I first heard Mr.Bartley today.Awesome saxophonist.Ill be happy to check him out much more.Great Musicians in this unit also.Come to Omaha and play the Jewel or Jazz on the Green. Peace
*The Trio + Twin Cities = One of a Kind* *’Live w/ Pat Bartley, alto sax’* 🏙🎷🎹🥁🎻 0:00 Opening Festival Remarks 1:43 Symphonic Raps (Louis Armstrong; comp. Bert Stevens, Irwin Abrams) 7:43 Introduction of the Band by Emmet Cohen 9:00 Autumn Leaves (Joseph Kosma; lyr. J. Prévert, Johnny Mercer) 21:38 Jeannine (Duke Pearson; lyr. Oscar Brown, Jr.) 34:40 Stars Fell on Alabama (Frank Perkins; lyr. Mitchell Parish) 45:42 Tico Tico (Zequinha de Abreu) 1:00:04 After You’ve Gone (Turner Layton; lyr. Henry Creamer) 1:10:53 I Want to Talk About You (comp. & lyrics Billy Eckstein; John Coltrane) 1:20:28 Impressions (John Coltrane) - ft. Yasushi Nakamura, bass 1:32:24 Blues send-off - close of festival set
Patrick is the best thing that’s happened to Jazz for a good minute. I love that he’s not engrossed in modern vocabulary that everything starts to sound like soulless.
What is modern vocabulary ? Coltrane will sound "soulless" like you said for the vast majority of people from today because he was just pushing it further. And it was in the 50's, 60's
@@mesajam4894 further in the direction of patterns. Now that I think of it, it’s more in the composition than the players vocabulary. Listening to a lot of modern jazz musicians chord progressions and Melodie’s can be jarring lol
@@mesajam4894 I think also there was something emperically different from when Coltrane was playing "in" as opposed to his "out" phase. I don't think most people would like his "out" stuff because it just wasn't very good. His other stuff is amazing, but not everyone cares about Bach their first listen either.
@@tonywallens217 There is several layers of listening, especially when it comes to jazz and songs that has been played for decades, but eventually, the purest beauty is in the most "simple" things (imho), talking about Coltrane, there is no fast 300bpm bebop lines that can surpass the beauty of one note he can throw on another ballad, when it's the "good" note (imho). For sure this band with Emmet has mastered this art. I personnally think jazz today has a great soul and incredible talents
@@mesajam4894 I’m with you , I think Coltrane Is the greatest sax player in history, maybe even the greatest jazz musician in history. And I love listening to young guys play. I think what I’m referring to is jazz compositions that lean in the more a tonal sectors of not having a definitive key center. Where that is not only used for an effect but almost as a component of the music. Just like the a tonal movement. The Melodys are disjointed and awkward in order to stay with the chord progressions, or perhaps the other way around. Therefore the way one solos over them prevents anthem from being able to use “meaningful” vocabulary. Someone who I think pushes ahead while retaining the tradition excellently is Kurt Rosenwinkel. His use of harmony is unlike anything over heard before, it doesn’t always follow typical progressions and yet somehow it remains consonant and “listenable.” His melodys are. Amazing and logical. And no matter how forward thinking he is you can always hear a little blues in it. It’s a very forward but grounded music. For as much as I love Holdsworth, not all of his compositions speak as well as others. Tokyo dream and the things you see speak really well, some of his others can get to spacey to really grow on a listener in a meaningful way. This is all in my opinion. Emmet and all the guys he brings in are just incredible.
0:00 Opening Festival Remarks 1:43 Symphonic Raps (Louis Armstrong; comp. Bert Stevens, Irwin Abrams) 7:43 Introduction of the Band by Emmet Cohen 9:00 Autumn Leaves (Joseph Kosma; lyr. J. Prévert, Johnny Mercer) 21:38 Jeannine (Duke Pearson; lyr. Oscar Brown, Jr.) 34:40 Stars Fell on Alabama (Frank Perkins; lyr. Mitchell Parish) 45:42 Tico Tico (Zequinha de Abreu) 1:00:04 After You’ve Gone (Turner Layton; lyr. Henry Creamer) 1:10:53 I Want to Talk About You (comp. & lyrics Billy Eckstein; John Coltrane) 1:20:28 Impressions (John Coltrane) - ft. Yasushi Nakamura, bass 1:32:24 Blues send-off - close of festival set
Listening to Jeannine again - 7 months later - and I'm still in awe! Patrick's whole musical conversation is riveting! Whew! - In fact, Stellar performance from each member of the Band!
This is a Tiger on bass, Mr Nakamura is killing the tune " Jeanine " and bass and drums are always making the pressure on that high tempo , f... mad ! i know... everybody's killing here, Emmet is so strong Patrick...
As a fellow saxaphonist, once I heard Patrick Bennet playing I instantly got goosebumbs. The amount of color and soul that came out of his playing is unreal. Bravo!!!
Just caught this at the tail end, but so so so grateful that we get to hear such outstanding musicians time and time again on youtube and twitch alike. What a time to be alive. Everything yall touch is 24k gold.
The playing is amazing, and such incredible choice of tunes! Stars Fell On Alabama????? 😵 This group plays with such overwhelming power, and at the same time incredible deference! Not sure how that's possible, but nothing but gratitude over here!!
Love this iteration of the trio with Yasushi on bass just as much as with Russell - these boys just so talented! Pat is the GOAT of alto sax whether playing VGM or anything at all (and especially altissimo!). As the kids would say everyone popping off! Wish I could see these guys live. Meira A. might be able to assist with my attempt at timestamps :) 01:43 Symphonic Raps 13:32 Autumn Leaves 27:00 Last TIme I Saw Janine 39:12 Stars Fell On Alabama 50:15 Tico-Tico no fuba 1:04:36 After You've Gone 1:15:27 I Want To Talk About You 1:25:00 Sakura Sakura 1:37:00 Outro
You guys are amazing! To me, it’s like opening a time capsule filled with jazz from every decade over the past 100 years, mixed together, resulting in the most satisfying music ever created. I feel I must clarify that I love classical, rock and roll, and blues, but as a musician, nothing feels more free than jazz. Thank you so much.
It's interesting to hear Kyle playing with that low-tuned bass drum. Usually it's quite high-pitched when he plays with Emmet, I've noticed. It shifts the sonic region a bit for better or worse (you decide). Great video, thanks!
The overall mix for this set is so raw lol i love it, like both the bass and drums have a LOT of compression on them, the snares just snap through the entire mix. Works so well w the energy on impressions
Happy days are here again…Live! (watching from the Netherlands but great to see all this happiness at the other side of the pond). Emmwt and the trio are truly amazing as ‘usual’. Thank you!!
So many good things to say about this great performance but I just want to point out how beautifully Mr Bartley played Billy Eckstein's melody-as-written before going into his beautiful improvs. It's a great melody and there are precious few instrumentalists or vocalists who could improvise a better one.
I can't believe this is a concert played in front of only a handful of people. I can see people walking by in the background and going about their businesses as if the group wasn't there playing... Does not compute!
Do you know how the 82z matches up? obviously not the same in quality/manufacturing, but that's the horn I have and it's damn good & there has to be a reason Phil chose it
@@seanh9190 "Matching up" is not what I'm talking about. Bird didn't even own a saxophone for extended periods. He played on a series of borrowed horns, various models of Beuscher, Conn and King. That's not even talking about mouthpieces. He always sounded like Bird all the time. I'm talking about profiting from other people's GAS (gear acquisition syndrome.)