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
HERBIE HANCOCK: a virtuoso musician, an innovator and a link to so many evolutionary changes in jazz. These are my favorites:
 
Maiden Voyage 1965 Blue Note
The Prisoner 1969 Blue Note
Fat Albert Rotunda 1969 Warner Bros.
Herbie Hancock Trio 1977 Columbia
VSOP: The Quintet (Live album)   1977 Columbia
VSOP: Tempest in the Colosseum (Live album)
An Evening with Herbie Hancock & Chick Corea: In Concert (Live album with Chick Corea) 1978 Columbia
Feets, Don't Fail Me Now 1979 Columbia
VSOP: Live Under the Sky (Live album) 1979 Columbia
CoreaHancock (Live album with Chick Corea) 1979 Polydor
Herbie Hancock Trio 1981 Columbia
A Tribute to Miles 1994   Qwest/Warner Bros.
1 + 1 (with Wayne Shorter) 1997 Verve
Gershwin's World 1998   Verve
River: The Joni Letters 2007 Verve


Pirius, I have a number of those same albums you have by Dexter Gordon and Herbie Hancock. I noticed you didn't mention Herbie's fusion albums, and I'm curious about them; albums like "Head Hunter" for example?


Enjoy the music

Rok, here's another local jazz vocalist I saw a lot. The reason I'm looking up all these St. Louis musicians, is because I can't remember the name of the pianist I've mentioned so many times, who could play Silver's tunes as good as the man himself.

The last time I saw him, he was at a lounge where all the "Peacocks" went; the men were as vain as the women, and were always meticulously dressed in the most expensive attire. Everyone came to see, and be seen, almost no one was listening to the music. When I came in, I was alone and I came to hear him play. He knew I liked Horace Silver, and that's when he would jam "Nica's Dream", or "Senor Blues".

Most of the time I came in before he started playing so we could rap. I've already mentioned his photographic portfolio that had him playing with the musicians we have discussed so much when they came to St. Louis and needed keyboards. (watch Frogman chime in and say "You told us that before")

When everybody you knew is dead, that's a scary feeling, but that's the price one pays for getting old. I'm glad Jeanne Trevor is still around.

Here's the link for Mae Wheeler, I really had some good times at the places she entertained.



                    http://www.riverfronttimes.com/musicblog/2011/06/19/jazz-singer-mae-wheeler-passes-away-updated-with...




Enjoy the music.

Rok, it's getting so bad that I have to look in the mirror, and pinch myself to make sure I'm still here. While looking for that pianist friend of mine, I just discovered the nightclub owner of the place I described as where the "Peacocks" hang, has gone on to that big club in the sky.


       


        http://stljazznotes.blogspot.com/2015/03/rip-gene-lynn-singer-and-nightclub-owner.html



It's so bad I'm expecting to see my obituary next.



Enjoy the music.
Hi Rok - first of all, "mellophonium" is actually a strange name.  Perhaps Conn called their instrument by that name as a marketing thing.  Usually, the instrument is referred to as a "mellophone."  They are still very much in use in marching bands all over the country.  What that article means is that Conn does not make one any more.  There are plenty of other makers of mellophones, unfortunately.  

Basically, a mellophone is most similar to a trumpet, except it is in a lower key, more similar to the range of the French horn.  So in jazz, like in Stan Kenton's band, they were played by trumpet players.  This is actually what the instrument was invented for - a "mellower" instrument that a jazz trumpet player could use.  Think of it as an alternative to the flugelhorn, except the flugle horn became much more popular with the trumpet players.  My guess would be that it was actually a trumpet player in your article, since he was part of a jazz group, I think you said?

However, in high school and college marching bands everywhere, there is always a mouthpiece extension fitted to the mellophones, so that French horn players can play them with their French horn mouthpieces, instead of the trumpet players.  I had to play one of those things for two years in a high school marching band, and hated every minute of it.  They are poorly designed instruments that do not play very well in tune, and don't have a particularly interesting tone quality.  They are used by the French horn players in marching bands because they are bell front instruments - as you know, the French horn bell faces backwards, and it is much easier to march and play a mellophone than a French horn.  

Another key difference is that mellophones are cylindrical instruments, like the trumpet (like I said, they are basically big fat trumpets) and trombone, as opposed to conical, like the French horn and the tuba.  This accounts for the brighter tone quality, closer to a trumpet in sound than a French horn is.  

I have had to play some of those Stan Kenton charts in the past on pops concerts, though of course we played them on French horn, which made them much harder, since they were definitely written for trumpet players playing mellophones - they are very high parts, and though I made it through that week, I actually injured myself doing it - the first time that had ever happened to me in my career.  I hope I never have to play them again.....I should explain that my specialty on the horn is the low register - I play the bottom part in the section, I am the bass of the quartet of horns, if you will.   So those screaming high Stan Kenton mellophone parts were especially difficult for me personally.   If you go on YouTube and look for videos of the Stan Kenton band, you can see the difference between the trumpet and the quite a bit larger mellophone.  They are trumpet players playing them there.   It is much more common  in marching bands for horn players to play them, though, and that is about the only place you ever hear mellophones anymore.  They suck, and just about all horn players hate them with a passion.  They also confuse the kids, because since they are actually big fat trumpets, they are fingered like trumpets, instead of like the French horn.  So the students have to use one set of fingerings in marching season, and another set when they go back to their French horns for concert season.  

I believe you live in Texas somewhere?  If so, you have definitely seen mellophones at pretty much any high school or college football game on the marching field at halftime.  And it is definitely the poor horn players that are forced to play them, sigh....my junior year, I escaped to finish high school at an arts academy, and never had to play one of those damn things ever again.  Never had to play in a marching band ever again, either.  That is terrible for the embouchure - it ruins many, many brass players.