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
That single note after the tenor solo had me listening to it several times as I was trying to decide whether what I was hearing was in fact on muted trombone and not Hubbard’s first note on trumpet. It’s a very low note, and while it would still be in the extreme lower range of the trumpet and possible for a great instrumentalist like Hubbard, it is unusual to have a player "hand-off" a solo to another player that way. But, given the highly interactive nature of this music it’s not out of the realm of possibility. However, final verdict (for me):

It is a single note on trombone. Listen to the vibrato at the end of that note and right before Hubbard plays his first note on trumpet. That is what is called "slide vibrato"; made by quickly moving the slide back and forth a very short distance. Not possible on trumpet since there is no slide on the trumpet and on which "lip vibrato" is used. However....why did he play that single note? My previous possible answer sounded interesting (I think), but I have to take it back. Notice Moncur solos following Hubbard at 8:43. I think he simply screwed up and started soloing after Shorter instead of waiting until Hubbard had soloed. He then realized his mistake (or was waved out) and stopped. Being the great musicians that they are, they made it all sound musical. All this goes to your question re how "scripted" it all was. In a studio situation with a finite amount of time ($) there are definite guidelines re order of solos and length of solos. To make it all sound free and unscripted is part of the art of it all. This sort of thing happens and happened a lot more often than one might think. Today in our age of easy digital editing, multi-tracking and quest for error-free performances, the producer may have simply taken that note out; a big mistake, imo.

Alex, although I'm not back, (blame life, don't blame me) I was so touched by your words that I'm responding to your post; but, I want all aficionados to know they're important to me, including the one's I don't always agree with.

The albums you posted exemplify what you are speaking of in regard to "groovy, feel good, and cozy" kind of music. If I don't already have them, I will have to get them.

I'll be back when it happens.
Thanks guys , the  last few posts on "handing off " have been very 
interesting, to me trying to "catch" it is one of the real fun things in jazz.
Lot easier for a non-expert like me to see it from your links  of course .

As much as I love some of the modern tenor players from Coltrane to the present, for me the sweet spot in the jazz tenor stylistic lineage is probably best exemplified by Hank Mobley; particularly his earlier records. Very swinging and inventive player he played with a tone that was still in the Lester Young mold of being gentler and less aggressive and hard than what was becoming the trend around this time (1956) as Coltrane began taking the tenor world by storm.  The kind of tone that I think Alex likes. I like this record a lot. Something easy and casual (in a good sense) about the playing, even in the fast tunes. Kenny Dohram sounds fantastic on this as does Mobley; great story telling from both. Excellent rhythm section with players not often discussed: Walter Bishop, Doug Watkins and Art Taylor. The first two clips are the first two tunes on the record with higher fidelity than the entire record third clip:

https://m.youtube.com/watch?v=jh8OCdo5Wh0

https://m.youtube.com/watch?v=wg-_yoq39YQ

https://m.youtube.com/watch?v=wvRu3zbM7cg


Frogman, aldo I have few of Mobley’s albums as a leader and probably more as a sideman I must admit that he does not belong in category of my favourite sax players.

Perhaps is my taste too prosaic and maybe I just cant place him in neither of simple categories that I like, first of big, lush tenors (exmp. Hawk, Quebec or Gonsalves,etc) or neither in lyrical context of some West Coast players.


I admit that when I carefully listen to his lines I often get surprised, because he ’has something to say’ and his music possess a ’continuos drive’, but it is his tone that is not ’attractive’ or particular enough to me, to make me want hear him more often.

On the album you recommended he has nice moments, Dorham even more...

Than again, I must admit that my taste, already described as prosaic is somewhat particular too....

So, for example, I am not a big fan of Coltrane, except for part of his early work and I must admit that again, the tone is ’problem’ for me there too...

Here is one link,of Coltrane, that I like....very simple, but beautiful music...
Wilbur Harden plays along him....like him too...

...from album ’Stardust’ from 1958.
https://youtu.be/TeFeLaEsHBs