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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
 

    https://www.youtube.com/watch?v=gZxnwrGPQEs


    https://www.youtube.com/watch?v=hVEbzdN_7n0
mary_jo
252 posts
 
Following recent discussion and speaking of the musician’s performance, I was always wondering, can musicians devote themselves equally to the voice and to the instrument when playing and singing at the same time? And all that in their perfection? Will at some point the performance of the instrument "suffer" when the delivery gets stronger through their voice or vice versa?

For instance, should a singer like Nina, let somebody else accompanied her on the piano in order to get the perfection out of the both performances?

The result would be really - perfection in full, I mean that is logical. But then another question arises.

Would she sing equally better when she uses her voice only and does not accompany herself on the piano in comparison with the previously mentioned combination?

I mean, one man show gives you certain advantages. Whatever comes out is under your control and it gives you the huge amount of freedom in performing. At one point you can decide to play faster and to sing faster, you can decide to improvise, you can do whatever damn you want.


frogman
4,637 posts
 
O-10, unfortunately (for you), “snobbery” only scratches the surface.  It took you a few tries, but at least you were able to come up with something remotely resembling an apology (not!).  As I’ve said before it’s all pretty obvious; including why it is that your ”snobbery” is more times than not directed only at me.  Don’t worry, it will be overlooked...again, and again, and again.

Which all leads me to what ties the answer to the above question and the subject of mary_jo’s very interesting comments.  I will offer some thoughts a little later, mary_jo.
harrylavo's avatar
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harrylavo
118 posts
 
frogman - wow, that list of Paul Chambers work is impressive, and as you've said, a lot of them are classics.  It made me think back and to the fact that I often used Paul Chambers as sort of a "Good Housekeeping Seal of Approval."  If there was a record or CD that I was uncertain about purchasing, his presence was often the deciding influence on my "vote."
orpheus10 OP
5,988 posts
 

Frogman, I direct things at you because you are a professional musician, and the top aficionado beside myself.

Who is the top aficionado is based on who has recommended the "best" jazz over a period of 3 years. Of course that has to be confirmed by others, and it has been; it's in the records; this is not a popularity contest.
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