be about the mid 1950's. I was born in England and emigrated to the US in 1956, so the first records I heard were things like Ted Heath (not really jazz, more big band), but I also heard George Shearing, Chet Baker and Gerry Mulligan, Benny Goodman and others of that era. We moved straight from England to Los Angeles, so I had a great jazz radio station to listen to (KBCA in those days), where the legendary Chuck Niles was one of the DJ's. By the time I was 12 or 13 I was already buying jazz records. I think the first one I bought was Dave Brubeck's "Time Out", having first heard it when I was browsing in a book store. I remember going into a black-owned record store in Los Angeles when I was about 14, and the proprietor asked me how old I was, he was amazed that a 14 year old white kid was buying those records (I think it was a Jazz Crusaders LP I'd gone in there to buy) As soon as I was old enough to drive and go out on dates, the Lighthouse in Hermosa Beach became one of my regular haunts. Later in in the early 70's it was Donte's in North Hollywood. I would also go to many concerts at places like Royce Hall at UCLA, and the Pilgrimage Theatre (now the John Anson Ford Theatre) which for several years in the late 60's had a series of free Sunday concerts in the summer. In 1966 and 67 I went to the Monterey Festival. During those years of regular attendance, I saw many of the greats: Miles, Diz, Duke Ellington, Basie, Brubeck, Charles Lloyd, Mingus, Wes Montgomery, and on and on. Once I got married, I didn't go to live jazz much any more, as my wife isn't a huge fan, but over the years I've won her over and just this past summer, during a trip to England, we went to the famous Quecumbar in Battersea and saw a terrific guitarist, Pete "Tiger" Sheppard, and 4 years ago I went to the Django Festival in Samois. And I still buy loads of CD's although it's getting harder and harder to find outlets.

Posted on Oct 8, 2011 8:41:38 AM PDT
Jerlaw says:
To everyone. I have too busy to post for about six weeks, but have been back for three, & have seen hide nor hair of Prof. Jim. His beloved Tigers are playing the Texas Rangers tonight in the first game of the A.L.C.S. All of Jim's many friends know he has some health issues, & I am very worried about him. If you know anything of his whereabouts would you please let me know. Alternatively, you can click on my name which will take you to my profile where you will find my email address. I thank you for your cooperation in this matter,
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Discussion in:  Jazz forum
Participants:  34
Total posts:  73
Initial post:  Sep 25, 2011
Latest post:  Mar 13, 2012

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