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.
If yr talking about genius-level pianists, who happen to be of Latin descent, along with Gonzalo Rubalcaba there's: Danilo Perez Michel Camilo Chano Dominguez Hilario Duran ...and of course, Maestro Chucho Valdes. There's so many more terrific Latin pianists but if the word 'genius' is being used, these would be the 1st ones that spring to mind. These guys have been around for awhile so they've all got extensive discographies, a veritable treasure chest of very high-level music, for the more musically adventurous music-lover!;)
Frogman, I believe there is a movie in cinemas called ’Green Book’, with Viggo Mortensen based on life of Don Shirley. Have not seen it yet, but planning to.
(Rock, if you are reading this and if you have watched the movie, would be curious to hear your opinion)
As for Bradshaw, its always good to hear your opinion about technical aspects of someones musical performance. I have both albums he recorded, the first one called ’Look out (for B.E.)’ features P.Joe Jones
Finding ’forgotten’ musicians or albums does not require some particular dedication, just some reading about jazz, but I am glad if some unknown or forgotten musicians and albums will be listend again, because of my posting.
Also, I must admit, its much, much easier with ytube, you can actually listen and check somebody that you think that you might like...not to mention Amazon where you can search and order the album...
Sometimes I listen to some album that I already have and if I hear and like some sideman playing I search for him too....like this, for exmp.
Johnny Acea, he caught my attention while listening this album of Leo Parker
Interesting post, Alex. Evans Bradshaw is new to me and I’m really glad to learn about him. I admire your dedication to lesser known players deserving of more attention. The music business is a tough business. Who knows what circumstances led to his very limited success? What I think I do know based on what I heard on the clips is that he was still growing and had tremendous promise. In many ways he sounds fantastic with a lot of chops, good sense of swing and a nice touch on the keyboard; but also a tendency to repeat his favorite licks. I also think that his producer(s) did not serve him particularly well. He and the other players don’t play that well together as a trio; especially on “It’s The Right Place”. Bradshaw takes it a breakneck tempo and the drummer can’t keep up. A producer’s job with new talent is to not let that happen; or, at least, not let that be the final product. Both trios sound like they could have used a little more rehearsal time. This clip came up on YouTube and shows Philly Jo doing a much better job of keeping up with Bradshaw’s exuberance:
Loved Newborn’s version. It’s great with a very different slower feel. Very glad to have heard the clips. Thanks!
Speaking of little known piano players and elegant playing (per Schubert’s comment), here’s something different. Don Shirley was an incredibly accomplished individual in many ways and worth learning a bit about:
He didn’t really consider himself a jazz player and was trained as a concert pianist. Not the most swinging player, but played with a nice feel and recorded many jazz standards in a very inventive style which showed his Classical music training and which sometimes came dangerously close to a “Muzak” or “Beautiful Music” style without crossing over the line (for me) into Liberace territory. His playing and inventiveness were very elegant and he produced an especially beautiful tone on the piano:
Schubert, Gonzalo Rubalcaba was one of the first young Cuban musicians to gain international attention after the first wave of high profile defections of Cuban jazz musicians which included Paquito D’Rivera and Arturo Sandoval. Very elegant player as you say:
To acman3, You have excellent taste! and thank you for your response. jmw759. I fell in love with these musicians and albums, tracks when I was in high school...the 60s and have stood the test of time as far as I'm concerned.
Such a lovely post frogman , I believe I heard him only once and that was in a festival type thing in the open . A true son of Montreal !
There is a statue of him in Ottawa , likely the most lovely capital in the world . When I saw the statue it was in May in an area with thousands of tulips around it .May he rest in peace for all eternity .
It takes about 2 seconds to hear that sharp clarity and know its a Bosendorfer .
Thanks a lot for the Gene Harris clips, Alex. I do have that record, but had not listened to it in a long time. I went through a period when I was buying anything that Stanley Turrentine was on. This is a good one. And I enjoyed the Fresu demo clip. Great Miles imitation! I thought his Chet Baker was good, but not quite as convincing as his Miles. Interesting in that on the face of it one might think that Baker would be the easier one to mimic; but not so. Speaking of Bosendorfers (Schubert), Peterson always played Bosendorfers; you may enjoy this:
https://www.youtube.com/watch?v=Fs-2vt-gu04 There is a guy who did "Misty" as well as anyone . Julie London was a very honest singer and did a beautiful "Misty" which some clown in Hollywood ruined with a flute band in the back. She sang what they gave her , but I heard her sing some up-beat jazz standards and she was very good !
schubert For you or anyone else who is interested in Kenny Werner check oiut his cd Live At Visiones on Concord label. It's excellent and contains a version of "Blue In Green" as well as "Blue Train", "Soul Eyes" and other standards. I couldn't find any clips to post on youtube.
schubert Sorry about the misquote mistaking Ella for Sarah. I also like Sarah over Ella and believe she is a once-in-a-hundred years talent. Nobody like her before or since. I have several female vocal cd's with that cut "A House Is Not A Home" but none can compare with her version. Here she is performing"Misty" http://www.youtube.com/watch?v=lJXLqAutql4
As they say there's no accounting for taste!! Here are the greatest ever:
Miles Davis Kinda Blue John Coltrane My Favorite Things Art Blakey Its Only a Paper Moon Yusef Lateef Love Theme from Spartacus Dizzy Gillespie On the French Riveria Erroll Garner Concert By The Sea Dave Brubeck Time Out
frogman Yes Fred Hersch is an excellent pianist. His style of playing , especially on this cut , reminds me of Evans. His playing does have a quiet ,softer sound and he most certainly rivals Evans for developing a solo and taking creative harmonic chances. . Doing a cd of Evans compositions seems like a no brainer. I am going to seek out that cd as I have just one other Hersch recording.
Great minds think alike nsp. I listened to 4-5 Kenny Werner clips last night .A real talent , power and grace at the same time with his trio. The timid don't even lay a finger on those big Bosendorfs .
P.S . it is Sarah not Ella . Ella is great but I like Sarah and Carmen the best .
schubert Wow finding any new jazz vinyl for 7 bucks would be great but Ella singing Duke's music is a real find. Your story made me nostalgic for the days when I could go shopping for vinyl at several stores and find real gems for $3.99 to $7.99 per lp. Those days are long gone but I built a large lp collection so I am happy. Here's something from Kenny Werner : http://www.youtube.com/watch?v=AMB4YmHdD60
frogman I just compared those two clips of B Evans you posted , one from the Chet Baker tune Alone Together. Wow how close can you get? It appears that little intro he did for the Baker song was something he went back to later to further develop. How did you come up with that find? If Evans DID write Blue In Green he should have gotten credit. If both Miles and Bill participated in the composing they both should have gotten credit. I highly doubt Miles wrote it completely by himself.
How true nsp, how true . Main reason I talk about it is to learn from others . Biggest fools in the world are those who just rely on their own experience .
0-10 I think I can get that Harris -S.T . vinyl from Germany , if its not more than a hundred bucks , I’ll go for it . My biggest problem in Jazz is whether S.T. or S.S is the greatest .
schubert I enjoyed the E Elias version of Blue In Green it was well done but as stated elsewhere it relied on the rhythmic component in the development of the tune and solo. By doing so I fell IMO that the character or " feel" of the tune ,was changed . I much prefer the Evans version(s) , but this is all subjective . What moves one person may not resonate with another and vice versa. I think Shirley's version capture the quiet, contemplative,mood of the piece better than Elias.The K Werner Blue In Green piece was also excellent.
https://www.youtube.com/watch?v=2SKCIbOKLIs OH Happy day ! My vinyl hunting ground is Goodwill but today I drove by the mega - big record store in St . Paul and in about 2 minutes of browsing I found a brand new copy of this fantastic Pablo 1980 recording of Sarah Vaughn: Duke Ellington Song Book One, for the outrageous price of 7 bucks. .
God is in his heaven and all is right with the world .
Frogman , did Brahms know a bit about that harmonic rhythm ?
Frogman, here is one of the albums of Gene Harris that I have, together with S.T. from mid 80's. You might like it, if you dont have it
'This superb album (reissued on CD) solidified pianist Gene Harris' return to the jazz major leagues. Teamed up with bassist Ray Brown, drummer Mickey Roker, and tenor saxophonist Stanley Turrentine, Harris stretches out on such songs as Ray Brown's blues "Gene's Lament," "Things Ain't What They Used to Be," "Yours Is My Heart Alone," and "Battle Hymn of the Republic."
Harris and Turrentine work together so well on this soulful blues/bop date that one wishes they had teamed up much more often.
Here’s another pianist who, like Evans, is the kind of player that lets, even requires, the listener to “lean into” his playing with less overt emphasis on rhythm (in the usual sense) and more on harmonic interest. Skillful and creative use of harmony to give clarity to what is referred to the “harmonic rhythm” of a tune (any music) can create a more subtle sense of forward movement or of “going somewhere”.
frogman , you make my "betters" point for me . I made the long branch jump because there is so much variance in this piece. All I knew was what I liked but but not exactly why, which bothered me as Evans is so iconic. Without your "Rhythm takes the back seat to harmonic explanation " It would not have dawned on where to look for some woodshed with my theory books You make it easy because I know that you know . ! Even a small bit of gained knowledge makes an old-man happy With my beloved Brahms I can buy a dozen scores tomorrow , bit harder with jazz charts .. . acman2, that Kenny Werner rendition was fun to listen to . As they say he does "have something to say"A point, within 15 seconds I thought this guy is a well trained musician, don't ask me how , I don't know why myself . Never heard him or even heard of him .Googled him up , both Berklee(?) and Manhattan School .
frogman , The greatest Christian theologians all agree we are all one in the eyes of God .The general view is that true humility is knowing both you virtues and your faults . I have ZERO doubt that your know MUCH more about jazz and classical music than I do and I know a bit about the latter.And you, and others, ARE my better in this context . And I am glad of it just as I would if I was in Hospital and learned my surgeon was a Harvard medical grad .
I also have no doubt that I know more about history and infantry tactics than you . Takes all kinds .
Of course I know that comparisons at that level are silly . But I like to hear what my betters in Jazz, which is almost every regular on here, have to say and I can learn from . Evans just seemed a little lost to me, no doubt he knew exactly what he was doing . Elias plays with the heart and fingers of the music she was trained on and excellent at , J.S. Bach . Even in her group efforts it’s there and that can’t be bad for serious music and is in my soul as well .
Shirley Horn is an icon to me ,period , she can do no wrong . I’ve watched a few interviews of Miles , he seemed evil itself .
Of course I'm influenced by time , my heart has been giving me a class on it for over 8 decades . And watching a conga master do the beat with one hand and melody with the other .
Schubert, do yo think your preference has something to do with the time each player is keeping?
It seems to me that Evans does not play a set time. Bill Evans tugs and pushes around the beat, and Eliane Elias and Ms. Horn, while quite different tempos, have a more set time, with Ms. Elias even providing the song with a sort of propulsion.
Another excellent pianist who plays around the notes, but still seems to drive the song.
Interesting Frogman. Of all the "Miles stories" I have ever heard, I don’t remember any, where he was kind or did something for another person. Just tried to find some real quick with key search words, and just got some of his attitude in phrases. Miles and Kind = " What kind of crap was that".
Great comparison of different versions of “Blue In Green”. Really interesting and thanks, Schubert and Acman3. BTW, there is reason to believe that it was Bill Evans, not Miles, who wrote the tune for the KOB recording. If true, it adds further context to Evans’ version.
**** It has long been speculated that pianist Bill Evans wrote "Blue in Green",[1] even though the LP and most jazz fakebooks credit only Davis with its composition. In his autobiography, Davis maintains that he alone composed the songs on Kind of Blue. The version on Evans’ trio album Portrait in Jazz, recorded in 1959, credits the tune to "Davis-Evans". Earl Zindars, in an interview conducted by Win Hinkle, said that "Blue in Green" was 100% written by Bill Evans.[2] In a radio interview broadcast on May 27, 1979, Evans himself said that he had written the song. On being asked about the issue by interviewer Marian McPartland, he said: "The truth is I did [write the music]... I don’t want to make a federal case out of it, the music exists, and Miles is getting the royalties...."[3] Evans recounted that when he suggested that he was entitled to a share of the royalties, Davis wrote him a check for $25.[4] ****
Adding to the mystery and controversy, check this out. I’m reposting (thanks, acman3) Bills Evans’ version for easy comparison. Listen to the first few seconds of the opening to Evans’ version recorded several months after the KOB session:
Then, listen to his playing in the first few seconds of the opening to “Alone Together” from Chet Baker’s “Chet” recorded the year before (1958). Sound familiar?:
Loved the Elian Elias “Blue In Green”; thanks, Schubert. Have always liked her playing and singing. But, man, that’s a reallly long limb you’re going out on. Better than Evans’ version?! Always fascinating to consider the perspective of a very thoughtful music lover, but I think this may go to the futility of that kind of categorization. Apples and oranges in too many ways for me.
I love Elias’ playing. It is sophisticated and has that unique swagger and sexiness that Brazilian performers seem to have (for me). She approaches “Blue In Green” in a very different way than Evans does. Modern cosmopolitan and obviously “bluesy” with a clear Brazilian sensibility. Ramsey Lewis comes to mind. Evans’ approach to the tune is more traditional, but still with a very modern harmonic palette; he paved the way after all. Rhythm takes the back seat to harmonic exploration that I feel Evans takes to higher highs. Elias’ approach relies much more on the rhythm component. Love both versions. Thanks for sharing the clip; that’s one to get.
Been listening to this. I love!!! the feel on this record. Why isn’t Gene Harris mentioned more often? Amazing left hand! Great story telling by Turrentine, as always.
https://www.youtube.com/watch?v=Vsun3GSfYYg I’ll go out on a very long limb. I consider her performance of this masterpiece to be in the same class as Bill Evan’s rendition . To be honest , better .
Thanks a lot frogman , that’s exactly how I saw it minus the grandparent,nice to know I’m not totally crazy . All I could think of was given the fact Morgan was just out of the joint ,Cables was doing his best to lead Morgan, which gave me a lot of respect for him as a person .
I seldom mention the fact I was a case worker in a Federal prison for a year right out of college . When you have access to records and talk to guys all day you realize that for most guys, given their life as a child , it would be a wonder if they were if they were not in prison ! Not to mention at least 1/3 should have been in a mental facility .I hate dope myself , but to put anyone in jail for use is a far bigger crime than anything they did , not to mention just plain stupid .
**** Is it against jazzology to prefer Cables over Hick ?To my hears Hicks played it and Cables made love to it the way a mother loves her child . ****
No, I don’t think so. I don’t disagree and I like your analogy. As you know the success and meaning of any duo performance (and relationship) is dependent on the contribution of both players and their interaction. A mother loves her child by also guiding and maybe even prodding the child. That is the kind of interaction I hear between Cables and Hicks. As beautiful as the Hicks/Morgan “Round Midnight” is one could say that Hicks’ approach is more like the way that a grandparent loves a child: a little deferential and even spoils the child. There is a clear sense that Hicks tends to wait for Morgan to “make a move” and then reacts with the accompaniment. On the other hand, Cables at times shows the way and Morgan follows. Each approach to accompaniment sets up the solo piano turns. To me Cables was always a player with great clarity of purpose and even tone; not a lot of ambiguity. Both great.
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