Thanks for your response(s), @audio-b-dog.
re Rattle:
Q: How can one tell that the floor of the stage is level?
A: The viola players are drooling out of both sides of their mouths.
😊
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 18 responses by frogman
To be fair to violists, it should be pointed out that there exists an old and unjustified stereotype about violists that assumes that violists are musicians who cannot compete as violinists, so they take up the viola in order to get orchestral jobs. While it is true that the viola does not have the caché that the violin does and not nearly as many important works written for it, it is an essential voice in the orchestra. There are also many fantastic violists who choose to play the instrument because of its unique characteristics and place in the orchestra palette. Having said all that: Q: What is the difference between a violin and a viola? A: The viola burns longer. 😊
|
Funny, I’ve heard that one but don’t remember the punchline either. Here’s another: A violist is driving on the way to a concert and decides to make a quick stop at a bank. Knowing it would only be a few minutes he leaves his viola on the back seat of his car. He runs into the bank and as he approaches his car on the way back he sees that the rear window has been smashed. Distraught and expecting the worst he looks in the car and in the back seat……two violas. |
Love Brazilian musicians’ take on Jazz. For me, sexiest music on the planet. Thanks for the clips. https://youtu.be/-XExdVd7Qpw?si=UDeRD4z51jMFn7N5 This woman dripped Saudade! : https://youtu.be/76Se5hxy8hQ?si=_-UFR5bPyiHQY9a1 https://youtu.be/2fP6QyiyvMw?si=Zaphg-bruZtc8Nj2
|
Glad to see the great Joe Farrel get some love. Fabulous player. One of my very favorite saxophone players and arguably the best Jazz flutist of all time. Left us way too soon. Check your audiophile hats at the door and check out this amazing bootleg of Joe’s quintet with Tom Harrel. Probably my favorite Tom Harrel on any recording. |
@stuartk , for me, yes. An argument can be made that Tabackin is the better flute player, but for me (and others) Farrel is the better Jazz player. Tabackin is a more “impressive” player in that he plays with a huge sound and has a more aggressive approach same as with his tenor playing, but Farrel’s improvisations have a more sophisticated compositional approach. Both great players with different styles. Btw, Farrel was Tabackin’s mentor and helped him get established as a player and would have Farrel sub for him on gigs: https://youtu.be/1BPV1yrcsuQ?si=wQxUu9_c4Qif6YZ1
|
I agree with @tyray . Moreover, it is a mistake to somehow attach superiority of expressiveness, swagger, whatever, to Jazz musicians as compared to Classical musicians. Two different genres with very different sensibilities which are what define expressiveness or swagger in each genre. Great Classicical musicians play with every bit as much “swagger” as great Jazz musicians. It’s just a different type of swagger. Even the best Jazz musicians playing Classical music typically sound just as out of place playing Classical as do Classical musicians trying to play Jazz. And the difference is a lot more than just tone. |
**** As a classical musician, they aren’t allowed to have their own voice. **** @audio-b-dog , with respect, this could not be further from the truth. In keeping with your comment about being able to “tell Coltrane anywhere”, it is, likewise, very easy to tell, for example, William Kincaid from, say, William Bennett. Now, if one finds oneself running to Google to find out who those two gentlemen are/were this proves my point. They are two of the greatest and most influential orchestral flute players (speaking of flute players) that ever lived and whose sounds and artistry can be identified immediately by any listener who has spent as much time listening to their artistry on recordings or live as that listener may have spent listening to Coltrane. It is a matter of the amount of exposure to specific players regardless of genre among other factors. It is true that orchestral Classical musicians have to express their artistry (swagger) within narrower parameters than do SOLO Jazz players. To say that they have to sound “like the conductor wants them to” is an exaggeration. Yes, an orchestral conductor may have a certain “vision” for what the particular music being performed should sound like, but the players do have latitude when it comes to the expressivity, phrasing, tonal color (and more) of a solo or ensemble passage in a composition. It is a matter of nuance within potentially narrower parameters since the player (and conductor) has to, ultimately, honor the written composition; the composer’s intent. In fact, there is sometimes tension between a player and the conductor when it comes to certain nuances of interpretation. When it comes to chamber music the players have even more latitude since the players, not a conductor, make all the artistic choices in the service of the particular composition. In the case of solo artists, even more so. Classical musicians need to have tremendous technical proficiency because that ultra high level of proficiency is required to execute that repertoire, especially modern works by composers who test the limits of what is possible technically on any given instrument. The point of my diatribe is that the ability of Classical musicians to be expressive and/or soulful should not be underestimated. Our own and personal musical preferences as listeners and level of “understanding” of those musics are formed for a lot of different reasons, not the least of which is simply amount of exposure to a particular genre, Ask any one of the players that you mentioned as examples of players who are both Jazz and Classical players and they will tell you that at the end of the day (hate that expression 😊), from the players’ perspective, the similarities are greater than the differences. Apology for rehashing this frequently quoted and very true adage: ”There are only two kinds of music. Good music and the other kind” - Duke Ellington
BTW, a minor factoid that may interest you. Orchestral players do not “have to audition every year”. Yes, the audition process is very rigorous, as it should be given the demands of the music. Once a player “wins” the audition process then there is typically a one year “trial” period to determine whether the player is a good “fit” artistically and personally within that particular group of musicians. Then, if all goes well, the player is tenured. There is actually relatively low turnover within most major orchestras. What are your thoughts about Mr. Dudamel leaving LA for NY? Regards. |
Fantastic post, @mahgister ! It is generally acknowledged that Jazz, at its most basic, is a blend of African rhythmic elements and European harmony. As you suggest, in the absence of time/rhythm, however obtuse (“Rite….” is a good example), harmony becomes almost pointless. Thanks for the “The Bad Plus” clip, @acman3 . One of the best “non traditional” takes on “Rite of Spring” that I have heard; and there are many. It should be noted that Russian and French musical traditions are closely intertwined. Both Stravinsky and Scriabin were heavily influenced by French musical ideas and traditions; particularly Russia’s ballet tradition (“Rite…”). It was common for French musicians of note to be “imported” to Russia to teach Russian students. Sounds rather French to me, not to mention simply beautiful: https://youtu.be/C6LhXzKs0rY?si=PAVJABEgqrKsEtFA
|
@stuartk @audio-b-dog , re Coleman Hawkins “Body and Soul” and Coltrane “My Favorite Things” and “virtuosity”.Virtuosity is not an easy thing to define, in this case are we talking about technical virtuosity, or conceptual virtuosity, specifically virtuosity of harmonic understanding? While it is generally acknowledged that Hawkins influenced Coltrane, to compare Hawkins to Coltrane is an interesting, but ultimately pointless comparison if the goal is to establish some sort of superiority one way or another. Jazz, all art, is evolutionary. The grasp of harmony by most players of Hawkins’ era was, compared to that in Coltrane’s time, pretty rudimentary. Bebop (post Swing) took matters to another level as concerns sophistication in the use of harmony. The following two past posts are from a conversation here on this very subject: ———frogman7,529 posts Coleman Hawkins ("Bean"); fantastic player. His 1939 solo on "Body And Soul" is considered pivotal in jazz and one which took improvisation in an entirely new direction away from the comfortable linear style of the swing era to a more modern angular style that just about every modern player would be influenced by. Btw, the album title "Beanbags" is a combination of Hawkins’ moniker "Bean" with that of co-leader Milt Jackson’s "Bags".
frogman7,529 posts ——— While Hawkin’s solo was groundbreaking, his command of harmony was still not on the level of Coltrane’s. Hawkins is considered by some to be the first Bebop player. Coltrane’s grasp of harmony exemplifies where the evolution of Jazz was at after having gone from Bebop to Hard Bop and then beyond. So, from a conceptual standpoint Coltrane was on another level entirely. If “virtuosity” is to be defined by extreme instrumental/technical proficiency, while Hawkins was certainly a great instrumentalist, again, Coltrane was on another level entirely. Not only are his note choices in an improvisation very sophisticated in that he could play “outside” the harmony in a logical/musical way in a more sophisticated way than did Hawkins, he tested the boundaries of what was technically possible on the saxophone to a much higher degree than Hawkins did. We’re not talking only about the ability to play fast, but the ability to coax a wider palette of tonal colors; not only harmonic color, but in the timbre/tone of his sound. Hawkins stayed pretty much inside the harmonic parameters of the chord changes of a tune. Coltrane extended the parameters of the traditional use of harmony. This is in no way a criticism of Hawkins, but simply the reality of where these considerations were at in the evolution of the art. Two+ decades separate the two solos; an eternity in the evolutionary process of Jazz at the time. Hawkins was a pivotal figure in Jazz, as was Coltrane. I have trouble with the notion of judging “soul” or level of soulfulness of any art without considering the unique and personal sensibilities of each of us as listeners (in this case) and without considering the context of the era of the creation of the art. I’m not prepared to deem one more “soulful” than the other, Remember, when Coltrane first came on the scene and players of Hawkins’s generation heard his tone and style of playing more than a few felt it was just noise. They, and Jazz in general had to catch up. |
Yes, good to see you back, PJW. Hope all is well and thanks for your comments. You are correct about Coltrane’s solo on “The Way You Look Tonight”, Trane plays after Mobley @5:52. Solo orders: “Ball Bearing”: 10:26 - Coltrane, 11:42 - Morgan, 12:56 - Griffin, 14:47 - Mobley, 16:00 - Kelly ”All The Things You Are”: 18:48 - Griffin, 21:09 - Coltrane, 22:40 - Morgan, 24:11 - Mobley, 25:40 - Kelly, 26:11 - Chambers “Smoke Stack”: 28:46 - Griffin, 30:43 - Morgan, 32:47 - Mobley, 34:23 - Coltrane, 35:48 - Kelly, 36:35 - Chambers, 37:24 - Griffin and Blakey trade 4’s to end. “Smoke Stack” (Alternate version): 39:00 - Griffin, 41:01 - Mobley, 42:48 - Morgan, 45:00 - Coltrane, 46:42 - Kelly, 47:56 - Griffin and Blakey trade 4’s to end. |