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

Showing 14 responses by tyray

@audio-b-dog,

The word "nega" in Portuguese is a pejorative to black women not only in Brazil but in other countries as well so be very careful when singing it and speaking it. Just saying.

’In Portuguese, "nega" is a term of endearment, often used informally and playfully, especially between romantic partners or close friends. It can be translated as "black woman" or "dark-skinned woman," but its usage is more nuanced than a simple literal translation. It’s often used like "honey" or "sweetheart" and can be an affectionate nickname, particularly in Brazil, according to Wikipedia.

However while "nega" can be used by anyone, it is important to note that it can be considered offensive and derogatory if used by someone outside of the relationship or by someone who is not of African descent, as it can be associated with racial slurs. The term "negra" is the standard feminine form of the word "negro," which means "black".

Here’s a breakdown: Literal meaning: "Nega" literally means "black woman" or "dark-skinned woman" in Portuguese. Usage: It is often used as a term of endearment, similar to "honey" or "sweetheart."

Context: It is more common among romantic partners or close friends in Brazil. However, there is potential for offense: Can be offensive if used by someone outside the relationship or by someone not of African descent.

So the Portuguese word "nega" is directly correlated to the word "negra" and or "nigga" in english slang. So be very careful when using that word. If you choose to do so because the usage of that word can and could get your ass kicked.’

  • "Negra": These are the standard Portuguese words for a black woman, respectively. However sometimes the word "Preta" is used
  • "Nega" as a diminutive: "Nega" is a shortened, more informal version of these words.
  • Context matters: While often used as a term of endearment, the potential for misinterpretation is there.

I understand "Nêga De Obaluaê" is a phrase associated with the Afro-Brazilian religions of Candomblé, Yoruba, Umbanda, and often refers to a woman associated with the deity Orixá Obaluaê but this is and we are in the US in 2025 not 1975 in Bahia, Brazil.

@audio-b-dog

I know you had no idea and no worries at all with you and I, we’re cool. But you say this is ’interesting’? Not in the least. About the song, lol! Hell no! I don’t and didn’t like it and it will not be played in my home.

Although I wouldn’t call the word ’colloquial’ as colloquial to me anyway are words used in ’ordinary or familiar conversation’ with each other.

Are the words Nega, Nego, Negão and Neguinho still being used in Brazil in conversation? Yes.

’The reason it’s so widespread in Brazil also has to do with the Brazilian denial of its own racism, which you’ll still find. People tend to excuse it as “we’re all friends, it’s not racist!” But usually those people are white (so am I, btw, full disclosure). I’m very mindful of certain terms in Portuguese nowadays. I recommend the same.’

I probably wrote and put to much in my ’deatribe’ and didn’t mean to bring such a terse viceral conversation to this thread, but I was ’triggered’ as they say.

 

 

@stuartk, @audio-b-dog,

 

in the late 60’s, 70’s there was an intensified interest in spirituality among musicians, Jazz and otherwise.

R. Thompson, P. Townshend: Sufism.

Beatles: Yoga (TM)

Santana, J. McLaughlin: Yoga

W. Shorter, H. Hancock, S. Cowell and many more: Buddhism

McCoy Tyner and others: Islam

Some, like Coltrane, seemed not to adhere to any single path.

You might say spirituality was "in the air" in that era. It certainly affected me and a number of my friends in high school. 

I recall opening the gatefold to Caravanserai and encountering a quote by Paramahansa Yogananda before I’d even become aware of his famous autobiography. And of course Mahavishnu Orchestra album and tune titles were an expression of the same. Spiritual themes were common in the music of The Incredible String Band, G. Harrison, Cat Stevens, , the Who, Donovan, etc. It wasn’t until a few years later that I got into Jazz and started noticing this same trend. I guess "My Goals Beyond" was probably the first for me, after Mahavishnu.

I couldn’t have written it any better myself. It was Mike Shrieve the original Santana drummer who introduced Carlos to Coletrane, and the rest is history. I have the Caravanserai lp as well and also the Carlos Santana · Mahavishnu John McLaughlin - Love Devotion Surrender lp .

Check out the roughly made Beatles documentary of their experiences with the Maharishi Mahesh Yogi who developed TM.

Many years ago I had an opportunity to become part of a medical study at Morehouse College of Medicine to take TM, totally free and all they wanted to do was monitor my blood pressure and see if TM would lower your blood pressure. It was one of the best classes I’d ever had the opportunity to take.

By the time I was 18 I had mastered about 10 Hatha Yoga Asanas  (poses/stretches). But that was a LONG time ago...

Lonnie Liston Smith · The Cosmic Echoes - Meditations 1976

 

 

 

 

@audio-b-dog,

@stuartk is correct. The confusion is the song Feminina is on this Joyce (Moreno) with Mauricio Maestro - Natureza - (produced, arranged & conducted by Claus Ogerman) (Full Album) 1977 lp.

And this lp Joyce Moreno - Feminina - 1980 is titled Feminina.

I really like both lp’s but I think this Joyce Moreno - Feminina - 1980 lp has better production value with better overall engineering making the entire song writing skills, musicianship and arrangements really stand out. And the songs Feminina and Mistérios are on this lp as well.

 

@audio-b-dog,

The Creator Has A Master Plan · Pharoah Sanders - Karma. This is nice stuff. Thanks. The musician Lonnie Liston Smith has a hauntingly similar style of playing .

+1 @audio-b-dog, 

Esperanza Spalding is SPECIAL indeed. Although she doesn't think so, I think she is in a class - all her own. 

@curiousjim,

Yes! Christian Scott/Chief (Xian aTunde) Adjuah to me anyway, is a so called ’young lion’ as is Christian McBride. Or am I missing something here?

Me thinks Esperanza Spalding is a much more, far more diversified bassist than Christian McBride (will ever be...). She sings, writes, produces, is a band leader, can put her double bass down and pick up an electric bass and jam her ass off, completely and utterly more dynamic, can do a one man (woman) show, fly to Rio de Janeiro and produce/sit in, lead the band - with Milton Nascimento, sing in perfect Portuguese while she’s playing the double bass and she’s younger than both Chief Adjuah and Christian McBride. At her age, she’s just starting to feel some blues. She just has more in her ’tool kit’, so to speak.

https://forum.audiogon.com/discussions/jazz-for-aficionados/post?highlight=Esperanza%2BSpalding&postid=2717403#2717403

 

 

 

 

Hermeto Pascoal and Quarteto Novo - ’Brazilian Octopus’ w/ Gamboa, Théo, Lobo, - Live in black and white film

 

Brazilian Octopus - Brazilian Octopus - 1969 (Full Album)  Turn this up, very loud.

Músicos:

Hermeto Pascoal (flauta)

Lanny Gordin (guitarra)

Olmir Stocker "Alemão" (guitarra)

Aparecido Bianchi (piano, órgão)

Carlos Alberto de Alcântara Pereira (flauta, saxofone)

João Carlos Pegoraro (vibrafone)

Nilson Matta (baixo)

Douglas de Oliveira (bateria)

 

Músicas:

01 - Gamboa (Ciro Pereira/Mário Albanese)

02 - Rhodosando (Hermeto Pascoal)

03 - Canção latina Olmir Stocker/Vitor Martins)

04 - Pavane (Octopus B./Gabriel Fauré )

05 - Como Borboletas (A. Popp/P. Cour)

06 - Momento B / 8 (B. Octopus/Rogério Duprat)

07 - Summerhill (João C. Pegoraro)

08 - Gosto de Ser Como sou (Ciro Pereira/Mário Albanese )

09 - Chayê (Hermeto Pascoal)

10 - Canção de Fim de Tarde (Thereza Souza/Walter Santos)

11 - O Pássaro (Alexander Gordin)

12 - Casa forte (Edu Lobo)

 

 

 

 

 

@audio-b-dog

The Brazilian Samba Dance:

Samba de Roda is the precursor of Samba originating in the Recôncavo region of Bahia, Brazil, during the 17th century. It’s a cultural tradition combining music, dance, and poetry, with roots in the dances and traditions of African slaves in the area according to UNESCO. The term "Recôncavo" refers to the coastal area surrounding the Bay of Todos os Santos. 

African Roots: 

Samba’s origins can be traced back to the West African traditions brought to Brazil by enslaved people, particularly from Angola and the Congo.

Bahia as a Birthplace: .

The northeastern state of Bahia, where many enslaved Africans were initially brought, became a fertile ground for the development of various samba-related rhythms and dances.

Samba de Roda: .

A crucial precursor to samba was the samba de roda, a circle dance performed in Bahia, which was recognized by UNESCO as a Heritage of Humanity.

Urban Evolution in Rio de Janeiro: .

While originating in Bahia, samba became a prominent urban musical expression in Rio de Janeiro, the then-capital of Brazil, where it further developed into the genre we know today.

Symbol of Brazilian Identity: .

Samba’s infectious rhythm and cultural significance have solidified its place as a symbol of Brazilian national identity and a key element of the Brazilian Carnival.

 

This is a video given/shared with me almost 20 years ago from Randy Roberts: 

Sparrow Roberts

Samba de Roda: Samba Chula from Sao Braz in Bahia, Brazil - John of the Ox and Aluminum Samba de Roda live, ’In the palm of your hand’. 

The Brazilian Worldwide Matrix: https://www.matrixonline.net

'In the village of  São Braz, Bahia, Brazil. A clip from Jorge Pacoa’s documentary, "Samba de Roda na Palma da Mão". For much more:

THE BRAZILIAN Worldwide Matrix — https://www.matrixonline.net — the platform that does what no one else does — connects the vast Brazilian creativity — musicians, writers, filmmakers, visual artists, choreographers and dancers... — from the famous to the unknown genius — to the entire world.'

Hope this helps.

 

 

 

 

 

 

@audio-b-dog,

I’ve never heard of Fado music in Brazil? Maybe I’m wrong? In Portugal yes. I’m not familiar with Maria Rita?