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Why is it....


AllenLowe

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Every time I see my uncle (who's about to turn 80 in a couple years), he always plays me something with Sandoval -- raving about his technique.

I've never gotten what's the least bit interesting about his playing (other than the technical). Don't know that I've ever heard a solo of his that really ever did much for me, even in the slightest.

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I remember checking out the first Irakere record on Columbia when I was in high school. I dug Paquito, and Chucho Valdez, and I remember thinking "Wow, that trumpet guy is playing really high!". But that's about it.

Did anyone see the HBO movie about Arturo, starring Andy Garcia? Made him look heroic, but the stories I've heard make him sound...um...less so.

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I don't think referring to a player as "too technical" is really a criticism by itself. I mean, Clifford Brown, Booker Little, Woody Shaw, Freddie, Dizzy and others could be referred to as "too technical", but the difference is that they actually seem to have something musical to say- whereas with Arturo the technique is the show, not so much the content.

Arturo may very well be a better trumpet player than all of the above, but to me he seldom says much musically except "look what I can do!" and that wears thin pretty quickly. It seems his mission is to prove he's badder than all the boys, but in the end he's proving just the opposite IMHO.

He does put on an entertaining live show- he plays piano and percussion very well and his command of the trumpet is stunning, but that's about all you take with you at the end of the night.

Carl Fontana had amazing technical command of the trombone, but I never thought of his playing as "too technical"- I was instead focused on the musical elements of his playing- phrasing, melody, harmony. Hardly even noticed that there was some badass technique on display. OK, maybe I noticed a little bit. :)

Then there are other 'bonists who have comparable levels of technique but are so dependent on it (as an end in itself instead of a means to an end) that they fail to sustain long-term interest. I will not mention names........

Edited by Free For All
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In fairness to Sandoval, he comes from a non-American (non-jazz, really) tradition of trumpet playing that places value on the whole "bravura" aspect of the instrument. You listen to cats like Chocolate (Alfredo Armenteros), El Negro Vivar, Luis "Perico" Ortiz, etc., and you can gain a better perspective of where Sandoval is coming from than you can by comparing him to American jazz trumpeters.

Having said that, though, I think it's safe to say that Sandoval is to those players what 337.jpg is to 640.jpg, which is to say that he takes a nice (and already bold) concept to such extremes that its usefulness to anybody but the masochistic and/or tragically macho is doubtful at best.

Edited by JSngry
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I understand your point Jim, but it's instructive that I saw him on a TV show playing after Claudio Roditi (Brazilian, I think) - who is also a virtuouso but a musical one, full of beautiful ideas, great sound, a brilliant jazz player -

Edited by AllenLowe
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In fairness to Sandoval, he comes from a non-American (non-jazz, really) tradition of trumpet playing that places value on the whole "bravura" aspect of the instrument

Unfortunately, I think you could say this about a lot of youngish jazz trumpeters growing up right here in the good ole USA. You have to dig kind of hard to find the jazz tradition in this country, these days, and I don't think you're necessarily going to find it at Berklee. Or on PBS. Maybe that's why the 'all technique-little to say' charge seems to extend to a lot of folks who have come on the scene in the 90s through today.

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I understand your point Jim, but it's instructive that I saw in on a TV show playing after Claudio Roditi (Brazilian, I think) - who is also a virtuouso but a musical one, full of beautiful ideas, great sound, a brilliant jazz player -

True (and again, I pretty much despise Sandoval's music to a degree that I do few others), but "ethnomusicolgically", the "European" threads run much longer and deeper in Brazilian music than they do in the Carribean musical cultures, so equating the Brazillian musical traditon to the Latin/Carribean one is a bit of apples and oranges, I think.

I look at Sandoval's music (and looking at it is the best I can do...) as combining a hyperactive "Latin" musical temperment with the worst aspects of jazz extroversion. The worst of both worlds, so to speak...

If not for his age, it would be tempting to envision a scenario where Sandoval learned to play jazz by getting a bunch of 70s-era Hannibal solos (which I truly love, btw) and, reversing the time-honored tradition, setting the turntable at 78 rpm in order to learn them...

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Have you had the Ultimate Insanity sauce? "Gourmet" is a misnomer. "Too freakin' hot to be useful to any living creature" is more like it. One drop on the tip of a toothpick will damn near raise blisters. I kid you not. It's strictly a gimmick, or, in the wrong hands, a tool of punishment.

Maybe I'm thinkng of that "Reserve" stuff he makes up, in shich case I'll gladly change the image. But that's my analogy.

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I've been hearing a lot of Wynton's new live CD on XM radio--it sounds good to me and I think he has something to say...even if what he's saying is basically, "I LOVE this music and I'm going to have FUN with it tonight". I'll take that over empty virtuosity.

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