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.
I guess I will have to start charging royalties for the use of the word 😊. Of course, had the OP been reading carefully what has been written instead of always looking for a way to put some sort of negative slant on the topic that he, himself, brought to the table and now claims to not like (for reasons of allegiance more than musical, btw) he would notice that what jzzmusician wrote is exactly what I wrote previously; at least once.
Great clip jzzmusician; and your commentary is exactly right. Machito and his orchestra were one of the greatest of the Latin bands; and, of course, Dizzy is a great fit.
1977 in fusion coming up; sandwiched between Acman3's great post of DiMeola's Classic 1976 record and Alex's 1978 Jack DeJohnette, who for consistency as an artist has few peers. Amazing drummer and classic ECM recording.
Beautiful clips by Rok of The Duke. Those and the Weston clips made me think of the subject of "influence"; the influence of the music and style of one player on others. The Ellington clips highlight what a brilliant musician he was and what a phenomenal band he had. Listen to the impeccable ensemble playing with the beautiful sense of blend with matched vibrato; all the while letting the unique sounds of the key players (Hodges, Carney) come through. A LOT of nuance in their playing creating a velvety sound with that great sense of swing. Before anyone gets worked into a tizzy I will preface these comments as a point of interest;THIS IS NOT WYNTON BASHING:
Duke's band makes clear why, eventhough Wynton deserves tremendous credit for "keeping the flame alive" (in a way) as Rok says, why I when I listen to Duke's recordings and then to Wynton playing the same music I am always left with the feeling of "why?". Why listen to Wynton's band playing this music when I can listen to Duke; just not on the same level. Of course, that's not the only thing Wynton's band plays. Thanks for the great clips, Rok.
The above and Randy Weston make a case for why "influence" needs to be organic. Alex makes a comment that I agree with. I prefer Randy Weston's earlier recordings; they ring true to what HIS musical persona is. In the intro to the later "jk blues" one hears a clear McCoy Tyner influence and on that and other later an overall Horace Silver influence with some Ahmad Jamal thrown in. I don't hear Monk (?!) at all as Rok does; perhaps it's the presence of Booker Irvin that is why he makes the association.
I wish I could share the enthusiasm for Hugh Masekela. I don't care for his brand of Africa meets West music which often ends up sounding like mediocre Smooth Jazz to me. I find him to be a pretty good flugelhorn player with some problems as an instrumentalist; shaky intonation and limited technical facility compared to the greats on the instrument. Greatest ever? Not in my book. "Stimela": Yikes! Barry White goes on a safari. Not my cup of tea.
1977 soon. Is that applause I hear? 😃😃😃😃😃😃😃😃😃😃😃😃😃😃😃😃😃😃😃😃😃😃😃😃
Back in the day, it was mandatory that everyone have a copy of Makeba singing "The Click Song". Some more Makeba with a little Simone and Maskekela thrown in.
*****
I don't care for his brand of Africa meets West music which often ends up sounding like mediocre Smooth Jazz to me. *****
No caring for his music is legit. Calling it "smooth" is just incorrect. Seems as if Most of his stuff is rooted in the Anti-Apartheid movement. Smooth it ain't. But it is easy on the ears. That's the nature of the music. Gentle swaying rhythms. Makes you grove even when the lyrics are saying the most serious and profound things. Flugelhorn is the perfect instrument for this music.
Art farmer is the only player I can think of, off hand, that plays the Flugelhorn consistently. I would be interested in knowing these other great Jazz Flugelhorn players. And, I would not say Jazz is his first musical priority.
'Stimela' is to South Africa, what 'Katrina' is to New Orleans. Whining song.
You bring up something interesting. Sorry, it IS like smooth jazz as far as the music and music values go. The interesting thing I refer to and which is something that goes to the bigger picture of what it is that makes some music appeal to some. The message of the music as expressed through lyrics and even the music in the context of the societal issue that it is trying to express may not be "smooth" (apartheid), but, no matter how relevant that issue may be doesn’t necessarily make it good music in its totality. Of course, we have to take into account our own individual emotional association with the music or its message. Good music is defined by the quality of the message as well as the quality of the craft. To my ears, smooth, easy on the ears, whatever, his craft falls short. Will post some flugelhorn when I have some time. For starters think about the "easy on the ears" music that he plays and the demands that it presents (not!) on the player. It’s all a matter of degree. He can play nicely on some things even with the instrumental shortcomings I mentioned. Navigating the changes for Donna Lee or Lush Life? I’d rather go on that safari.
Frogman, as sure as the Sun rises in the East and sets in the West, I was just that sure you're post would be "contrary" to mine. The word "fusion" as you have been using it, has absolutely nothing to do with "Machito and Diz" and you know it. Everybody who has been following your posts on fusion, knows precisely what the word "fusion" means according to the Frogman.
Great clip jzzmusician; and your commentary is exactly right. Machito and his orchestra were one of the greatest of the Latin bands; and, of course, Dizzy is a great fit. (a fit to "Frogman's" fusion?) Frogman, your fusion is a "shape shifter".
Call him out Rok, you know and I know Diz got zip to do with Frogman's fusion.
Frogman, this post and every post you write lately is Orpheus "Contrarian". Notice how carefully worded this post in regard to Hugh Masekela is; Rok has already mentioned the fluglehorn. Now notice how Frogman throws in "Greatest ever", when I was referring to Masekela's versions of his own tune "Stimela". That's not even my comment, it's someone else's comment in regard to Masekela's different versions of "Stimela". What the holy smoly does Barry White have to do with "Stimela", I don't get that one Frogman, could you expound, or expand, whichever you choose.
Last, but not at all least, you always jump in on my post meant for someone else, and misinterpret the post. How can you expect to understand a post, that's not even meant for you, and complain because I didn't write the post in a fashion, that you "Frogman" could understand.
Sorry, you're argument doesn't hold water. Apples and oranges. Don't knee jerk react; think about this, it's very interesting stuff. First of all, I was talking about Wynton's band and the way they play that music compared to Duke's band. As far as Wynton the player goes compared to Freddie and Harrel? Simple: both Freddie and Harrel say something when they improvise; to my ears. Wynton doesn't.
My point is when I compared three different players playing Donna Lee, you call it silly and ridiculous. When I suggest Harrell was a noise maker, and why would anyone buy his CDs when right next to them in the 'H' section, was Hubbard. Again silly and stupid.
This has nothing to do with the talent of anyone, has to do with the type of examples used to make a point.
I doubt I called a comparison of three players ridiculous; I would never do that. Feel free to post my comments and your and we’ll revisit that. However, and probably the reason for my comment, is your calling Tom Harrel a noisemaker; THAT is ridiculous. One of the best flugel players btw. And so is Freddie. No question Art Farmer is.
O-10, cut it out, please! I will make this brief. I have no interest in responding to YOU per se; in fact, I would much prefer to not have to, unfortunately. You refer to me in a "conversation" that supposedly I "shouldn't" be part of, but you object to my chiming in; that makes sense (not). Now, please go to my very first comments about the definition of fusion; you will find your answer there for my comments to jzzmusician.
It was Rok who referred to HM as the best ever flugel player; I disagree.
Barry White:. If you can't understand that I can't help you. Rok did.
"Rok, call him out!" - I rest my case re motivation.
"O-10, cut it out" Frogman, you have gotten so ridiculous it's absurd with this one word "Fusion" except when you thought I was referring to "Santana" as being fusion, then you corrected me, when the post was directed at Rok, and then you got it all wrong, and corrected me again because you didn't think I worded it right. That's 3 times you have intercepted a post meant for someone else, and complained about the way I worded a post not even meant for you. You've got an "Orpheus Complex" Frogman, I think you seek professional help before it gets worse.
"Orpheus complex". 😍 Oh, yes; just what I always wanted to be. The "one and only". It’s ok, O-10, no hard feelings. Any comments about the substance of the music? And to hopefully put this ridiculous issue to rest, just go back over your posts and count how many times you mention me in your posts. Complex? Why, O-10, I'm flattered.
First of all, I Love Barry White. The Frogman's comment is valid. It's within the realm of reason. Before the vocals start on "Stimela" it could be a Barry White type song, and when the guy starts singing, that deep voice, talking not singing, is reminiscence of Barry's style.
'Stimela' is supposed to be a whining song about folks on a train being taken to work in coal mines, but the fact that he used the phrase "choo-choo train", lessens the impact of the message.
To appreciate the song, you must keep in mind, that, in some circles, the absolute worst thing humans can be required to do, is work in coal mines or pick cotton.
Two top Jazz Trumpet players playing a tune on Flugelhorn. Maskekela plays the Flugelhorn all the time, and he is more 'Popular entertainer' than H&H. He has to sing, dance and play.
The best comparison would be with someone like Chuck Mangione.
I just got off the phone with Learsfool, and he said, "The Frogman is just tooooo modest. Not only did The Frogman find coal and invent the train, he also discovered Africa"!!!
So, because he only plays flugel that makes him better? Huh? I don’t think so. More popular entertainer? I suppose you’re right. I will concede that point, but I thought we were talking about brass playing? So, Chuck Mangione is a better flugel player than FH or TH? There probably isn’t a single brass player on the planet that would agree. I do kinda like his fluffy stuff though. But, wait! Now I get it ..... the dancing. I saw a couple of Wynton’s moves in that last clip....not bad.
But wait #2!!!! So, now you’re saying TH is a "top trumpet player"; not a noisemaker......Seriously, the guy is really great; especially for a diagnosed schizophrenic. Phil Woods thought so too 😎
Have tto go shower now. That coal dust is a bitch. 🚂
Rok, you and Frogman serve as good examples of a society gone to shit; how can anybody find humor in "Apartied" or the "Katrina Aftermath"; it takes too sick puppies, that's all I can say.
You know visiting this thread is like dropping in on a friend living in an apartment with thin walls whose neighbors are a loud and dysfunctional family. Kind of interesting, odd and funny all at the same time. Just sayin’....
Rok, I'm going to write my swan song for you. This can be corroborated on page 129 05-19-2016 12:11 AM
Sunday, August 28. APPROXIMATELY 30,000 EVACUEES GATHER AT SUPERDOME WITH ROUGHLY 36 HOURS WORTH OF FOOD [Times-Picayune]
Monday, August 29 — KATRINA MAKES LANDFALL AS A CATEGORY 4 HURRICANE [CNN]
7:30 AM CDT — BUSH ADMINISTRATION NOTIFIED OF THE LEVEE BREACH: The administration finds out that a levee in New Orleans was breached. On this day, 28 “government agencies, from local Louisiana parishes to the White House, [reported that] that New Orleans levees” were breached. [AP]
11:13 AM CDT – WHITE HOUSE CIRCULATES INTERNAL MEMO ABOUT LEVEE BREACH: “Flooding is significant throughout the region and a levee in New Orleans has reportedly been breached sending 6-8 feet of water throughout the 9th ward area of the city.” [AP]
The White House was notified that 6 to 8 feet of water was surging throughout the 9th ward in New Orleans. The Governor of Louisiana requested help from the White House and Bush went to bed without responding.
"I never knew the political chain of RESPONSIBILITY ran directly from the 9th ward to the white House."
That was Rok's response; people are drowning in the 9th ward from a natural disaster, and Rok doesn't think the president has any responsibility, even after the Governor of the state has requested help.
Could it be because the people in the ninth ward are BLACK? That the president doesn't have any responsibility for them? Living in New Orleans they ought to know how to swim, because it's below sea level is the inference of one of Rok's statements.
Eight months before "Katrina", this is what was sent half way around the world.
This is a little quotation about when they came for the Jews I did not speak, and when they came for me, there was no one left to speak. When the worst happens where you live, there may be no one left to complain about not getting the necessary help you are entitled to as a citizen of The United States Of America.
Most people are smug in the consolation that their white skins will save them from anything like the people in the ninth ward suffered, but what's saving so many with white skins from poverty?
The Brecker Brothers release the timely (for this thread) titled "Don't Stop The Music". Michael Brecker plays another of his impossibly virtuosic funk solos:
Just as Metheny's music and beautifully delicate guitar sound was a harbinger of the soon to come, insipid and dreadful (how do I really feel?) New Age Music wave (but without the substance), Dave Sanborn's sound would change the way that countless young saxophone players would play the alto saxophone in the new (and mostly dreadful) Smooth Jazz wave; but, without the grease and soulfulness that Sanborn brings to the table:
Steve Grossman, another Miles alum, releases "Terra Firma"; very intense post-Coltrane tenor playing in some of the most aggressive jazz-rock fusion of the period. Acman3, this has your name on it:
Poland is not the first place one thinks of as a place for interesting fusion. Urszula Dudziak is a very interesting and virtuosic singer who often worked with electric violinist Michal Urbaniak. An acquired taste; but very interesting:
So where did all the grease and soulfulness in that unique tone that Sanborn has come from? Before he was the megastar that he would become this is where he paid his dues. A victim of polio, he lost one of his lungs and his doctor told him that he should pick up a wind instrument to strengthen the remaining lung:
Frogman, enjoyed all the clips! You are correct in knowing which one I would enjoy best. Grossman plays with great intensity, but you still can follow his ideas. I will find that recording.
Never knew the tidbit on Sanborn, and never would have believed he played with Paul Butterfield! Thanks!
Thought this was 1977, but it turns out to be 1976, a great year. Bass line makes it my most easily Identifiable song.
Looked at the Paul Butterfield recording on my computer for the first time, instead of my phone, and saw to my surprise Dr. John on piano, and Levon Helm on drums. Great band!
I was listening to a 1977 Neils Henning Orsted Peterson trio recording this morning with Catherine , and Billy Hart, which showed how fusion was still influential even once they went back to playing more jazz than rock, but not on youtube ( another reason you need a turntable). From a year earlier you hear a more fusion based song.
You must have a verified phone number and physical address in order to post in the Audiogon Forums. Please return to Audiogon.com and complete this step. If you have any questions please contact Support.
