Thanks for a choice clip Acman, I'll peruse all my Larry Coryell records tonight.
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.
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I am also relieved that you liked it since the significance of George Lewis in the history of this music is huge and anyone who doesn’t undertand this has no business claiming to be a jazz "aficionado". ***** How Dare You!! You disrespect the contributions of folks like Lewis everyday on this thread. Stick with the folks you promote. Cheers |
Frogman, you make the most "ludicrous" statements of anybody on this thread. "As far as I am concerned there is no room on a thread like this for making a comment "exclusively" for a specific poster; especially when others have been part of the same discussion". We respond back and forth to different individuals all the time, and I responded to a comment that Rok made. Since when do you determine the rules of engagement on this thread? I just said "Your right" because I could see that you were about to go into another of your very long "diatribes" and I thought I might head it off at the pass. Rok made the statement about the media, and I responded; that should have been the end of that. In support of your position, I respect the heck out of Orpheus' and Rok's depth of knowledge about and enthusiasm for "old school jazz" but seems needlessly restrictive to draw a circle around that and dismiss content that falls outside it...regardless of wardrobe. While I most certainly like a lot of "old school jazz", I most certainly do not dismiss content that falls outside of it...regardless of wardrobe. Seems to me Ghosthouse, that you are using Frogman's evaluations; especially when you say "Rok, and Orpheus"; we are not twins. I was just listening to this by "Chico Hamilton" and wandering how you, Ghosthouse, would classify it? https://www.youtube.com/watch?v=UI7T9EMZGYc "Old school", is that a type of jazz, or jazz that's bounded by certain dates? If you say all jazz before 2015 is "old school", that would most certainly mean that I'm "Old school". https://www.youtube.com/watch?v=BXdMnwERjG0&list=PLF2393B9681E9451A Kick it Chico! Enjoy the music. |
This post is in honor of Larry Coryell who besides being a leader, was a sideman with many of my favorite jazz musicians; one of them was Chico Hamilton. https://www.youtube.com/watch?v=dHP6NzrFrR0 Larry was creative enough to excel in many different styles, bop, fusion, and just straight ahead jazz. Here he is live, late in his career; kicking some fusion. https://www.youtube.com/watch?v=s7E3Q8SmzTE "Beyond Category" is the title of this, and that's just what it is; https://www.youtube.com/watch?v=E_xqFL9XKAw That guy could really pick a guitar. Enjoy the music. |
Well, as I said previously, it is obvious (as it has been for a long time) that some of us live in different universes as concerns music and other matters; honest self-awareness, or lack thereof, of what is behind our respective motivations for saying what we each say here being one of the most glaring examples. Let’s first, and once again, point out what it is that started this most recent "bru-ha", to use O-10’s expression. I was included and involved in commentary by O-10 in an inappropriate and provocative manner; something that he has yet to acknowledge. Of course, this came on the heels of an acknowledgment by him that, yes, it was inappropriate to address posters "exclusively" during a general discussion. I fully expected there to be fallout for my temerity in pointing this out to him as there always is in similar situations. I was right. O-10, you nor anyone here gets to decide when "it should be the end of that" as long as the dialogue remains respectful; that’s all. Besides, why then was it not "the end of that" for you? Rok, your indignation re my George Lewis comment is very telling. Classic, go for the indignation when one has nothing substantive to say. What is most telling is that you failed to see the humor/sarcasm in that comment and chose instead to see it as some sort of violation or intrusion into what you consider your purview, that of keeper of all that is "Nawlins" and "Roots" in jazz. Of course, all the time ignoring the frequency with which I have posted and written about early personalities in jazz and their relevance to its history and these discussions; more than anyone here (including you). You think that by acknowledging and, God forbid, the "new" one "disrespects" the "old". Nothing could be further from the truth and this notion violates one of the most basic tenets in jazz and any creative art form; a tenet that the very folks you feel need your protection and indignation held dear. How’s that for irony? As I have reminded you many times eventhough it is obvious, I have posted and written about every era and style in jazz. However, since you can’t relate to my universe, a universe that sees jazz (all art) as a continuum you keep trying to relegate me to status of promoter of "new jazz" or as you used (?) to say "noise". The psychology behind all this is really rich and its probably best if I stop here and hope for the best. O-10, I have nothing new to add to what I have already tried to convey to you re our recent exchanges. I do think that if this thread is going to get out of its rut and not just "plod along" the bs needs to be called out. It’s really all pretty obvious and, as always, I am moving on; I suggest you do the same. As always, hoping we can do better moving forward. Regards. Btw, how does one dance the "floy-floy"? Would love to see that. |
Hey check this out; love it. Thanks, O-10: https://m.youtube.com/watch?v=vtCpzov_bQ4 And here it is; O-10 dances the floy-floy https://m.youtube.com/watch?v=a3rnFdaBh9E Btw, if one thinks that entertainment has gotten racy in recent years, consider that the lyrics of this song referred to a prostitute with a venereal disease; ouch! |
Today's Listen: Gabor Szabo -- MORE SORCERY https://www.youtube.com/watch?v=9xJC20dmqJk Brings back wonderful memories of Europe and the Cold War. Those were the days. Der Froschmann: The only thing that you know that others on this thread might not know, is music terminology. You can describe things using terms taught in some schoolhouse. That's it. As far as appreciating Jazz goes, well that's another story. Cheers |
Badass piano player. I love Red Garland. One of the most individualistic piano players in jazz. He introduced the block chording idea to jazz piano where he plays block chords with the left hand in the same rhythm as the melody in the right hand. This gave him one of the most distinctive sounds of any player and he did it with an amazing amount of feeling of swagger. This has always been one of my very favorite jazz performances that I have on record; by any artist. A real classic: https://m.youtube.com/watch?v=J3UnzDeZ8lI Btw, a not commonly known fact is that Red Garland was an accomplished boxer who actually fought Sugar Ray Robinson at age nineteen; he lost badly. Fortunately he decided then to concentrate on his other talent. |
One of the most misunderstood things in and about jazz (all creative art) is the "process" that artists embark on when developing their craft. It is easy to be seduced by the very romantic idea that the creation of the art (improvisation as concerns this thread) is almost entirely the result of the expression of the "creative muse"; a force that takes over and simply flows involuntarily from the artist. Words like "process", "develop" and "craft" can seem to be in opposition to the romance. The reality is much more complicated than that and is a combination of both sides of the coin. The great jazz artists have huge intellects and voracious appetites for learning via study and discipline; things that may seem to fly in the face of the free-wheeling attitude that they sometimes portray in their public personas. The greats studied not only the music of other great musicians in other genres, but also meticulously studied and had an encyclopedic knowledge of the classic recorded solos played by other great jazz players. They would learn and often transcribe (write down) these classic solos. All this becomes a part of the musical frame of reference that they draw from on their way to developing their own unique sound or style. This is a great example and may be of interest to some: One of the classic solos that became famous among players like Red Garland and was carefully studied and analyzed was the trumpet solo that a young Miles played on the tune "Now’s The Time" on a Charlie Parker recording from 1945. Thirteen (!) years later on the Miles Davis recording "Milestones", on the tune "Straight No Chaser" which has similar chord changes as "Now’s The Time" and faster tempo, Garland would actually incorporate Miles’ 1945 solo in his own solo and would play it note for note in his distinctive block chord piano style. Amazing! https://m.youtube.com/watch?v=b5bQErnsIhg This is Bird’s 1945 recording in its entirety with Miles playing the famous solo: https://m.youtube.com/watch?v=c1n4yr4SmA4 Miles’ 1958 "Straight No Chaser" in its entirety. Garland plays Miles’ 1945 solo at 7:30: https://m.youtube.com/watch?v=pthTtLZINHQ |
Frogman, that album seemed to be in everybody's collection. My favorite cut was "Milestones", that was why I bought it. When we choose the same identical LP's, we never choose the same cuts. I noticed this ages ago, but never wanted to mention it because you might get offended. I don't think it's anything that should be offensive, just differences and similarities in two involved and advanced jazz fans. https://www.youtube.com/watch?v=k94zDsJ-JMU Enjoy the music. |
Frogman I'm amazed by your knowledge of this music we call "jazz". Another amazing fact is that some jazz artists, and musicians are quite educated, and articulate in the formal sense. I have been most amazed by the ones that can't read music; it seems they had become professional musicians before they realized that wasn't a good idea. By that time, what else could they do? Think about it. Professional musicians who can't read music are totally unbelievable; they just get up on stage and blow a whole crowd of people away. I've seen this so many times, and found it unbelievable each time. Jazz has a wide variety of people and artists in regard to musical education. |
At this time, I was working with an "Anthropologist" and I didn't even know what an anthropologist was, or did. We were working together building wire mock up for aircraft; those are the bundles of circuitry for planes; never mind if you don't understand that, the only relevance is that too diverse people were in the same place at the same time, working the same job, and that was the reason they were there. This guy was the most brilliant person I had ever been around; when he told me he was an "archeologist- anthropologist", I couldn't stop asking him questions; the first one was "What are you doing in this aircraft manufacturing plant."? He told me he was waiting for a "dig"; that's one word, meaning people pay you to dig in Africa, or somewhere when they get funding. (an awfully insecure job), and working to support himself until that happened. He talked like somebody who was born on a college university with old buildings, and any time the work slowed down, I peppered him with questions, and he always had the answers. I had just bought this Mingus album "Pithcanthrupus Erectus", and I asked him if he knew what it meant; when he told me in great detail what this meant, and how that was part of his job, I was floored. pithecanthropus 1. any primitive apelike man of the former genus Pithecanthropus, now included in the genus Homo See Java man, Peking man. When this man stood up, he was "Pithcanthrupus Erectus". Here is Charles Mingus's take on that; Mingus saw this as the first upright human being and assumed that since he was so proud of standing up, he saw himself as the ruler of the world. And as the ruler of the world, he became rather arrogant. And then, this arrogance makes a counterattack with nature, which led him into decline, and eventually he fell into extinction. That is what Charles Mingus intended for you to hear; can you hear it? https://www.youtube.com/watch?v=ZB6GkA54n_Q When this dude stood, he felt like ruler of the world. |
Two recordings have always stayed in my heart for years... 1. Gary Bartz - Ju Ju Man. This is a very rare Japanese import...if you can find it (no matter what medium) buy it. His recording of "Chelsea Bridge" is just amazing...he starts on clarinet and switches to soprano sax half way through...one of the most soulful and emotional readings of a chart I have ever heard. 2. Buddy Rich Plays and Plays and Plays. Recorded in the 70s...I have so much respect for Bob Mintzer as an incredible saxophonist and also a composer/arranger. I had this on vinyl, but couldn't find it for years...I finally met Mintzer and asked him about it...he told me it's available on a cd reissue titled "No Jive." Honorable mentions... 1. Herb Ellis/Ray Brown - Soft Shoe (Concord label). Although we think of George Duke as a funk/hip hop/fusion kind of electronic keyboardist, he was in reality a very fine jazz pianist...this is one of the few jazz recordings where we can hear him playing straight jazz on an acoustic piano...just buy the recording to hear his performance...he is just amazing. 2. Monty Alexander in Tokyo. (Pablo label). This has to be one of the hardest swinging recording sessions I have ever heard. The young Monty Alexander just plays with an intensity that never lets up until the record is over. The rhythm section has a hard time keeping up with him. |
Chelsea Bridge has long been one of my favorite tunes, and here it is by Gary Bartz. https://www.youtube.com/watch?v=r06X2gyc-FM Enjoy the music. |
Interestintg set of mentions, mikeydee; nice post. One of the most interesting things on YouTube giving some insight into Gary Bartz, while talking about Miles. Great player, Bartz; he sounds amazing on the clip behind the interview footage: https://m.youtube.com/watch?v=QCLqDOmMB3w |
Definition: There are so many different types of definitions, that we could go crazy just defining the word "Definition". When it comes to the word "Jazz", I always explain what the word means to me "personally", as opposed to any universally acceptable definition of the word. Rok's definition was the acceptable "historical" definition up to a point in time; also, there are some jazz musicians who themselves don't like the word, and prefer "Blues Player". I have stated "my" definition of the word, and by now, Aficionados, should know it; that should be sufficient for "communications", which is what this thread is all about. This thread is not intended for "Publication", which would mean everything has to be technically accurate. People who post on a regular basis on this thread, "Live jazz"; it's part of their daily life, and we share what we live with one another; it is not written that we should agree. When people who have lived, and are still living a genre of music, that no one seems to know what to call it, they should not be expected to agree. I appreciate the most recent contributions, and I will listen in depth, and get back to you on the music. Enjoy the music. |
The tune as the composer himself played it: https://m.youtube.com/watch?v=7-jQ9lFiV7U The classic version: https://m.youtube.com/watch?v=xN16JMNb2Yw Unfortunately, not a complete version, but sublime tenor from Paul Gonzalves: https://m.youtube.com/watch?v=gjeHQTqUyxg One of my favorite more modern versions: https://m.youtube.com/watch?v=Z7L_DFGhqW0 |
Thanks Frogman! So many great versions. I was listening to this the other night. https://www.youtube.com/watch?v=Lgsgfsha9jI |
Great one, Acman3! I actually had that in my post after the Joe Henderson version, but deleted it because there is so much to say about that cut and wanted to keep the post concise (for a change 😉). Interesting version of this great tune on several counts. It’s on one of Phil’s less known (but very interesting) records featuring his fantastic talent as an arranger. He overdubs/multitracks himself to create a great sounding saxophone "section" led by his own soprano and goes on to play a swinging soprano solo which itself is a bit of a rarity since he recorded mostly on alto. Nice string writing, too. Great record, and what a loss his recent passing was. Thanks! |
A couple more unique takes on this great tune. Not as a ballad, but at a medium tempo. Beautiful brush work by Elvin Jones: https://m.youtube.com/watch?v=9I4dLLA2lk8 Someone who has gotten conspicuously little attention on this thread. Slow tempos separate the (wo)men from the boys: https://m.youtube.com/watch?v=zusDRqiiQzQ |
While we have differences, it's amazing how much we have in common; who would have thought we had so much in common regarding this one tune, "Chelsea Bridge". Some of us have been wandering why we don't have more regular posters; there are more reasons than we can think of, and many that we never thought of. I communicated with someone a short time ago who told me he had been following this thread since it's beginning. I asked him why he never posted, since he was apparently a jazz "aficionado". He never gave me a straight answer, but reading between the lines, he lacked confidence in his ability to communicate in writing. That's another reason why we had so many more hit's than posts; people are naturally lazy, and it takes some effort to communicate in writing. Whatever the reason, let me know when yall find out. In the meantime, I'm doing just fine with what we got. Enjoy the music. |
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Another of my favorite Billy Strayhorn tunes bearing that unique melodic stamp that all his tunes have: https://youtu.be/sr8CM2kqUao |
Fabulous clips of a fabulous and very haunting tune. Late Joe Henderson was indeed very sweet. One of my very favorite tenor players who never relied on sheer volume and "saxophone splitting at the seams" attitude, instead playing with a lot of nuance and inflection; unusual for a player with such a modern harmonic vocabulary. It might be interesting for the geeks to know that he chose to play on a mouthpiece designed for Classical music performance; this surely contributed to the sweetness in his sound. Thanks for the great clips; Acman3! More Strayhorn: https://m.youtube.com/watch?v=EK21QOuY7mw https://m.youtube.com/watch?v=RBLuFOrAa_0 O-10, thanks for bringing up Strayhorn. |
And, of course, there’s the best known Stayhorn tune of all. Often credited to The Duke, "Take The A Train" was actually penned by Strayhorn and the story behind it is interesting. Duke’s band already had a "signature tune", but when Duke’s publisher raised the fees for broadcasts of it’s catalog (remember, radio was everything back then), Duke asked Strayhorn, who had a different publisher, to write new material for the band. Fletcher Henderson is reported to have rescued the tune from a garbage can as Strayhorn was initially unhappy with it (!?!?). https://m.youtube.com/watch?v=1ggcQk67Mco |
Rok, I've been running into records that I'm sure you had in your collection because we used the same reviewer for buying, "Stereo Review". "Shadowfax Too Far to Whisper" was one of them that I think is a really good alternative to "Straight ahead Jazz". I've also got 3 "Cadona" albums that I'm not too sure of, plus "Old And New Dreams" with some of the same people. Just curious to know if you remember any of those albums? "Shadowfax too far to Whisper" is definitely a 4 thumbs up, while one recorded in 75 is 4 thumbs down, but all of "Shadowfax" on Windam Hill are very well recorded. https://www.youtube.com/watch?v=Yhr5j9a5L0A https://www.youtube.com/watch?v=FESYij5cfKQ I found all the cuts on that album to be consistently good music worth listening to. Enjoy the music. |
I know I have owned Shadowfax LPs in the past. I can visualize the album art, but, after checking my LP printout, I don't see Shadowfax listed. I may have given it away during one of my many moves. I left many a LP in Germany and Korea. Today's Listen: No Youtube :( Various -- PROJECT G-7: A TRIBUTE TO WES MONTGOMERY Players include: Kenny Burrell, Gene Bertoncini, Ted Dunbar, Kevin Eubanks, Rodney Jones and Jack Wilkins. Guitar players all. Excellent CD. Could not find it on the tube. The Leopold String Trio -- Mozart Divertimento in E flat K563 Not Jazz, but it does remind one of, and demonstrates The Duke's first law of music. Played at volume this is just awesome! Cheers |
I did find this one on the tube. George Benson -- SHAPE OF THINGS TO COME https://www.youtube.com/watch?v=zots1vvsmcY https://www.youtube.com/watch?v=ehciznyZI8E Cheers |
I love George Benson's guitar playing; I like his musical attitude. The problem I have always had with Creed Taylor productions (even some of the Freddie Hubbard and Stanley Turrentine projects which I generally like) is that, imo, they always demonstrate a heavy handed production style. Producers take one of two approaches come recording session day: they create a vibe in the studio that says "you guys do your thing and I will capture it on tape and maybe tweak it a little bit in here", or "this is what I want and I want it like this...". The former approach creates an atmosphere where the players are too concerned about everything being perfect. CTI recordings, as good as some are, seldom have much sense of spontaneity to them for me. Everything sounds controlled and stylized, from the extra reverb on the horn section to percussion that sounds a bit too careful. Benson always sounds great though and this is one of his best from his CTI period. |
Great tune, swinging performance with great solos and no fluff: https://m.youtube.com/watch?v=0pw6zfYCu5U Out of control producer: https://m.youtube.com/watch?v=CKO2Vc2bWLw Given that one is a live recording it's a bit of an apples/oranges situation. Still, I rest my case. |
Frogman, you made a very good case, and I am of the same opinion; even more so. My most popular "George Benson" LP's that I bought in the "disco days", I could live without. Presently I like the self expressive guitar of Wess Montgomery, especially the trio recordings. They have the feeling of being in an intimate club, and hearing it live, plus you can sense that the music is coming from the heart. Sometime musicians play for themselves, and this is when they sound the best; for example, when Grant Green played those spiritual recordings that are posted here somewhere, he was playing for Grant Green, and you could feel it. Enjoy the music. |
Just finished listening to this record. Had never heard about this project. It is a great record; liked it a lot. Great playing all around and with a really tasty feel on all the tunes. I like the rhythm section a lot, particularly the drummer. A little research showed that it is one of a series of three "Tribute To Wes M" records, each featuring a different set of guitar players. G-7 is the second in the series, and it has a Vol.2. I came across this for anyone who wants to know who is playing on each cut: Thanks, O-10. https://www.discogs.com/Project-G-5-A-Tribute-To-Wes-Montgomery/release/7115516 |
Rok, I've discovered something that's extremely relevant to all of our "off thread" conversations; something I hope isn't true. It centers around the word "Kibuki" or to be correct "Kabuki Theater". https://en.wikipedia.org/wiki/Kabuki This centers around what the election drama has been alleged to be, and believe me, it is very important. |
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This centers around what the election drama has been alleged to be, and believe me, it is very important.***** I don't get the connection to the recent election. It is hard for me to stay focused on Japanese stuff. What exactly does a record Producer do? The only CD I have with CTI as the only label listed https://www.youtube.com/watch?v=4OjuCA-SsJM I was shocked to see how much CTI and ECM I had on LP. A Lifetime ago. Cheers |