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.
Speaking of live albums, 1980 saw the release of this live set recorded in Japan by (probably) my very favorite fusion band of all time, "Steps". Their recording "Smokin In The Pit" is one of the best examples of the genre. An amazing lineup of players with impeccable jazz creds who have also been key players in other genres playing very interesting compositions which go far beyond simple twelve bar blues harmonic frameworks. Virtuosic and incredibly tight ensemble playing and soloing with very advanced and far reaching harmonic vocabularies. State of the art playing in a fusion setting that leans to the Jazz side of things while bringing to the table the rhythmic "accuracy" that characterizes good Rock. Steve Gadd is a great example of a drummer who is incredibly rhythmically "accurate" while still having a great feel; very difficult balance to strike. Brecker is....Brecker! Great band:
The youtube clip data incorrectly says that this is a 1988 release. And, btw, has anyone noticed how how many great live recordings have come from Japan?
****Equal parts traditional jazz and fusion, a cup of blues and a whole lot of groove. ****
Perfect description! Cannonball was a monster player. His playing has always had for me that hard to describe quality that players like Louis Armstrong had; no matter the groove that Cannonball was in, funky, bluesy, whatever, even when he was screaming through his horn there was an "up" quality about it all. I always hear a smile in the playing. Nat is in fine form. I love the way Zawinal mimics the "twangy" sound of a sitar by playing the keyboard while putting his fingers on the piano strings to add to the Eastern flavor of the tune. Speaking of Eastern flavor, odd-meter time signatures are common in Eastern music and in case anyone wonders about the title "74 Miles Away", this is a clever choice of title; the tune is in 7/4 time with seven beats to the measure.
Check at approx 2:16 and 2:35 on 'Memories'. Is that quoting? Sounded like it could have been taken from 'Mona Lisa'. I don't think he was quoting at all. The shorter the string of notes, the less unique they are. Esp since everyone plays the same notes.
Wow; great discussion! I tend to like all eras and blur the edges of what might be considered to be jazz... That being said, I humbly offer two pianists I have been digging lately:
Billy Taylor: I Wish I Knew It Would Feel To Be Free
Notice the similarity between the beginning of "Now's the Time", and "Do The Hucklebuck"
"Wiggle like a snake, waddle like a duck That's the way you do it when you do the Hucklebuck"
When you sing these lyrics, you'll notice the similarity between these two tunes. This is in regard to Rok and Frogman's debate; how they settle it is up to them, I'm not in it.
Since "Bird" came out with "Now's The Time" before the "Huckle Buck", I believe that determined who copied who; however, maybe those notes were "unconscious".
"Now's the Time" (Parker), a 1945 composition by Charlie Parker.
I hope you all don't mind, but here is a short break from the regular discussion.
Any musician knows you have to rehearse if you're serious about the gig(s) coming up. You need to know the tunes, tempo, time signature, changes in structure, etc. It's also good to know what time to be at the gig. Basically, if you're playing with more than one person, it's good to agree on some things before you begin.
I've been to rehearsals, (jazz gigs) that lasted two or three hours. I've been to some where the rehearsal took place while doing a sound check. I've been to more than one where the rehearsal was conversation between the players. I guess it just depends on the situation.
It sucks to be late. It sucks more if it's you. It especially sucks if you are the only one that shows up. Late means you're playing catch up and somebody has to walk you through what's going to happen.
Late means you really don't give a sh*t, or somebody died.
The Lounge Lizards recorded a song entitled, "Where Were You.?" A fun and serious musical commentary about the business of the gigging musician.
I've listened to this many times and never fail to laugh out loud.
I hope you have as much fun listening to this as I do.
That was very funny, jzzmusician; thanks. On a somewhat related note (pun), this is Frank Zappa's parody of the studio musician scene; a scene which, outside of LA, hardly exists anymore. Hysterical and a pretty accurate picture of the darker side of that scene during its heyday:
Ilikemiles, welcome to the thread. Glad you mentioned Billy Taylor; hasn’t been mentioned much on this thread and he deserves to be. He is an iconic figure in the world of jazz; not just as a player, but as educator and broadcaster as well.
Martial Solal is one of my favorite unsung piano players. This record, "Four Keys", from 1979 features one of the most interesting and rather strange lineups of any of my records. Solal, the great Lee Konitz, Orsted Pederson and John Scofield (known mainly as a fusion player but showing some impressive straight ahead chops here). Very interesting record with unusual tunes based on interesting harmonies and oblique melodies; and some free improvisation:
I was hired to play a gig for the local "country club" consisting of "standards." No problem.
I called some guys, put a band together and we showed up. One of the musicians was an absolute killer blues/funk guitar player that could sing his ass off. He wanted to explore the jazz scene and he was cool, so I invited him to play.
Two brothers on bass and trumpet, (the trumpet player could sing too), my dear friend Pete on keys and I played drums.
We were on our second tune when the lady that hired me came over in a panic and said, (picture dressed up woman with lots of makeup and bling),
"What the hell are you playing?!!!!!! I said I wanted standards!!!!!"
Me, being the guy that wants to please asked her, "what kind of standards do you want to hear?"
"WE WANT TO DANCE! WE WANT THE FUNKY STUFF!!!"
Quick rehearsal consisting of, "Hey guys! The lady says to funk it up!"
Bang we changed up. Old people dancing so hard I was afraid somebody would have a heart attack.
We played our last tune and were packing up. Pete was getting a beer. A guy comes to me and says "How much for another half an hour?"
I turn to the guitar player and ask him what it would take.
"500 bucks."
I told the guy, he peels of 5 Benjamins and we start in. Pete shows up with beers for the band, sees us getting ready to play and I yell, "500 bucks for 30 minutes!" He scrambles, we play.
We finished the set with "Shout" by Otis Day and the Knights. We killed it.
Long story short, this rehearsal lasted all of 10 seconds.
I gotta tell you I like you even more. There was a time in my life that if it wasn’t Frank Zappa, it didn’t sound normal. That time lasted 2-3 years from about 1971-73 or so. I had every recording, knew the lyrics, understood the humor and was blown away by how his music opened up a whole new world of classical, opera, jazz and of course, fusion.
I love this tune. As you know, Frank Zappa considered himself a composer and a wonderful, biting and was an honest and insightful commentator on the state of affairs in the world.
You rock.
I think I’m gonna listen to Inca Roads. (It might even be considered a form a jazz)
Speaking of bad a*s and drumming, for me, no other drummer better exemplifies the attitude that "there are only two kinds of music...." (you know the rest) than Jack DeJohnette. He has recorded in just about every jazz and -jazz genre. One of the greatest jazz drummers ever with a TONE very much his own on an instrument not usually thought of in terms of tone. Prettiest cymbal sound I’ve ever heard (Tony Williams is up there), and the rare ability to be melodic (!) when he solos (@4:53). Masterful drumming on another of my favorite live recordings. Great lineup and beautiful tune:
Steps..... "Smokin in the Pit" just got through listening. I only have one cd by them, "Steps Ahead." This is just super fine!
Jack DeJohnette... When Charles Lloyd popped playing Forest Flower I was surprised. I haven't listened to that tune in probably 30 years? or so. I had forgotten how truly special this tune is. Killer lineup and by golly, Keith Jarrett can really play! And as you said, DeJohnette is simply stellar.
Frogman, while DeJohnette's druming is quite entertaining, I much prefer Chico Hamilton on this tune with the line up of; Chico Hamilton - drums, Buddy Collette - tenor saxophone, alto saxophone, flute, clarinet, Fred Katz - cello, and Jim Hall guitar. What have you to say about this version of that beautiful tune?
O-10, I take no pleasure from having to preface my comments like this. Given the history of ridiculous arguing and nonsense, I will stay clear of any request for dialogue that, in any way, smacks of sarcasm or baiting. As always, I welcome reasonable and (hopefully) intelligent dialogue and exchange of ideas. So, if there’s any chance that this feeling is mutual, all I can say is: try again.
In the meantime, a good place to start would be for you to get the personell on the "Forest Flower" that you posted correct. The personell that you posted are incorrect and from a different record. The personell, which could not be more obvious nor easier to identify, are: Hamilton, the composer himself Charles Lloyd, Gabor Szabo, and Albert Stinson. Lloyd could not sound more different from Buddy Collette, nor Szabo more different from Hall. Cello?!?! As far my thoughts on the music go, try again if you would like.
jazzmusician and Acman3, thanks for the Glasper clips. Great drumming all around. Marc Colenberg is ridiculous; drum machine with a feel! I have to say, I'm not sure about Glasper yet; had not heard any of his stuff previously so need to hear more. I like his stuff CONCEPTUALLY; just not sure about his playing yet. Impressive in some ways; but......don't know what it is yet. Need to hear more. Thanks again.
Frogman, if you took no pleasure in prefacing your comment the way you did, then why did you preface it that way?
I merely asked you to compare the drumming, you Frogman are the one who delights in this antagonistic dialog, because if you didn't, you would not start it, for example; this is the way you responded to Rok,s very reasonable statement.
"Sorry, way off base. If you care to have reasonable and intelligent dialogue about this subject let me know."
And when I presented solid proof that you were wrong about Rok's statement, you never even responded, do you expect me to overlook that? I'm sure Rok is still waiting for a response, I know I am.
In case you have forgotten, this was Rok's statement:
****I think it’s possible, in the middle of playing improvised music, to play a few notes that have been played before in the same order in another popular tune. Intention would depend on the length of the passage played. A few notes might be an unintentional, subconscious ’quote’, too many notes, and you are playing Mona Lisa.****
Rok's very reasoned statement was presented in concrete form in regard to Charlie Parker's tune, "Now's The Time" and "Doing the Hucklebuck". I'll give you the opportunity of ignoring it again. Below is Bird's tune.
Frogman, if you are going to correct someone, you had better get your facts straight; especially if that someone is "Orpheus".
The "Forest Flower" I presented was the one with "The Chico Hamilton Quintet"; a photograph of the players is on the cover of the album: Chico Hamilton is striding across the cover, and Buddy Collette is kneeling with his horns in front of him, while Jim Hall, has his guitar on his knee; that's just the top row of photographs, the rest of the players are in the second row.
That is incorrect: the recording that plays when you play the YouTube link that you provided is from a different recording than shown by that album cover. This was a mistake by the poster of that link; and you. That album cover is for a recording titled "Spectacular" Featuring Buddy Collette. "Forest Flower" doesn’t even appear on that record. Most importantly, two seconds in and one can tell that it’s not Buddy Collette playing, but Lloyd instead.
Now that you have seen one side of my personality, I would like to show the other side; there is nothing I like more than sharing my favorite tunes with you, and I guarantee they are killers. Here is John Coltrane with "Nature Boy". I know you've heard this standard by many artists many times, but until you've heard JC play it, you ain't heard nothing.
John Coltrane – tenor saxophone and soprano saxophone McCoy Tyner – piano Jimmy Garrison – double bass Art Davis – double bass Elvin Jones – drums
This is "Trane", live; and there is a wide gulf between JC recording on a studio session and "live". What you hear on this recording, is what you would have heard if you had been on the set; maybe even longer.
Frogman, even if the "you tube" was wrong, my statement was about the drummers; this was what the major conversation was about, and you didn't respond to that; you never respond to anything, you just go on and on like "The Energizer Bunny".
Frogman, I must compliment you on your resourcefulness; I have that very same CD, it was released in 64, and that was when I met the love of my life.
We used to meet at a small dimly lit lounge, and we both fell in love with "Forest Flower"; it was on the juke box and we played it over and over. Since that time, I always think of her when I hear "Forest Flower".
As you know, when one is a connoisseur of the very best jazz, it should be in one's collection if it falls into that category; after all, that's what this thread is about.
Pulled this off the shelf today; hadn’t listened to it yet. This record gets relatively little attention when talking about Freddie Hubbard. Possibly my favorite jazz trumpet player, here he is teamed with the brilliant Kenny Barron. The big surprise for me was the huge contribution by Buster Williams to the overall feel of this record. The bass player is obviously always a contributor, but on this record the bass playing defines the overall vibe to a greater extent than is usual. He kills me on this record with a amazingly propulsive groove and swagger on the bass and some great, attention sustaining, melodic soloing; not always the case with bass players. Great use of the bow also. Check out the tune "Loss".
Freddie Hubbard was one of those players who conveyed a very strong sense of direction in the soloing. You always get the feeling that his solo has a shape to it; that it’s going somewhere. Lesser players can give a sense of the music being "static"; the sense that the player plays phrases that don’t relate to what they played before nor give a sense that it will relate to what is coming next. Interesting compositions and great playing. Beautiful flugel on "You Don’t Know What Live Is".
Well Frogman, it seems that you can go on and on like that great "Energizer Bunny". Anytime someone disagrees with you, they are starting an argument.
I've been down this road with you before, but now I have learned that one must have the patience of "Job"; dealing with you has given me that patience.
To refresh your memory; the incident in question, posed "Now Is The Time" by "Bird", and "Doing The Hucklebuck" by anyone. Since this comparison gives such wide latitude, it's very easy for you to respond, but you wont because that would bring your "Omnipotents" into question.
As I stated previously, I'll quit this line of dialog after you have responded to that conversation, but not until.
In case anyone thinks I'm making a mountain out of a molehill, they can go back through the posts on this thread and see how many times Frogman has acknowledged any mistake that he's made.
He can chide someone else for making an error, even when that error may not involve the substance of the dispute. Just recently he derided me for quoting a wrong "you tube", although that still didn't get to the substance of the post, which was the drumming, plus it was an entirely different group on my post; that was the substance of my post, but he failed to acknowledge it. As Rok put it, that is his "Modus Operandi".
Since I'm in a "Trane" mood I'm going to go with one of my most favorite tunes "Invitation". Let's try the vocal by Dinah Washington, followed by Trane. This show must go on.
Rok, waiting for Frogman to change is like waiting for a leopard to change his spots or for hades to freeze over; consequently, I don't think I've got that long to live. I'm going on vacation, and you can keep an eye on him till I get back.
If anyone is still interested,I propose some music, for a change.... I guess the universal message should be same as the title of this next album. Jimmy Forrest 'Sit down and Relax' from 1961. with Calvin Newborn on guitar (brother of Phineas)
Always interested, Alex. Have been trying to keep the focus on the music, but.....well, it's all pretty obvious.
Ok, those two clips with Jimmy Forrest are without a doubt some of my favorites ever posted on this thread. What a tenor sound! Rich, suave, with just the right amount of grease. I had the pleasure of hearing him live at The Village Vanguard back in the mid-70s. Great player who, like another of my favorites, Dexter Gordon, always "told a story" with his improvisations. Similar rhythmic feel, but with a very different use of vibrato. Not sure how he would sound playing "Giant Steps", but in that style it really doesn't get better than that.
I like Calvin Newborn; new one to me. I like his phrasing and feeling a lot. I also like his electric guitar sound which is a bit "raw" and un-finessed. I also find it very interesting (especially on "Tin Tin Deo") how his phrasing is very much like a piano player would phrase. Growing up with a piano player in the family? Great clips. Thanks.
Alex, you probably know this, if not, check this out. Stan Getz was known for having been a very complex and difficult individual. Often, that complexity is expressed by deeply interesting and emotional playing that tells a story that doesn't necessarily have a happy ending:
Well, I guess that could be said for a quite few jazzmen or even artists in general. However,speaking of Getz and difficult personalitys, there is one 'relationship' (and album) that comes on my mind immediately.
For reasons that are known only to them, they did not like each other, and that animosity lasted more than 30 years (its been said, that Getz at a time was a heavy drinker, while Chet had othere prefrences, so maybe even their 'poisons' were not complementary, which is pity, as their music sounds as it is). They recorded together only on three albums (as far as I know)
One my favorite jazz quotes is Zoot Sims’ response when asked what he thought of Stan Getz: "Stan, he’s a great bunch of guys". Baker was known to be a nut; volatile pairing. The way that Stan Getz leaves the stage on your clip is very telling of how he felt about Baker. However, if I had to put my money on who I thought was the main cause of the problem I would put it on Baker. Getz leaves the stage abruptly for whatever personal reason. But, Baker then goes on to express his dissatisfaction to the audience; a big no-no in my book. You may find this interesting:
They did have a stylistic "simpatico", but I consider Getz the superior artist.
Some more music from Getz’s "Voyage". After Getz, the star of the album is Kenny Barron; incredible player who matches Getz’s ability to be poetic with his playing. The rhythm section sounds amazing:
I have mix feelings towards biography books. On one side I am curious, on the other I know that much of the events are personal interpretations of the author, even if he was the witness of some events in other people lives. Since almost all the jazzmen we have mentioned had endured all kind of different hardships in their life, reading about it makes it more demanding in sense that one should restrain himself of making judgemental conclusions, or else man could fall in trap of dislaking some work of art for a sake of dislaking artists personality. Even more, because we can never be certain are the written words realy true or not. However, some things are often repeated, from different sources, so there must be some truth about it, speaking of Baker or Getz. But, the fact that provacate me the most and it could be related to discussion that we had here recently is that you can read and understand that in 70's, such names as Baker and others, could not sell their music in the US. At least, not in music form that they used to do. So, I dont know what came first, the so called creativity that led to different styles (read fusion) or perhaps the audience and market that realy did not care any more for stuff that we all like, here and now? Answers, or better, questions about it could probbably lead us to another long discussion, but in any case I find such circumstances, and general public attitude towrds jazz or art to be very sad. Regarding Getz or Baker, probably the Getz was more verstile, but I have more Chets albums. Maybe because there are much more sax players with great sound (of course there are lot of great trumpet players as well) but Baker had that 'something' that was perhaps not even conected with jazz per se, kind of fame or aura that transcedent his playing into something more than pure music, in hearts and minds of many people. So, if I was objective, I would agree with you, but on the other hand, as 'Statler' or was it 'Waldorf' would say, music (sometimes) is matter of emotions and there Baker wins it, for me, of course
My heartfelt thanks for posting this. One of my great pleasures in life is hearing new music I fall in love with and have to buy. Jimmy Forrest just made the cut.
Stan Getz....’nuff said. One of my all time favorite tenor players and for me, occupies the high station of being able to groove hard while playing a ballad.
Thank you all. Again.
Here’s a guy I ran across several years ago. Leon Parker. I like his stuff. He has an uncanny ability to reduce everything down to just what’s needed. No fluff at all. None.
Great posts all; thanks. Alex, thougthful commentary as always.
****, or else man could fall in trap of dislaking some work of art for a sake of dislaking artists personality.****
Agree, but there's another trap: liking some work of art because we like the person and what that person represents to the extent that we overlook the flaws in the art. Why I think a certain amount of objectivity is important. I agree about Baker having "that certain thing". For me personally, the "tortured soul" persona wears a little thin sometimes.
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