antoinechambertloir

antoinechambertloir, 2 months ago

@highergeometer that was so for several years!

antoinechambertloir, 2 months ago

@milubo Bien sûr, c'est comme ça que j'ai choisi le nom du blog ! (Au début, j'avais voulu l'appeler Mumbo Jumbo, mais c'était pris…)

https://www.youtube.com/watch?v=7RomnvWeOfg

antoinechambertloir, 2 months ago

@LegalizeBrain Tu les aurais faites la semaine dernière ?

antoinechambertloir, 2 months ago

@johncarlosbaez @macbro @Elliptickiwi
You can make the change of variables y = t·x.
Then the equation y² = x³ - x² becomes t²·x² = x³ - x², hence t² = x - 1
and you get the parameterization x = 1 + t², y = t + t³.
This parameterization is essentially 1:1 : t is unique for x nonzero, and for x = 0, you get y = 0,
and the equation for t is t² = -1.
In char not 2, the origin has two lifts if -1 is a square, and 0 otherwise.
In char 2, the origin has only t = 1 for a lift.
Adding the point at infinity, we conclude that the number of points over F_q is :

• q if q is odd and -1 is a square in F_q
• q - 1 if q is odd and -1 is not a square in F_q
• q + 1 if q is even

antoinechambertloir, 2 months ago

@krazykitty @juliegiovacchini
Problème de RER b, aussi ? Je passe par la ligne C...

antoinechambertloir, 2 months ago

57. Drums Unlimited

That's a solo piece that gave Max Roach's album it's name.
Compared to the one that opened this musical thread, where the playing was essentially on the snare drum, there's more hi-hat cymbal playing. The hi-hat is a two parts cymbal which can be open and closed by a foot pedal, and you can also hit the top cymbal with your sticks. When you hit it opened, it resonates, otherwise it doesn't, and a good coordination allows nice effects. In particular, the first part of the song shows a remarkable virtuosity — maybe it doesn't sound difficult, but the consistency of the sound, the delicacy of the dynamics are difficult to achieve.

https://www.youtube.com/watch?v=SEuByuaVT7k

#PouetRadio #Jazz #MaxRoach100

antoinechambertloir, 2 months ago

58. Equipoise @ferrydanini]

Small step forward, to 1968. Max Roach has formed a new quintet, with Charles Tolliver on trumpet, Gary Bartz on alto sax, Stanley Cowell on piano and electric piano and Jymie Merritt on electric bass.

The sound is more modern, and Roach's drumming has lost part of his be bop feel.
In this track, a composition by Stanley Cowell, the drums do not play purely the role of setting a pulse, it is as if Roach is improvising all the time, playing counterpoint over the melody, or between the silences, and sometimes playing something like a “drum line” that fits well with the bass.

https://www.youtube.com/watch?v=YJVL5uRDTrM

#PouetRadio #Jazz #MaxRoach100

antoinechambertloir, 2 months ago

59. Motherless Child

Sometimes I feel like a Motherless Child
A long way from home
A long way from my home
Believe me, Believe me, Believe me,

In 1971, Max Roach recorded an album with a gospel group led by J. C. White.
This is the first track of that album, Lift Every Voice And Sing!
The gospel band has the energy to sing both in front and behind a fierce group of musicians with Cecil Bridgewater on trumpet, Billy Harper on tenor saxophone, George Cables on piano, Eddie Mathias on electric bass.

This track is for y'all, who too often feel like a motherless child, with a special thought for you if that makes you angry.

https://www.youtube.com/watch?v=pwUEsfsNtJA

#PouetRadio #Jazz #MaxRoach100

antoinechambertloir, 2 months ago

60. Joshua

That version of the famous spiritual has it all, the soul to heal the pain and the force to crumble down the walls that surround us.

The free jazz vibe is not far, nor is the spirit of John Coltrane who had passed away two years before that 1971 recording, still the gospel remains central.

https://youtu.be/9k2UUQx1eiQ?si=5KH547Zn8Q6N3CZC

#MaxRoach100 #Jazz #PouetRadio

antoinechambertloir, 2 months ago

61. Onomatopeia

In 1970, Max Roach founded a band of percussionists : Roy Brooks, Joe Chambers, Omar Clay, Richard Pablo Landrum, Warren Smith and Freddie Waits to play pure percussion music. There is marimba, vibraphone, a musical saw, bells and congs, congas, and, of course, Roach's drumkit.

This tune, from a live 1973 recording, is a composition by Omar Clay.

To quote a NYT review of a 1986 concert, “The arrangements revealed what percussionists already know - that rhythmic instruments, even such ‘unpitched’ percussion as snare drums and tambourines, have a melodic side, and that there are thousands of ways to be percussive.”

https://www.youtube.com/watch?v=yhCBxfeVhh0

#MaxRoach100 #Jazz #PouetRadio

antoinechambertloir, 2 months ago

62. Groovin' High

For two nights of May 1975, a band of giants joyfully convened at wonderful “Bop session” to play the music they had contributed to create more than 30 years before.

Dizzy Gillespie leads the band on trumpet, Sonny Stitt is on saxophone, Percy Heath on bass (super-amplified, it seems…), Hank Jones and John Lewis share the piano, and Max Roach on drums.

This track is a composition of Dizzie Gillespie. Its title is well deserved!

https://www.youtube.com/watch?v=xora8AW22hw

#PouetRadio #MaxRoach100 #Jazz

antoinechambertloir, 2 months ago

63. Heaven Sent

Each track of the 1973 M'Boom's recording has been composed by a different musician. This one is a Roy Brooks composition which features Omar Clay on saw and Joe Chambers on xylophone. Max Roach is on timpani.

https://www.youtube.com/watch?v=ZJ3YVt-OZAw

#PouetRadio #MaxRoach100 #Jazz

antoinechambertloir, 2 months ago

64. Lover Man

A quiet ballad from The Bop Session recorded in 1975.
Sonny Stitt has a beautifully sugary sound and Dizzy Gillespie fills in some counterpoint.

https://www.youtube.com/watch?v=g0z0eiil_rA

#PouetRadio #MaxRoach100 #Jazz

antoinechambertloir, 2 months ago

65. Confirmation

Charlie Parker died on this day, 1955, so why not listening to Max Roach and Parker who had played together since 1945.

This version of Confirmation, a composition by Parker, was recorded in July 1953. With Parker on alto saxophone and Max Roach on drus, we have Al Haig on piano, and Percy Heath on bass.
The precision of the syncopation when Parker plays the melody is stunning.

https://www.youtube.com/watch?v=L2JNFHzRzzs

#PouetRadio #MaxRoach100 #Jazz

antoinechambertloir, 2 months ago

66. Suid Afrika 76

This tune is taken from a duet recording with saxophonist Archie Shepp.
The album's title, Force, indicates the political position of the musicians. The longest track is an evocation of Chinese communist leader Mao, the other one protests agains the South African apartheid regime that discriminated black people. The album was recorded during the summer, so presumably after the 16th June uprising where 20,000 black students protested and 1,500 were killed by the police repression.

https://www.youtube.com/watch?v=ARa55sjUFQ0&t=3060s

#PouetRadio #MaxRoach100 #Jazz

antoinechambertloir, 2 months ago

67. Round Midnight

At the end of the 70s, Max Roach shared his work between many duo projects and a new quartet, with Reggie Workman on bass, Cecil Bridgewater on trumpet and Billy Harper on saxophone.
Tonight, we listen to a live recording by this quartet of a classic Thelonious Monk tune.
Especially since its versions by the Miles Davis quintets, this song is often thought of as a ballad, but that was not the way it was initially conceived, and you'll hear that this version isn't at all a ballad, but a fiercely driven bop tune.

The first exposition of the melody has nice arrangements between trumpet and saxophone, marked with the quarter-notes riff that started the tune. Bridgewater's chorus goes on with the bebop style, while Harper's own chorus has more free jazz influences. Workman's chorus is stunningly beautiful, with an alternance of abstract passages and reminiscences of the melody. After that, Roach takes his own chorus, in a quite abrupt way, and concludes his dense playing with the classic rhythmic riff that indicates the other musicians to retake the melody.

https://www.youtube.com/watch?v=t74vwgkmMOM

#PouetRadio #MaxRoach100 #Jazz

antoinechambertloir, 2 months ago

68. Mr Papa Jo

Same concert as yesterday, but a solo piece on the hi-hat. I had already indicated in several occasions how Roach used the hi-hat — this two parts cymbal which is activated on the foot — as an autonomous instrument, and not only a time keeper that would sound on beats 2 and 4, and that's it.

The only concert of him I attended was around 1994, and as he used to do for all of his concerts, he concluded it with a hi-hat solo. That means he took his hi-hat and his chair, put them on the front stage, and started playing.

This tune is a homage to “Papa” Jo Jones, the drummer of Count Basie's big band who would start developing the hi-hat as an instrument whose timbre would not be confined to a kind of mute cymbal, expanding at the same time its rhythmic range.

https://www.youtube.com/watch?v=1NYG2-Woswc

#PouetRadio #MaxRoach100 #Jazz

antoinechambertloir, 2 months ago

69. Inception

An album in duet with South-African pianist Abdullah Ibrahim with a beautiful title, Streams of consciousness. The compositions are attributed to both Ibrahim and Roach. I have no information about how this recording was done, it hears as being improvised on the spot. However, one can recognize patters which are typical from the composition of both musicians. The challenge was to make them fit together.

The tracks of the album are quite long, with the extension of this short piece which starts with a solo by Roach. When the drummer starts playing a systematic groove, the piano enters and adds syncopated chords which slowly turn into a calypso song.

https://www.youtube.com/watch?v=h4FeXshTPGw&t=1261s

#PouetRadio #MaxRoach100 #Jazz

antoinechambertloir, 2 months ago

70. Sunday afternoon

Well, it's already Sunday night here in Europe, but it's still time to listen to that composition of Max Roach that was recorded in Paris, June 1978. Contrary to the version proposed in It's Time, a few years before, with musicians and choir, this one is extremely sober. We just have a bass/drums duet. Calvin Hill starts playing the melody on the bass, Roach accompanies him on brushes, and Hill goes on with an improvisation on bass; both trade four, until Hill plays the melody and concludes. Sometimes jazz music projects forward, but this time we are offered a beautifully held back version.

https://www.youtube.com/watch?v=JCCA_FMS_dQ

#PouetRadio #MaxRoach100 #Jazz

antoinechambertloir, 2 months ago

71. Birth

Yet another duet, in a duet album with Anthony Braxton.

The tune starts with a completely open improvisation by the two musicians, no tempo nor melody seems ascribed. After some time, Roach launches a dense and fast groove and Braxton follows him. Hearing that, I remain puzzled because it is not obvious which musician is guiding the other one, it is as if the two were playing independently, but if you pay attention, you see that they interact.
The drum solo that ends the piece is stunning: there are actual melodies beneath the fast pace of drum rolls.

https://www.youtube.com/watch?v=gUfeqgWNsUs

#PouetRadio #MaxRoach100 #Jazz