Got to admit it’s pretty eclectic to be into this as well:
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
**** The instruments are just too limited. **** Needless to say, I don’t agree about the bass solo in Solar; I would not have posted it otherwise. That’s cool, we all have different sensibilities as concerns musical matters. Now…. Joe Morello’s famous solo is deservedly famous. However, it’s still a very “inside” solo. He never really abandons obvious time keeping, there is always a drum or cymbal hit on the beat. It’s like the way that Swing players always stayed inside the harmony, as opposed to post-Swing players who have played in a much more harmonically extended, or abstract way. Listen to a Max Roach solo for instance. The “beat” is often simply implied. More abstract. That is the trend with modern drummers and a reflection of a general trend in the music.
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**** Very creative, but with no relationship with the tune being played. **** No relationship?!!! Seriously? With respect, you are then not listening enough, or you don’t understand some basics. Starting with the fact that in a good bass solo, like any other good Jazz solo the same chord progression (the harmony of the tune) is used to improvise. There is no difference, no matter the instrument. The limitation is not with the bass or the bass player, but with the listener and the need for musical cues that are more obvious and make it easier to know what is going on. Been to a live Jazz performance lately? Notice how some in the crowd will sometimes applaud before the player (any instrument) has finished his solo, thinking that a simple pause (space) in the playing means that the solo is finished? The more astute listener knows that it’s just a pause in the solo in the middle of a chorus and waits to the end of the chorus to applaud. A solo always goes to the end of the chorus. Every tune has it own unique harmonic progression (chorus). Relationship. **** Yes indeed. Remember all the great actors of the silent screen era that could not make the cut to talking pictures? **** Huh? That had nothing to do with the SOUNDs of their voices, but their ability to act vocally as opposed to physically. That’s exactly what I refer to. It’s not the sound (tone), it’s the ability to tell the story. Hey, what better tribute to our OP and the history of this thread than a good debate /argument? 😊.
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Ok, I’m relieved. My jaw hit the floor when I read “More fusion”. I should’ve known. Anyway, a new favorite piano player: https://www.facebook.com/Jazzcorner/videos/joey-calderazzo-trio-mikells/5372610389506959/ |
You’re very welcome @curiousjim . Fantastic player who doesn’t get mentioned nearly enough.
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From the same record.
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Some players put a smile on your face from the first note: https://youtube.com/playlist?list=PLKjjIa7cwTkI2QComwAkjo2j-ssIp7LtR
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Hello fellow Jazz aficionados. All is well and thank you for your concern. It’s been an insanely busy time work wise and while I have not posted I have followed the thread more than casually. On the subject of tenor players. For whatever it may be worth to any one listener, among players, Coltrane, Rollins and Henderson are considered to be the three greatest (most influential) modern tenor players. Sonny Rollins was an amazing improviser who pioneered the use of the harmony instrument (piano/guitar)-less rhythm section. He was one of the few players who could pull this off due to his remarkable command of harmony. This allowed the listener to hear and follow the harmonic progression of a tune….if only “suggested” by his improvisations. Even more importantly he possessed a remarkable rhythmic musical presence. The feeling of even very good Jazz performances is that of the soloist playing TO the rhythmic pulse (groove) laid down by the rhythm section. When one listens to Rollins the feeling is that it is Rollins who is the rhythmic center of gravity, Remarkable, Interesting comments about intonation. Manipulation of intonation can be a great expressive tool; although some players simply have bad intonation. Jackie Maclean is a great example of a player who played so sharp (above the reference pitch) that it can be uncomfortable to listen to. Eric Dolphy, on the other hand, used idiosyncratic intonation of certain notes for great expressive effect. It is also important to not confuse playing “outside” the harmony of a tune and its resulting dissonance with bad intonation. |
@stuartk, just about any Jackie McLean recording is an example of his tendency to play very sharp. I’m in no way suggesting that this is a deal breaker for me, nor that it should be for anyone else. It is just that I personally find it annoying at times. He was a great hard bop player who had a lot to say musically. Some listeners are more sensitive to, or concerned about intonation issues than others. In answer to your question, just about any of his recordings are good examples of what I refer to. This is the first one that came up when I searched Jackie Mac on YouTube. He is very sharp. Notice how, on the first tune, the piano (as usual) sets a pitch (intonation) baseline. Jackie comes in and he is on a different pitch “plane” than that established by the piano. Notice how when Bill Hardman comes in on trumpet after Jackie plays how there is a sense of relaxation because his general pitch falls back in line with that of the piano. Jackie’s is considerably higher. This creates a sense of tension that is musically uncomfortable (for me). There are many references on line to this tendency of Jackie’s if you search “Jackie McLean intonation sharp”. My point about Dolphy was that, for me, Dolphy’s manipulation of pitch was deliberate and an expressive technique. Also, he often played “outside” the harmony of the tune. This can be confused with playing out of tune because of the dissonance that playing outside any given chord’ s harmonic envelop creates. Two different things entirely. On the subject of Woody Shaw. I have posted this at least twice before. One of my favorite records with some of my favorite Woody Shaw. https://youtube.com/playlist?list=OLAK5uy_nqeyHFph6j7oela51Da3lb7b-OemqwN6M |
Great to read so many mentions and praise of Wayne Shorter. One of the true giants of this music and my favorite post-1960, or so, Jazz composer. As a player, one of the most notable aspects of his playing was how his improvisations became more and more economical over time. He could tear it up as much as any saxophone player, but chose to play more and more concisely and minimally as he grew older. One of those players that could say so much with just one note. Very expressive. Many of his greatest albums have been mentioned. One that doesn’t get mentioned often is “Atlantis”. A favorite. It features his compositions and somewhat less actual improvisation than on some of his other records. Great and interesting tunes with very interesting textures in a style uniquely his and clearly post-Weather Report in sound. https://youtu.be/qUDRRCQj0TE?si=V_TVDBC8sfuxZ3I6
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For whatever it may be worth to any one listener, among current and recent tenor saxophone players there is something on which there is, I would say, at least 95% agreement. The three greatest tenor players have been Trane, Rollins and Henderson. Probably in that order. Bottom line is, who has gotten copied the most by other tenor players? Those three are the top three. Of course, they did their share of copying themselves. It’s the nature of the music. Rollins was amazing. He was one of those players who had such commanding musical presence, particularly in the area of rhythm, that when one listens to him there is the strong sense that, instead of the horn player playing to the rhythm section’s groove, as usual, he is setting the groove and the rhythm section plays to him. Amazing. |
Hi pjw, good comments. But, not sure I agree with a couple of your assertions. Pretty bold comment that Rollins was a better improviser than was Coltrane. From my vantage point to deem one better than the other is a bit of an apples/oranges issue. One of the things makes Trane, Sonny and Henderson so special is that they each had uniquely personal sounds and approaches to improvisation. They were innovators on their instrument and the reason that they were so often copied. Shorter is one of my favorite Jazz musicians, but his innovation was mainly as a composer. No doubt he was also an influential tenor player, but ultimately not on the level of the other three. I would even suggest that it was his soprano saxophone playing that was the most innovative. Love Stan Getz. Beautiful sound. Not sure what you mean when you say he has not been mentioned yet. I hope you mean in the context of this most recent “conversation”. There has been plenty of Getz posted here over the life of the thread. One of my favorite things on YouTube. Talk about contrasting styles! Coltrane’s is uniquely his and new. Getz is wonderful, but ultimately right out of a Lester Young bag: |
Gadd and Erskine are both great drummers. Different styles as you say, pjw. Personally, I find Erskine’s playing more to my liking with Steps. Just enough feel-good looseness and not so relentlessly metronomic as Gadd. Good example: https://youtu.be/dLE_IBg9abk?si=x9QnCxAiBFxDF7E Don Gronick: |
The presence of Pat Metheny on electric guitar on Michael Brecker’s “Tales From The Hudson” may be a deal breaker as far as not being “all acoustic”, but it is certainly modern mainstream. Fantastic record with an amazing cast of McCoy Tyner, Joey Calderazzo, Dave Holland, Jack DeJohnette, Pat Matheny. A must hear. As a sideman in an all acoustic setting: Chick Corea “Three Quartets”. One of my favorite records. Mel Lewis, “Mel Lewis and Friends”. Hal Galper, “Reach Out”
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How could I (almost) forget McCoy Tyler’s “Infinity” Featuring Michael Brecker?Outstanding! https://youtube.com/playlist?list=PL0071F7B5F1DB1ED1&si=RUlYjstJr2IfI8ZN |
https://youtube.com/playlist?list=OLAK5uy_l85qqhvqGAA36q_ctKF3ZoE3cqpktgknc&si=pRQjmjpXtf7qM9s0 https://youtu.be/cc2x_WEUUKo?si=pfNQGh673HdGOL7E https://youtube.com/playlist?list=PLMD9X0rJLX6asW3xLgbPH69mSoF1_HKO8&si=amzwck6sMX8DrIJN
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You’re welcome both. It was said that one of the reasons that Brecker practiced so much was that so many other tenor players copied his style that he felt that he needed to stay one step ahead (😉). One more. This one featuring both Grolnick and Erskine. And if one great tenor isn’t enough, Bob Mintzer/Michael Brecker “Twin Tenors”: https://youtu.be/c1lbJw-JVZI?si=AM8SzrxinT8VKoxq BTW, on the tunes with only one tenor it is Mintzer playing.
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curiousjim, impossible question to answer. As a leader, Tales From The Hudson is up there with Time is of the Essence and, of course, his last album Pilgrimage. Pilgrimage is fantastic and I love it in part for sentimental reasons….if you know what he was going through battling the disease that ultimately killed him. A very sad event in the music scene. Then there is the question of favorite solos. So many , on so many different album s including the Fusion and even the Pop stuff. His work with Joni Mitchell is incredible. James Taylor, Michael Franks, Paul Simon, on and on. Then there is the issue of favorite tone. His tone evolved over the years. Always great, but definitely different over time. I have a soft spot for his early sound. This is the first recording of his that I ever heard. In High School, I’ll never forget when my band director brought this in for the class to listen to: https://youtu.be/l-b_h8i9eWU?si=MVWU47ryewSCAUih
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A few thoughts about Michael Brecker. First, the notion that to possess supreme technical prowess as an instrumentalist necessarily means that the player does not bring enough emotional content to the music is false. Likewise, the notion that players who don’t possess this level of technical mastery, or who choose to not flaunt it, are necessarily lesser musicians is also false. However, it is true that technical prowess gives a player options and possibilities that are not available to a player with limited technical skill. But, as they say, the proof is in the pudding. Sometimes all it takes is one note to tell the whole story. Ask saxophone players who was probably the greatest saxophone player ever, from the standpoint of technical prowess, in any genre, and Michael Brecker will get the most votes….by a long shot. Incredible command of the instrument and all its possibilities. If may seem heretical, but yes, even more so than Coltrane. But, this obviously doesn’t tell the whole story. As great as Brecker was he was sometimes criticized by Jazz diehards (including Jazz players) for letting too much of his Pop/Fusion experience color his straight ahead Jazz playing. I think this was a valid criticism particularly in his early career. This stylistic “color” became less and less of a presence as he got older and developed a stronger and stronger individualistic straight-ahead Jazz style. The Brecker Brothers band albums were reflective of the trend in the overall music scene toward Fusion which began in the ‘70s and I agree with @curiousjim that some of the material was a little too “urban-hip” for my tastes. This trend in music actually had little to do with the Jazz scene, which as sadly losing a lot of steam during the same period. The brothers and their band brought a Jazz sensibility and complexity to what was essentially pop/rock/funk material. My favorite Brecker Bros. record was their very first. One which included Dave Sanborn. Michael and Randy Brecker were two of the busiest session players ever. As horn players probably the busiest on their respective instruments. Along with their “more serious” work as Jazz players in their and others’ projects they played on countless Pop records as soloists. They could do it all. And they made a great deal of money doing so. To get an idea of just how busy Michael was, check out this discography. Note that the list that the link opens to is in alphabetical order and the first page is only recordings “A-B”. Scroll to the top to open the subsequent pages. Astounding! http://www.michaelbreckerliverecordings.com/CompletediscographyA-B.html
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Another favorite. May seem a little “lite” on first listen, but absolutely gorgeous saxophone playing. It was also one of Michael’s favorites: https://youtube.com/playlist?list=PL0hWpfLjtwxRrrhkMSbsZUEyrXwDz9HRd&si=kXeHAV_k1qJRtgPd |
Personally, I wouldn’t call the first ten years of M Brecker’s output “crappy”. It’s a matter of the style of the music which we may or may not like. The playing however was always on a high level. It is true that most of his output during the 70’s was in a rock/funk vein and some of it I don’t like, but some of it I do like. One of the brothers’ earliest higher profile projects was as members of the band “Dreams”. A very influential band that predated “Blood Sweat and Tears” as one of the very first Rock bands to use a horn section and to incorporate elements of Jazz. The horn section, unlike the more popular band “Chicago” was comprised of players that could really play and improvise well. 1972 (classic, for Breckerfiles): https://youtube.com/playlist?list=OLAK5uy_lt_4E4HyOCJF73AOuJ_rGREDww_W3tWjo&si=orKNqtsuKk5VgJgS What’s not to like 😊?: https://youtu.be/jhDl4IDfYOg?si=zq3UzkjCVxshLwAC pjw, I went to Seventh Ave. South many times and heard the Breckers and others there. Great place!
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For anyone interested in learning about Michael Brecker the man and what he went through at the end of his life: https://lovehopestrength.org/susan-brecker-continues-jazz-musician-husbands-legacy-of-help/ |
Bob Mintzer is a remarkably talented musician. Great tenor player and equally great composer/orchestrator. His playing style is similar to Brecker’s, but more measured and restrained with less fire than Brecker. Very logical, the way that his writing is. He was a fixture in the NY scene around the same time as Brecker where he led and recorded his big band for many years. He moved to LA around the time that international demand as arranger took off. He writes and conducts regularly for the great WDR big band in Cologne, Germany as well as leading his LA big band.
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Fabulous! Can’t thank you enough, mahgister, as I was not aware of this recording. My favorite drummer (well, maybe Tony Williams…maybe not). Darnett Garrett!!!! No point in commenting on Brecker, Gene Perla on bass caused me to think of the recordings of the great Elvin Jones, Gene Perla, piano-less band with a front line of two tenor players. Two great post-Coltrane tenor players, Dave Liebman and Steve Grossman. Not always “easy” stuff to listen to, but very earthy, raw and soulful. https://youtu.be/zz4DTvGgpT0?si=4zgrv5WWOc3_sduT
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When asked how he got that distinctive sound, Paul Desmond replied that he “tried to sound like a dry martini”. Amazing relaxed lyricism with none of the urgency of Brecker. Jim Hall !!! https://youtu.be/DS51jwmqpO4?si=pXv_bwonhgkVL-pB (3:21 always puts a smile on my face. Check out the dialogue between Desmond and Hall at 6:02 to the end): |
@mahgister , you’ve mentioned two of the greatest baritone players. I am particularly a fan of Ronnie Cuber, who is sadly no longer with us. Monster baritone prayer, While Smulyan is a great post-bebopper through and through, Ronnie Cuber was more akin to Micheal Brecker in the sense that he did a lot of work in the R&B and Latin music scenes as well as straight ahead Jazz. As expected all that was reflected in his playing.. I love his playing. https://youtu.be/zWw-3kJwge0?si=aUM0y5nnd36K8GwQ Some favorite earlier work of his: https://youtu.be/d89efDn97qs?si=47ffeSAiCgDUwcVf https://youtu.be/5bypNuFs9oc?si=n61GImad0Cg1lcI6 No conversation on baritone players should overlook the greatest of all, Pepper Adams. A close listen to Smulyan’s sound and approach shows how he is a musical descendant of the great Pepper Adams, whom he replaced in the Thad Jones/Mel Lewis Orchestra saxophone section, https://youtu.be/fjm52JRscpA?si=eGEv2PwrSV_nUF2v https://youtu.be/4lKTp8u6YSg?si=VknTidVRFxsb30Zs As an interesting aside. At some point before recording the following, Pepper Adams had to replace his saxophone mouthpiece. The difference in tone is obvious. Still great and still Pepper Adams, but with more edge: https://youtu.be/tOCZddFI1tU?si=mGp726OzBq32xJEV https://youtu.be/lg7Hm5aE8mI?si=Yy-zKUNf7AjXMqwi
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**** I’m not sure there is a bad Eddie Daniel’s album. Clarinet or Sax, always a good performance. **** There isn’t! Eddie is the greatest ever “woodwind doubler”. Hero to woodwind players in the NYC scene. He achieved a level of mastery that is truly astounding. Little known fact is that he is also an outstanding flutist. While he has been concentrating on the clarinet in recent years he revisits the tenor and flute periodically. This is one of my favorite records of his. Early (first?) record of just duets with the great Bucky Pizzarelly on guitar:
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