Alex, jazz is the only music that springs from the heart and soul into the realm of the living where we can hear it. Jazz as you and I know it, is an expression of the emotions, the life and experiences of African Americans in the cities of the United States of America, as they went through the daily struggles required to survive. While that most certainly is not the complete picture, it is the essence of the music. Bobby Timmons captures the core of what I'm talking about in his music, which is why it was so popular when presented, and is still recorded by many artists. "Moanin", "This Here" and "Dat Dere" were on juke boxes in the 60's, and still remains popular. Of course it's possible "intellectually" to produce good jazz, but regardless how good it sounds, it lacks "soul"; that's a word which starts arguments, but the arguments are raised by those who are lacking that missing ingredient which can not be acquired. The reason so many artists record "Moanin" is because when you hear the music, you can feel the emotion of the story behind it. https://www.youtube.com/watch?v=Cv9NSR-2DwMMy favorite version with Bobby and the Messengers; Lee Morgan blows his a-- off; this is the ultimate version, Benny Golson never sounded better. While there is a ton of good jazz in my collection that lacks "soul", it is still what projects the most intense human emotions. |
Inna, since I don't speak French, I could only go by the picture; why don't you explain it? |
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It's astounding, that out of all the great jazz trumpet players, Lee Morgan edges out as number one.
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Inna, it started out good, but became monotonous before the end; it needed more variation on the theme. I thought it was Lisa Gerrard until I realized the difference; more melodious.
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Easy Payments, "Bean Bags" is one of the best jazz albums of all times; I'm glad you're enjoying it.
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"Mas Que Nada", a song popularized by "Brazil 66" takes me back to my youth; while this is a different version, I can dig it; just think, I was about the age of those young ladies when that came out; at this moment I'm right there with them. Those were the days my friend why did they have to end, but such is the way of life. https://www.youtube.com/watch?v=9p7ToiJ5Q9o |
Sherlock Holmes had his Moriarty, and now I have my Frogman.
"The comparison to Wynton is not relevant here."
For that matter I could say that I don't even think your post is relevant here; especially since you don't even like the title of the thread. Your posts are always directed toward me in an Adversarial manner, and when I respond, you accuse me of being hostile.
"Both Harris and Grover are fine instrumentalists, but Harris is the better improviser in a Jazz setting; much better command of harmony."
One thing is for certain, and that is the fact that you went to a formal musical school, who thinks in terms of "Harmony", you talk music very well, something you can never wait to demonstrate.
I knew a fellow who had degrees from "The Juilliard School", and he taught music, but never even considered becoming a performing musician. I also had a close friend who was a "Blue Note" musician, who mesmerized me every time I saw him perform and he never even went to any formal school.
While we know how well you talk music, can you play it? Show me your discography?
"Grover cannot play some of the material that Harris did (standards) with the same level of conviction and credibility."
How do you know that, have you ever asked Grover to play that material?
"His style leans much more to the Pop/Smooth Jazz side of things. In fact his album “Mister Magic” in some ways ushered in that entire genre. Jazz, especially the kind that Grover plays, is really not that abstract; hence the genre “abstract jazz” which is generally in another zone altogether as concerns abstractions. Post some Grover playing standards....if you can find any."
Here is Grover Washington's discography;
Year Album US 200 US R&B US Jazz
1972 Inner City Blues 62 8 4
All the King's Horses 111 20 1
1973 Soul Box 100 26 1
1975 Mister Magic 10 1 1
Feels So Good 10 1 1
1976 A Secret Place 31 7 1
1977 Live at The Bijou 11 4 1
1978 Reed Seed 35 7 1
1979 Paradise 24 15 2
1980 Skylarkin' 24 8 1
Winelight 5 2 1
1981 Come Morning 28 — 1
Baddest 96 40 5
Anthology 149 44 11
1982 The Best Is Yet to Come 50 8 1
1984 Inside Moves 79 21 3
1986 A House Full of Love 125 52 25
1987 Strawberry Moon 66 29 —
1988 Then and Now — — 2
1989 Time Out of Mind — 60 1
1992 Next Exit 149 26 1
1994 All My Tomorrows — — 2
1996 Soulful Strut 187 45 2
1997 Breath of Heaven: A Holiday Collection — — 7
2000 Aria — — —
As sideman
With Kathleen Battle
So Many Stars (Sony, 1995)
With Kenny Burrell
Togethering (Blue Note, 1985)
With Hank Crawford
Help Me Make it Through the Night (Kudu, 1972)
With Charles Earland
Living Black! (Prestige, 1970)
With Dexter Gordon
American Classic (Elektra, 1982)
With Urbie Green
Señor Blues (CTI, 1977)
With Eddie Henderson
Inspiration (Milestone, 1994)
Tribute to Lee Morgan (NYC Music, 1995)
With Masaru Imada
Seaside (1982)
With Boogaloo Joe Jones
No Way! (Prestige, 1970)
What It Is (Prestige, 1971)
With The Mark III Trio
Let's Ska at the Ski Lodge (Downhill, 1964)
With Idris Muhammad
Power of Soul (Kudu, 1974)
With Gerry Mulligan
Dragonfly (Telarc, 1995)
With Don Sebesky
Giant Box (CTI, 1973)
With Johnny "Hammond" Smith
What's Going On (Prestige, 1971)
Breakout (Kudu, 1971)
Wild Horses Rock Steady (Kudu, 1971)
With Lonnie Smith
Mama Wailer (Kudu, 1971)
With Melvin Sparks
Spark Plug (Prestige, 1971)
With Leon Spencer
Sneak Preview! (Prestige, 1970)
Louisiana Slim (Prestige, 1971)
With Mal Waldron
My Dear Family (Evidence, 1990)
With Randy Weston
Blue Moses (CTI, 1972)
With Bill Withers
Just the Two of Us (Columbia, 1981)
Singles
Year Singles US Pop US R&B
1971 "Inner City Blues" — 42
1972 "Mercy Mercy Me" — —
"No Tears in the End" — 49
1973 "Masterpiece" — —
1975 "Mister Magic" 54 16
1976 "Knucklehead" — —
1977 "Summer Song" — 57
1978 "Do Dat" — 75
1979 "Tell Me About It Now" — —
1980 "Snake Eyes" — —
"Winelight" — —
1981 "Just the Two of Us" 2 3
1982 "Be Mine (Tonight)" 92 13
"Jamming" — 65
1983 "The Best Is Yet to Come" — 14
1984 "Inside Moves" — —
1987 "Summer Nights" — 35
1989 "Jamaica" — —
1990 "Sacred Kind of Love" — 21
1992 "Love Like This" — 31
Without a doubt, I have a different perception of music than you, I suppose that since you went to a formal school, that makes yours right and mine wrong; "Moxnix" to me.
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Inna, speaking of keeping a grip on audio funds, I have been debating for the longest whether or not to get my CJ PV-12 repaired (a new transformer); I can live quite well without it, but I would like to hear it again. So far it’s thumbs down.
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I'm going to go through Grover's 70 decade and purchase anything I don't already have, as well as replace a couple of records if I can find them; that was my favorite decade, more things went right for me in the 70's.
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Here is Eddie Harris's discography;
Eddie Harris at the Great American Music Hall, San Francisco, November 22, 1980
As leader
1961: Exodus to Jazz (Vee-Jay)
1961: Mighty Like a Rose (Vee-Jay)
1961: Jazz for "Breakfast at Tiffany's" (Vee-Jay)
1962: A Study in Jazz (Vee-Jay)
1962: Eddie Harris Goes to the Movies (Vee-Jay)
1963: Bossa Nova (Vee-Jay)
1963: Half and Half (Vee-Jay)
1964: For Bird and Bags (Exodus) also released as Sculpture (Buddah)
1964: Cool Sax, Warm Heart (Columbia)
1964: Here Comes the Judge (Columbia)
1965: Cool Sax from Hollywood to Broadway (Columbia)
1965: The In Sound (Atlantic)
1966: Mean Greens (Atlantic)
1967: The Tender Storm (Atlantic)
1968: The Electrifying Eddie Harris (Atlantic)
1968: Plug Me In (Atlantic)
1968: Pourquoi L'Amérique (AZ) soundtrack
1968: Silver Cycles (Atlantic)
1969: High Voltage (Atlantic)
1969: Swiss Movement (Atlantic) with Les McCann
1969: Sculpture
1969: Free Speech (Atlantic)
1970: Come on Down! (Atlantic)
1970: Live at Newport (Atlantic)
1970: Smokin' (Janus, 1970)
1971: Second Movement (Atlantic) with Les McCann
1971: Instant Death (Atlantic)
1972: Eddie Harris Sings the Blues (Atlantic)
1973: Excursions (Atlantic)
1974: E.H. in the U.K. (Atlantic)
1974: Is It In (Atlantic)
1974: I Need Some Money (Atlantic)
1975: Bad Luck Is All I Have (Atlantic)
1975: That Is Why You're Overweight (Atlantic)
1975: The Reason Why I'm Talking S--t 1976 (Atlantic)
1976: How Can You Live Like That? (Atlantic)
1978: I'm Tired of Driving (RCA)
1979: Playin' with Myself (RCA)
1981: Sounds Incredible (Angeleco)
1981: Steps Up (SteepleChase)
1982: The Real Electrifying Eddie Harris (Mutt & Jeff)
1983: Exploration (Chiaroscuro)
1986: Eddie Who? (Timeless)
1987: People Get Funny (Timeless)
1989: Live in Berlin (Timeless)
1990: Live at the Moonwalker Moonwalker (Suisa)
1991: A Tale of Two Cities (Virgin Japan)
1991: There Was a Time – Echo of Harlem (Enja)
1993: For You, For Me, For Evermore (SteepleChase)
1993: Yeah You Right (Lakeside)
1993: Listen Here (Enja)
1994: Freedom Jazz Dance (Musicmasters)
1994: Vexatious Progressions (Flying Heart)
1994: The Battle of the Tenors with Wendell Harrison
1995: Dancing by a Rainbow (Enja)[6]
1996: All The Way-Live (Milestone) with Jimmy Smith recorded 1981
1997: The Last Concert
2005: Exodus: The Best of the Vee-Jay Years (Charly)
2017: Live: Las Vegas 1985 (Hi-Hat)
As sideman
With Buddy Montgomery
Ties of Love (Landmark, 1987)
With Bernard Purdie
Bernard Purdie's Soul to Jazz (ACT, 1996)
With Cedar Walton
Beyond Mobius (RCA, 1976)[5]
With Ellis Marsalis, Jr.
Homecoming (Spindletop, 1985)[7]
With Horace Parlan
Glad I Found You (Steeplechase, 1986)
With Horace Silver
Spiritualizing the Senses (Silveto, 1983)
There's No Need to Struggle (Silveto, 1983)
With John Scofield
Hand Jive (Blue Note Records, 1994)
References
Feather, Leonard; Gitler, Ira (2007). The Biographical Encyclopedia of Jazz. Oxford University Press. p. 297. ISBN 978-0195320008.
"Eddie Harris His Tenor Saxophone & Orchestra". Elusive Disc, Inc. Retrieved March 31, 2013.
Unterberger, Richie. "Review of Swiss Movement". AllMusic. All Media Guide. Retrieved February 22, 2017.
Tesser, Neil (1999). "Eddie Harris 1936–1996". Chicago Reader. ISSN 1096-6919.
"Cedar Walton Catalog", JazzDisco.org.
Ginell, Richard S., "Dancing by a Rainbow", AllMusic review.
Nastos, Michael G., "Homecoming", AllMusic review.
External links
Eddie Harris at AllMusic
Eddie Harris Illustrated Discography
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I like this mostly because of that universal "Jamaican back beat"; it reminds me of time spent on the Island of Jamaica. I like to share my experiences with you; if this is self indulgent, tell me. This was in the early 70's, and I wanted to get the full Jamaican experience according to what I had read, so I went alone; this wasn't that cruise ship thing, but weeks on the island. It began just like my lifelong fantasy; beautiful Island lady making eyes at me under palm trees and incredible Caribbean star studded nights. Am I dreaming? If so, may I never wake up. My dream went on for days,it had me in the clouds; that is until I detected a posse that seemed to be following with disapproval. When ever you go to a foreign country, there are unwritten rules that don't appear in the travel brochures; don't break them; but how can you follow them if you don't know they exist? Those were the best of times; my lifelong fantasy; palm trees, star studded Caribbean skies, plus that bonus that no fantasy can be without, you got it; and the worst of times; breaking out in a cold sweat from fear was not good; time to go home. After I boarded the plane, I kept looking behind me to see if the posse had boarded to. I could have kissed the ground Miami sits on when we landed. Nevertheless, I lived my fantasy, and that Jamaican back beat brings it all back. https://www.youtube.com/watch?v=XDLCmMV68lE |
nsp, I have several DVD's of Fela, they are very entertaining. The owner of Vintage Vinyl records introduced me to Fela quite some time ago. Fela was a revolutionary on a continent, in a country where revolutionaries lived very short lives. I say live for a cause, because you're going to die just because........ While the classical jazz in this country can not be replaced, many of the records we discuss have been replaced numerous times in my collection, plus I bought them new beginning in 59; now I need something new, but new music from here just doesn't cut it for me; jazz from other countries is fresher. That's because what they call new jazz here is an imitation of old jazz, or free flowing chaos. While this is an imitation of "Fela"; it's such a good imitation and the people are different, not to mention the Spanish infusion, plus I like the way she shakes her hips. https://www.youtube.com/watch?v=embxt0jQ8f4"To Thine Own Self Be True" |
Inna, we have had some brilliant people to come and go; this thread is fortunate that the Frogman has stayed. |
So many people say "African Music"; there is no such thing. You have so many countries on the continent of "Africa" and they are all unique. Before slavery, there were many villages with their own rhythms. Big powerful countries like Nigeria captured and sold them to the "Americas"; consequently those rhythms no longer exist in Africa but over here. Slavery in the USA beat the African out of the slaves; consequently, I don't hear anything from that continent. They had to re-invent themselves, ergo jazz and blues. If you have keen ears, you will hear African rhythms that exist in Brazil, but not in Africa. Brazilian artists have incorporated them into their music. https://www.youtube.com/watch?v=UDPuQWg_A8QHear that beat, that rhythm, it's African, but you won't hear it in African music from that continent; the people who like and display that rhythm were brought to Brazil. It's unique to the slaves who fled to a Brazilian high plateau and named it "Palmare" https://en.wikipedia.org/wiki/Palmares_(quilombo)The Haitian music is primarily from "Dahomey"; since Dahomey was involved in the slave trade, not many slaves from Dahomey; only those sentenced to slavery for crimes; but it was a port of exit, and also the primary exponent of "Voodoo". There is very little authentic recorded Haitian "Voodoo music"; you have to go there to hear it. The music is so incorporated into Haitian Society, that kids can play it with a rock in each hand, beating out rhythms on a steel shovel that has been abandoned by the side of a roadway in progress. Some beat out the rhythms while others dance as though their bodies have no bones; it's truly hypnotic; nothing can stop children from enjoying life; what a blessing. https://www.youtube.com/watch?v=ZTBbC3cMaZgThis is Cuban "Voodoo"; https://www.youtube.com/watch?v=bg1mb6CXDDUI find it amazing that the best African music exists in the Americas. |
Inna, everyone who listens to Brazilian, Cuban, or Afro Cuban jazz explores Sub Saharan rhythms.
Music is not a zebra, or an elephant; it has no habitat, it exists in the minds of people.
I was speaking specifically of the rhythms that came from Africa, primarily the drum rhythms. African American musicians had to go to Africa to discover them. I did not say back to Africa because they had never been to Africa in the first place; they were descendants of slaves who had been brought to America involuntarily in slave ships.
While they brought the drum rhythms with them, they were forbidden drums because the slavers said they used them to communicate, and I can't give any examples of Sub Saharan drums in early African American music, but they exist in Cuban, Brazilian, Haitian, and other South American music; there must be a reason.
"Daily interactions with white people. Not all slave owners were bad or mostly bad, but interaction even with bad can give a lot."
Slaves lived on plantations in Mississippi and other Southern States, what daily interactions with white people, the one's with the whips.
I'm sure you can give plenty examples of "good slave owners'".
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If I don’t respond to someone like Sonny Rollins, it’s because I’ve been listening to him for all of my adult life, and still listen to him intently; what is there to say?
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Alex, could you post that album with a picture on the cover that was taken from a Chicago rail road yard at night?
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Inna, what you found is downright erotic and sensual, although the music is not as good as it could be; after all, you and I are "audiophiles" and more critical in regard to such things; this music is what we live.
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Inna, maybe it was the recording quality; since I upgraded the analog, I have gotten quite picky; one must listen intently to what one has paid for, whether one can afford it or not. |
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Alex, believe it or not, where that photograph was tken was probably one of the safest places in Chicago to observe the skyline and discuss the meaning of life with a friend over a bottle of wine.
"Misty night" The King Flemming Trio, is a must have but very little is available. I will look into an LP for $29.
Thank you.
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pjw, Salvador Bahia is a city I've often wanted to visit, it has the most fascinating culture in Brazil, plus "Bahia" is my favorite song. I notice the state of Salvador is next to the state of Alagoas, where Palmares was located; that was where escaped slaves established a colony that lasted for 90 years. I saw a movie entitled "Quilombo" about Palmares. https://www.youtube.com/watch?v=b_cSBjNP72o"Dandara" a female warrior was the most interesting character in the movie, you will hear her name in songs. |
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I recall, a long time ago, talking to my co-worker, a young handsome gent, who told me he met a lady from New Orleans at a party, and fell instantly in love. He was about to get married when the spell wore off, and he discovered she was uglier than "home made sin" as he put it.
Was she a descendant of Marie Laveau?
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This is one of the few times that I concur with the Frogman almost 100%. As you already know Rok, I detest stylists who do vocal gymnastics when they are totally uncalled for, and on the wrong song. While Frogman chose the right artist, as she stated, she had a cold; this version would have been better; https://www.youtube.com/watch?v=rCF0Fbq5-TcThat version is so beautiful that it takes me back in time to when it was recorded, and I bought it; plus I had this dream where that was playing all the way through the dream, while I was entertaining the girl of my dreams. I woke up and tried to go back to sleep in order to pick up where the dream left off. (didn't work like that) https://www.youtube.com/watch?v=1iB_8k4hb9Y https://www.youtube.com/watch?v=nE0WDHha6-w |
Frogman, this is not about words but music, specifically whether or not the trio is better than "Vaughn with Violins".
I apologize for any words I used that offended you. Now the bottom line requires few words; which one is better, the trio, or "Vaughn with Violins"?
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Blessed are the aficionados who know what they're talking about. |
"Misty" is a jazz standard written in 1954 by the pianist Erroll Garner. Originally composed as an instrumental following the traditional 32-bar format, the tune later had lyrics by Johnny Burke and became the signature song of Johnny Mathis. The song I presented is from the album "Vaughan and Violins". "Listen", "Listen" "Listen"; can you hear; did you hear the "romanticism" in Erroll Garner's piano; he wrote the tune, that's the way it's supposed to sound. Why don't we see what Mr. Mathis has to offer. https://www.youtube.com/watch?v=EM1Fqi7JiQQThat version leaves me breathless from all the memories it brings back. |
Frogman, you seem to have a problem with "nuance" and feel; that is something I can not put into words. The public, the people who buy records decided on the "Misty" I presented a long time ago; that's the standard by which other vocal versions are judged. https://www.youtube.com/watch?v=OQ-JgK9h_MUConducted by Quincy Jones and His Orchestra with Zoot Sims on Saxaphone, "Misty" is a jazz standard written in 1954 by the pianist Erroll Garner. Originally composed as an instrumental following the traditional 32-bar format, the tune later had lyrics by Johnny Burke and became the signature song of Johnny Mathis. This song is from the album "Vaughan and Violins". Sarah's accompanied Quincy Jones & His Orchestra: Marcel Hrasko (alto saxophone), Jo Hrasko &William Boucaya (baritone saxophone), Richard Davis (bass), Kenny Clark (drums), Ronnel Bright (piano), Zoot Sims (tenor saxophone), and Michel Hausser (vibraphone). Recorded in Paris, France July 7, 1958. (Mercury Records) Look at me I'm as helpless as a kitten up a tree And I feel like I'm clinging to a cloud I can't understand I get misty just holding your hand Walk my way And a thousand violins begin to play Or it might be the sound of your hello That music I hear I get misty the moment you're near You can say that you're leading me on But it's just what I want you to do Don't you notice how hopelessly I'm lost That's why I'm following you On my own Would I wander through this wonderland alone Never knowing my right foot from my left My hat from my glove I'm too misty and too much in love I'm just too misty and too much in love It's absolutely impossible for a trio to compete with that musical lineup. |
Conducted by Quincy Jones and His Orchestra with Zoot Sims on Saxaphone, "Misty" is a jazz standard written in 1954 by the pianist Erroll Garner. Originally composed as an instrumental following the traditional 32-bar format, the tune later had lyrics by Johnny Burke and became the signature song of Johnny Mathis. This song is from the album "Vaughan and Violins".
Sarah's accompanied Quincy Jones & His Orchestra: Marcel Hrasko (alto saxophone), Jo Hrasko &William Boucaya (baritone saxophone), Richard Davis (bass), Kenny Clark (drums), Ronnel Bright (piano), Zoot Sims (tenor saxophone), and Michel Hausser (vibraphone). Recorded in Paris, France July 7, 1958. (Mercury Records)
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"That studio sound"; is that the sound of the golden standard, the one that Sarah her self considers her best. Is that the sound of some of the most incredible musicians to ever back a vocalist?
Quincy Jones, Kenny Clark, and Zoot Sims, a few of the greatest jazz musicians of our time backed Sarah on that session. Why do you keep trying to denigrate that session with this "Studio sound crap"?
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"Well, O-10, no sense breaking the streak; since you want to keep track. The live Sarah/“Misty” wins hands down in my book."
When you stated that, you threw the gauntlet down, and it was my duty to respond.
"The studio version...just that. Studio produced; faster, with A LOT of “sweetening”, less intimate. A bit Muzak(ish); what some refer to as elevator music. Different performance environments and as always, she knows the tape is rolling."
And then you went on to call it "Elevator music"; if that's not denigrating I'd like to know what is?
Who are these "many others"? Sounds like a tactic for dragging others into your lame argument.
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Yes, I am upset; I'm upset with the idea that anyone on this thread should exhibit such poor taste, as to choose that trio over the gold standard.
This is not a matter of preference; this over that, but it's a matter of one thing being clearly superior to another. This must be a joke you're playing on me, that's it, isn't it Frogman; because I can not believe that after everything was pointed out, and even after Sarah herself referred to that version as her best, you would stick to this "studio sound, elevator music thing".
While we all have different preferences, when the quality of one thing is so superior to the quality of another, and an aficionado chooses the wrong one, that's disheartening; I'm in the wrong room; it's about good taste in this room, and there are times when it's as apparent as the nose on your face.
Tell me this is a joke Frogman.
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Generations of music lovers have already determined what is and what is not, not me; that's why all of a sudden I feel foolish engaging in this foolish debate.
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That's a very good description Pryso; I had forgotten the Swingle Singers.
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That was nice Acman, I'll be sure and listen to it again.
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Acman, your submission that impressed me the most was Regina Carter "Day Dreaming On The Niger", which is a very interesting river in West Africa. I could imagine day dreaming while floating down that river.
"Miners Child" from Southern Comfort was also interesting; it brought back memories of a visit to relatives in Winona Mississippi when I was preschool, and they didn't even have electricity, they used oil lamps for light, which were very spooky.
At night, instead of TV or radio, someone told ghost stories for entertainment, they seemed very real to me as a child, especially with the shadows created by the flickering oil lamps. Fortunately I never had to sleep alone, I would have been too scared to sleep if I did.
People were so interconnected as human beings at that time.
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Many people don't take into account the human beings who create the music we call "jazz"; they just consider them musicians. That's OK in the beginning, but after someone has been listening long enough to consider himself an "aficionado", he realizes that each one of those musicians has a story that usually remains untold. The desire to express deep inner feelings and emotions that can not be put into words is what motivates so many musicians into choosing jazz. Time and again when R&B was more lucrative, musicians chose jazz. Tina Brooks was such a musician; while he had the talent, his sensitive reserved personality was not for the music world. Teena Brooks star shined so briefly that many are unaware of his talents. I want to share with you what I have. https://www.youtube.com/watch?v=u4DyLxCfBrU&list=PLUJ7V33M1wR2LFXWAuYXpR8DCwwNvBtrA https://www.youtube.com/watch?v=lFm8eiykx3Q https://www.youtube.com/watch?v=AVn1dDqIlPkWe have been blessed with the sensitivity to hear this beautiful music, let's listen. |
Many times an artist's best talents are displayed as a sideman; that's when he enhances another artist's music, such is the case of "The Sermon" by that great organist Jimmy Smith. As fantastic as Jimmy Smith is, what would "The Sermon" be without the soloist. This is absolutely one of the best jams ever. Every jazz lover can recall the first time he heard "The Sermon", all 20 minutes of it. The lead off of Jimmy's organ followed by Burrell on his jazzy guitar, with Jimmy in the background; next we have Tina Brooks soulful tenor, he's followed by Lee Morgan on trumpet. Last, but not least, Mr. Lou Donaldson; just to think that you get all of those stars on one cut on this album; the longest and the best cut, which is why it's the title cut. https://www.youtube.com/watch?v=e3X5J_wGHrw&t=64sIt's difficult to tell after the passage of so much time whether or not this music stands on it's own with new listeners, or is it only fantastic to those who were there when it was new; only you can answer that. |
