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CD |
| 4.001 Ft
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| 1. | Walkin'
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| 2. | A Sleepin' Bee
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| 3. | Sermonette
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| 4. | Stockholm Sweetnin'
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| 5. | Evening in Paris
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| 6. | Boo's Bloos
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Jazz
For the sake of the title chosen for this session, I have disregarded the established precedent of a Jazz arrangers's album being mostly a display of his technique and/or craftsmanship.
This Is How I Feel About Jazz is an attempt on my part to supply the settings, select the proper cast and musically portray my feelings about some of the less cerebral and more vital or basic elements contained in Jazz.
Trying to put into words the essence of these elements has made me realize that Jazz is much easier to play than to say.
At the recent Newport Jazz Festival, one of the topics for panel discussion was "The Future of Jazz." As a member of this panel, I stated my preference for a "natural growth" instead of a "forced or blueprinted development."
Because of he lack of time to explain this point thoroughly, it could have possibly been assumed that I was unaware of the possibilities uncovered only by advancement of Jazz techniques.
Such an assumption would be clarified, I hope, after a hearing of this album, as it has given me ample opportunity to present most of my favorite musicians and soloists in settings conducive to swinging and to their unlimited self-expression. (These latter elements comprise the most distinctive characteristics of Jazz. Original voices are created and not mapped out, meaning you can't make a race horse out of a mule.)
I would prefer not to have this music categorized at all, for it is probably influenced by every original voice in and outside of Jazz, maybe anyone from Blues singer Ray Charles to Ravel; I don't know or care, and I think the musicians here feel the same way. We aren't trying to prove a thing except maybe that "the truth doesn't always hurt."
---Quincy Jones, 1957 |
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