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
Learsfool's excellent comments leave little to add.  Re:

****If this music was written out, do you think the classical musicians could play it, and make the music sound as though it wasn't faked?****

I think the confusion is due to the misuse of the term "fake".  "Faking" is a term in the jazz vernacular that applies mainly to "club date" settings (parties, weddings etc.) where musicians play tunes in an ensemble setting in a way that sounds as if they are playing charts or formal arrangements of those tunes.  It could be said that they are "improvising" these arrangements, but this is not improvising in the way that is heard on most on the clips posted on this thread.  While most of the players that are good "fakers" are also good jazz players, not all good jazz players are good fakers.  It is a unique skill that requires great knowledge of harmony and the ability to think like and speak (play) the language of an arranger.  It is probably impossible to describe just how difficult it is to, for example, credibly play 4th tenor saxophone parts in the context of a classic five man saxophone section in a big band of musicians that have no written music in front of them.   It is virtually a lost art that was fairly common at one time.  I think that O-10 meant to say:

****If this music was written out, do you think the classical musicians could play it, and make the music sound as though it WAS IMPROVISED****

Learsfool did an excellent job of addressing this issue.  I particularly liked his emphasis on the idea that just because the playing is fast and with a lot of notes doesn't necessarily mean it is difficult to play.  In fact, in jazz the hardest thing to do is to say the most with the fewest notes.  Re doubling:

"Phantom" is not a particularly good example of doubling on Broadway shows; only one of the reed books require doubling on instruments from more than one family of instruments.  By contrast, in "West Side Story", Reed 3 is required to play flute, clarinet, bass clarinet, oboe, English horn, tenor saxophone and baritone saxophone.  It is a daunting task to learn to play so many different instruments well and to stay in shape on them;  not to mention instrument maintenance and the preparation of reeds.  The doubler is also expected to be able to play credibly in many different styles and in some cases to also improvise.  In fairness it should be pointed out that it is rare (not impossible) the doubler who can play each of those instruments at the same TECHNICAL level as a top single instrument or "straight" player.  It might be of interest to note that doubling is required in some works in the Classical repertoire.  Of note: 

Alban Berg "Violin Concerto"- 3rd clarinet/alto saxophone
Bernstein "On The Town"- 2nd clarinet/alto saxophone
Vaughn Williams "Symphony No.6"- tenor saxophone/bass clarinet
Rok, the reasons for an institution to have an "artist in residence" can range from the magnanimous desire to provide a worthy artist with an environment conducive to the creation of his/her art with no other preconditions,  to having a contractual agreement whereby the artist will teach, give lectures or, in the case of a "composer in residence", produce a work that may be premiered by the institution if that institution happens to be an (usually prominent) orchestra.  In fairness, it should be noted that even in the first scenario in which the institution's motives are purely magnanimous, an institution can derive a great deal of "cache" and attention by having a prominent artist as "artist in residence".  This being the case, there can be  many benefits ranging from attracting top students to helping in securing funding and grants.

If it wasn’t for Learsfool. Frogman and Almarg the rest of us fools would just get dumber and dumber !
God Bless them all.

A recent development in Music i find very promising is various Orchrestras
having "Associated Artists " . They sign for say 12 concerts over a 3 year
period and arrive 3-4 days before a concert and rehearse with the Orch.,
instead of here today gone tomorrow jet-set soloist who spends 10 minutes getting meters from the conductor.
To my old ears makes a big difference on all fronts .

Frogman, although I had seen the movie and read the book, the play was the most impressive of them all; and the most impressive aspect of the play was the music; and that was the most impressive for me, because of the "reed doubler" down in the pit.

I was seated second row, far left, and I could see him pulling different horns out of a rack while his eyes were focused on the sheet of music in front of him. Any musician who can blow sax very well is impressive to me; but this guy could blow sax, clarinet, oboe, and I don't remember what else, but he was fantastic on every instrument he blew. I'm sure the audience, who couldn't see the musicians in the pit, thought each different instrument was played by a different musician.

When there was fast jazzy action on stage, the music was fast and jazzy; when it switched to jungle music, the musicians in the pit changed instruments, and instantly transported you to the congo.

By the way, the name of this play was "Raisin", which is a very dramatic play with fantastic music that ran the gamut of emotions; from "Measure The Valleys" to "Alaiyo", African music that might have required a flute. Whatever, the "doublers" switched instruments and played it.

Frogman, could you get the details on the play and explain to us specifics about the doublers. Here is the link to that play




              [url]https://en.wikipedia.org/wiki/Raisin_(musical)[/url]



Thank you

Enjoy the music.
Frogman, something went wrong with that link, but here is the correct one

From Wikipedia, the free encyclopediaRaisinOriginal Cast RecordingMusicJudd WoldinLyricsRobert BrittanBookRobert B. Nemiroff
Charlotte ZaltzbergBasisLorraine Hansberry's play
A Raisin in the SunProductions1973 BroadwayAwardsTony Award for Best Musical

Raisin is a musical theatre adaptation of the Lorraine Hansberry play A Raisin in the Sun, with songs by Judd Woldin and Robert Brittan, and a book by Robert Nemiroff (who was Hansberry's former husband) and Charlotte Zaltzberg.

The story concerns an African-American family in Chicago in 1951. The musical was nominated for nine Tony Awards, winning two, including Best Musical, and the Broadway production ran for 847 performances.

Contents  [hide]

Synopsis[edit]

In Chicago in 1951, an African-American family, Ruth Younger, her husband Walter Lee Younger, their son Travis and Walter's mother are living in a cramped apartment. Walter is a chauffeur but thinks that his father's life insurance policy proceeds will buy a way to a better life. He plans on buying a liquor store, but his mother Mama Lena Younger is against the selling of liquor. Tensions arise as Walter tries to convince Mama Lena to forget her dream of buying the family its own small house ("A Whole Lotta Sunlight").

Walter decides to make the deal for the liquor store and signs the papers with his partners Bobo Jones and Willie Harris. Beaneatha Younger, Walter's sister, is in college and is romantically involved with an African exchange student, Asagai. When Walter comes home drunk he joins Beaneatha in a celebratory dance, picturing himself as a chieftain ("African Dance"). Ruth and Walter fight about their future but they reconcile ("Sweet Time"). Mama arrives to announce that she has bought a house in the white neighborhood of Clybourne Park, and Walter leaves in anger.

Walter has not returned home and Mama finds him in a bar. She apologizes and gives him an envelope filled with money. She asks him to deposit $3,000 for Beaneatha's college education, and tells him the rest is for him. As the family packs to move, a representative of Clybourne Park, Karl Lindner, arrives and offers to buy back the house. Walter, Ruth and Beaneatha mockingly tell Mama of the enlightened attitude of their new neighbors. Just then Bobo arrives to tell the family the bad news that Willie has run off with the money. This forces Walter to contact Lindner and accept the offer to buy back the house. Although Beaneatha berates her brother for not standing up for principles, Mama shows compassion and understanding ("Measure the Valleys").

When Lindner arrives, Walter announces that the family will, after all, move to the new house.

Songs[edit]Act I
  • "Prologue" - Company
  • "Man Say" - Walter Lee Younger
  • "Whose Little Angry Man" - Ruth Younger
  • "Runnin' to Meet the Man" - Walter Lee Younger and Company
  • "A Whole Lotta Sunlight" - Mama
  • "Booze" - Bar Girl, Bobo Jones, Walter Lee Younger, Willie Harris and Company
  • "Alaiyo" - Asagai and Beneatha Younger
  • "African Dance - Beneatha Younger, Walter Lee Younger and Company
  • "Sweet Time" - Ruth Younger and Walter Lee Younger
  • "You Done Right" - Walter Lee Younger
Act II
  • "He Come Down This Morning" - Pastor, Pastor's Wife, Mama and Mrs. Johnson
  • "It's a Deal" - Walter Lee Younger
  • "Sweet Time (Reprise)" - Ruth Younger and Walter Lee Younger
  • "Sidewalk Tree" - Travis Younger
  • "Not Anymore" - Walter Lee Younger, Ruth Younger and Beneatha Younger
  • "Alaiyo (Reprise)" - Asagai
  • "It's a Deal (Reprise)" - Walter Lee Younger
  • "Measure the Valleys" - Mama
  • "He Come Down This Morning (Reprise)" - Company
Characters and original cast[edit]Productions[edit]

The musical began a pre-Broadway tryout on May 30, 1973 at the Arena Stage in Washington, D.C..[1] It premiered on Broadway at the 46th Street Theatre on October 18, 1973, transferred to the Lunt-Fontanne Theatre on January 13, 1975, and closed on December 8, 1975 after 847 performances. Donald McKayle was the director and choreographer, and the cast featured Virginia Capers as Lena, Joe Morton as Walter, Ernestine Jackson as Ruth, Debbie Allen as Beneatha, Ralph Carter as Travis, Helen Martin as Mrs. Johnson, and Ted Ross as Bobo. Capers later starred in the national tour. The production won the Tony Award for Best Musical.[2]

The Long Beach Performing Arts Center in Long Beach, California presented the musical in February and March 2003.

The Court Theatre in Chicago staged the musical from September 14 through October 22, 2006. The cast included Ernestine Jackson, who formerly had played Ruth, in the role of Lena Younger.[3]

Critical reception[edit]

In reviewing a performance in Washington (Arena Stage), Clive Barnes of The New York Times called it "a warm and loving work."[1] In his review of the Broadway production, Barnes noted that the book of the musical "is perhaps even better than the play.... 'Raisin' is one of those unusual musicals that should not only delight people who love musicals, but might also well delight people who don't".[4]

After the Broadway opening, Walter Kerr of The New York Times wrote, "The strength of Raisin lies in the keen intelligence and restless invention of a musical underscoring that has simply invaded Lorraine Hansbury's once tightly-knit, four-walled, close-quartered play, A Raisin in the Sun, plucking the walls away, spilling the action onto the streets with a jittery down-flight of strings, mocking and matching realistic speech with frog-throated sass from the heavy-breathing viols."[5] The New York Times also reported that there are "ovations every night at the 46th Street Theatre for 'Raisin'. But they are for the cast, not individual performers. There are no stars.... It was at the Arena Theater in Washington, where the play first opened this spring, that Mr. McKayle said he started evolving the ensemble-acting concept."[6]

Awards and nominations[edit]Original Broadway production[edit]YearAwardCategoryNomineeResult1974Tony Award[7]Best MusicalWonBest Book of a MusicalRobert Nemiroff and Charlotte ZaltzbergNominatedBest Original ScoreJudd Woldin and Robert BrittanNominatedBest Performance by a Leading Actor in a MusicalJoe MortonNominatedBest Performance by a Leading Actress in a MusicalVirginia CapersWonBest Performance by a Featured Actor in a MusicalRalph CarterNominatedBest Performance by a Featured Actress in a MusicalErnestine JacksonNominatedBest Direction of a MusicalDonald McKayleNominatedBest ChoreographyNominatedTheatre World AwardRalph CarterWonErnestine JacksonWonJoe MortonWon1975Grammy AwardBest Score From the Original Cast Show AlbumRobert Brittan, Judd Woldin (composers);Thomas Z. Shepard(producer); the original cast (Virginia Capers, Joe Morton, Ernestine Jackson, Robert Jackson, Deborah Allen, Helen Martin)WonReferences[edit]
  1. ^ Jump up to:a b Barnes, Clive. "Stage:Capitol's 'Raisin'", The New York Times, May 31, 1973, p. 49
  2. Jump up^ "Sing 'Em All! The Tony Awards Songbook". 2008-04-30. Retrieved 2009-08-15.
  3. Jump up^ 'Raisin' at the Court Theatre, 2006 www.courttheatre.org, accessed August 15, 2009
  4. Jump up^ "The musical is 'Raisin' and it has come to Broadway via Washington's Arena Stage". Barnes, Clive. "Theater: 'Raisin' in Musical Form", The New York Times, October 19, 1973, p. 59
  5. Jump up^ Kerr, Walter. "Raisin is Sweet, Could Be Sweeter", The New York Times, October 28, 1973, p. 127
  6. Jump up^ Campbell, Barbara. "Cast of 'Raisin' Works as Close as a Bunch of Grapes", The New York Times, October 27, 1973, p. 20
  7. Jump up^ Tony Awards, 1974 tonyawards.com, accessed August 15, 2009
External links[edit][show]Tony Award for Best Musical (1949–1975)[show]Lorraine Hansberry's A Raisin in the Sun (1959)
Categories: 
Navigation menu