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.
orpheus10

Rok, you got the same problem with this as I had with "Da Blues", I can't hear the music because so many other factors surrounding the music keep flooding my mind.

"Blaxsploitation" was a very appropriate name for that music, and picture genre. I never saw nor wanted to see this movie, I only saw the record at a record sale, and I bought every record I saw by Grant Green, no matter what. Unlike Miles, I never sold a Grant Green record. I never saw, nor did I ever want to see this movie, but I liked the music independent of the movie.

Now to answer another question and story about music.

"I think this may have been that movie we discussed a long time ago", Learsfool.

https://www.youtube.com/watch?v=1OKQdp6iGUk

This story is in reference to this movie and music.

It was in the winter of 59 that I got stranded, and a beautiful woman offered me shelter. I know you've seen enough movies to know what happens next. Well the scriptwriter really flubbed it on this movie because all I got was shelter, even though it was all night.

She had every album Miles put out up until that time. I think her latest acquisition was "Jazz Track" which was the score for that movie. I liked everything she had by Miles except that, it was too dark and brooding, besides I didn't see the movie.

Fast forward to recently after I saw the movie; that's the best sound track I ever heard, life is strange.

Enjoy the music
*****Rok, you got the same problem with this as I had with "Da Blues", I can't hear the music because so many other factors surrounding the music keep flooding my mind.*****

Well the difference is, the blues is great music, the Green clips were not. Also, next time you start agonizing over conditions in the delta, check out a documentary titled "Harlan County, USA." It was shown tonight on Turner Classic Movies.

Places like West Virginia and Kentucky created it's own music because of local "conditions".

Makes the Delta look pretty good.

Cheers
The baritone saxophone:

Sounds (only) one octave lower than the alto saxophone. Contrary to what the Amazon "reviewers" may have written, it is not "harder" to play than the other, higher pitched saxophones. Yes, it is clearly more cumbersome to handle due to its size; but, in some respects it is actually easier to play. The size of the instrument demands a larger volume of air, but that very larger size makes it less resistant when one actually blows into it; especially the lowest range on the instrument which, by comparison, are much more resistant (require more effort from the player) on the higher pitched instruments. By extension, one would think the soprano saxophone is easier to play than the alto and tenor; but, this is definitely not the case, with the soprano putting huge demands on the player as far as playing certain notes in tune. This idea is a popular myth, and at the end of the day, no instrument (even across different families of instruments) is "harder" to play than another; they each bring very different challenges to the table. How and why a player chooses to play a particular saxophone as opposed to another has a lot to do with finding one's "voice". Often, a player, consciously or unconsciously, simply gravitates toward a certain frequency range (low, mid, high) as the one that best defines his "voice" as a player. Additionally, the sheer physical size of the player has a role in the process; a player very short in stature is unlikely to feel comfortable handling the larger instrument.

Alex, thanks for the clips; I especially liked the Chaloff clips. He was a terrific player coming out of the "cool" school. I take exception, however, with the quoted reviewer's (another example of problems with "reviewers") characterization of Chaloff's sound as being like Harry Carney's. I don't think it is anything like Carney's. Carney had the quintessential baritone sound. His sound was huge and incredibly rich and one that would actually define, more than anything, the sound of the entire reed section in Ellington's band; an amazing thing when one thinks about it. He played with a fast constant vibrato which was fairly typical for pre-bebop style sensibility.

https://m.youtube.com/watch?v=0OHdxOhUAaA

Carney was great stylist and unique voice. Chaloff's style was a product of the new direction that jazz was going in; towards a more advanced and sophisticated harmonic sense in improvisation. He was definitely influenced by Bird's bebop style, but with a leaning toward the "cool" of the West Coast sound as best exemplified by Gerry Mulligan.

https://m.youtube.com/watch?v=7DCQVyD3whM

I know there will be disagreement on this point, but I think the idea of the "forgotten player" or the player that "didn't get his due" is mainly overstated and often a myth. If we look at players' careers in the context of an evolving art form and changing times it's not difficult to understand why soem players become famous and some do not; or, more accurately, don't stand the test of time. Example: Leo Parker. Nice player, playing the baritone at a time when the music had evolved into hard-bop with its much more sophisticated harmonic language which placed many more demands on a player. Parker sounded good playing the relatively simple style of the easy and relaxed twelve bar blues. Compared to stalwarts like Pepper Adams, and on complex bebop harmonic changes, not so good. So, who then will stand the test of time and become (or deserve to be) "famous"? Not that players like Parker were not good players, but they had limitations as players and could not rise to the top in a climate where, not only was the music placing more and more artistic and virtuosic demands on players, but the BUSINESS of music was making it much more difficult for anyone (and their recordings) other than the very best to stay in the limelight. Pepper Adams was a giant who served as a model for the new crop of baritone saxophonists:

Gary Smulyan:

https://m.youtube.com/watch?v=IS2bezPSBh8

Nick Brignola:

https://m.youtube.com/watch?v=EfLE-0YDj34

Ronnie Cuber:

https://m.youtube.com/watch?v=1O7Q0iHms_o

https://m.youtube.com/watch?v=2TVnF-QkE2E
The Frogman:

Thanks for the clarification on the Baritone Saxophone. I think the assumption was that if bigger, you have to blow harder, i.e. more air. But as you said, there is more to it than that.

As far as this being a popular myth, well, high-end audio and music is full of those.

Cheers