Thanks for the Pepper with strings, pjw. I will check it out.
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.
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.
Showing 50 responses by frogman
There are occasional times when only this record will do: https://youtu.be/j-9AoEGOYZo https://youtu.be/9yVBhdPuC8k https://youtu.be/wbZPhLrEpxA |
Thanks for the Bob Sheppard clips, acman3. Great LA studio guy. One of my favorite current saxophone players and one of the few Michael Brecker influenced tenor players who brings just enough of his own stuff to not sound like a caricature of Brecker. Very good alto player also. Lead alto in Bob Mintzer’s big band. I‘ll be picking that record up. https://youtu.be/8tJ0oRPWFhg https://youtu.be/uxJ1GxJrNWc |
Sure. Nice cut with a great slow shuffle groove. Could tell immediately it was Gene Ammons playing the first tenor solo. Robust tone with that distinctive bit of nasal quality and unique way of articulating notes. Now, right back at you (all): Apropos the recent discussion of Classical music, what popular Classical piece does Jug quote at 3:07? Hint: by a Russian composer. |
pjw, for some great Bob Sheppard in a Rock (sort of) bag check out Steely Dan’s album “Two Against Nature”; especially the tune “West Of Hollywood”. Very extended solo and he doesn’t run out of ideas. O-10, you’re welcome. https://youtu.be/iIjKV1M8kqM |
Back on the subject of great orchestrators. Probably Thad Jones’ best known composition: https://youtu.be/-M2ADUgffFE And speaking of a great shuffle beat and big band drummers. A big band drummer who many consider to be one of the very best. Understated; kind of like the Freddie Green of drummers. Unique cymbal sound: https://youtu.be/mwwu0WPpPw0 I don’t like to repeat posts, but I just love this clip. Jerome Richardson composition, but Thad arranged it: https://youtu.be/4ZLvqXFddu0 |
O-10, don’t despair too much. Let’s bring some perspective to this issue: Bob Sheppard didn’t say that he, or the best musicians in LA (or NY) can’t make a living. What is true, and what I believe he said, was that they are not nearly as busy in the studios as they once were; they are not making as nice a living. The “best” musicians, in a sadly shrinking scene, will always make a living. I assure you that Bob Sheppard is still making a nice living. Of course, it depends on what one considers a “nice living”. For perspective: Do you know what a top studio musician was earning each year during the heyday of the LA and NY studio scene (pre about 1990)? Several hundred thousand a year. Second and even third tier musicians would earn at least a couple hundred thousand. Fast forward to the present. A guy like Sheppard, while not as busy as he once was in the studios will now supplement the previously steady studio work by doing clinics and making solo appearances on records like the Steely Dan record that I mentioned as well as his own projects. I doubt that Sheppard earns less than $175K to $250K a year. There was a time in NYC when the concert master of the NY Philharmonic quit his high paying job with the Phil because he could earn much more in the studios. That doesn’t happen anymore. During the heyday of the big band era there was so much work for musicians that it is fair to say that there were a lot of mediocre players earning a living in music. In LA there is a relatively small group of “the best”, and they are incredible musicians, who play all the movie dates and are still earning a lot of money. Of course, what all this also means is that the pool of “the best” becomes smaller and smaller; ergo, more and more competitive and very very difficult to break into that scene. As Sheppard points out, they are MOSTLY symphony players. Why? Because for the music that they are required to play on all those John Williams (and others) scores, they are “the best”. As Schubert pointed out, in Jazz it is about the players and their individuality. In Classical, which is what most of those movie scores are mostly like, it is about the composer and the score. The truth is that the best Classical players are better INSTRUMENTALISTS than most Jazz players. They sound better on that type of music and they save the producers money because they need to do fewer takes; they are more accurate. Of course, Jazz soloists are sometimes needed and that is when someone like Sheppard comes in. It is true that as a result of all this many of the third tier players do scuffle to make a living. The best are ok. Enjoy your music. |
Nice! Thanks. Didn’t know they had recorded together. Going on the to buy list. Blades is the poet of salsa; beautiful lyricist: https://youtu.be/a1mREa7p1oA https://youtu.be/J463761hjng https://youtu.be/SfsusiORoek |
Much more than a Salsero, an interesting and beautiful record by Blades for anyone wanting to explore his music: https://youtu.be/OyRRSIIUrdY https://youtu.be/Cykj7jAYJbY https://youtu.be/XU7GmLBI148 Btw, acman3, interesting that you should post those great John LaBarbera clips to follow Thad Jones. Both part of very musical families. Thad, one of the great Jones brothers along with Hank and Elvin . John, one of the LaBarbera brothers along with Pat and Joe. Sadly overlooked here. Great tenor player: https://www.youtube.com/playlist?list=OLAK5uy_lwzmTJzp_Myp2UEtfTo2cJMMGBpu4YdE0 Also overlooked. One of my favorite drummers. Last time I heard Bill Evans live, Pat was his drummer. This was the trio: https://youtu.be/OI8zUgR8czI |
1967 has special significance for me as well; and especially today. I hope this comment doesn’t cross the line into hypocracy given recent events here. If so, apology. In 1967, after waiting for more than ten years, I and some (long story) of my family were blessed with the privilege to leave oppression and make a new home in freedom. Happy 4th, all! https://youtu.be/9zi3BRtzW7A https://youtu.be/FiuXOVA62q4 https://youtu.be/7YpKGKF7_XY |
Classic Mingus chart, pjw! What’s not to like? It’s always been one of my favorite Mingus charts in no small part because of Pepper’s playing on it. And, yet another example of why Booker Erving remains one of the most underrated tenor players. Great stuff! The version by the Mingus Big Band is also great and arguably even more exuberant. Ronnie Cuber kills; amazing player and probably my favorite living baritone player. Thanks for the clips. Question: your post suggests that there is a slower tempo version of Moanin’. The slower Moanin’ that I know is by Bobby Timmons and is an entirely different tune. Here is a FASTER tempo rendition by the Mingus Big Band (I prefer the slower version that you posted): https://youtu.be/xkXeMzRqkcY Extreme gratitude and respect to your Dad and your family for his service. |
Two of the very greatest without a doubt. Speaking of “getting along”, “nice men” and mary_jo’s “manners”. One of the most humble, kindest and well mannered individuals to ever grace this music: https://youtu.be/bYcFb14O32k https://youtu.be/V2-Jl2W9XsU |
Not meaning to put too fine a point of the (non)issue, it should be noted that this is certainly not the first time that two entirely different tunes by two different composers have had the same title. With that in mind, I fail to see what is contentious about these two different tunes sharing the name “Moanin”. I do completely agree that Bobby Timmons’ “Moanin” is the more important and admired of the two; although, obviously there are two “Moanins”. Timmons’ “Moanin” is a true Jazz standard and a Jazz composition of the highest order for specific and demonstrable reasons. For anyone interested: First, from a historical viewpoint, it was one of the tunes that helped usher in the “funky-Jazz” style that took off during the late ‘50s. The recently mentioned Horace Silver was another big part of that movement and one will notice certain similarities between this tune and many of Silver’s tunes. Bobby Timmons’ TUNE is actually a far more sophisticated and “complete” composition than Mingus’. It has a great and immediately recognizable melody; and very evocative, as O-10 has often pointed out. It is in classic 32 measure, AABA form. The vast majority of Jazz standards follow this form. In the spirit of what Evelyn Glennie spoke of in Schubert’s great clip, when one listens, really LISTENS all this becomes easy to hear and no formal training is necessary. AABA form and Timmons’ “Moanin”: One hears Timmons’ great melody for 8 measures (A), then it is repeated for another 8 measures (A). Then one hears the “bridge”, a different but related melody for 8 measures (B). Then finally, one hears the first melody again for 8 measures (A). AABA for a total of 32 measures. During the improvisations this form is followed. As exciting as Mingus’ “Moanin” is, it really is just a bass ostinato (repeated musical line) played by the baritone saxophone and with horn parts which serve as background for the extended improvisations by various soloists. Part of Mingus’ genius was using otherwise simple musical ideas in ways that would create a tremendous amount of excitement and tension/release. Others of his compositions followed a more traditional formula as used by Timmons. Here you go, pjw; as requested: https://youtu.be/hWOfb2gFMlo Note that in this version of Mingus’ “Moanin” as posted by you, the “tune” (the baritone ostinato) begins on page two following Cuber’s improvised solo. On the original with Pepper, the “tune” starts right away with the repeated baritone line (no improvised solo until later): https://youtu.be/QfSTtQd5Wew |
The reasons that I have expressed reticence about veering away from THE STATED SUBJECT OF THIS THREAD and into some of these very complicated topics is the obvious, but mostly because many times doing so has turned ugly and I know for a fact that some of these contentious exchanges have driven some contributors off the thread. Importantly, in some cases they have needlessly colored the attitudes toward each other of some of those who have remained as demonstrated by the downright hostile comments that have been directed at each other. However, this is just one man’s feeling on the matter and everyone is obviously free to do as they see fit. My hope is always that the many parallels between the feelings and opinions held about some of these contentious topics AND the feelings and opinions held about the stated topic of this thread (music) do not go unnoticed. Unfortunately, based on what I observe they usually seem to be. In both cases there is often a tendency to be absolutist and to make proclamations about one side of the equation or the other with a kind of arrogance that is frankly stunning. Staunch generalizations and broad statements are made, whether they be about one type of Jazz vs another or one political ideology vs another that are, first and foremost, nothing more than self serving attempts at claiming either superior insight or sensitivity to musical “soul” or, as in the case of politics and social issues, exclusive access to some sort of moral high ground. This is done while ignoring and not factoring in the obvious: that our own personal life experiences deeply color our feelings and reactions to it all. Personal experience may be a personal truth, but not truth for everyone else; and, it certainly is not anyone’s “responsibility” to make this personal truth anyone else’s. I don’t think any one of us is wise enough to try and make that be the case. The main and most important parallel is also the silver lining in all this; and is the only real TRUTH as I see it. Just as the great art form that we discuss here continues to evolve as it always has, so has and does humanity. Some of us, because of those personal life experiences, will see and feel only the negative side and negative aspects of the evolution. We are blinded to all the real progress and positive movement that has occurred....in both cases. Personally, I think this is a shame. Regards to all. |
Hah! Interesting that you should post Benny Golson, O-10. I met him just five days ago. He lives in my friend and colleague’s (also a saxophone player) beautiful co-op apartment building in Harlem. What a nice man, speaking of nice individuals in Jazz. And what a great composer. Wrote so many great Jazz standards; and all with a certain elegance and personal stamp. Thanks for that. As an interesting aside, the Wes Montgomery tune you posted was orchestrated by the recently discussed Claus Ogerman. Probably my favorite Golson tune. The original (first) recording: https://youtu.be/o_XDEStRF88 A favorite vocal version: https://youtu.be/Wy5R3vouP3M |
Re moving on: In 1994 I toured Japan with a major American symphony orchestra. One month performing in every major city in the country and the first of eight visits so far to that very interesting nation. The last stop was Hiroshima and the first time any of the musicians had visited the city. Shallow minded that we all were at the time we braced ourselves for what we thought would be the inevitable prejudice and antagonism due to the obvious reason. The reception that we received collectively and individually was incredible. The level of appreciation for the performances and general warmth and generosity on a personal level are something I will never forget. Quite a lesson. |
Just a sampling: **** let me tell you what conservatives hate more than anything**** ****due to your unconcern for the problems**** ****I know what you mean about "conservatives " and well off blacks**** ****unless you are either sociopath or**** ****You’re clearly part of the problem, and you’ll never see it.**** ****I did not even click on your link A hole**** ****I find that some of your posts are quite ’sick’,**** ****debate your idiotic viewpoints**** ****a narcissistic prick such as yourself.**** Did someone here point out that “it always turns ugly”? All those baseless generalizations and all that vitriol as if, from simply Internet forum posts (!), anyone here could possibly understand the full measure of any other individual and what is truly in his/her heart. Things that are the result of their personal life experiences and which they may, or may not, choose to share on an Internet forum. Not to mention, as if any one of us has the writing skills to fully and accurately express them. I see now that, sensitive and enlightened individuals that we all are, we have changed minds and viewpoints and made progress toward a better world. Did someone here say “self serving”? O-10, I wish you well. |
Alex, I will respond out of respect for you and the fact that you seem to be asking for a response from me. Only this one time; and last time on the topic. If I am mistaken about your wish for a response I would refer you to the last paragraph here and what I wrote in my previous post. **** , for obvious reasons often I do not take you very serious, in fact, as younger population would say, I find that some of your posts are quite ’sick’, in a funny way.**** Is that better? I don’t think so. In fact, some might say it is even more provocative. Re “lines that should not be crossed”: **** but I would not call it as something that should be accebtable to ones that consider themself to be human **** In the context of the reservations that I expressed re trying to communicate one’s feelings about some of these complicated issues on a forum like this, for me, this comment crosses that line. Regards. |
Love Eddie Harris! Groove meister and unique tone. Never a lot of unnecessary notes. The album version and a fave: https://youtu.be/lnLi7-Q7ag0 Probably Eddie’s best known tune: https://youtu.be/kf7FB4ilX5w Miles’ take on the tune: https://youtu.be/yJ11cArknek |
Here you go, Rok. It’s in there (“Come A Little Closer”). https://www.ebay.com/itm/ALL-Etta-James-CD-LOT-8-Come-a-Little-Closer-Tell-Mama-The-Right-Time-Love-... |
The Jazz world is a small one, so while I probably make too much of these connections and “coincidences”, I find them interesting nonetheless. Schubert, George Cables is indeed the consummate (😉) musician; wonderful player. The first time I heard him play was back in the late 70s at the Village Vanguard with Dexter Gordon not long after Dexter made his heralded comeback and return from Europe. Very memorable performances. This was the quartet: https://youtu.be/wJkywPVqj78 In that same club, around the same time, is when I first heard Jim McNeely, the arranger and conductor for Liz Wright and on the nice clip you posted. He was the pianist and composer in residence for the Vanguard Jazz Orchestra (previously the Thad Jones/Mel Lewis Big Band) during their transitional period after Mel Lewis’ (and Thad Jones’) passing. Definitely one to put on our list of great arrangers: https://youtu.be/sg3Lnk5ZJi8 |
Great stuff, all. McNeely’s old boss Phil Woods was himself a great composer/arranger. The art of the great arranger. How to pick and assign just the right notes to each particular instrument based on that instrument’s unique sound and how it will blend (or not) with another. Check this out. Only two horns.... for real! Fools the ear and sounds a lot bigger than that: https://youtu.be/DpC1P34L32o |
Schubert, very glad you are enjoying the John Wriggle book; fantastic research as you say. And, you are so correct, whether Jazz or Classical the most successful musicians are usually the ones that let their experience and knowledge of one genre inform their performance in the other. To my ears, a great example of letting the music speak for itself without a lot of pointless affectations (“expression!”) getting in the way; something that happens so often with music like this: https://youtu.be/cwL4nSb9am8 |
Remarkably similar touch and attitude. And, he wasn’t French! He was, however, a big admirer of Ravel. Coincidence?: https://youtu.be/Nv2GgV34qIg |
pjw, great Art Pepper/George Cables. Thanks. I remember when I heard that great record after it first came out. Like most of his last recordings it was uncomfortable to listen to the raw emotion in Pepper’s playing. The horn playing was rough compared to the beautifully controlled and lithe quality of his earlier recordings, but it was that incredibly raw quality that was almost painful to listen to. The man clearly had a very troubled life and this poured out of his horn. Wonderful record. A couple of thoughts re your comment about Miles and Sonny Stitt: I love Stitt’s playing. He was a fabulous player and the “Laura” that Schubert posted is a great example of what made him great; “melodic perfection”. Although he played and recorded on both tenor and alto, to my ears he was an alto player first and foremost; that was his voice. More importantly (imo), he was a hard core bebopper. In the context of Jazz in 1960 I think it can safely be said that he was a traditionalist. Bebop was his comfort zone. Coltrane was anything but a traditionalist and I don’t think he was too interested in comfort zones. As has been often noted, he was always searching and reaching for something new. As we all know that was what Miles was also all about and it’s easy to understand why he felt the way he did re Stitt after having had Coltrane in his quintet. Between the time that Stitt played with Miles and when Wayne Shorter joined the quintet this tenor player filled the “chair” and I think he can be seen as a great middle ground between the traditional and the new (for the time). A different take on “Laura”: https://youtu.be/Rdz0AjbAV3I |
Speaking of George Coleman and Miles. One of my favorite things with Coleman. My favorite rhythm section of all time and which would later be part of my favorite quintet of all time: https://youtu.be/XdrAzpYdOYs |
That was pretty funny, Schubert. Although, it should be pointed out that some like the spiciest wasabi instead of homemade mayo on that perfect ham sandwich 😊 One of the most recorded tunes of all time, there is a great back story to “Laura”. Renowned film score composer David Raskin was commissioned to write the score for the film with the same name, but the producer wanted to use Ellington’s “Sophisticated Lady” as the film’s theme song. Raskin was not happy about this. The producer gave him a couple of days to come up with a theme that would be better than “Sophisticated Lady”; obviously, a tall order. This coincided with Raskin learning that his wife would be leaving him. According to Raskin the tune “wrote itself”. Some favorite “Laura”s: https://youtu.be/6abYzamJ06g https://youtu.be/fxi707che_Q And, of course, and for our OP, wishing him well: https://youtu.be/mmm9u8dPU4A |
I like Eddie Higgins very much. Fine player and I can’t disagree with the comparison to Bill Evans.... mostly. Similar touch on the keys as Evans’; although not quite as light and “covered” as Evans’ and more rhythmically “obvious” than Evans. For me, not quite as introspective and lyrical as Evans. Then again, who is (was)? Evans was a rare genius, imo. https://youtu.be/fJBhfa4V6EE https://youtu.be/FTlKzkdtW9I |
nsp, your point is is well taken and it applies to any genre. Not meaning to put too fine on point on the issue it should be pointed out that emotional expression of life experience and technical facility never have to be mutually exclusive. I’m not sure that Pepper’s troubled life experience “took over”. Perhaps it did out of necessity. Playing any musical instrument is a physical act. Because a troubled life, especially one which included life long drug use destroys the body it destroys a musicians’ “chops”. Muscle control and even teeth are lost. The instrumental playing gets very rusty and is the reason that his playing sounded “rough” at the end. The miracle is that a genius like Pepper could still express on that level right to the end; and, of course, he had a lot more to express at the end. Just as with the effects of old age, when you start out at such a high level you can “afford” to lose some of your chops and still get the story told. Thanks for the heads up re the Patchogue concert; sounds awesome! |
Schubert, yes I have; Stephane Deneuve conducted. Gorgeous playing by Richter. Thanks for that. Re how the composer himself would have liked it: always an interesting question and not always what one might expect. By the man himself: https://youtu.be/QbFoW2HQ-Os Some interesting comments and description on this post of the same piano roll recording. https://youtu.be/tn6_yT9SKpM Ravel has been quoted as responding to a comment about.a particular performance being too fast by saying: *** “It is called “Pavane For. Dead Princess”, not “Dead Pavane For A Princess” ***. A pavane being, of course, a dance. |
Gorgeous! The young lady playing the opening horn solo is a friend and currently an “Associate” in the Met Opera orchestra. Lovely player. Beautiful interpretation. As an interesting aside and arguably irrelevant performance detail: American players often struggle a bit when performing with orchestras in the East and Germany where orchestras tune to A:445; quite a bit higher pitch than the American tuning standard of A:440-442 (she’s ever so slightly under pitch). Speaking of German orchestras, and I make no comment on the interpretation of the piece, considered by most horn players the current “king” of the instrument. Stefan Dohr, principal in Berlin: https://youtu.be/wHN5sKe5pYg |
Great video, Schubert. Proud as you should be; great organization. I have followed the goings on at SPCO for quite a while; ever since NJSO lost Hugh Wolff to them several years ago. Not that I was much of a fan of Wolff, but it signaled that SPCO was moving and shaking. The hall looks fantastic. Thanks for sharing. |