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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
orpheus10 OP
5,988 posts
 

"That studio sound"; is that the sound of the golden standard, the one that Sarah her self considers her best. Is that the sound of some of the most incredible musicians to ever back a vocalist?

Quincy Jones, Kenny Clark, and Zoot Sims, a few of the greatest jazz musicians of our time backed Sarah on that session. Why do you keep trying to denigrate that session with this "Studio sound crap"?
frogman
4,637 posts
 
Inna, your observation is even more interesting than at first meets the eye. “Vaughn and Violins” and “Lift To...” were recorded six months apart and both in Paris. It is interestting that they both share a similar studio production sound typical of the era and which was due in part to the generous use of reverb. It is likely that both were both recorded in the same studio. What is verifiable is the fact that the drummer, the great Kenny Clarke who was living in Paris at the time and bassist Pierre Michelot, then the busiest bassist in Paris played on both sessions. It’s a small world in the music scene.
frogman
4,637 posts
 
O-10, will you please take a deep breath and chill out. No one is trying to “denigrate” anything. The sound of that record is what it is and is a particualr aesthetic. I will not refrain from pointing out or discussing what to me are interesting details about the music just for the sake of somehow not upsetting you or your need to win an argument. I will not walk on eggshells like that. Please hear this and put the issue to rest:

I LIKE “VAUGHN AND STRINGS”. I LIKE IT. I REALLY LIKE IT.

Is that clear enough for you? The argument which you started (as usual) was around which was the “best” of the two versions. This is something that you are always trying to do, “best” this and “best” that. When one is talking about music on such a high level there is usually no “best”; only different and appealing to the different aesthetic sense and sensibilities of different listeners. The reasons why that may be so is interesting to me and many others. It appears it is not be to you.

Btw, with respect, you really should try and learn a bit more about the role of a producer in music production. I assure you that the producer and orchestrator (Q) on that record, not Vaughn, were the primary determinants of the “sound” of that record.
alexatpos
500 posts
 
https://youtu.be/eGggyg0LgQw
orpheus10 OP
5,988 posts
 

"Well, O-10, no sense breaking the streak; since you want to keep track. The live Sarah/“Misty” wins hands down in my book."

When you stated that, you threw the gauntlet down, and it was my duty to respond.

"The studio version...just that. Studio produced; faster, with A LOT of “sweetening”, less intimate. A bit Muzak(ish); what some refer to as elevator music. Different performance environments and as always, she knows the tape is rolling."

And then you went on to call it "Elevator music"; if that's not denigrating I'd like to know what is?

Who are these "many others"? Sounds like a tactic for dragging others into your lame argument.







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