Ahmad Jamal- The Awakening
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.
31,554 responses Add your response
Its a funny coincidence, this morning I have started the day with music of Benny Carter, but from another album. Very enjoyable 'Swingin the 20's',album from 1958. Carter plays sax and trumpet, with Earl Fatha Hines on piano, Manne and Vinnegar. Such a great, classic music. https://youtu.be/bYb1TSCeouA https://youtu.be/ysl-WZmIZEc https://youtu.be/c6stGpdRAHc?list=RDc6stGpdRAHc https://youtu.be/-riqAoq8upE https://youtu.be/FABaW9p7R9E |
Rok, I don't know Grant Green the person, any more than you do, but I know Grant Greens music; it speaks to me. Out of all of Grant's music that I have ever heard; live and otherwise, I like "The Latin Bit" the least, it's just not him. After I wrote that, I went to "Wikipedia" and this is what they had to say; "This CD always yielded mixed results for staunch fans of Green" Can you believe that? Enjoy the music |
The Latin Bit: Great tune lineup. Besame Mucho, Brazil, and Grenada. Reminds me of the first LP I ever fell in love with "The Soul Of Spain" by the 101 Strings. The one I would add would be "Begin The Beguine". I got the "Definitive Classic Blue Note Collection of Donald Byrd" today. Also Duke Pearson's "Dedication". Will report later. Also the book "The CIA World Fact Book 2015". Everything you could ever want to know about anything. Cheers |
Don't you have to have some kind of clearance to get that CIA book? I was in a meeting, and a wire or something came in and they told me I had to leave the room; only people with security clearances could stay. They told them the Vietnam war had started; the next day it was in the news paper, and I couldn't stop laughing. If the recording quality is as good as those last CD's we got, I want that. Enjoy the music. |
Alex, I was listening to "South Side Soul", and thinking about the hippest, coolest, multiethnic neighborhood that ever existed on the planet; 63rd and Cottage Grove was it's center. I don't know what this CD sounds like to someone who wasn't there, but to someone who was, it's one of the best in their collections; that's because they start reminiscing about 'that' South Side. Although there were so many different ethnic dishes to get there, that I can't remember them all, there are two I will never forget, and those are Bar-B-Q, and Pizza. My mouth waters just trying to recall the ribs, or the pizza; as common as pizza is, how could one be so unforgettable that I can still remember it after all these years. Nothing is more common than Bar-B-Q ribs, but when they are ever so tender, and smoked to the bone, with a sauce that was made in heaven; you can never forget them. Nobody had to tell you when you were getting close to the rib joint; that scent of Bar-B-Q on the smoke pit a block away told your future; "Not too long now". This neighborhood only existed for a short period of time; there is nothing left to prove it was ever there, almost all of the famous jazz musicians trod those streets to entertain: Dinah Washington, lived in that neighborhood; Bird, Miles, Clifford Brown entertained there; Ahmad Jamal at the Pershing was recorded there; I'm talking about an area so small, that a car would be a hindrance. The Pershing Lounge, where Ahmad Jamal played, was on 64th and Cottage Grove; we lived near 65th and Cottage Grove. Almost every night, I would don one of my cousin's best sport coats and stroll Cottage Grove (I was a teenager then). The Walgreens at 63rd and Cottage, had a soda fountain where all the cutest girls stopped; and guess what? Lou Rawls sings a lot about this neighborhood; remember the song about the guy with one woman too many, that setting was in this neighborhood. I just remembered that I queried on a previous post in regard to sharing my memories; there is a possibility that I repeat; there is a possibility that you heard this one before; if you're tired of my stories, say so. Enjoy the music. |
Orpheus, I enjoy a good story, I am sure we all do. A good one even does not have to be a true. Let me point to a one, documentry film, from Tribeca festival, its not tied to jazz, hope its not an offense. Maybe Rok could check that Cia book to see is it a myth or true story. Here is the link to a trailer https://youtu.be/Q_oQFplWs_g |
1961 was a extremely interesting year in jazz. The music was breaking new ground and going in new directions that, while not immediately accepted by all, was an expression of the inevitability of its evolution. As always, there was a kind of conflict between the artists that push the music forward in new directions and those whose comfort zone is more in the past and who feel that is where the music should stay. Still, there were some artists like Benny Carter who, while comfortable in their own skin as keepers of the swing tradition, welcomed and encouraged the younger more experimental players. Rok’s Benny Carter clips are a good example of this. Carter was a champion of the younger alto star Phil Woods and his presence on this record, along with Charles Rouse was a bow to the contemporary while the inclusion of Coleman Hawkins (as well as himself) was a tribute to the past. There is also a very subtle and unexpected hint about a dynamic that is important to jazz players to be found in the order of the solos on "Cotton Tail". I don’t believe that it is coincidental that Hawkins solos twice. It could have been anyone of the four; and, being Carter’s session it would probably have been someone besides himself. I am certain he gave that "honor" to the senior member of the saxophone section and an acknowledged giant. Jazz player are always very conscious of this sort of thing; respect. O-10 expressed a desire to "establish the mood for that period of time"; an interesting proposition. I think that the mentioned Carter session is emblematic of the mood for that period: the push towards the modern contending with the pull of the traditional. Obviously, this is something that could be said about jazz at any point in time; I just think that this dynamic was particularly important during this time. Some of my favorite recordings from 1961: One of my all time favorite recordings, the presence of Dolphy alone augers what is to come in jazz. Brilliant record: https://m.youtube.com/watch?v=f_R7pbBAjcA This one became a hit (!) after its RE-release in 1961. Combined the West Coast "cool" sound with, incredibly, odd meter. The public accepted and loved a tune in 5 (!!!); and they didn’t even know it: https://m.youtube.com/watch?v=nzpnWuk3RjU A meeting made in heaven and long overdue. As good a reminder of the importance of the traditional as any: https://m.youtube.com/watch?v=m8HZ7Ku1f3k Hard to believe that the previous music was performed the same year as this. Spiritual: https://m.youtube.com/watch?v=wr5BotYA3U8 One of my favorites from 1961 and one which featured Wayne Shorter who would soon start recording as a leader himself and be one of the most influential in taking jazz to a new place: https://m.youtube.com/watch?list=PL15243F255ACDA1EC&v=NrP7KI6--2c Many more examples, but I think the above do a pretty good job of establishing the mood for that period: looking forward with respect for tradition; within an environment in which the public could still accept a REAL jazz tune and make it a "hit". Then there was the soul-funk-jazz thing which ultimately led to the gross commercialization of jazz and brought unimagined success to some and derailed the careers of others...... |
Here's an album issued by Kenny Burrell in 62, you can compare it to what Grant Green made that same year. https://www.youtube.com/watch?v=GXhXkYw3FmI&list=PLEFXyUJJznO6iCF7tvI6ZHpwCjGPOf3k- Enjoy the music. |
Not 61", but great new recording from Julian Lage. Still only 28 years old. Thanks for turning me on to him Frogman. Maybe the best overall guitarist I have heard. 1st recording, I think, with electric guitar. http://www.youtube.com/watch?v=ceL8TrtHY4w |
O-10, since this was a "bruha" that you started (no problem there), don't you think that what YOUR opinion of what the answer is should be stated; at least once? I am genuinely curious and with no ulterior motive. Btw, I don't think that everyone who knows for sure is dead. Still hoping to hear from Cuscuna and there might be others. After all the bruha, I would like to know for sure myself; although I'm pretty sure. Doesn't mean we have to keep talking about it though or with rancor. My two cents. Btw, re the importance of contracts in the music busines, on the Coltrane "Ole" recording that I posted, Eric Dolphy appears, for contractual reasons, under a pseudonym. |
Here is my opinion on John Coltrane. He was so talented, and so good, that it became easy for him to produce some of the best sounds anybody ever heard. When it became easy, he couldn't believe it, he thought he had to practice and work; that's what he did to get that good, it's time to just let his "God Given" talent take command and coast. Every "candid" photo I ever saw of Trane, even when he was supposed to be having a drink and enjoying the company of other musicians, at Nica's pad, that sax was next to him; he even went to sleep in a chair, with that sax laying across him. I had been admiring my friends music for 6 years before that summer he came to my apartment. The first time he performed when he was there, I was astounded at the new music. No he never practiced that summer, but each time, the music was different and the response from the audience was overwhelming. After the performance, he never asked me what I thought; although one look at me while he was performing told him anything he wanted to know about what I thought. "Where are we going to get a good bowl of chili?" was his opening conversation. What I'm saying, is that after Trane got so good that it was unnecessary for him to practice, he kept on; he kept trying to improve something that needed no more improvement. Case in point, I'm making chili and I got it just right; but I decide to add a little more salt to make it "Mo better", and guess what? I'm not the only person who says Trane went to far out before he died; but since Frogman plays the sax, I'm sure he understood Trane's every last note, but I didn't. Now it's super absurd, to say that a person who had not played for a year did not need to practice; but how much practice does a performing improvising jazz musician need? I say that practice could take away some of the "instantaneous" improvisation required of a musician who is playing Trane's kind of jazz, which was the exact same kind of jazz my friend was playing. Enjoy the music. |
Today's Listen: Duke Pearson -- DEDICATION Good player lineup. Includes Pepper Adams and Freddie Hubbard. I am sure their playing is perfectly acceptable. The problem is, none of the tunes just reach out and grab. I think a Tenor sax instead of the trombone would have helped. Maybe I will appreciate it more on repeated playing. I like this one best. https://www.youtube.com/watch?v=ZmcGijmEtCg BTW, this one was recorded in 1961. Released in 1970. Only 39 minutes of music. Typical of recordings on the 'Original Jazz Classics' label. Cheers |
This is one of the tunes that was on my play list today "Erica" by John Handy; it's on the LP "Where Go The Boats", that came out in 78. I think it's a beautiful tune, that would befit a beautiful lady named "Erica". https://www.youtube.com/watch?v=0IZb8AJQ7ac Enjoy the music. |
stereotypical jazz : I would use the phrase, 'run-of-the-mill'. Run-of-the-mill -- not outstanding in quality or rarity. Ordinary. Average. --- webster I would add: going thru the motions. Blowing session. Technically correct but without any passion or emotion. Boring. Your mind drifts when you listen to it. by the book. Routine. typical. Cheers |
Good question Acman; it's when some of the very best jazz musicians don't have anything original to play, and they just get together and play a bunch of well worn familiar jazz "cliches" and then they call it "jammin". JATP is well known for this; they assembled Charley Parker, Miles Davis, Mingus and every other Who's who in jazz, and told them what and how to play, but as long as the check was good, who cared. When you hear this kind of music, you say to yourself, "I think I've heard that or something like it before" Enjoy the music. |
My friend did not drink or party, and my wild hormones seemed to amuse him. If you have read any of the jazz musicians autobiographies, you know how unusual their lives are. I was mostly on sick leave while he was staying in my apartment, so I had all the time in the world and there was nothing I liked more than to hear about his adventures as a working jazz musician. After all the days business, what ever he had to do, and what ever I had to do; it was time for; "And then what happened"? Enjoy the music. |
Rok I'm enjoying Mary Louise Williams music more than any other musician I ever encountered, and to think we almost missed her. Although I had heard the name, I thought her music was too old for me, that's because I had set a before "Bird" and after "Bird" time line for the music I liked, and it worked for me, but Mary Lou Williams never got old. No one told me that. When I'm listening to my playlist her music is not easy to identify because it varies so much. I'll hear some really pretty music, and wonder "Who's that"? and I have to go to the playlist to find out. She can come out of so many different bags, that I'm glad I got everything I could find. She was a musician among musicians. Enjoy the music. |
*****
and to think we almost missed her.***** The good thing about 'missing' players, is that you have a nice surprise and place to go in this current era of quasi-Jazz. It's good we didn't hear them all back in the day. If we had, what would we have to look forward to today? Stereo Review turned me on to Williams. I bought lots of stuff while I was in the Army and never found the time to listen to all of it. Now I have that time. It's all 'New' to me. Cheers |
original article, a part of Smithsonian Folkways Magazine The music poured from the piano. On a large platform inside the oval mahogany bar at New York’s Hickory House, the last surviving establishment offering jazz on West 52nd Street, “Swing Street,” an authoritative African American woman in early middle-age sat at the piano, eyes mostly closed, her face registering every nuance in the music she was creating, back straight, her hands lying flat as they moved on the keys. She was wearing a royal blue chiffon gown of cocktail length, softly gathered at the shoulders. Her arms were bare. She had a beautiful throat and neck, good collarbones, and a dark brown face rising up from a strong chin to high cheekbones. Her mouth was well shaped and soft, and at times broke into a brief radiant smile when she achieved a particular musical passage. The smile never interfered with the concentration. There was nothing theatrical about her. You simply knew that you were in the presence of someone of the highest magnitude. Her name was Mary Lou Williams. Rok, the reason we didn't know anything about the lady is because "There was nothing theatrical about her presence". I could go on and on about that, but I'm not. Enjoy the music. |
This is the first Williams CD I purchased. The cover picture was a large reason why. So Classy. Has "1940's" written all over it. I can remember when women dressed like that. https://www.youtube.com/watch?v=mXveXHcVsrI Cheers |
I've been comparing the quality of what we got with what the "analogers" got, and I'm having a hard time being able to tell the difference. I've got both on my play list. One thing is for certain, those CD's you got are better than my original LP's. The analogers will have to buy special LP's to better the new CD's, not to mention a minimum of 1K for a cartridge. Times when my pockets were that deep are history, consequently it's moot in regard to the analog side, but we know for sure, that CD's can be as good. Enjoy the music |
Rok, they got a lot of good looking box sets, but how do we find out about the quality. I bought Chico Hamilton one day and sold it the next, same for the 3 Sounds; the question is "How do we find out about the recording quality"? Horace Silver box set looks especially good, so does Lee Morgan. Which box set did you buy that you were supposed to get back to me with? It says if not satisfied they will refund or replace your purchase. Enjoy the music. |
I purchased the Donal Byrd Blue Note Collection. 5 CDs, 10 complete albums. Have not played it yet It's not a BN release! A Label called "Enlightment". Help me Jesus. I have the Three Sounds set also. There is nothing wrong with the sound, they just aren't as good as we remember them. Anemic sound. Of the box set crowd, "Chrome Dreams" and "Real gone Jazz" seem to be reliable labels. And anything by "Rhino". I think I have all the Morgan and Silver I want on separate CDs. Although if I were just starting out, the boxed sets would be the way to go. The Classic albums sets are good to get, for artist of which you have almost nothing. If you don't already have them, then they are probably not top tier guys, so the box set is a good way to get all of their stuff that's worth having with one buy. The Amazon reviews are usually a good source of info on sound quality. Just disregard the reviews from 'audiophiles'. Nothing is ever good enough for them. Cheers |
Ben Webster- Dukes in Bed recorded in 1964-65, not exactly the cutting edge stuff for the time period, the recording sounds like a Sheffield Labs though and even if it didn't sound awesome which it definitely does, it makes you feel good, and swingy happy in the most kick back way. How's that for an amateur hour review. Did these dudes have an audience for this swing stuff mid 60's. It seems like they don't care either way and are just playing, Love it. Makes me wish for a time machine and to be a player. What days they must have been. Tough ones, glorious ones. I almost feel unworthy as I sit here comfortably removed from many of the realities of the time and even now for most of the world. Black Lion label. |
Shelia Jordan: I have her with George Russell. Part of his "Severn Classic Albums" box set. This is the Modal master. https://www.youtube.com/watch?v=GIokpD6lqp8 Cheers |
Rok, they are every bit as good as I thought they were on the used $35. record I have. No they are not as good if you can't capture the "nuances", and most certainly those CD's didn't capture anything worth capturing; yes they sounded dull. I'll take another look at the box sets. Like you said I probably got them on separate CD's, same with Donald Byrd, 'but if the sound quality is good, I wont be so reluctant to buy them. I'm sure those CD's by the 3 sounds had the album "Moods", the same as the $35 used LP, but the CD's didn't even come close. Enjoy the music. |
O10, You said, " I say that practice could take away some of the "instantaneous" improvisation required of a musician who is playing Trane’s kind of jazz, which was the exact same kind of jazz my friend was playing." I’m an amateur hack that has had the opportunity to play with some very fine players so take my comments with a grain of salt. The ability to improvise comes from inside your head, the ability to act on what’s in your head comes from practice. Every serious musician I have ever known practices all the time. You still have to have the chops. I’m a 64 year old percussionist and I find that my head hears what to play but my body doesn’t have the chops anymore. Bob |