Essay Jazz Latin

Essay Jazz Latin-42
He also began dating a chic young black woman, Peri Cousins, for whom he wrote one of his sprightly early originals, “Peri’s Scope.” Cousins observed how quickly the drug filled a crucial role in Evans’s existence, providing a buffer between his acute sensitivity and the realities of life on the road.“When he came down, when he kicked it, which he did on numerous occasions, the world was—I don’t know how to say it—too beautiful,” she said. It’s almost as if he had to blur the world for himself by being strung out.” On Kind of Blue, widely regarded as the greatest jazz recording ever made, Evans became a conduit of that unbearable beauty, mapping a middle path between Russell’s Lydian concepts, Miles’s unerring sense of swing, and the luminous romanticism of Ravel and Debussy.

He also began dating a chic young black woman, Peri Cousins, for whom he wrote one of his sprightly early originals, “Peri’s Scope.” Cousins observed how quickly the drug filled a crucial role in Evans’s existence, providing a buffer between his acute sensitivity and the realities of life on the road.“When he came down, when he kicked it, which he did on numerous occasions, the world was—I don’t know how to say it—too beautiful,” she said. It’s almost as if he had to blur the world for himself by being strung out.” On Kind of Blue, widely regarded as the greatest jazz recording ever made, Evans became a conduit of that unbearable beauty, mapping a middle path between Russell’s Lydian concepts, Miles’s unerring sense of swing, and the luminous romanticism of Ravel and Debussy.I have more than ninety official and bootleg recordings of the tune stored in the cloud, ranked in a fluid and continually updated order of preference, so they follow me wherever I go.

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For more than twenty years, Evans played it nearly every night with his trios, often as the show-stopping climax of the second set.

Indeed, he became so closely associated with the tune that some of his fans dispute that Miles actually wrote it, insisting that Evans deserves the credit.

Then there was a surprise waiting for him in the control room: Miles Davis, one of his musical heroes, who had taken the extraordinary step of composing a new melody as a gift to Cannonball. That wasn’t going to be easy, because the tune, called “Nardis,” was anything but a standard workout on blues-based changes.

The melody had a haunting, angular, exotic quality, like the “Gypsy jazz” that guitarist Django Reinhardt played with the Hot Club de France in the 1930s.

It’s certainly true that “Nardis” radically evolved over the course of Evans’s career, morphing into new forms, reinventing itself, and achieving new levels of poignancy as it became inextricably entwined with the arc of Evans’s turbulent life.

Essay Jazz Latin Research Paper Presentation

For this listener, “Nardis” has become a full-on musical obsession.

And it didn’t exactly swing, but unfurled at its own pace, like liturgical music for some arcane ritual.

For three takes, the band diligently tried to make it work, but Mitchell couldn’t wrap his head around it, particularly under Miles’s intimidating gaze.

The producer of the session, legendary Riverside Records founder Orrin Keepnews, ended up scrapping the night’s performances entirely. After capturing tight renditions of “Blue Funk” and “Minority,” the quintet took two more passes through “Nardis,” yielding a master take for release, plus a credible alternate.

But the arrangement still sounded stiff, and the horns had a pinched, sour tone.

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