Seeing Charlie play with Q West was so amazing. Laurence on drums played a solo that made me cry. Everyone was so great and the sound came together beautifully. Such is the case hear. My listening changes when cats like these 2 play. Charlie wasn’t afraid to develop a solo. He’s not in a hurry. Fuck time just play…..❤❤
first notes of Charlie's bass solo I yelled out "fucking hell" involuntarily. beautiful. I used to think of him as a "crude" player, just making this beautiful sound but not really sophisticated but I was so wrong. He's just so lyrical but also playing beautiful, intricate stuff.
charlie said with such grace ashe always does he often in listning to miles felt life so deep;y hed be moved to tears. Thats and ear that allows him to play himself and his voice on same level becaus gives me same chills,gooseumps, emotions as miles favorite ballads imo. Hes just such a great example of a wonderful person who happens to be able to play with zero restriction in expression. This is gorgeous they both look up after knowing it was a moment. Those two chords pat plays towards end of chalie's lead just gives me chills their listening skills or just skills are instantly recognizable. Pat playing at 18 with steve swallow and company already at insane level when he was teeneager he was Mike sterns music teacher at berkley :) thank you for posting charlie like all masters of bass knows exacty what not to play to fill the sound perfectly and rovide surprise all the true greats can do that on upright. Mingus, chambers, carter, peacock garrison and workman for coltrane
I just viewed Blue in Green from Pat Martino live in a piano duet situation (interestingly, from the same year - 2009). I was interesting to compare the two approaches and performances. Both of them are great, of course. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-axiF7tarD24.html
It would've been perfect with a little higher volume on guitar, the predominance of bass doesn't create the right chemistry for this particular piece. I know he's a maestro but bass should always work as an hidden backbone and there it's almost irritating
If you're a musician I'm surprised. I'm 65 and a professional jazz pianist and the 1st thing I was taught is that one must listen from the bass and it's all important function if you expect to understand architecture in music. It's more than accompaniment in fact that's a pretty deceptive and incorrect word.
I agree that the bass is a little hot in the mix, but I doubt that has anything to do with Haden. Unless it was recorded by ambient house mics, which it doesn’t sound like it was, complaints should more appropriately be directed to the sound engineer. But really, you’re getting one of the most beautiful songs ever written (btw, written by Bill Evans not Miles Davis), performed by two of the most talented musicians ever. Complaining about it feels a bit like complaining about the proverbial free lunch Think about the old Dean Benedetti recordings of Charlie Parker. (Literally) almost unlistenable sound quality but every jazz musician Is able to get past that irritation and ends up eternally grateful for their existence Edit: I commented before Metheny started taking off in his solo. I take it back about the mix. Once that happens the levels are just fine
@@sbmcgonagle9671 It never ceased to amaze me Charlie Hayden's wealth of melody. Something not lost on Ornette or Keith Jarrett or Pat Matheny. All accomplished without particularly leaning on technique. I always want him easily heard with that giant 7/8 size bass.
the bass enhances the piece as far as i'm concerned. have you ever listened to any Keith Jarrett with Gary Peacock on bass? The bass is mixed very prominently and the music soars, in my opinion. There's no correct answer to the question of where the bass should sit in the mix, but rather a personal preference. I like my bass articulate and clear, but i'm a bassist, so admittedly biased.
