"Rhythm-A-Ning": A detour / Un desvío (II)

Some time ago I posted about the alternative life of the melody that would become "Rhythm-A-Ning" and forever associated with Thelonious Monk. Last week I was listening to some classic Bud Powell, "Hallelujah!" came up, and lo and behold, come 1:57 and there it was in his "Opus Caprice" version (right before he quotes "Go In and Out the Window", a nursery rhyme, of all things).

Musicians' quotes / Citas de músicos (II)

(Gjon Mili/Life magazine)

Cecil Taylor (below) on flamenco dancer Carmen Amaya (right):

It was as though everything stopped for me. I mean everything stopped. That, to me, is the highest kind of compliment that can be paid to another artist - [that he is able] to make somebody else lose all the sense of time, all sense of his own existence outside [of the performance.]

(As quoted by Nat Hentoff in the liner notes to Cecil Taylor: Jazz Advance)

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Cecil Taylor en 1958

Cecil Taylor (izquierda) acerca de la bailaora Carmen Amaya (arriba):

Fue como si todo se hubiera detenido a mi alrededor. Es que... TODO se detuvo. Eso, para mí, es el mayor elogio que puede hacerse de otro artista, [que dicho artista sea capaz] de hacer que alguien pierda toda noción del tiempo, toda noción de su propia existencia más allá [de la actuación].

(Citado por Nat Hentoff en las anotaciones de Cecil Taylor: Jazz Advance)

Ben Young speaks (and III)

(Para el texto en castellano, pulsa aquí.)

This is the third and final part of the video interview with Ben Young, where he tackles the sticky issue of boiling jazz to a few recommendations (tricky business, which I tried myself some time ago). Like the interviewer points out, in his overview of jazz Young hasn't mentioned any musicians yet (except Louis Armstrong and Bill Dixon in passing), which is remarkable, bearing in mind the tendency to present jazz as a succession of "big names".