Ray Charles - My Shining Hour Lyrics

Man PC driving like a beast...

your mum

Paul Chambers' walking bass makes everyone else sound so much better.

Classiccccccccc Dexter Gordon line at 0:39. He developed from Dex.

Inspiring. Yet one more reminder there is so much more to life than most of us pensive to be the only option available. God bless

my left ear enjoys this

I understand perfectly what you mean

THANKS.

CollTrain

Henry Wassermanns comment's here are not only beautiful in his observations, but perfectly inlined with where Trane was at the time of this date. Mort Weiss SMS JAZZ "The Mort Report" @ All About Jazz

one of my favorite John Coltrane solos-so much love and strength- Coltrane was truly a beautiful human being.

I'm always going to like Coltrane because of that sound.

wowowowowowoowow

Shine on J.C.

Killing title (: !

David Thierry : Excuse moi, je m'adresse à toutes et tous de mes relations.. Pour pouvoir avoir mes droits et malheureusement quitter ce pays que j'aime.. Toutes aides de toutes nature me sera d'un grand secours, Et personnellement... je sais qu'il y a pire que cela de la part de la classe dirigeante, moi, j'ai reçus des menaces de mort et de représailles sur ma famille si je me défendait sur le territoire Français, en 1996, au commissariat de "police" de Montrouge, à 15h de l'après midi, au mois de Juin 1996.. je me suis tu jusqu'a maintenant, je suis petit fils d'immigrant Polonais, ancien champion de boxe, ami de Marcel Cerdan, ma mère et Française, ma Grand-Mère aussi, mon Grand Père a été naturalisé Français, après qu'il ai risqué sa vie pendant quatre ans et demi ligne Maginot dans les Vosges, comme Maquisard, nom de code" BOUBOU" , il était FFi... aussi je ne connait que trop bien ce dont sont capable ces fachistes Français; En effet, nous étions une association de spectacle, «  Le manteau d'Arlequin » dont trois élève/artiste de l'école Nationale du Cirque d'Annie Fratellini, à Paris... qui en 1987, avons tous subit, séparément des tentatives de meurtre déguisé en accident de la route ou ménagé, le 25/12/1987, à 14h45, un engins explosif artisanal fait sauter notre maison, au, 101 rue Gabriel Péri à Montrouge 92120, Haut de Seine, trois personnes décède dans l'explosion criminelle de notre maison , Hélène Périllat 36ans, mère de Emmanuelle et Antoine, respectivement, 12 et 6 ans, tout trois mort dans l'explosion ; Nous donnions des cours des Arts du cirque, pour le ministère de la Culture de l'époque.. En 1996, j'avais 160 enfants dans mon atelier de Cirque, au centre culturel Brel/Brassens, en la ville de, Evry-Courcouronne, et bien, ayant réussi en deux ans et demi de travail avec les arts du Cirque, à faire baissé la délinquance de 25 à 30%, selon un sondage de l'INA, et un film vidéo réalisé par elle ; J'ai vu mon atelier être fermé quinze jours après, par le nouveau pouvoir politique et ministere de l'interrieur de 1996, et, c'est cette année là, que convoqué au commissariat de "police » de Montrouge, j'ai reçus ces menaces de policier facsiste et corrompu, qui m'ont dit qu'ils s'en prendraient même à la retraite de ma pauvre Grand-Mère, si je me défendais sur le territoire Français ; Depuis 28 années, ou j'ai été percuté de plein fouet par un véhicule 100% en tors au code la route, je ne suis toujours pas indemnisé par l'assurance" matmut, qui condamner en troisième instance de justice, refuse de me dédommager, et présente des faux en écriture, alors que je suis depuis lors, handicapé à la hauteur de 80%, selon le médecin chef de la cotorep, aussi malgré tout les recours possible et inimaginable auprès de la justice, rien ni fait, au contraire les exactions administratives, bancaire (banque postale) EDF, CCAS, internement forcé et abusif en psychiatrie... etc... disparition de mes preuve de payement..etc.. exactions policières qui recommence de plus belle, depuis avril 2012, la police municipale de la ville de Sète 34 ..Hérault, a même détruit les images de la destruction de mon véhicule sous leurs caméra, ainsi je n'ai pas pu être remboursé par mon assurance, (AMV. moto verte, complice) de plus depuis le 10/08/2010.. le procureur de la république de Montpellier a condamné avec une ordonnance pénal, la société d'assurance «  matmut » à me dédomager, celle ci refuse malgré la condamnation et l'ordonance pénal de justice qui la condamne, par ailleurs, l'ordonnance pénal à dernièrement disparue du Gref du TGI, tribunal de grande instance de Montpellier, j'en suis au 9ièm avocat qui se désiste sans m'expliquer pourquoi, il ni a que maitre Gandini jean Jacques, avocat aux droits de l'homme, qui m'ai expliqué qu'il s'agissait d'une affaire d'état, et que les avocats Français, n'avait pas assé de poids juridique pour me défendre, rendez vous compte de ce que l'on me raconte dans les Palais de Justice.. Non seulement je suis victime, mais en plus on cherche à me faire passer pour un imposteur.. c'est bien pour cela que ma décision de quiter la France après gain de cause sera effective suite au règlement de cette affaires, de plus mon entreprise de voilier-Cirque.. ^ Bâtô^Cîrquê ^..., sera domicilié aux iles Cook ( principauté Anglaise) dans l'Océan Pacifique, domage pour la France, qui vera là, une entrteprise de plus, d'intêret et d'utilité public disparaître de son térritoire, comme cela est l'intêret des gens français et partis politique maintenant bien connu pour leurs participation aux crimes des deux dernières guerre-mondial ! enfin une dernière chose, ma grand mère et maintenant décédé, aussi avis a tous ceux qui mon fait des menaces sur sa vie et la mienne.. QUE TOUT SE SAIT UN JOUR ET SE PAYE.. merci de votre écoute.. Mr David Thierry..., anciennement « Piérro » le Fil-de-Fériste..., du Cirque d'Annie Fratellini et Pierre Etaix... VIVE LA FRANCE LIBRE...,

I hear a rhapsody...

I guess I found my next song to transcibe

I love this Coltrane recording. It is indeed his shining hour.  This was Coltrane's last tip of the cap to the improvisational style he had perfected while playing with the likes of Miles and Paul Chambers.  But even in this last hurrah you can hear hints of his "new" sound that he was about to embrace.  He was about to move on to the more mature and spiritual style of the John Coltrane Quartet with McCoy, Elvin and Jimmy Garrison. But before he embarks on that spiritual journey he stops to give homage one last time to his shining hour.  His complete mastery of the melodic hard bop mainstream style.  He is so lyrical and playful here.  It's like saying a last goodbye to an old dog that you love but because of age, can no longer remain a part of the family.  The strength and resolve here of a master who knows when it's time to let go and move on.  And yet still understand that this was indeed his shining hour.  It a sad and happy anthem being played at the same time.  Goodbye old bebop friend, time to move on to discover great and wonderful things.  But he leaves us all with this one last great reminder that good old bop too will live forever.

+Henry Wasserman Lovely and insightful!

great (and informed) insight Henry....do you write novels by any chance. It would be refreshing to see this kind of writing in print.

genius universal

@abukamoon …..shut up and practice

@abukamoon: You're certainly entitled to your subjective opinion, and your comment about adjusting one's sound to suit the occasion is well taken. To say that 'Trane's  sound is anything less than beautiful, however, really threw me off. While he does have a fairly bright sound, it is of extremely high quality, well developed and without errors that you keep hinting at. When you said 

  "As the Big Band era started, more horns were added. The sound of the
    brass didn't change much, but the saxes suddenly began competing with
    the trumpets for volume and power. The horns had bigger bores and the
    mouthpieces had pronounced baffles and wide open facings. The rhythm
    became simpler with more drive. It has been said that the Big Band era
    represented the high point in popular music, and I agree."

you expose your naivety. 'Trane played a metal otto link number 6 facing (not very wide as 7 or 7* is standard) has no baffle. The tone is bright but has a dark shimmer in its background. His subtone is crisp yet also rich. This is not a rock'n'roll sound, but a projected bright subtone and a still an optimal target for many many players. Please link us to a recording of your playing so we can weigh your comments against the evidence

abukamoon claims to be a saxophonist yet clearly does not seem to be able to hear and recognize the extreme passion beyond technique that Coltrane possessed.  I sincerely hope, for his own benefit, that he reserves his time for saturated listening of Trane rather than wasting his time writing diatribe about a subject of which he is clearly, and painfully ignorant.  One day he may awaken to the realization of Coltane's pure genius and realize what he has been missing, but, sadly, it may be too late.

Trans sound/tone is a spin off from Long Tall ----Dexter!

abukamoon you have the right to your limitations but the rest of us will take the universe.

My Shining Hour- Stuart Mack Quintet
A different take on this!

fantastico!

I am impressed by your commitment to this youtube video

been listening for 35 years and Coltrane still wakes me up and inspires and gives joy

@wags699 As I said, it's probably personal taste. The only way a majority of people can suddenly all suddenly decide they like the same musician is through promotion, and jazz has too small an audience for that.

Probably the older you are, the less appealing new sounds are to a listener. And while I was just a kid when Coltrane was gaining admiration, I just never cared for his sound. It's too angry and cold for me.

abukamoon - You don’t understand music and have no soul. You need a soul to understand music.

@wags699 I never claimed to be an artist. I am more interested in contributing to the overall performance of the group I am in. I am not creative enough to have broken new ground. I just try to produce an authentic solo in the correct style of the music.

I suppose I am more of a tradesman than an artist. And while I enjoy a lot of different styles and sounds, I personally do not like John Coltrane's sound. I guess it's personal taste.

abukamoon - You don’t understand music and have no soul. You need a soul to understand music.

Respond to this video...I really think that all the years of listening to musical performances has given me a rather large library that my subconscious draws on when I play. The more you play, the more facile your fingers become in translating what you hear in your head (at least most of the time).

As you can see, I am continuing to analyze how I do what I do!

abukamoon - You don’t understand music and have no soul. You need a soul to understand music.

Respond to this video... I don't do well with abstract thought. I have never been able to grasp algebra because I can't visualize it. I have been asked how I can possibly improvise with such a graphic thought process. I don't know. It just comes natural.

But since I was very young, I have always tried to figure out what it was that I liked about a song, or a performance. I can even tell you why I like the taste of coffee. I like acidic foods.

@wags699 Actually, you are saying the same thing I have heard from others. It may seem like a contradiction, but while I like to think I can improvise fairly well, I don't claim to have much intuitive ability. This is not to say that I think about what I am playing. I don't. I allow my subconscious to take control of my fingers. It's afterwards that I analyze what I have heard.

But while I am playing, I always try to stay true to the style I am playing in.

abukamoon - You don’t understand music and have no soul. You need a soul to understand music.

Respond to this video... I think it someone tried to play Rhythm and Blues with a 1920's set up, he would be laughed off the stage. It is possible to play ballads with all different set ups, but the player is the key. Use of subtone (soft, breathy playing), smears and scoops convey the mood of the song.

For me to appreciate a performance, everything has to fit. Just like someone who shows up in a suit with sneakers or a baseball cap, it just doesn't fit.

abukamoon - You don’t understand music and have no soul. You need a soul to understand music.

Respond to this video...Rhythm and Blues called for even more volume to compete with electric instruments. The tenor sax took center stage with a sound much different than in previous styles. Much use was made of honks and the altissimo range. When not soloing, the tenor sax became a rhythm instrument.

Modern Jazz and Bebop utilized the more traditional saxophone sound with very sophisticated rhythms and chordal harmonies.

Respond to this video...As the Big Band era started, more horns were added. The sound of the brass didn't change much, but the saxes suddenly began competing with the trumpets for volume and power. The horns had bigger bores and the mouthpieces had pronounced baffles and wide open facings. The rhythm became simpler with more drive. It has been said that the Big Band era represented the high point in popular music, and I agree.

@wags699 Yes, you are correct. All Jazz styles began as musicians introduced new instruments, modified mouthpieces, and developed new rhythms, harmonies and phrasings. The music of the Twenties sounds corny to a lot of people, but I really enjoy listening to it. Some of the arrangements were pretty sophisticated while the solos were quite simple. But the beauty of the music is in the excessively mellow sound of the saxes, at least to me.

Respond to this video... For straight ahead jazz, probably my Selmer Mk VI alto with a Berg Larsen metal mpc or Mk VI alto with my hard rubber Meyer (like Phil Woods).

When I see a band in a movie, I look at the saxes and mouthpieces and complain when they are not appropriate. So, I guess you and I are coming from different perspectives. I am looking for authentic examples of an eclectic venue while you prefer the sound you like.

@wags699 I see what you are saying. I am not on the cutting edge of anything. I try to do justice to the styles that appeal to me. When I play in a Twenties type band, I play as mellow as I can with a full vibrato. I want to be as authentic to the style as possible. I have instruments from the Twenties with original barrel mouthpieces, and these are what should be used to get the right sound.

On Big Band music, I will use Conn 6M alto and 10M tenor with appropriate mouthpieces.

@wags699 I tend to look at things analytically. I don't consider myself a great artist. I just try to do a credible job. I can't imagine playing a ballad with a hard, biting tone and no vibrato, but that's me. And I think using a Guy Lombardo sound on a bebop tune would make people laugh.

I am just giving my opinion. I personally don't like what I perceive as an angry, piercing sound. Maybe others do. I am just trying to explain my reasons.

@wags699 Yes, I am a saxophonist. And I have always made a conscious effort to produce a tone that fits with the style of the song. I can't imagine playing a ballad with the same tone that I would use on a bebop tune, or something like "Night Train".

And it's not just sax players. Listen to Harry James on an up tempo burner, and then his mellow sound on a ballad. While we all have a personal sound, we need to modify it unless we limit ourselves to one style of music.

@wags699 Bebop and Hard Bop utilizes a full tone with little vibrato. Traditional Dixieland music is played with a big sound and a rapid vibrato on tenor, and a full mellow sound on soprano sax. Playing in a band that emulates the Twenties and early Thirties requires a mouthpiece with a large chamber and little or no baffle for an extremely mellow sound.

My point is that in order to make the performance interesting, we need to develop a flexible tone.

@wags699 John Coltrane's sound is not the only saxophone tone I dislike. The thin squeaky sounds of pop saxophonists is also annoying to me. And of course, almost all saxophonists dislike Kenny G and his squaky oboe-like sound. Just as we don't want to hear every song in the same key, we want some variety in tone. The tone should fit the song.

Rhythm and blues is normally played with a honking and wailing tenor. Big band typically utilizes a full tone with vibrato, typically a Conn tenor.

@wags699 First, the most noticeable characteristic of his tone is the lack of dynamics. Coltrane's tone always has that same sound which to me sounds unpleasant, almost like screaming. He never or rarely utilizes vibrato. I have never heard him use subtone. It always sounds the same to me.

And considering that a saxophone can only play one note at a time, I think that it is necessary to have a variety of sounds to make your performance interesting.

@wags699 It's hard to be objective when it comes to an art form. We all have our own opinions as to what is great art, what is mediocre, and what is puffery. While it is impossible to maintain a beautiful classical tone on a saxophone while performing intricate passages, if tone suffers enough, the performance is ruined (in my opinion). The tone still needs to convey flexibility and control. Otherwise, it becomes a technical display (again, my opinion).

@wags699 Maybe I'm just too old to appreciate what he did. Jazz started by improvising the melody line to the existing chords. Then, rhythm became subject to improvision and interpretation. Finally, passing chords made the performance more interesting.

Where I part company is with atonal music. Without some chordal basis, how can we determine what is impressive improvision and what is just a bunch of notes? We need some basic structure or we have musical anarchy.

@wags699 I just personally don't like his style of playing. I am not criticizing his playing. I just don't find it interesting nor pleasant to listen to.

I love Coltrane.

@TheBoneRanger1968 There is more to art than technique.

@abukamoon That's weird because all of the men you prefer, thought Trane was the best that ever lived. So I guess your opinion means squat.

I have never cared for John Coltrane. He did have a lot of technique, and up until about 1960, he played within the parameters of conventional harmony. But even then I don't care for his tone. To me it is dead.

Technique wise, he could play circles around me. But I have never found his playing pleasant to listen, nor interesting. This recording illustrates his technique and command of his instrument. Still, I prefer to listen to Dexter Gordon, Stan Getz or Plas Johnson.

Reported as hate speech. Good day!

Yes sorry about my rebop remarks earlier. Must have been something wrong with me earfones babe.. When was this '55 or thereabouts??? GOOD BLOWIN.

To this day, IMHO, no one can touch that tone....or anything! He was and still is, the best saxophonist that has ever lived!!!!

Yeah Ive Just listened to it too !! Where is he outside selling the ices I shoud'nt wonder The recordist needs a good swift kick up the gor blimey. John O London

i've listened to this song many times a day for a week now. so hip and simple, which I'm sure comes off as sophisticated, which I guess it is to most people. Gotta love the all-star group. wynton groovin hard and lovely on that piano! Coltrane in top form, of course