Bessie Smith, The Essential Bessie Smith (1923-1933, Columbia Legacy)Ĥ. King Oliver, The Quintessence (1923-1928, Fremaux), 2 CDsģ. Por tal motivo, reproduzco la selección de Ratliff de los cien discos de jazz más importantes, en orden cronológico (con sus correspondientes años y sellos discográficos entre paréntesis), para que puedan usarla como referencia o guía quienes se inician en la fruición del jazz:Ģ. Y es precisamente por esa dificultad de acceder a la presentación en vivo, que los medios de reproducción resultan los más utilizados para transmitir la música al público en general”. Como a la gente le encanta hacer lo que le da la gana, quien gusta realmente del jazz querrá normalmente escucharlo cuando él quiera y pueda, no cuando el jazzista pueda y quiera, cosa que por lo demás no sucede tan frecuentemente como el oyente lo necesita. En vivo, cuando los jazzistas se presentan en grabaciones, cuando le da la gana. El oyente escucha la música en vivo o mediante grabaciones. Then Eric called Freddie Hubbard, and that’s when we did Out to Lunch.Tal como afirma Federico Pacanins en la página 77 de su libro Jazzofilia (AlterLibris Ediciones, Caracas, 2003, segunda edición), “Quien guste realmente del jazz querrá oírlo frecuentemente de lo contrario, no gusta realmente del jazz.
Then we went on with rehearsal and we never played so hard in our lives. Well, we sat there quiet for two or three minutes - didn’t say anything. This was one of the biggest lessons Eric showed me - that if you can forgive somebody right when they do the most horrible thing they can to you, you just immediately take the weight of what they did off your back and just make it this beautiful experience, so that you can go on and do the things you want to do during the day and not waste time with negative feelings and negative thoughts. He went out that door with so much hate, but with a message that Eric still cared about him. The lesson was, “Love conquers all,” you know? It’s like the devil couldn’t take that love, and this is what Eric was showing him. It was like he Sunday punched him with love. With that, this cat really got upset - he slammed the door and stormed out. What’s he going to do?” All of a sudden, Eric says, “Hey, Eddie.” Eddie turns around and says “What?” Eric, with the most conviction and love, says, “If I can ever do anything you need, please don’t hesitate to call me. We’re all thinking, “Eric must feel horrible. Bam! He’s just about to go out the door.Įric had just been sitting there with his head down. He gets to the door - I mean, just yanks it open. He grabs his coat, pulls his hat down and goes stomping to the door. We’re all standing there thinking, “My God, how can this cat say this?” And he continues to put his horn away, clip the fasteners on his trumpet case. Eric said, “What?” Eddie says, “I don’t like you, I don’t like your music, and I’m not going to play this gig. We get to the end of the tune and Eddie says to Eric, “You’re nasty.” And Eric was real sweet, just like Trane was - you know, a real sweet cat. All of a sudden, right in the middle of the tune, the trumpet player, Eddie, starts cussing and packing up his horn.
We were rehearsing for about an hour and a half. I’m rehearsing with Eric at his loft - myself, Tony Williams, Richard Davis and a trumpet player named Eddie Armour. Reflections on the virtuoso reedman, from his formative days in Los Angeles to his last date in BerlinĪlso featured in the Jazz Issue, comments on Eric Dolphy from Bobby Hutcherson, Sonny Rollins, Ted Curson, Peter Brotzmann, Gary Giddins, Ira Gitler and moreĬlick here to read an interview about Dolphy with Richard Davis