Darn!
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
That is a very astute and interesting observation. I agree. Great clips. https://youtu.be/qiM_RJevQbQ https://youtu.be/wJMU-rS2Oiw |
Maybe it’s the air, or maybe it’s the beer 😋, what I do know is that Woody Shaw’s playing on that clip is pure genius. The first couple of minutes of the clip are unbelievable with what he does with Body and Soul. Stole the show, IMO. Great clip. It has often been pointed out here that some band leaders bring out the best in a player. Check out this solo by Kenny Garret as member of Miles’ band just a short time after the date of that clip. With Shaw and Dizzy Putting aside any bias that anyone may have against Miles’ stage demeanor or about the style of the music, a textbook example of what is possible with just one chord change. Brilliant. The “groove master” indeed: https://youtu.be/1M75iYZ-_Jg |
**** Man, this might be an instrument even our walking encyclopedic musician isn’t familiar **** Sorry to disappoint 😊, but I am very familiar with it from having played two runs of Strauss’ (Richard) opera “Elektra” and a concert version of “Salome”. As you point out Strauss liked the instrument. Aaron Copland also scored it in his Symphony No.2. Usually played by a full time oboist. In the absence of a good instrument or an oboist who actually plays it, a bass oboe can be and is sometimes substituted for the heckelphone. That young lady does sound very good. But, alas, the heckelphone always sits at the far end of the oboe section and far away from the clarinets. |
Many good comments re old vs new recording equipment/techniques. I think pjw’s premise concerns piano trios specifically. In fairness, I am not aware of any trio recordings by a major jazz piano artist that were done with all three players NOT playing together. There MAY be some degree of isolation between the players by way of baffles, but the preferred method is to play together at the same time and without overdubs. In those cases the issues of concern are excessive multi micing and arguably needless sound processing of one kind or another. So, one could say that this is a moot concern re the original question. However, it is true that with larger ensembles the players sometimes record their individual parts at different times; or some variation of that with possibly a solo being overdubbed at a different time. In pop music and even some of the overproduced “jazz” recordings (some CTI’s) it’s a different matter, with everything done piece meal. Imo, artistically serious music ALWAYS suffers when the musicians do not play together. In any performance the visual cues that players give each other are very important musically as well as the overall musical cohesion and energy that is generated by being together. Some of that energy or musical vibrancy is always lost otherwise. With heavily produced pop music things are not as clearcut since heavy handed production values can be an essential part of the particular sound aesthetic that the producers or artist actually want. Some of Quincy Jones’ more recent projects come to mind; masterful and extremely creative use of recording tools....if one likes that aesthetic. I do think, as jpw suggests that with modern equipment in the hands of a really great engineer and producer the POTENTIAL exists for superior sounding recordings. There is a great irony as concerns all this and is something that producers and engineers struggle with. Modern recording studios almost always have far more bells and whistles (electronic sound processing devices) than back in the day. Many engineers find it difficult to NOT use these tools which in the wrong hands often do no more than muck things up. Of course there are great engineers who take advantage of the technology when it will truly benefit and who don’t have the all too common attitude of “we’ll fix it in the mix”; as opposed to striving for best possible sound with minimal manipulation from the start. |
Loved the “Guantanamera” clip. Thanks for that. In case anyone doesn’t know it, there is an interesting story behind what is probably the most popular Cuban song. The melody was composed by a popular radio show host back in the 40s (30s?) who would set the news of the day to the tune. The song as usually known and as heard on Rok’s clip took off in popularity when verses from a poem by Jose Marti were set to the tune. Jose Marti was a Cuban poet and renowned author in Latin American literature who became a national hero as possibly the foremost leader of Cuba’s fight for independence from Spain. Just one of many wonderful Jose Marti quotes and applicable to the subject of this thread: |
I thought you didn’t like Frank? Stylistic preferences aside, not sure I agree with that “salesmanship” assessment. I think his best sales were when he was in his Vegas “booze and broads” persona. Problem for me is that I hate that persona. The more tender and emotional stuff....never did it for me; a little too much “ain’t I important?” vibe for me. All that aside, that bassoon in the intro.......dude should have gone to Indiana 😊 Awesome Mobley! |
**** Are you saying that technique and phrasing, trumps the voice **** Precisely. I might take “technique” out of that sentence. What I believe she is saying and I agree completely is that to an artist on that level, “singing” (or playing) is more about the delivery; the phrasing, the color, the emotion. She takes far more chances with all of those in the later versions of the songs. On the earlier ones, along with a voice that had far fewer warts, the delivery is much more straight forward hence less interesting. **** Within reason of course, **** Again, precisely. The technique can deteriorate to the point that the artist can not execute and deliver the message. I don’t think her voice ever got to that point. Perfect technique can’t make up for lack of artistry, but great technique AND artistry is something special. Her artistry kept growing even when the technique declined. The greater the artistry, the more that technique can be sacrificed. She was awesome; always “compelling”. |
Pretty astounding musician. And on Schubert’s 44 magnum! It really does make a Yamaha sound like a toy. Thanks. https://youtu.be/RgKxbbL6xrA https://youtu.be/EYWHmfcnp5E We hear the tune often, the song not so much: https://youtu.be/925dvP3WP4w |
Told you......audiophile 😊 Kidding aside: I have a similar issue that has been annoying at times. First thing that comes to mind and what is the problem in my system is...no surprise, the room. Even though the speakers are equidistant from the room corners, the construction of my room is very different where the left speaker is situated vs the right. On the left is a load bearing brick wall with shelves holding a couple thousand lps. On the right, it is not a load bearing wall with a built in cabinet with glass doors and then large pocket doors. Left wall is very dense and the right wall is resonant and reflective. The rear half of the room is essentially the same. The sound is audibly thinner and brighter on the right side of the room; bassier and slightly louder on the left. Result is that center images lean slightly left, Are there any major differences in the construction of your room left/right; or major differences re furniture or other items in the room left/right? Is the left speaker closer to that corner of the room or the left wall? If it’s any of the above then you can experiment with placement if possible or adding/removing large items in the proximity of the speakers. However, if the problem is in one of your components: You say that when you switched output cables on the tunerS that the problem switched sides. This suggests that the problem is a tuner output balance problem. But, ALL your tuners have the same problem? Highly unlikely. Interesting. You also say that your pop cds exhibit the same problem. Even more Interesting because this suggests that the problem is with your amp (integrated?). This is what I would do to trouble shoot: You have to be VERY methodical every step of the way, First, eliminate the room. Listen with headphones. Do you still have the same problem? When you switched output cables, I assume you switched only at one end, not both. If you switched the cables at both ends and the problem went to the other side then it’s possible that the problem is one of the cables. I experienced a similar problem once that was the result of a bad solder joint in one of the cables; and another time it was the RCA output jack on a CD player that was about to fail. However, make sure that you listen to more than one recording; some recordings have less than perfect channel balance and can really confuse matters. Try headphones and get back to us. Several more steps in the process. |
To this day, one of the best and most memorable sounds from a stereo system that I have ever heard was years ago (early 90s) at the first NYC hi fi show. Celestion SL-700 monitors on what at first I thought were stands that were too low driven by Croft tube monos. I even remember the record that I had brought along Marriner/St. Martin ITF/Bach Concerto for oboe and violin C Minor on EMI. Gorgeous sound. Smallish soundstage, like sitting toward the back of the hall, but so tonally natural with amazing image stability and scale. Rhythmically fantastic. The antithesis of in your face, but as close to the real thing as I’ve ever heard. Also at that show,I remember one of the weirdest very expensive sounds I ever heard. Sonny Rollins “Live at the Village Vanguard” on the Jadis “Eurythmy” horn speakers. Some ungodly price for such weird sound. |
Guess what time it is, boys and girl(s)? It’s Birthday time!!! https://youtu.be/DvXGss0b-IQ https://youtu.be/ddcWxY-K9vk https://youtu.be/kHQrQtIW60k https://youtu.be/REU9Mmk6SXw https://youtu.be/fObuMp5I4c8 As reflected in his playing, the man had a sense of humor: https://youtu.be/IZy3rzNaflk |
Still some of my favorite Chick Corea. Beautiful and deceptively simple compositions: https://youtu.be/X2zpbq8mr7w |
Somebody say “great sax section”? https://youtu.be/LcL0Qxa7RLY https://youtu.be/EM5b_SC4hW0 https://youtu.be/EXm5tMYBCiU https://youtu.be/UOjXWKNWQDw |
Sure, for a reminder of how to not play the trumpet 😱. Play as loud as possible with an obnoxious tone and as high as possible (affectionately referred to by players as “screech trumpet” playing); and do it all to an overproduced disco beat. What’s wrong with that? 🤪 I wonder what Wynton thinks? Sorry, not my thing. Just kidding (kinda) because Maynard was a really good trumpet player in his prime before he found a niche with the overblown “big band on steroids” sound. He had incredibly strong chops and was legendary as a lead trumpet player. What happens to a player who plays that loud and that high for all those years is that he ends up being able to only play high and loud. Blows out the chops and loses the ability to play with any kind of finesse. Kind of what happens to a fast ball pitcher after throwing that hard for years. Early Maynard: https://youtu.be/RFzKnXFUwAs https://youtu.be/XfMk9XZyv7k As lead trumpet with Stan Kenton https://youtu.be/tCPBRvchgZQ On valve trombone (nice!): https://youtu.be/GzWmsDBfh5o Road musicians have the best stories! Or, at least the way they tell them: https://youtu.be/4LgKe40wZ9g |
Awesome Basie clips, Rok. “Cleanhead” sounds great; past his prime or not. Definitely someone who has gotten short shrift here. Glad you liked the “Caravan“ clips, nsp. I agree with your take on them. Pjw, I think you misunderstood what I wrote about Maynard; perhaps I wasn’t clear. I never said he started playing that way later in his career. ALL the clips I posted were meant to be examples of early Maynard, including the Kenton. He was in his prime then. High register playing was always his main calling card. He was a pretty good improviser, but hardly a standout in that respect. You’re right about playing in the high register when the music called for it. The job of a lead trumpet player is to play in that register only when the chart calls for it. One may disagree about the tastefulness of the high trumpet writing in the Kenton chart, but that was not up to him. It was written that way and he was one of the few who could play the part as he did and why he got the gig. When he started fronting a big band later in his career (‘70s) the arrangements were designed to feature his playing in the stratosphere and that’s pretty much all he did and is when his playing got over the top. Besides, he was then the boss and could do whatever he wanted. All this coincided with the decline in the popularity of big bands and Maynard (as well as Woody Herman and others) went the “Big Band Fusion/Rock/Disco” route. Kept them and the bands working. It’s an exciting sound in a way; but, for me, only for about a minute. What happens when a brass player plays that hard all the time is that the lip and face muscles (not the lungs, unless there are health issues) give out and get conditioned to playing that way and the player loses the control needed to play delicately and with finesse. That probably started to happen before he started fronting his own band. If you listen carefully to early playing and compare it to the later “over the top” stuff you’ll notice that in the early things (including the early Kenton things) the tone is a lot nicer, intonation is better and the note attacks are more accurate and secure. Blast from the past, Pryso. The band Chase was big during my college days. It should not go unnoticed that this type of the horn laden Rock band sound coincided with the huge popularity of bands like a “Blood Sweat and Tears” and ”Chicago”. https://youtu.be/SFEewD4EVwU |
Coltrane/Gitler/alto: First of all, Gitler is way off with his “facts”. Coltrane recorded on alto well before that Gene Ammons date (1958). He recorded on alto with Dizzy, among others, about a decade earlier. Moreover, he “switched” to tenor in 1947 two years before his first recording with Dizzy (on alto). He did not switch to tenor “while in Dizzy’s band”; he had already done so, but continued to play alto on occasion. Tenor became his main horn. The proof: https://youtu.be/3Qn7123lcTM https://youtu.be/d92SCcKfc9o First known recording of Trane on alto at 19 yrs old (terrible audio): https://youtu.be/ypcCcpob27k Now, let’s put Gitler’s other comments in better context: Coltrane started on alto (and clarinet), but he didn’t really begin to find his true voice until he switched to tenor in 1947. After all, if he had found his voice on alto why would he switch to tenor and put the alto on the back burner? Notice how much he sounds like Bird (surprise!😉) on that early recording. By the time that he recorded with Ammons in 1958 he had made dozens of recordings on tenor and the 1952 recording in the clip above is the last known recording of him on alto prior to the Ammons session. Obviously, he was playing alto less and less and the reason he played alto with Ammons was probably (my guess) that there were already two tenor players on the session. By 1958 he had a very defined voice on the tenor; he had an identifiable style. While Gitler’s comment “showed a little rust in handling the lighter, faster horn tonally" is technically inaccurate in suggesting that Coltrane struggled with the smaller horn (he did not) I think I know what he meant. Each horn in the saxophone family lends itself to a certain way of playing. I think Coltrane sounds great on that Ammons session, but he sounds like Coltrane the tenor player. He sounds like a tenor player playing alto. I think that is what Gitler means by the use of the term “ rust...tonally”; a strange way of putting it. This sort of thing can be heard with some other players who play more than one saxophone. Listen to Sonny Stitt, he sometimes sounded like an alto player when playing tenor. It’s a certain way of voicing the notes on the instruments and a certain shape to the lines that he plays while improvising. In Coltrane’s alto solo on that Ammons session one can here that this was the beginning of his “sheets of sound” approach and there are several obvious “Coltraneisms” in his solo. His tone on alto, especially in the low register of the horn, sounds like a smaller tenor. But, “rusty”? No way. I like what he plays. A player that strong can get the message across on a kazoo and Trane could do it better than just about anyone. I think Gitler was nitpicking for no good reason. My two cents. |
Good to see you here, Charles. I love Sonny Stitt and I completely agree with you that he moves between the two horns effortlessly. To be clear, my comment about him was not meant to suggest that he didn’t, but as an example of the more general point I was trying to make. When I hear Stitt playing alto without first knowing who it is, I know immediately that it is Stitt. When I hear him on tenor, it is not always as clear to me that it is Stitt. Like Coltrane, he was an alto player first and then added tenor (and baritone) to his arsenal. Unlike Coltrane he continued to play both alto and tenor throughout his career and developed as a player on both. He was a bebopper through and through and remained so through out his career; unlike Coltrane whose style saw much more drastic change. Some feel that he actually developed a more individualistic style on tenor citing his supposed similarity to Charlie Parker. I’m not sure I agree with that and think that, in a way, it is more of a reflection of the point that I was trying to make that the bebop alto player in him comes out in his tenor playing. Here’s a bit of a rarity: a chance to compare Stitt on alto, tenor AND baritone. All on the same tune! Sounds great on all three horns. For me, more of his true self comes out with one horn in particular. What do you all think? https://youtu.be/L7Fn7vf-E1U Quiz time: What well known orchestral work does he quote at 3:54? Hint: Composed by a well known American composer who added much to the American song book. |
Pryso, not surprised that your local orchestra is pretty good. The quality of regional orchestras has improved a great deal over the last few decades. Better and better trained young players are coming out of schools and even the lower profile conservatories. Great piece, “Rhapsody”. Previously played only by Classical concert pianists, lately it has become almost “de rigeur” for Jazz pianists to play it and to improvise during the extended solo piano sections. Herbie Hancock, Chick Corea, Marcus Roberts, Makoto Ozone and others have done it that way. Great that you are supporting your local orchestra. |
Diane Schuur/“The Man I Love”: The band (orchestra) sounds professional enough and I don’t think there is anything particularly “wrong” with it except that the playing sounds somewhat hesitant and cautious. The reason for this is what IS wrong: classic example of of an overdone arrangement; too much going all the time. Not enough space. And the arranger (Clare Fischer) is trying too hard to be “hip” by using way too much dissonance in the chord voicings. The result of this is that the players don’t feel as committed to what is on the page as they would be playing an arrangement that is more “inside” the harmony of the song. Dissonance can be very effective, but dissonant notes need to be played with conviction otherwise they sound like wrong notes. Worse still is that excessive use of dissonance obscures the tonal center of the harmony of the song and this makes it much more difficult for the singer to sing in tune. Schuur is a great singer, but on this her singing sounds a little “pitchy”; a little flat at times. I don’t like the arrangement for this very romantic song at all. Dissonance and romance don’t work well together. |
Maybe he had one too many that night 😊. Maynard, three months before he passed. He had the famous double high C that day. (But, he probably should have left the tune for Luciano 🤪) https://youtu.be/StX1Xx9qM3U |
In keeping with O-10’s “great female vocalists” theme: We have looked at many great female Jazz singers and more will surely be posted; some who definitely deserve more attention. There is a type of singer who can be rightfully called “cross-over” singers of a sort. They are not, or certainly are not considered to be, full-fledged Jazz singers in the usual sense, but they have a fantastic way of delivering a song; of telling a story. They take the back seat to no “Jazz” singer in their ability to deliver the goods....in a particular way and particular style. They are the great musical theater vocalists. For me, “great” is reserved for those that (again, for me) don’t cross the line into a kind of over the top caricatureness as some musical theater vocalists do. Their acting background certainly helps in their ability to tell the story. Some of them are also fantastic vocalists in the sense of control and sheer beauty of the voice. Rok has previously posted some Audra McDonald who is definitely in this category. Barbara Cook was one of the very greatest. Amazing singer: https://youtu.be/WHloHH9KwQc (Some further thoughts re “dissonance” forthcoming) |
Here’s an overlooked female Jazz vocalist. Incorporates r&b and soul into her style. She also composes most of her material. Talented lady: https://youtu.be/JhgQc0wT644 |
Very nice Tony Bennett, O-10. That recording is a favorite and from what is probably his peak period, Bennett can do no wrong in my book; always sings from the heart. Thanks for that. I kept waiting for the words in the Andrade “Mayden Voyage” 🤔. One of my favorite tunes and Herbie has been quoted as saying that it is his favorite of all his compositions. Words were set to the tune by his sister some time after Herbie wrote the tune. Here are favorite versions; with the lyrics this time 😉: https://youtu.be/hLGQKtcXlLI https://youtu.be/CKx-T7E6kng |
Apples and oranges. Well, maybe Red Delicious and Honey Crisp 😊 Works for me: https://youtu.be/n_R9AGDvXe4 |
Indeed it was, nsp; sorry about that. Hard to keep track of everyone’s posts sometimes. You’re right, I like the Mark Murphy “Maiden Voyage” a lot. Always have and ever since I bought the record back in college. Thanks for that! I was responding to O-10’s post, and I didn’t think he would like it as much as the other two that I posted. Maybe I was wrong and would like his thoughts on this. O-10? A relatively minor detail, but that Mark Murphy record is from a period when Michael Brecker’s tone, which went through changes during his career in part because of equipment choices, was my favorite; the subject of much debate among saxophone geeks 😀. This is a favorite track from the record: https://youtu.be/XdF0AcklZNs |
O-10, you may find this of interest: Monk first wrote “Round Midnight” with the “drippy, girl type” title “I Need You So”. He wrote it while romancing his first wife. He, himself, and with the help of a friend wrote lyrics and the song was his attempt to get a hit. He later changed the title to “Round Midnight”. The lyrics that we are familiar with were written later still. Some of the original lyrics: ##### Since you went away, I missed you. Every hour, I wish to kiss you. You are in my dreams always. I need you so. You are my own. Still, I am all alone, longing, waiting. I love you so, darling. This is why I’ll go on believing you’ll be standing by my side sooner than I realize. I need you so. #### https://www.npr.org/templates/transcript/transcript.php?storyId=121197087Who knew?! Who knew that Sassy, Ella, Carmen, June, Betty and.....weren’t aficionad(a)os? 😱 https://youtu.be/MnUqorTHj74 https://youtu.be/wgssRuMfF5E |
nsp, I don’t know that Randy was considered better than Michael, but he was the senior of the two. By the time Michael was making a name for himself, Randy was already well established. Maybe that was it. Both great players. I’ll have to try Pink Ladies; thanks for the tip. O-10, I thought that DNSO clip seemed familiar: **** orpheus10 OP6,534 posts05-09-2018 10:14am I’m not a classical expert, but I found something I liked https://www.youtube.com/watch?v=KkM71JPHfjk this is too tough, and it exemplifies how all the various musicians in a symphony contribute to the whole better than anything I’ve ever seen. I can’t decide who is the most attractive, the wa wa girl or the conductor; https://www.youtube.com/watch?v=4niv522mbtM She can Wa Wa and whistle to. Nothing has ever explained a symphony to me like these two clips. **** |
O-10, what I pointed out about the lyrics to “Round Midnight” is not according to me; it is all well documented and easily researched. I included a link to the comments by author of a Monk biography; you may find it interesting. That is only one of many accounts of this. In answer to your question, there is no great mystery to how the lyrics where changed. Here is another pretty good account of the history of the tune and the lyrics. https://en.wikipedia.org/wiki/%27Round_Midnight_(song) IMO, this discussion is much to do about nothing. Sometimes adding lyrics to a wordless tune works, sometimes it doesn’t. Some of us may like certain lyrics, some of us may not. Why “feel trapped” by any of it? As I said previously it is “apples and oranges”. A wordless tune can stand on its own and sometimes it is enhanced by good lyrics. Personally, I have never felt that added lyrics detract from the greatness of a tune, even when I don’t like the lyrics. I think all this highlights a point that I made early in this thread. There is sometimes a tendency on the part of non-practitioners to overly romanticize the process of composing or playing music and art in general; often much more than the artists themselves do. Composing a tune is not always solely the result of great inspiration. It is often an arduous process and sometimes the artist simply gets lucky. I think that Round Midnight is a good example of this. By most accounts Monk wrote the tune, then titled “I Need You So”, when he was 19 years old; hardly someone with a tremendous amount of life experience that might give his tune some deep hidden meaning. He wrote it hoping he would have a “hit”. He changed the title to “Round Midnight” much later. One of the great things about art, in this case music, is that while it is true that sometimes the artist is very specific about the meaning, the listener is more times than not free to attach his own personal significance to the music or lyrics. There is no point in arguing about it. There is no right or wrong. The fact that a tune started out wordless in no way invalidates lyrics that may be thoughtful, intelligent and may add greatly to the tune. Obviously, sometimes the lyrics may not be very good; probably the reason that Monk’s original lyrics were abandoned and replaced with better ones. However, I am curious about something, O-10 and would appreciate some clarification. You say that “Maiden Voyage” is no good with lyrics; seemingly without exception. Yet, you posted a Mandrade clip of “Maiden Voyage” which supposedly had lyrics and you referred to it as “boss”. I’m confused. Regards. |
Alex, unfortunately, only the first of the Barry Galbraith clips is “available” according to YouTube. Loved it! Thanks for that. Great swinging arrangement from Al Cohn, one of the unsung heroes of the arranging world. Hint of a West Coast vibe, although all East Coast players. Hal McKusik is another unsung hero who I think I mentioned quite a while back. I had the pleasure of meeting him years ago. Great player and a real character who would fly his own plane from his home in Long Island to gigs in NYC. He and Galbraith were good friends. https://youtu.be/tl7Uc2yOj6Q Hal on clarinet: https://youtu.be/SFlFwJmVDvg |
Thanks, pjw and great point, Alex. Pryso, I had started writing a post yesterday re “other tunes with added lyrics” which I didn’t post for no particular reason, but the first example was going to be Manhattan Transfer’s “Birdland”. First, let me say I have never been a huge Weather Report fan. I mostly like their stuff, but I am mixed about some of the other. One of the main reasons that I do like some of their things is the presence of Wayne Shorter who, for me, can practically do no wrong ; one of the great geniuses of the music. Their “Birdland”, catchy melody that it is and all has always struck me as kinda “lite”; “pop-ish”. I love Manhattan Transfer’s version. They took the pop vibe of the tune and went to town with it; pulled out all the stops with their signature urban chic vocal style. IMO, it works big time. Rok, great clips; love Dexter. Perhaps it was unintended, perhaps not; but, great “segue” with the Dexter Gordon mention and clips given the discussion about lyrics. Dexter was known for always learning the lyrics to a song before performing it. He would actually recite some of the lyrics as an intro to the tune when performing it: https://youtu.be/RnZm8IJ9k20 |