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
Hello Frogman.  Absolutely no problem w/anyone quoting that wonderful characterization by my b-in-l.  (and "yes", I'm not above repeating a good joke!).  Of course, when he told me, he accompanied the statement with the appropriate sound-effect.  He has a great ear! and is a good mimic :-)  

Your comments about that article are appreciated.  I'm not that familiar with Bill Evans' trio's work but inappropriate/overbearing bass work isn't anything that ever stood out to me on the pieces I have heard.  I figured the guy (described as a curmudgeon in the intro) is a "bomb-thrower" and exaggerating to make a point; at best, being controversial to stir-up productive discussion.  

Personally, in my read of the article, I didn't think he was "ignoring" as much as trying to invalidate jazz as conversation to which bass contributes.  It seems an extreme position to limit things to just one solo instrument with bass confined solely to rhythm-related duty.  Yet the author is apparently not alone in this as another musician is cited in the comments with something of a similar point-of-view.  Can't recall name off the top of my head.  I did think the writer's comments about the jazz ensemble as "democracy" (or not) were worthwhile - more good fuel for discussion.

I don't hold with the writer's position (or my b-in-l's).  Schubert's comment IS exactly right.  Whatever ingredients are needed to make the cake...or pie or cookies.  

Actually, the seeming narrow-mindedness of the writer reminds me of some of the other "jazz purity" discussions that have happened in this thread!

Another pianist here that I've been enjoying and this album in particular...
(be patient...not as New Agey or trite as one might mistakenly believe listening to only the first few bars).

https://www.youtube.com/watch?v=1-6Fga-Ft_0    


Thanks, ghosthouse.  I stopped after comment #100 and could not find a single comment supporting the author’s point of view.  One musician did say he didn’t like to solo, but that’s an entirely different issue.  Anyway, not much support there.  Thanks for the clip, enjoyed it.  

acman3, thanks for the Evans clips and the blast from the past.  And, fabulous Tony Williams, btw.  Total badas$!
Not to belabor this, Frogman.  I thought the first two comments referencing Lennie Tristano could be taken to mean the author was not completely alone in his stance (while recognizing the author and Tristano probably differ on this topic somewhat and "paths" by which they arrived might well differ too).  In any event, I'm definitely not trying to argue in defense of either's position!

1 Ralph // May 20, 2008 at 10:43 AM
Alan: One possible explanation for Tristano walking out on the famed Evans trio was his dislike for the interactive styles of both Motian and LaFaro! In an interview I did with Jack Reilly, an under appreciated pianist and composer and a former Tristano student, he told me Lennie apparently didn't use a rhythm section in that manner. Scott La Faro would probably not be a good match for Lennie. To quote Jack on Motian: "In fact, when Paul Motian played�he played once (with Lennie) and Lennie told him to stop all the other stuff and he was quite annoyed and I don't know if he lasted the week or not, it was at the Half Note, and he had come in to sub for somebody. He stayed a few days but I don't know if he was ever invited back to play with Lennie.""... Lennie had so much going on in his head that anything that was not just strict time would interfere with the way he wanted to express himself at the piano."

2 Ted Gioia // May 20, 2008 at 10:41 PM
There is very smart assessment of Tristano's attitude toward rhythm sections, recently published by Ethan Iverson at this link. He examines in detail Tristano's well-known complaints about bassists and (especially) drummers. But as Iverson points out, Tristano's primary obsession was with having an even, steady beat.

   Re  Barbara , you don't necessarily have to have a good voice to be a
good singer . Blossom D. proved that and did not even need to sing LOUD !