LEONARD SEED Bill Evans is Chopin of Jazz

Bit rubbish though compared to classical piano music though

@@ciararespect4296 You are comparing apples to oranges - doesn’t make sense.

@@tonydegregorio7357 I was talking about this specific concert not jazz as a whole

@@ciararespect4296 You’re comparing one concert to classical music? I don’t understand your comparison. If you like classical music, that’s fine. The only reason I even commented is because you responded to my comment comparing two genres. Even if it’s one song…I don’t understand the comparison.

@@tonydegregorio7357 I was replying to bigdaygo6. Anyway no problem. I don't think they're songs? Just comparing jazz as a whole to classical. Seems classical has more variety

totally agree. bass pickup tech has come along way, no excuse to use the old tech, its REALLY doesnt hold up against the current state of the art

Bluesnswing OK OK LOOK. As a Jazz Pianist I want the bass to be on as equal a setting to the piano as is possible. Thud thud thud with no sustain ain't that. So mostly in my experience this new approach to amplifying the bass just yields an inaudible bass. Bass is the most important element in Jazz/music So I for one want to hear it functionally and melodically and rhythmically. I want to hear distinct bass pitches. I don't care what system of amplification is used but sustain is the best thing about the modern jazz bass for me. Don't throw the baby out with the bathwater. For God's sake.

Good man. As a bassist I don't understand bassists that make their instrument sound like a fucking gutbucket.

MrSteven2945 Hey be sure to send the memo to Monk et al we all appreciate the benefit of your wisdom.

too much of a need to modern thing. look, petey, i love ALL monk, but for some reason, most pianists after him, Herbie definitely included after him could not OFTEN find the balance between dissonance and diatonic that worked. When were you EVER lost in the form listening to Monk? I, never. When were you ever lost in the form listening to the Heribe Wayne quintet, or Brecker or Potter any of a thousand player. Maybe because Monks rhtmn section was playing the forms so straight compared to todays bands, but i think it is also a misunderstanding and over use of dissonance from everyone from Zappa to Hancock and 99 % of modern composers. If it aint "out", way out in the 12 tone sphere, it's corny and nostalgic schmaltz. That's the attitude. And it results in music that's inaccessible to 99.888 % of the public, and even to fairly educated ears like mine. fusion and adult contemporary survived because normal people could get a little grasp on some elements of the music. Straight Ahead post hard bop whatever bop int 60's 70's 80's, shit, it killed anything to do with standards and swing and a "jazz audience" almost dead, til the young lions resuscitated it a bit. If it wasn't for Mehldau and Jarrett playing a little inside, nobody outside No Texas Berkelee and some JC's in Cali where ex big band trombonists for Kenton taught jazz 1A and arranging (that's me)

listen petey, if it wasn't for Jarrett trio and Mehldau and the young lions playing a little inside, there d be almost no audience today outside of music majors.

1986.