Like you said Inna, those albums were mood dependent; but they sounded ever so good when you were in that mood;
https://www.youtube.com/watch?v=TLomzUgEsEI&list=RDf6qqmrcVEqg&index=2
Jazz for aficionados
Jazz for aficionados
I'm going to review records in my collection, and you'll be able to decide if they're worthy of your collection. These records are what I consider "must haves" for any jazz aficionado, and would be found in their collections. I wont review any record that's not on CD, nor will I review any record if the CD is markedly inferior. Fortunately, I only found 1 case where the CD was markedly inferior to the record.
Our first album is "Moanin" by Art Blakey and The Jazz Messengers. We have Lee Morgan , trumpet; Benney Golson, tenor sax; Bobby Timmons, piano; Jymie merrit, bass; Art Blakey, drums.
The title tune "Moanin" is by Bobby Timmons, it conveys the emotion of the title like no other tune I've ever heard, even better than any words could ever convey. This music pictures a person whose down to his last nickel, and all he can do is "moan".
"Along Came Betty" is a tune by Benny Golson, it reminds me of a Betty I once knew. She was gorgeous with a jazzy personality, and she moved smooth and easy, just like this tune. Somebody find me a time machine! Maybe you knew a Betty.
While the rest of the music is just fine, those are my favorite tunes. Why don't you share your, "must have" jazz albums with us.
Enjoy the music.
I'm going to review records in my collection, and you'll be able to decide if they're worthy of your collection. These records are what I consider "must haves" for any jazz aficionado, and would be found in their collections. I wont review any record that's not on CD, nor will I review any record if the CD is markedly inferior. Fortunately, I only found 1 case where the CD was markedly inferior to the record.
Our first album is "Moanin" by Art Blakey and The Jazz Messengers. We have Lee Morgan , trumpet; Benney Golson, tenor sax; Bobby Timmons, piano; Jymie merrit, bass; Art Blakey, drums.
The title tune "Moanin" is by Bobby Timmons, it conveys the emotion of the title like no other tune I've ever heard, even better than any words could ever convey. This music pictures a person whose down to his last nickel, and all he can do is "moan".
"Along Came Betty" is a tune by Benny Golson, it reminds me of a Betty I once knew. She was gorgeous with a jazzy personality, and she moved smooth and easy, just like this tune. Somebody find me a time machine! Maybe you knew a Betty.
While the rest of the music is just fine, those are my favorite tunes. Why don't you share your, "must have" jazz albums with us.
Enjoy the music.
Showing 50 responses by orpheus10
Inna, I'm going to conclude our sessions with Arabic Flamenco guitar, and get back into jazz. https://www.youtube.com/watch?v=adUkn51t0lc |
Acman, Kamasi Washington is picking up where "Trane" left off; he's doing this in his mind and in my mind. He can do this, and still be quite individualistic. I see he has also scored for films. https://www.youtube.com/watch?v=3IZt1bHF0GU This is a guy to be listened to; he is as adventuresome as Mingus was when I first heard him. |
Lets get into the jazz bass players; Ray Brown. Marcus Miller. Oscar Pettiford Victor Wooten Charlie Haden Wilbur Ware Paul Chambers Jaco Pastorius Oscar Pettiford is my favorite, and I might repeat myself. I would like for you to find your favorite and post it. whether or not it's one of the above matters not. https://www.youtube.com/watch?v=s5EwGijmqKc |
Pryso, you are so correct; that was a result of my laziness (or tiredness) I just requested a list from google. I still stand by Pettiford because I was thinking exclusively of the instrument. When you include all of Mingus's talents, he is head and shoulders above anyone else who plays bass, and that's for certain. |
Bassist Christian McBride is the creative chair for jazz at the Los Angeles Philharmonic –- which means he gets to put together programs at Walt Disney Concert Hall with music he loves. One of the musicians he loves most is jazz pianist and composer Horace Silver. "Horace Silver's music has always represented what jazz musicians preach but don't necessarily practice, and that's simplicity," McBride says. "It sticks to the memory; it's very singable. It gets in your blood easily; you can comprehend it easily. It's very rooted, very soulful." I recall an interview of Horace Silver, in which he was telling about the problem he was having with his bass player who was tired of playing the same lines time after time. This is the way the bass player described it. "I'm tired of playing that same Bing, Bong, Bang time after time". This was when Horace had a successive sting of hits, and they must have all had similar bass lines. Horace told him, "I got to have you man, that Bing, Bong, Bang is the back bone of the music we got going on lately." I know that "Senor Blues" was one of the tunes the bass player was referring to, and the bass line must have been similar in a number of other tunes. Regardless how important the same bass line was, the bass player said, "I got to do something different". Personally, I never noticed it, but maybe you musicians can hear and point out this bass line. I'll post "Senor Blues", and you guys can post others at about that time with the same bass line. https://www.youtube.com/watch?v=iRdlvzIEz-g |
John Gilmore and "Sun Ra"; https://www.youtube.com/watch?v=SR0oSpRA_B4 https://www.youtube.com/watch?v=6BBzO-vferY |
Another side of John Gilmore I've been enjoying recently; https://www.youtube.com/watch?v=2UhG1MFBqjU&list=PLgM5cFpwRInmgrxd3HPBijHBckkA6sZCO |
In harmony with the links that have been presented; https://www.youtube.com/watch?v=OZHzDwK18sQ https://www.youtube.com/watch?v=_xlnXKKHIfw |
All afternoon I've been listening to some of my best jazz on old LP's that I hardly played before, and I made an amazing discovery; Santana who is not considered jazz, has some boss jazz on his "Welcome " album; here is some of Flora Purim's best work; https://www.youtube.com/watch?v=QD8-A_bgsg8 |
“Suite For Flute and Jazz Piano” with the great flutist Jean Pierre Rampal. ***** That was the most forgettable music I ever heard; I have the CD, but I don't know where it is. Some reviewer wrote that you had to work in order to hear the "new jazz". I could have responded, "I'm retired, and I would only work if I got paid, now if you are willing to mail me some new jazz along with a check for listening, I would gladly oblige". This new music is like the present generation, "It's confused"; however, there are some outstanding talents, and Liz Wright is one of them. https://www.youtube.com/watch?v=7hxVXFNks40 https://www.youtube.com/watch?v=gqgocq64mwg |
I'm concerned about homelessness today; https://www.youtube.com/watch?v=KFcSVOU1CRM I once worked (without pay) for the homeless in my city; that was in the 80's when the problem was no where near what it is today. The vast majority suffered from mental problems, or they were winos. Very few of what you would call average normal people were homeless. One woman who had a degree that commanded a high salary wound up homeless as a result of health problems. There was no way she was ever going to get hired if she put on her application that she lived in a homeless shelter; we had to give her a new place to live. We devised a plan (the head of this shelter was very influential); we gave this lady a phone number (thanks to the phone company) that would give her address as the ritzy suburbs. That number rang at the shelter; which means she also had an answering service. Since she was healthy when we devised this plan, in no time at all she was back at work earning the high salary she was qualified for. Had we not devised that plan, the woman could still be homeless, and gone wacky in the head; the two go together. |
When I think of Blue Mitchel, I think of Horace Silver; that might be the only Blue Mitchel, I have, but it's boss. What you submitted sure sounds good, him and Junior Cook have been blowing together for so long they can read one another's musical mind. Blue Mitchell - trumpet Junior Cook - tenor saxophone Chick Corea - piano Gene Taylor - bass Al Foster - drums That's another album I'll have to put on my order list. |
Ahmad Jamal is heavily represented on my play list. If I remember correctly, Rok dropped out when I put the "Spotlight" on Ahmad Jamal; but, the old memory ain't what she used to be. Presently, I'm enjoying everyone else's links so much, that I don't want to spoil the party by submitting any. I am enjoying the music. |
My apology to everyone, especially Rok for being unaware of "Sharon Jones". For most of my life I have been "exclusively" into jazz. https://www.youtube.com/watch?v=IlPE1rEdAdI It's for sure I heard music, and was entertained by musicians like "Sharon Jones" when I went out on the weekend, which was every weekend. (in my twenties) There were more clubs than I could count, that had clubs with live music like this on the weekend in St. Louis. https://www.youtube.com/watch?v=8ouI5KcyHfE Sharon Jones family, and fans have my condolences. |
That's very good Ghosthouse, and that explains why I haven't bought any 'new, new' jazz. If I bought that Herby Hancock, I would be buying 'old' new jazz. when you take listening to old records after an upgrade, that would mean having heard that record for the 'umpteenth' time, but it sounds new all over again. I hope I'm responding to your point. |
Acman, the reason I remember that interview is because Horace was so funny, and at the same time articulate. The bassist was tired of repeating "Bing, Bong, Bang" but Horace couldn't live without Bing, Bong, Bang. They both had a good point, and as I recall they had an amicable split. I see you can understand something like that. I didn't realize how essential those bass lines were in the string of hits Horace had. I wish I could point them out but I can't; maybe you or Frogman could find the repetitive bass lines in Horace's early string of hits. |
This is one of my favorite, but Mingus's least played records. That solo by Jackie McLean on alto sax has to be one of his best ever. https://www.youtube.com/watch?v=ZB6GkA54n_Q |
Celebrating "Oscar Pettiford" today. While Mingus is one of my "go to" musicians, for all of his many incredible compositions, when just singling out the bass, Oscar Pettiford is my favorite. Unfortunately, you won't find as many Oscar Pettiford records as Mingus, but I savor what I have. There is nothing "objective" about my choice; Frogman, the professional musician would be the one to make an "objective" comparison in regard to the two bassists. https://www.youtube.com/watch?v=s5EwGijmqKc https://www.youtube.com/watch?v=W6u8j1jnJso https://www.youtube.com/watch?v=Ut6LinT-DJI While Mingus resonates with me, Oscar Pettiford resonates deeper. Born September 30, 1922 Okmulgee, Oklahoma, United States Died September 8, 1960 (aged 37) Copenhagen, Denmark Genre Jazz, bebop, third stream, Instruments Double bass, cello. Years active 1942–1960 Labels Debut, Bethlehem, ABC Records Associated acts Thelonious Monk, Coleman Hawkins, Charlie Barnet, Earl Hines, Ben Webster, Dizzy Gillespie, Miles Davis, Duke Ellington, Milt Jackson, Sonny Rollins, Art Tatum, Johnny Hodges, and Kenny Dorham. He was one of the earliest musicians to work in the bebop idiom. https://www.youtube.com/watch?v=sVYWHPLuNtk Blue Brothers Oscar Pettiford https://www.youtube.com/watch?v=n7gKcfKdeQ4 Tricotism; Lucky Thompson, OP, and Skeeter Best. |
I was living at home with the folks when I bought this; that wasn't cool at all; I could really identify with this LP, "Please let me be cool". https://www.youtube.com/watch?v=BOKjTzW4IWM This is the cool blues. |
Andreas Vollenweider is a musician who put on an incredible performance when I saw him live. Since this was a big theater I carried two pairs of binoculars, one to focus on close up, and another to get the big picture. The percussion section was the most impressive; that guy had more chimes, gongs, and drums than you would believe. How he knew when to strike each piece is a mystery to me. Andreas played two different kinds of harps plus a koto; he put on an unforgettable performance. We were seated in the mezzanine; it was like being in the middle of a gigantic speaker. While seeing him, and his crew perform live was extremely engrossing, I hope you can use a little imagination while listening to what I've submitted, and bounce around on this site until you find your favorite "vollenweider". https://www.youtube.com/watch?v=me6aASTOglE Enjoy the music. |
Very good Acman, I've gotten too old to become acclimated to new music; this sounds so good, it even feels good. "All Blues" Miles Davis – trumpet Julian "Cannonball" Adderley – alto saxophone (except on "Blue in Green") John Coltrane – tenor saxophone Bill Evans – piano (except on "Freddie Freeloader") Wynton Kelly – piano (on "Freddie Freeloader") Paul Chambers – double bass Jimmy Cobb – drums Coltrane! Coltrane! Coltrane! and of course Miles and the rest of the group. Enjoy the music. |
I don't mean to break up the current party; although I don't agree with most of what's been said in regard to various genres and jazz, I'm just one person with one opinion. Making good jazz music is never easy; the practitioner must spend years mastering his instrument, the same as a concert pianist; but the biggest difference is that jazz comes from within, maybe that's why the concert pianist can never make good jazz. The concert pianist has all this written music (external), while the jazz pianist has it all internal, and he has worked hard for years to be able to express what he feels. An example of this is "Bobby Timmons"; no one can express so much with so few notes. While I have noted many references to outstanding musicians, and I can't disagree with that, the complexity of the music might indicate the mastery of the instrument, but we're talking about "jazz"; somehow this music has to reach people on a deeper level, it has to "resonate" some profound innermost feelings; those are the feeling the jazz musician has sought to express in a meaningful way for his entire life. When he is successful, there is resonance, and we are in harmony with his music. Music is a very personal thing for each individual; for me, I no longer listen with an attempt to evaluate the music, I simply turn the music on, and if it finds me, (achieves resonance and harmony) the music is a keeper, if not, on to the next thing. |
I don't think we've heard much of Lou Donaldson, who happens to be one of the first jazz sax's, and also one of the best in my collection; this tune "Blues Walk" is a classic in jazz; https://www.youtube.com/watch?v=tNR7822K_40 Lou Donaldson - alto saxophone Herman Foster - piano Peck Morrison - bass Dave Bailey - drums Ray Barretto - congas https://www.youtube.com/watch?v=AL05FVn5TNw https://www.youtube.com/watch?v=Mh0rmzefIhM Enjoy the music. |
Rok, you and Frogman are making interesting conversation, but you both are totally wrong. Do you recall an interview with Herby Hancock, where he stated how he goofed (played wrong chord or notes) and Miles came right behind him and made it all perfect; Miles thought that was what Herby intended to play. Improvisation is spontaneous, there is nothing predetermined about it. Evidently, what you and Frogman can not comprehend, you must find other reasons for it's existence; I have seen jazz musicians perform impossible feats night after night; they're jazz musicians, that's what they do. No matter how many people the concert pianist reached, the music was right in front of him and it may have been hundreds of years old; "external", outside of one's body; "internal", from the soul, that inner spirit that makes us alive, and different from every other human being on the planet; that's where the jazz musician is coming from. In regard to reaching people, I'm sure the concert pianist reaches his desired audience. I may not hear anything when I look at a Beethoven piano sonata, but a concert pianist most certainly would when he looked at it; but did he create it? Building blocks, nuts and bolts; I assume you are referring to the stuff that makes music; if so, all musicians use the same nuts and bolts, they just arrange them differently. |
Bill Frizell, Thomas Morgan, "Subconscious Lee"; the music reached me, I didn't have to make any effort. I checked and was surprised it was done in 2016. Subconscious-Lee is a jazz album by Lee Konitz although a few tracks were issued on 78rpm under Lennie Tristano's name. It was recorded in 1949 and 1950, and released on the Prestige label. Now everything makes perfect sense; ever heard of "Jack Kerouac"? I don't know where Lee Konitz got his inspiration from, but it sounds awfully "Beat" to me, can you dig it? |
That quote was right on time Acman. While I'm not a musician, I can tell you what I've witnessed; big time jazz musicians came to St. Louis, some time alone, and collected what was called a "pick up band". How they selected these musicians, maybe Frogman knows, I don't; but what I have seen is the fact that they gathered as short a time as 1 hour before the performance, and discussed what was supposed to go down. When show time came, they performed like they had been playing together forever; nothing but spontaneous "hard bop"; improvisation all night long. While the lead man carried the bulk of the load, each sideman had to carry his share as well. Every night, the crowd, one that was geared specifically to improvisational "hard bop" was mesmerized. What I have described is akin to what Miles talks about that went on at "Mintons" in his autobiography. I said "akin" because this wasn't a jam session, they were supporting the lead man, and his music in a fashion that good sidemen are capable of. |
The Cooker is an album by the jazz trumpeter Lee Morgan, released on the Blue Note label in 1958 as BLP 1578. It was recorded on September 29, 1957, and features a quintet with Morgan, Pepper Adams, Bobby Timmons, Paul Chambers and Philly Joe Jones. This is the first album to feature his own compositions, and the first without any compositions by Benny Golson. Some people say this is the best "Night In Tunisia" ever; who am I to argue, for sure it's a contender for the best "Hard Bop" ever. Talking about an "All Star" cast, here it is; I could listen to this every other day and point out something new. https://en.wikipedia.org/wiki/The_Cooker This is sweet sweet music to my ears. |
Frogman, you sometime mix apples and oranges and I don't know what you call the finished product. That's what you're doing when you mix classical and jazz. ""Obviously no disrespect intended toward these amazing players; only meant to point out that a classical pianist who understands that language on a higher level than a jazz musician and who perfected that particular discipline can generally do a better of doing justice to the music and touching the listener on an emotional level; just as a jazz player can generally do a better job with a jazz tune than a classical musician can."" This is what you stated, and it sounds like gospel truth to me. Classical pianists are accustomed to playing written music, and for jazz musicians, when the music is written, that's just the ball park they are supposed to play in. " But the achievement of jazz musicians in the area of expression or ability to reach the soul of the listener is no greater than that of a great Classical musician and I don’t understand the need to knock one down in order to build up the other; at least that’s how it seems." I absolutely can not comprehend that; but here again we're speaking of apples and oranges; when some guy played the same identical "Bach Concerto" as another guy the night before, and someone else the night before that, I don't see any latitude for improvisation; and in all cases the music is precisely written down, and must be precisely executed as noted. I have seen jazz musicians come into a room with no "formal" education in music, but acquired his ability to play his instrument through a lifetime of desire and dedication, and set the crowd on fire. Now when ever I mention a lack of formal education, you interpret that as though it somehow makes that musician superior to one who has formal training, but it's just a matter of fact nothing more; I'm sure musicians who lacked formal education would have gone to a conservatory if they could have. I absolutely put this musician on a pedestal higher than the classical musician who went to "Juilliard". The improvising jazz musician begins his night with nothing but his instrument, and an audience who is going to give him the thumbs down if he doesn't produce big time. This musician has to come up with original "hard bop" that's going to be spontaneous and improvisational for the whole night to please his always tough audience. The classical musician comes into the concert hall to play something he's played many times before, to an audience that knows exactly what to expect; how can he fail? |
"Wikipedia" Theodore "Fats" Navarro (September 24, 1923 – July 6, 1950[1]) was an American jazz trumpet player. He was a pioneer of the bebop style of jazz improvisation in the 1940s. He had a strong stylistic influence on many other players, most notably Clifford Brown. https://www.youtube.com/watch?v=dT9Zb9ykj68 Here he sounds a lot like "Clifford Brown", or if properly stated, Clifford Brown sounds like him. |
I had a friend named Sandra who had the blues, this is "Sandra's Blues" https://www.youtube.com/watch?v=DMgwWAaxQQ4 |
Rok, I knew Mississippi was backwards, but that's stretching it, even for Mississippi. When I went down there in 67, I thought I was in "The Twilight Zone". I am not exaggerating, the closer I got to Hattiesburg, the farther back I went in time; the gas pumps were the kind in old movies, my toy filling stations as a child were more modern. The first thing I did when arriving in town was to get the bugs off of the "Deuce". Someone at the car wash upon observing the Illinois plates, remarked "Yall must be from Chicago" "How did yall guess" I responded. Needles to say, riding in a new "Duece" with Illinois plates, in Hattiesburg, in 67, earned me a warm welcome. |
Rok, I'm sure you had a wonderful childhood in Mississippi; I recall visiting relatives in Wynona when I was only 5 years old. There was a sweet and very fragrant aroma about the place in the grasslands that I will never forget, although I don't know what it was. I remember watermelons fresh out of the patch, churning butter, incredible food, and lizards; a snake here and there, but mostly lizards; everywhere I was taken, a lizard seemed to be scampering across the dusty road. There was no electricity, and at night they told ghost stories. Fortunately, I always slept with someone, because I was scared to death after all of those ghost stories; I could see "haints" coming to get me. There was nothing more fun than fishing and swimming in creeks, plus chasing rabbits with dogs. I can very well understand how you had a fantastic childhood in Mississippi. |
Frogman; "In the beginning we had the wrong trumpet players, we had those who were classically trained. We had to tell them not to play exactly what was on the score. They started looking at us-at Gil mostly-like we were crazy. They couldn't improvise their way out of a paper bag, so we had to change trumpet players. Like most other classical players, they play only what you put in front of them". Miles had other disparaging things to see about classical music; he called it "Robot s--t". These are some of the remarks he made when he was putting "Sketches of Spain" together. Those are Miles Davis's remarks, not mine. |