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.
Orpheus10, thanks for the additional information and commentary. Always grateful for your contributions and insight. This thing called jazz needs folks who are real students of the art. And you are so right ... it has special meaning to play something I saw Bobby perform. He was also pretty much of a regular guy. There was an occasion when he finished a set at the Oakland Arts & Jazz Fest and there was Bobby, chattin' it up with a few young, up-and-coming aficionados, signing vintage albums. Kinda makes me sad right about now, but still great memories.
Strateahead, I personally know how much we cherish those moments spent in the company of those musicians we hold in such high esteem; to sit at the bar and chat with one after the set.
Almost all the musicians I've spent that kind of time with are dead, except one; Frank Gant, he's still around. He was in Chicago with Ahmad Jamal when I saw him, and we sat at the bar after the set and chatted about jazz. He was as regular as any of your best friends.
What I never forget about these jazz musicians, is how much "God Given" talent they have; no amount of schooling could get you to where they were.
From now on, when I play Bobby Hutcherson, I'll think of him as one of Strateahead's friends.
Toots Thielemans died two days ago; he died in his sleep in Brussels. He was 94. That's a cool age and way to go out; since we all got to go, I choose to nod off and wake up on the other side, just like Toots.
He began his professional career as a guitar player. (I didn't know that, did you?) He was inspired by Charley Parker and Dizzy Gillespie to return to the chromatic harmonica.
He was named a National Endowment for the Arts Jazz Master in the U.S., and a baron by the king of Belgium. And he only retired from performing at the age of 92.
Out of the many things "Toots" has done, this is my favorite work by him, and I read somewhere that it's also his.
Yes. Not only did Toots start as a guitar player, he was a great whistler (whistler!) who created the unique and instantly recognized sound of whistling in unison with his guitar playing. Great musician.
Thank you much Frogman; Toots had so many talents that we forget some of them, he was a very unique musician. Here is another one where he whistles and plays guitar.
"Stardust" is one of the most beautiful tunes, and it's even more beautiful when Toots does it.
Alex, thanks for a wonderful contribution that includes the discography of Bobby Hutcherson. I didn't realize I had so many albums by him as sideman, where his contributions made that album so memorable.
Orpheus10, I didn't know Toots played guitar until this morning ... riding in, listening to the local jazz station. They were featuring a cut from something he did in 1953 as George Shearing side man. BTW, vibe player in that group - Cal Tjader.
Many thanks to you and Frogman for sharing those "Toots" recordings. Good stuff!
Although I've had Quincy Jones "Walking in Space" since forever, I didn't realize "Toots" was on this album until now; that's because he plays guitar on the title cut, Walking in Space, and I associate Toots with the harmonica. This is a nice long beautiful cut, and he plays both harmonica and guitar on this one cut.
Greetings aficionados. Hope everyone is surviving this warm summer. Appears to be a little break in the thread action here so I wanted to use it to call some attention to what is for me a wonderful recording. Thanks to my friend (and fellow A’gon member) Pokey77 for pointing me to it. The album is Invisible Cinema by Aaron Parks. Great instrumental jazz ensemble playing. Hope you will give a listen. For me it’s been something I didn’t quite get the first time around, but it drew me back. Got a little better with each subsequent listen. It certainly bears repeated listening (leastways for me). In addition to Parks’ tasteful and melodic piano, the guitar work by Mike Moreno is superb. Not a heavy handed phrase in any of it...in my O-pinion, of course. If the link below works, you should be able to listen to the entire album. YouTube sound quality seems pretty good.
Ghosthouse, it's good to hear from you. I'm listening to "Travelers" right now; so far so good. I've never heard of any of the artists, but that doesn't mean anything. Yes the sound quality is very good; that's one of the things I like about current CD's. This music is quite listenable; that's something I can't say about a lot of current music.
Now I'm listening to the guitar on "Peaceful Warrior"; he's got his act together, and I like the way the whole group is integrated to produce pleasant sounds. On "Peaceful Warrior" they decided to give the drummer some, near the end.
I can see how this music would draw you in after more than one listen. They kind of remind me of "Shadowfax" the group. Have you ever heard "Shadowfax"?
Like you said, "Not a heavy handed phrase in any of it"; my interpretation of that same phrase is "Needs a little more drama", but quite listenable.
Hello Orpheus - Pleased you are giving Invisible Cinema a listen. Yes, I’ve heard Shadowfax but it’s been a while. Will have to go refresh my memory on them. I thought I heard shades of 80s Pat Metheny Group. Your "pleasant sounds" and "needs a little more drama" are perhaps tactfully delivered criticisms but duly noted and worth considering. I think there’s a bit more drama to come as you listen past the first couple of tracks. Compared to some of that Windham Hill stuff, I’d say it’s got a bit more "heft" and depth but does tread close to "pretty" at times. Still, for me, it’s got a nice balance of accessibility and complexity. The musicianship is first rate, regardless. After posting, I was going to hedge my bet on calling it "jazz" but jazz ensemble playing seems appropriate. The compositions seem conventionally song-based and, obviously, not hearing too much improvisation - though I could well imagine improv aplenty in a live presentation. I’ll be interested whether it becomes something on regular rotation in your listening.
A PS for O... For something that’s a bracing counter to Invisible Cinema, check out Alan Pasqua’s "The Antisocial Club". I only learned recently that AP had played in the 2nd version of Tony Williams' Lifetime. The Antisocial Club is a more challenging listen than Cinema but not too far out there. Pretty sure it qualifies as "fusion". Once again great musicianship and very good sound quality.
Every since I opened the posts of Abbey Lincoln from The Frogman, You-tube seems to think my computer is a mobile device. I cannot open/play anything posted here. Every time I try to open any link, or post, the you-tube address has " M. " before the word you-tube, I assume this "M." stands for Mobile. This is a recent development. Anyone know how to get rid of this?
Cheers and thanks.
BTW, I removed the M. from the last post I sent to see if that would work. It didn't.
If you do the slow and tedious copy and paste of the you tube link into a new browser window does that work? or not even then?? I use a Mac Air and didn’t open Frogman’s Abbey Lincoln stuff. The Alan Pasqua link Rok re-sent works fine for me right in the A’gon text box.
I know I read this somewhere before, but I can't find anything to authenticate it, so you will just have to take my word for it.
When Rudy Van Gelder recorded, a red light came on to signal; time to wrap it up. On Joe Hendersons solo on "Idle Moments", he was sounding so good, that Rudy just let him blow past the allotted time, and didn't turn on the red light.
If you guys are having trouble understanding that stuff, it's not because you're dumb. My "Geek" cleared my problem, and I don't even know what he's talking about when he's talking about computers; it's like he's speaking a different language.
I have never had more problems understanding anything than I do this computer stuff, and they give you 5 choices of ways to clear "browser cookies". I hope you get it cleared up soon.
Which worked? I have not a clue, but I suspect AOL was the culprit, along with The Frogman. If a person posts using a mobile device, maybe it would be a good ideal to state that in the post.
Glad you're back in business Rok. Now we know to stay away from any link with an M in front of it.
Have you heard Ghosthouse's link yet?
I have been accused, not by Ghosthouse, but others of having a problem with new music. Apparently I'll have to plead guilty.
His music had top flight musicians, and the best sound quality, but it lacked drama from my point of view. I think if those same musicians had played a better composition I would like it. The reason I'm mentioning this, is because I seem to have some kind of problem with almost all new music, and I regret that; as a matter of fact, I'm hoping someone else gives this music a big thumbs up.
O - Did you get all the way through Invisible Cinema? I'm thinking there's plenty of drama all through it starting with Track 3. Check out Track 6 "Karma", for example. More elsewhere too if by "drama" you mean a sort of tension that builds through a given composition and energizes the performance. At the same time, if it's not working for you in that regard...so be it. Different tastes. However (and this is not meant as any kind of challenge) I'm curious about what you hear as drama. If not too much of a nuisance, point me to something you regard as a good example of such. It'll help me better understand what we are talking about! Thanks.
Ghosthouse, any time an individual is sincere in his efforts to communicate, I will go the limit.
I haven't been in my best listening mode lately, and I listened on the headphones. After I pipe it into the big rig and listen, I'll get back to you, and answer all your questions.
I listened to Alan Pasqua's "The Antisocial Club" again, and I heard MIles in the early 70's, plus the best of fusion during that same time period, but it was all original.
I don't know much about different kinds of "keyboards"; could you identify what he was playing on that cut. That instrumentation reminded me of a club I went to in the 70's.
O - I think what you hear from The Antisocial Club makes sense given Pasqua's time with Tony Williams and TW's time with Miles before that. Continuity, sort of.
I'll make a prelim guess and then try to confirm in the next couple of days but it wouldn't surprise me if Pasqua plays a Fender Rhodes electric piano.
No worries "about not the best listening mode". When it hits you, share something you find dramatic. A picture's worth a thousand words.
It is, indeed, a Rhodes. In fact, one of the tunes on the record is titled "New Rhodes".
Liked the Pascua clip; a lot. O-10 is correct, 70’s Miles. Not quite the level of grit and excitement heard on "Bitches Brew", but the overall vibe is very similar with very harmonically extended soloing over rock influenced rhythms. Ambrose Akinmusire sounds fantastic; a very young exciting player with a very interesting harmonic sense in his improvising and an obvious extension of the style that Miles created. The tune starts with an interesting melody and sounds just a little "smooth jazz" for my taste. It is in the solo sections that things really take off and approach the feeling of 70’s Miles. The amazing thing about "Bitches Brew" is that the "tunes" were created on the spot or from very sparse outlines. There was musical magic in those sessions and one more indication of the genius of Miles. Listen to the Pascua clip again and then listen to this; especially the solo sections:
Also liked the Alan Parks record; a lot. Interesting player and compositional concept. About the only thing I don't like about the record is how they recorded the drums. The balance between the drums and piano seems skewed toward the drums because the piano was recorded to sound a little distant and covered in comparison to the the very up close sound of the drums. Very "ECM" vibe overall; in the best sense.
FYI, I am posting, as I always have, from my iPad. It seems to me that, in this day and age, there should be enough compatibility built into computers and other devices to not have issues with Apple/YouTube. Having said that, if anyone knows of something I can do at my end if, in fact, my iPad is generating some issue, let me know.
I wrote my previous comments re Aaron Parks (not "Alan"; sorry) after listening to just two cuts. Listened to the rest of the record last night. I find Parks' music interesting and, as Ghosthouse says, there is plenty of drama of a particular kind; subtle, quiet simmering and a little brooding. I do find a similarity to Metheny's music, but without the unabashed "up" and "sun is rising" vibe of Metheny. Don't know anything about Parks' background, but he clearly studied Classical piano and I would bet he is a fan of the Minimalist composers. The kind of jazz that, while an extension of, does not scream "I come out of the blues". One of the stars of the show is Eric Harland on drums. I like the role of the drums in this music; more than time keeper with a "duo" role with the piano. I stil feel that there is a balance issue due to how the drums were recorded; up close vs the piano's slightly distant sound. Thanks.
Ghosthouse, I use the word "drama" to express excitement; something is happening that makes you want to move, you can feel the music. Sonny Clark seems to always have this element in his music, it is in constant motion, and often causes you to visualize something.
In this tune, titled "Search For The New Land" I can visualize someone using their hand for a visor, on a ship, searching for the new land. Modern dancers, choreographers, could really do a thing to this number.
O - thanks for the links. Seems like we are coming at "drama" with different expectations. I listened to the Sonny Clark. The playing is great - John C. just can't help himself being Coltrane ! can he?? :-) and there is something about trombone that just works so well in a jazz setting... thank you Curtis Fuller but that particular piece didn't hook me. Much prefer the Lee Morgan "Search....". It has a moody quality to it and draws me in. Pretty certain you have mentioned this recording before. Is the LM/SFTNL dramatic to me? Yeah, maybe, I think so...more than the Sonny Clark but I still feel like I'm stretching to hear what you hear w/r to "drama". That's not a shot at your examples. How we hear is at least partly (maybe a big "partly") dependent on our histories. I gotta keep listening and when I find something that hits the spot, drama-wise I'll share.
Frogman - I found your comments about Invisible Cinema spot on. We are hearing similar things in that recording (even to the extent I thought there was something not quite right about how the bass part was in the first and second tracks...maybe it's the drums that were bugging me!). Gratified you spent time checking it out. Aaron Parks was a "child phenom" and just coming into his own now. Some helpful interviews and bio info on the web Funny on your ECM comment. Cinema was a Blue Note recording but his (latest?) Arborescence is on ECM. Especially loved your point contrasting Metheny. All in all, well articulated as were your comments about Pasqua/Antisocial Club.
For me, both these recordings are getting a lot of listening time AND the artists have led me to other new music they are associated with. Thank you both for your time, energy and helpful comments.
Ghosthouse, I must be using the wrong word. The purpose of language is to communicate; if a word means one thing to you and another to me in regard to music, we need to find another word.
The piece that didn't hook you is one of my absolute favorites, and has been for a long time; I even have 6 different vocal versions of it that I play a lot. Here is one of them by Carmen.
That is a perfect illustration of the "subjectivity" of music. Yes I have used it before; in this instance I was trying to illustrate the visual nature of that piece.
The Sonny Clark clip is, without a doubt, one of the best things ever posted here. Classic hard bop by some of the best that ever played the music. GREAT feel and a lot of attention paid to really nuanced ensemble playing; not always heard to that degree on "all-star" sessions. Trane sounds absolutely incredible. His tone is, for me, at that point when it was clear that he had made a clear departure from the more traditional tenor sound and was headed to a pretty far-out place; but, was still not totally committed to the screaming, take no prisoners tonal expression that would soon come. Great clip.
However, I don’t really understand a comparison to something like the Aaron Parks’ brand of jazz. For me, it’s apples and oranges. Re drama: like all couples, my dear wife and argue sometimes (😉). In the heat of the moment, she says I raise my voice. Me? Imagine that! She, gets quiet. (From my previous post:) "quiet simmering, brooding". Drives her crazy when I point out that is her way of "raising her voice". Drama in both. Thanks for the clip, O-10.
I think we should continue to honor Bobby Hutcherson, and Toots Thieleman by playing there music. That could prove to be beneficial to our collections, plus quite enjoyable.
One of the CD's I have is "Skyline": Bobby Hutcherson (vibraphone, marimba); Kenny Garrett (alto saxophone); Geri Allen (piano); Christian McBride (bass); and Al Foster (drums).
Two of my favorite cuts on this CD are "Delilah" and "Chans Song". Here are the links to those cuts.
Frogman, a comparison to those two is even farther apart than apples and oranges. I was making an attempt to illustrate the word "drama" as I used it to describe music. That was a flop; evidently I need another word that I have yet to find.
I instituted links in order for the music to describe itself. Since you are the "words smith" I'll leave it to you to describe the music in that fashion. (words)
We absolutely agree in regard to that Sonny Clark clip; all of those musicians were at the peak of their musical powers. My opinion of Trane is that he didn't realize he was so good "without" any extra special effort, that he could only go down hill when he tried too hard. I'll try to give you an example of what I'm talking about.
Serena Williams has the best form for the tennis serve in the game; male or female. That is something they learn as children when they first pick up a tennis ball. Her old man had enough money to hire a coach and teach her the form of Poncho Gonzalez for her serve. Poncho's serve was possibly the best ever in the game.
Most of the other players, male and female have different kinds of "Hitches" in their serve; while they get the ball in the box and make occasional aces, they don't have perfect form that results in swinging the racket the exact same way every time. My point is that her form is so perfect, that she can make more aces if she doesn't try as hard to make an ace.
Trane was at his best just before and after he left Miles. Whatever he was reaching for just before his death was too elusive for me, and a lot of his most devoted fans to hear; including McCoy Tyner and Elvin with an "E" Jones. (just kidding about the "E") When you focus on Trane with Miles, and right after he left Miles, you will detect how perfect his statements were; that only comes from an almost supernatural ability in jazz. Especially when you think of someone performing before a live audience, and not even have seconds to think about what he's going to play, and play it.
O-10, I find nothing wrong with your use of the word "drama" to describe what you hear in music. However, perhaps a better way to describe "drama" might be the comparison between two examples of similar music; but, one example is performed with "drama" and the other without (or less). If we can agree that the Parks and the Clark examples are "apples and oranges" this seems like a better approach.
I understand and appreciate why you don’t like Coltrane’s last chapter in his creative development. Personally, I wouldn’t feel comfortable judging the direction that a giant like Coltrane felt it was where he needed to go. I prefer to think that I just don’t understand that direction.....yet. Going too far? I can’t judge that. I do know that when I listen to his music from that period, and I consider his development as an improviser in a chronological context, it sounds like exactly where he seems to be headed and needed to go. Can’t argue with that.
Recorded about six years after "Sonny’s Crib" and definitely in a different place musically. Amazing music.
Beautiful Hutcherson clips; thanks. As Joe Chambers points in his great remembrance which Alex posted, Hutcherson had a very individualistic tone. To me, his tone always sounded close to that of a marimba's woodiness as opposed to the more metallic and more sustained tone of other players.
Frogman, I remember the first time I heard "Speak Low" by Sonny Clark. I was on a date in a night club when I heard this music emanating from the jukebox. It had been one of my favorite tunes for some time, but I never heard it played so well. At that time I couldn't identify the musicians, but I knew this was the best tenor sax solo I had ever heard to play that tune.
Of course we now know it was John Coltrane. Yes, he advanced from the time that came out till the clip you posted, but he could not have played that solo on "Speak Low" any better.
After I learned the personnel on that record, I realized why it was the best I had ever heard; it features Donald Byrd, Curtis Fuller, John Coltrane, Paul Chambers, and Art Taylor. It was Released Mid March 1958, Recorded September 1, 1957 Van Gelder Studio, Hackensack, plus that LP also had Rudy's stamp of excellence on it.
You gave a perfect description of Bobby Hutcherson's vibes.
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