Thanks. Wonderful musical.
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
nrthomas2, Phil Schaap is a national treasure. Outstanding resource for anyone wanting to learn about the history of this great music. Here is that piece: https://www.google.com/amp/s/www.newyorker.com/magazine/2008/05/19/bird-watcher/amp |
All one needs to know for sure. Great music from two of the few true giants. Now, within each level of gianthood there is great, GrEaT, and then there’s GREAT. And, before anyone goes off the rails over my next comment, this is a purely subjective reaction. FOR ME, this is one of the less satisfying records by either Monk or Coltrane. There is something about the combination of Monk and Trane that just doesn’t completely work for me. Hard to explain, but I think it comes down to the mix of two extremely strong musical personalities that are too different. Monk is quirky, angular and very economical with a very different kind of flow in his playing from Coltrane; who sometimes sounds as if he is holding back. Just me. How can it not be great? Great record with a great back story. |
That’s not, exactly, what I said; and, you suggest the obvious. Of course Rouse was no Coltrane. However, that is precisely what made him so perfect for Monk’s quartet. Just because any given player is of the stature of Trane (not many) doesn’t mean that he is the best fit for any given band or band leader. Each player, especially a leader, has a particular musical personality that meshes well with some players and their unique musical personalities and not others. Miles didn’t pick Coltrane or Cannonball because they were “the best”, but because he felt that their musical vision would add the most to the fulfillment of his. Why not Sonny Rollins instead of Trane? Arguably, on the same level; but, very different. https://youtu.be/yagO50i6O5E https://youtu.be/JiP7jKdAhD0 |
Try these links: https://youtu.be/S7a_HBCHZJg On the next two clips, Rouse plays the first tenor solo and Land the second. Interesting contrast. https://youtu.be/vSggwaog4eM https://youtu.be/IKayR1oqC7w |
Great clips. I think that in order to understand his place in the Jazz hierarchy, one has to first embrace the concept of influence of great players on those who followed. His technical virtuosity is legendary, but it was his use of harmony and the way he reharmonized tunes from the “standard” harmonies that was ground breaking and hugely influential on future piano players. Hugely important player. Don’t take it from me, listen to these guys: Priceless: https://youtu.be/YAeT3Dr74Ys |
Great stuff, Alex. This is one of the most incredible piano performances that I’ve ever heard. Notes https://youtu.be/CaPeks0H3_s Another must have Tatum record: https://www.youtube.com/playlist?list=PLqxsdIipB6xHM6mA8uIhAQw_kSaTKEbBx |
Fabulous stuff. Thanks. Christian sits alongside Art Tatum as one of the greatest early players on their instrument. Many think of him as the “Father of bebop guitar”. It may seem like a strange comparison, but for me the Goodman Sextet sits alongside Miles’ 60’s Quintet as one of my very favorite ensembles in Jazz. I would suggest that the instrumental balance that we hear on those recordings is close to what we would have heard if listening to the group live. We are so used to hearing electric guitar much louder today. In those days balance and blend were always one of the main goals since amplification was a very new and rarely used thing and not playing too loudly is always the best way for musicians to best hear each other (Some blame Rock and Roll. It was really technology that changed everything). On the other hand, Goodman was the leader on those sessions and they had a spot mic on him always. I’m intrigued by the connection to recording time ‘though. Does Albertson say something about this? I don’t get the connection and why that would affect the guitar balance. Great clips. |
Great posts and commentary about Tatum and Christian. Also great how it all puts things in a good historical perspective. For me, it makes a huge difference in helping more fully understand and appreciate the artists that followed. If Tatum was instrumental in planting the seeds of bebop piano, Bud Powell was one of the players who, along with Bird and Dizzy, were at the front of the pack more fully defining the music. Amazing piano player who was heavily influenced by Tatum (twenty years his senior) and who was probably the only one at the time who could challenge Tatum in sheer virtuosity. While Tatum’s incredible use of “flourishes” (Rok) sometimes seems to take his playing somewhat away from the kind of vibe we usually associate with Jazz piano, Powell’s playing, as a beautiful example of the evolution of the music, fits my “Jazz ears” more comfortably if not necessarily leaving them more impressed. Great article on Powell with links to commentary by Jazz greats: https://legacy.npr.org/programs/jazzprofiles/archive/powell.html Some “must have” (😊) Bud Powell: https://youtu.be/_zTokThNmPg https://youtu.be/_YKLYC-PKj8 https://youtu.be/zrUuyTymA_A |
Great clips, Alex. Thanks. Had not heard the Essen Festival recording before. That could very well be the best (favorite) Hawkins that I’ve ever heard. Talk about “attitude” in the playing! Massey Hall: What more could be said about one of the all time great Jazz recordings? Bird always sounds amazing; and here he sounds AMAZING! For me, it’s Dizzy that surprises. In his prime with fabulous chops. His playing got a little sloppy in later years. Mingus’ bass playing sometimes takes a back seat in some people’s minds to his writing and band leading. Check out the bass playing on that recording; especially the up tempo tunes. Like the song goes, its all about that bass. Love this record and great to hear Bird with decent audio; and yes, that’s Bird talking. |
Doh! I should always check the link before I post it. Apology to all you uncompromising “camp” Aficionados for the terrible oversight; especially mary_jo, greatest camp expert of all. Here’s the tune at the correct tempo/pitch. I know you can sleep now knowing that this classic and important recording is not being misrepresented: https://youtu.be/Zf2y1QdQH_U |
Re Alex’s great Bird/Desmond interview: Many interesting stories and anecdotes and always interesting to actually hear these supremely talented individuals speak. Two things in particular stood out for me: - First, here we have the musician who is widely regarded as the greatest to ever play this music on the alto saxophone; a giant in the true sense of the word. Yet, notice the deference and respect with which he addresses and talks to Paul Desmond. Desmond was another giant, but with a different voice. - “I don’t consider myself too old to learn”- Charlie Parker C.P. – well,you make it so hard for me to answer you, you know, I can’t see where there’s anything fantastic about it all. I put quite a bit of study into the horn, that’s true. In fact the neighbors threatened to ask my mother to move once when we were living out West. She said I was driving them crazy with the horn. I used to put in at least 11 to 15 hours a day. C.P. – that’s the facts anyway. (chuckle) P.D. – I heard a record of yours a couple of months ago that somehow I’ve missed up to date, and I heard a little 2 bar quote from the Klose book that was like an echo from home… C.P. – yeah, yeah. Well that was all done with books, you know. Naturally, it wasn’t done with mirrors, this time it was done with books. P.D. – well that’s very reassuring to hear, because somehow I got the idea that you were just born with that technique, and you never had to worry too much about it, about keeping it working. J.M. – you know, I’m very glad that he’s bringing up this point because I think that a lot of young musicians tend to think that… P.D. – yeah, they do. They just go out… J.M.- It isn’t necessary to do this. P.D. – and make those sessions and live the life, but they don’t put in those 11 hours a day with any of the books. C.P. – oh definitely, study is absolutely necessary, in all forms. It’s just like any talent that’s born within somebody, it’s like a good pair of shoes when you put a shine on it, you know. Like schooling brings out the polish of any talent that happens anywhere in the world. Einstein had schooling, but he has a definite genius, you know, within himself, schooling is one of the most wonderful things there’s ever been, you know. https://youtu.be/DP7E0K4IMqo |
Tonight at midnight is the beginning of a very special Jazz birthday weekend; even more so than past years. As every Aficionado should know, Aug. 27 is Lester Young’s birthday and Aug. 29 is Charlie Parker’s birthday. This year, Aug. 29 marks Bird’s 100th birthday. Every year, WKCR out of NYC’s Columbia U features classic, rare and bootleg recordings of both artists and fabulous commentary by DJ and Jazz historian/archivist Phil Schaap, 24h a day for two days straight. They are amazing shows for anyone who wants to geek out on either or both artists. This year, tonight beginning at midnight it will be 24 hours of both Bird and Prez. Aug 29 until 6:00 AM Sunday, Aug. 30 will be devoted to Bird; non-stop (!). Listen on line outside NYC. I can’t recommend this show (and station) enough. https://www.cc-seas.columbia.edu/wkcr/story/charlie-parker-centennial-festival |
One of my favorite Monk tunes. Written for his friend Bud Powell: https://youtu.be/FuHjgKQDofs https://youtu.be/Xi2QtibSSJ4 https://youtu.be/BIdz11_E-vQ https://youtu.be/gnGLy1l1A8I (aloe!) |
For anyone listening, and for the record, this year, due to the WKCR studio being closed due to COVID, not all of the commentary is by Phil Schaap. Great, regardless. I’m looking forward to the extended programming of what is this year an eight day (!) marathon of Bird’s music through Sept. 3 with the the last couple of days looking at at Bird’s influence on the music that followed bebop. HAPPY BIRTHDAY CHARLIE PARKER! https://www.harlemonestop.com/event/29228/wkcr-fmto-air-192-hour-marathon-broadcastincluding-a-120-h... |
I must not have been listening when you heard him say that and as you know context of something said is everything. However, If Phil Schaap said it then it is true ☺️....assuming we know the context. I suspect he was referring to the early 40s, the early days of bebop. “Swing” began morphing into bebop in the late 30s when players such as Prez and Hawk started developing a style that was breaking the Swing stereotypes of simple harmonies and lyricism and toward the much more complex harmonies and rhythms of bebop. Hawkins’ 1939 recording of “Body and Soul” is considered a milestone in that movement. Then, as we know, Bird blew it all wide open in the early 40s. Keep in mind that it wasn’t until 1946 that a major record label would record Bebop (Dizzy’s band). All this, of course, coincided with the demise of the big bands. Most Swing musicians resisted and many were critical of Bebop at first (Pops: “Chinese music”), but by 1946 it was well established and, no, it wasn’t just Bird and Diz. They were the two main exponents, but there were others. Miles replaced Diz in Bird’s quintet and others such as Clifford Brown, Dexter and Rollins who by the early 50s had started pushing the music in yet another new direction. Hard bop came later (mid 50s) as, once again, the evolutionary movement of the music; an extension of Bebop incorporating elements of r&b and gospel. Re a comment you made recently: The advent of the 12” LP record made possible the “club performance” length (extended solos) recordings that are more typical of hard bop. So, while not knowing the context of Schaap’s comment, I think it could fairly be said that during the early transition period from Swing to Bebop as the premier Jazz style, and after hard bop was well established (this includes the present) that bebop was and is, relatively speaking, “seldom played”. Important to remember that, as we see even today, that the rise of a new style didn’t mean the total absence of the previous style. It is always a transition from the old(er) to the new with “hold outs” remaining committed to the older style and the younger and the more adventurous older players experimenting with or adopting the new. The evolution. Glad you’re listening. I’ll be listening again today as I have for several years. Please give us a report. |
https://youtu.be/YPyMP4oBLCw Like clockwork. O-10, I am tired of arguing with you about the same topics over and over again; especially when you show absolutely zero interest in learning anything new and you inevitably turn a positive thing into something negative and unnecessarily personal. You understand far less about this music than you think you do, and claim to, and I find it a shame that you have no such interest. As I’ve said many times before, don’t take my word for any of this; try and do a little reading on these subjects. A good starting point is the fabulous program that I alerted all here to. You’re really missing out on a lot of wonderful information on the music and artists that you claim to so love; not to mention, music that you will otherwise never hear again. Btw, you’re welcome. Unbelievable. **** The reasons Miles replaced Diz in Bird’s band had absolutely nothing to do with music, and specifically "Be Bop" **** Nothing more need be said. |
Rok, glad you are enjoying the show. Amazing stuff. Check in on that station as a regular part of a Jazz regimen 😊. They have great programming. **** or, is it that I just need to make myself smarter on Bird. **** We all do. There’s a whole lot to absorb with Bird. A true genius. He really was like “a brilliant nomad”. Every movement in every art form shares some things. There is a constant push toward something different and new; it’s the nature of the beast. In Jazz, players absorb what came before and weave it into their own personal vision of the music. Occasionally an artist comes along with such a degree of talent that they can make a much more dramatic move in that new direction and is able to establish a fully developed and mature style. In a way, the music itself has an inevitability about where it goes. It’s a never ending process. Bird was a genius, but even he built off what can before. Therein lies the answer to the question about Hawkins and Bebop; what he did with harmony in the music. |
Classic video clip, Alex; and classic story about Stravinsky. Here is the other of the two surviving video clips. On this one he is syncing to a pre recorded tape. I love this clip just for the mischievous expression that Bird gives Hawkins at the beginning of his solo; presumably because his fingers are not matching what one hears on the tape. Very funny. https://youtu.be/mZ5eGEest0g Per your article: On this classic performance of “Ko-ko”, one can hear the short phrase from one of Igor Stravinsky’s best known works that was often quoted by Bird and became one of his signature licks. It can be heard in several of his recorded solos. Listen at 0:29: https://youtu.be/8wGJpbPKbz8 If the subject of musical quotes used by Bird is of interest to anyone, check this out. Talk about being a dedicated (obsessed!) Bird fan : http://www.chasinthebird.com/quotes_e.html |
**** you hit the spot by knowing exactly what I need. This will be my fuel for today. And not just for today. **** https://youtu.be/95SYdjRVCR0 You kids want to borrow the car? ☺️ I totally agree re Etta James. Only other performance I’ve heard that fills my tank (almost; but lower octane) is this one. Jeff Beck is brilliant as always; most to say with fewest notes. (Don’t let Barack’s bad rhythm bother you too much. Case of WMRD 😳). https://youtu.be/fALdOkf_eCM |
Talk about strange segues! Easy to make fun of for being "too white" and not hip (speaking of "agendas"), but Lawrence Welk’s band was a very good band made up of the best studio players in LA. Clarinetist Henry Cuesta was one of the very best. https://youtu.be/-FVKRR5sRCA |
I didn’t expect you would; on both counts. No surprise there. Fine playing by fine musicians; that’s all. No claim to it being definitive. Just giving fine musicians their due. I hope we can all agree that is a good thing. “Too white” is an expression sometimes used by musicians (including white ones) to describe music that is perceived as being too “square” or not “hip” enough. Ah, those were the days; when one didn’t have to worry so much about being politically correct. Still used, btw. |
Outstanding clips! Thanks. That live clip kills. So does Jimmy Owens! Unsung hero. Gotta love YouTube. Can’t believe I found this. Rare record given to me by a college trumpet playing friend who loved Owens. Owens and Barron look like kids in the cover picture. https://youtu.be/L9GTb9pqii4 Owens kills again. It’s a good thing Gato found his niche elsewhere; Jazz wasn’t really it: https://youtu.be/fWbddHFPIqo |
Nice Joshua Redman clips. Excellent player. Hadn’t heard that one. Some of the best playing by him that I’ve heard. Thanks. **** it is obvious this book was not written for Jazz fans, **** Well.....only a particular type of Jazz fan; the kind that thinks that a mildly in-depth look at the music = mumbo jumbo. Lots of great pics ‘though; those should be easy enough to understand 😊 Diva? Seems too nice a person to qualify for the full meaning of the word, but great singer: https://youtu.be/naA6DSSxIPU https://youtu.be/O5UiuPMbprs https://youtu.be/XGqVyxRfKFI |
Glad you liked them, pjw. Probably my favorite Cannonball solo with him as a sideman. Beautifully melodic. Also, notice how Miles picks up where Cannonball leaves off. He starts his solo with the same lick that Cannonball ends with and builds on that. Great stuff. https://youtu.be/k94zDsJ-JMU |
Great stuff, pjw. Thanks. Let us not forget the funkiest sax man of them all; and he was married to the excellent organ woman (😊), Shirley Scott. With Kenny Burrell: https://www.youtube.com/playlist?list=PLvxWibFr0wiKO7JIkDSpL6WPt2XcrENX- A little more modern. One of my favorite guitarists and one who doesn’t get nearly enough attention here, Pat Martino. With Eric Alexander: https://www.youtube.com/playlist?list=OLAK5uy_m2wkf1wB9DhvoSVAgxWxGWArBjQLm6Qoc Back to funkiness and speaking of getting little attention. Not as a leader here, but playing with organist Jack McDuff and a very young George Benson, tenor man Red Holloway: https://youtu.be/SvFuh-o2w7E |
**** but after I watched the documentary, I understood. Meaning, heard what the protagonists had to say about their thougts and feelings towards the music, about social circumstances and about that moment in time in general. Its just one foreigner’s opinion, by looking America from distance, but its only natural that with all that social and other changes, the music took new turns as well. In fact, it would be strange if it did not. **** Exactly! A basic truth about any good art; always a reflection of the times. Same thing happened with European Classical music and other genres. Jaco was a revolutionary. When I was in college in the late 70’s in Miami, Fla., Jaco would come in and bring big band charts that he had written for us to play. He would play drums. Rough as hell as a drummer, but simply amazing sense of rhythm. Very interesting guy who is missed by many. |
There must be something special with star alignment on Sept. 23. Just a few of the great players that were born today. Happy Birthday to all! Albert Ammons Frank Foster George Garzone Jeremy Steig Les McCann Ray Charles Roy Buchanan ....and, of course, the one and only John Coltrane. Seems appropriate to post something from an album celebrating his music...and speaking of fusion (of a kind). Great record! Check out Robert Hardt on soprano. Had never heard of this guy and goes to show how great new players just keep coming up. https://youtu.be/4yJK70nRj-w |
Catching up a little. First, Merry Christmas and Happy Holidays to all! Awesome Jerry Lewis. Man, those guys were talented! Beautiful flute by the great Frank Wess on the classic Basie tune “Cute”. Thanks, acman3. Rok, you raise an interesting point. On the one hand, one of the “commandments” held by Jazz players is the idea that one should say what one has to say with the fewest number of notes possible. One the other hand, some players do have a whole lot to say. However, I think the answer to the question is in looking at it from a different angle and considering that in live performance solos were much longer than what was possible, as you point out, on 78’s, or even Lp’s. When playing live players often “stretch out” quite a bit. For good improvisers it is not simply indulgent and meaningless extended solos. The proof is the fact that one of the goals in good improvisation is thematic development and the development of an idea takes time; sometimes multiple choruses. I get what you are saying, particularly as it concerns Bird. He was a genius and could say what he had to say in whatever amount of time he had available. On the other hand, who can argue with Paul Gonsalves’ solo on Duke’s “Diminuendo and Crescendo in Blue”. Talk about having a lot to say! I think the bottom line is that it depends on the player. I prefer to think that, overall, having more solo time on a recording is a net positive. It opens up possibilities and it certainly doesn’t have to be used.
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Still laughing! Nice clips. https://youtu.be/yMCdXT2p5Mk https://youtu.be/RngljpoKZg4 https://youtu.be/o3RI8844JEU |
By many accounts the Getz/Baker animosity was fueled by, what else, substance abuse; and Getz’ huge ego. There are accounts of Getz overdosing while on tour with Baker. Baker, in spite spite of his own issues with heroin, showed disdain for drug users including Getz. At the same time, Getz, who was already a star while Baker was gaining popularity did not like sharing the spotlight. Not a good combination all the way around. Interesting choice of material: https://youtu.be/8bltfzZgZv0 Nice clip, Alex. Thanks. Btw, you may have read the “bunch of guys” quote here a couple of years ago 😀. Here’s another one: On one of the occasions when Getz overdosed, after finding him on his bathroom floor not breathing and with a needle stuck to his arm, Baker and another band mate worked at reviving him with CPR. When Getz came to he uttered ”You guys messed up my high”. |
Cuba- Guajira (best known guajira as it was meant to sound. Iglesias’ version is to Cuban music as Smooth Jazz is to Hard Bop): https://youtu.be/gdYIpvnzoW8 Mambo (by the legendary Cachao, the Cuban Charles Mingus): https://youtu.be/mHWzfbBxuZA Bolero (no, the bolero was not created by Maurice Ravel): https://youtu.be/fugRvM6s5fc Cha Cha Cha: https://youtu.be/CqBL_IFfOC4 Rumba: https://youtu.be/OkHVS-o-2-w Son: https://youtu.be/kYLwPTW0NcI Charanga (flute is fixture in much Cuban music. Jose Fajardo was the Bird of Latin flute): https://youtu.be/r49cFcNdw4w Add American Jazz and American pop to the mix from about the late ‘40s forward: Salsa: https://youtu.be/AjKVxdtHVvk Timba (.....even a little hip hop): https://youtu.be/BOVFKXMSMqA O-10’s, Acman’s and grey9hound’s great Dafnis Prieto and Poncho Sanchez’ clips do a good job of bringing things to the present. |