The context in which Art Blakey is mentioned in that article is quite bad, if that is true, he seemed to be a very bad person. Wonder if anybody else read somethinhg about it ?
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.
31,635 responses Add your response
Frogman, your evaluation of my posts mean a lot to me. There is a very thin line between a true crime of passion and cold blooded murder. The nicest sweetest people who would never commit the crime of murder, have in essence done so in an instant when their lovers said the wrong words; but of course we're talking primarily lovers in their twenties. "There is no way I would ever marry you"; that one sentence has gotten more men killed, I even knew one of them. Back to the music: that solo is exactly what I'm talking about. There are many other solos by Lee Morgan on other records that drew my attention when I was casually listening, and remarked to myself, "That trumpet sure is bad", only to discover it was Lee Morgan. Enjoy the music. |
This is a 'legendary' record from the past that I haven't heard for a long time; "No Room For Squares" Hank Mobley, where Lee Morgan produces some fine solos. You pick out the best one. https://www.youtube.com/watch?v=Xcq_zg-Zw5k&list=PL0C6579B036180F3A |
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Great call! Very, very interesting player. I understand, given what you have described as what you're looking for in piano players, why you like him; economy with authority. He uses very interesting harmonies and there is a lot of melodic counterpoint in his solos, so I would bet that you are also a fan of the music of Bach. I'm almost embarrassed to admit that I didn't know this record. I've been listening to it for the last couple of days. Fantastic record! Love the way this guy phrases. Not as economical as Tristano and more obviously rooted in the blues, but what a great time feel! https://m.youtube.com/watch?v=hgN6rl6Kkyk |
If you’re not a fan of Bach you don’t like music ! Another find I made today of Ray on piano was with ’57 Carmen McRay recording , Decca DL8583 . I always thought Sassy was my diva but this recording of Carmen changed my mind . Her young voice was as clear as a mountain spring , perfect diction and intelligence, beautiful beyond belief ! Gone was the whiskey and smoke voice I’d always associated with her , though the mighty soul of the woman still made her always compelling . Every time I hear Bryant I have one overwhelming feeling , he always plays with love . Can't beat that . |
Alex, you brought up another article in regard to "Blue Note" and junkies that gave a broad picture of how they were exploited; Blakey learned from his masters. That whole dope business was much worse than what you know about, unless you had close contacts with an individual who was a junky. Thank God there is so much less of it involving current jazz musicians. (I hope) |
I've had my ears on these guy's for a while. The new record is very good. https://www.youtube.com/watch?v=tdoXC6Ia8oI https://www.youtube.com/watch?v=j0z79-z5-vs |
Re Blakey: In spite of all his talents and very important place in the history of Jazz, Art Blakey had the reputation of being a hustler and a voracious junkie. This is well documented and verified by the accounts of his sidemen; many of whom were users themselves. Sometimes it's difficult to reconcile the positive images that we have of some of our Jazz heroes with the simple reality that some of them lived according to questionable ethical standards and did some questionable things. While it's tempting to attribute it all to the grip of the drugs and influence of the nightlife, it should be noted that not all jazz players who were junkies behaved the same way and some even made a point of advising young players to stay away from drugs; as opposed to paying them with bags of the stuff. https://m.youtube.com/watch?v=8KL1pbN9Gj0 https://m.youtube.com/watch?v=Ma-E5GudCzA |
"Charles "Yard bird" Parker": I heard him on scratchy records, played on cheap rigs, and I was still drawn to his music. Now I suggest to you who have not appreciated this man's music, to at least listen to it on "you tube"; no other jazz musician who has ever lived has been idolized by more jazz musicians than Charles "Yard bird" Parker. I've selected one of his records I like for your approval. https://www.youtube.com/watch?v=3t23bDoaNug Here is a vocal version of the Gypsey. https://www.youtube.com/watch?v=yovIyTnUr5I We all believe what ever we want to believe, that's what makes life more livable. Enjoy the music. |
The infamous Charlie Parker "Dial" recordings! That recording is almost painful to listen to. Reminiscent of Billie Holiday’s later recording when she, like Bird, was being ravaged by drugs and alcohol. Bird is in bad shape and faltering ; but, the emotion in his playing (and Billie’s singing) is extraordinary. He never finished the session and it was finished without him as a quartet recording with Howard McGhee as the only horn. He then went back to his hotel, set his room on fire, was arrested and was admitted into a mental hospital. Now, THAT is a story; as sad as it is. Incredible player and, like O-10 points out, idolized like no other. That session produced the famous version of "Lover Man": https://m.youtube.com/watch?v=oNJpes0XFGU |
This record seems to have been our most impressive in some time; I'll have to get it. I've not posted lately because I was in the hospital for a few days; old age was the diagnosis. "A Story Often Told But Seldom Heard", with just Roland Hanna, and George Mraz, is very intriguing; so much so that each repeat play reveals something different. https://www.youtube.com/watch?v=jVXvNaMC3FI If all this is a repeat, that's just an indication of how impressive it is. This is the most "sublime" version of this song I've ever heard. https://www.youtube.com/watch?v=JyTNcWYxv94 Enjoy the music. |
Schubert, today's doctors and hospitals are most impressive; in my case they're dealing with unknown stuff related to the US Government (VA, besides old age), and they seem to be making a remarkable amount of progress; reminds me of "Star Trek", the way they do analysis. Your concern helps Schubert, and I appreciate it. Enjoy the music. |
I hear you O-10 , I go to VA myself for problems related to small pieces of lead , agent orange and the trauma thereof. VA is much maligned, mainly because there are powerful forces that don’t want public to see Socialist Medicine works or that a drug bought by VA at 30% of what Medicare Part D pays for same is just as effective . In truth VA outcomes are similar to those of Mayo Clinic and I’ve been to both . Never had a complaint in any of 5 VA hospitals I’ve been in. When my French private insurance was iffy on a procedure, Mpls. VA hospital give me a operation slot within 7 days over the phone . " A story often told......." is my fav Sir Roland piece as well . |
This is a good time for me to show my appreciation for artists that have given me so much pleasure over the years; in this case, a specific sideman. When I think of a record by Donald Byrd, Lee Morgan, or Charles Mingus, I never think of the sidemen who worked so hard with their unique talents to make that record a hit. One side man in particular I would like to feature is "Pepper Adams" and the part he played in my favorite records. I heard these records on the jukebox when I was living the life that only allowed you to assess the music from what you heard because there was nothing to read when the music emanated over some clubs system from the jukebox. Donald Byrd, "Here Am I"; focus on Pepper Adams baritone. https://www.youtube.com/watch?v=CewhwrPi044 Here again we hear Pepper Adams smoking baritone, but I for one, didn't think much about because it was Lee Morgan's record. https://www.youtube.com/watch?v=Qo0P2YugUnU&list=PLEE6B352B63B2B0CC Listen to the way Pepper Adams smokes this tune on the LP headlined by Mingus; my point is, Pepper Adams was one dynamite sideman on baritone that I didn't give the credit he was due. https://www.youtube.com/watch?v=__OSyznVDOY Enjoy the music. |
Love is an intense feeling of affection and care towards another person. It is a profound and caring attraction. On the other hand, lust is a strong desire of a sexual nature. Young people go into a state of "lust" whenever they see another beautiful person with a boss body. "Love" is a passionate feeling towards another person that's developed over a period of time. A "true" crime of passion is one where the perpetrator had not an inkling of a thought they would commit such a crime against the person they loved just prior to the event. I'll give you a scenario; the woman is cutting up chicken, she has a long butcher knife in her hand (naturally). Words are exchanged ( they are having a lovers spat, but are not yet married, which is something she wants) For some reason, he says "There is no way I would marry you"; she twirls without thought or hesitation, with the (unconscious) intention of plunging the knife through the center of his heart. If the guy was agile enough, he deflected the knife and wound up with a slight scratch; but if not, there was a corpse on the floor with a knife protruding from it's heart, and a woman wandering how it got there. Lust involves the satiation of desires that are of a purely sexual nature, and could involve deviant people that are already off the "normal" chart who could have a proclivity for murder. The person who commits the "true" crime of passion is as normal as sunshine; somebody said or did something that unleashed the passionate love they felt, and turned it into a violent rage that was on automatic, and could not stop before the deed had been done. |
Lee Morgan was to the trumpet, what Charley Parker was to the alto sax; every one wished he had lived a long and creative life, even Helen Morgan. https://www.youtube.com/watch?v=5AQojVIUmbc&list=PL49B0943B4B9DCDFD Enjoy the music. |
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Mostly agree with you @orpheus10 regarding Lee Morgan. With me, it's always been a toss-up between Lee and Miles. One thing I may have noted before, in interviews where Miles gives a rundown of his trumpet contemporaries, he never had anything to say about Lee Morgan - good or bad. He talked about other folks, but not Lee. I always wondered what that was about. Just as an aside. Checked out a biopic this weekend of Chet Baker "Born to be Blue" ... a fairly good movie IMHO. Apparently he had the chops early on to be picked up to play with Birdman when Chet was in his early 20's. Drugs derailed his career. |
Strateahed, Miles Davis had the biggest ego of any musician who ever lived; that fact alone indicates why he never had anything to say about Lee Morgan, and at the same time, it makes a humongous statement in favor of Lee Morgan. It's one thing to look back at history, but it's altogether another when history is right now; on the street, the conversation was always hot among Aficionados about the best trumpet shortly after Clifford Brown's death. While I always took Clifford Brown, I was always challenged by Lee Morgan fans. In hindsight, it was because I had not heard enough of Lee Morgan; today I consider it "possibly" a toss up leaning toward Lee Morgan because of his output of so much outstanding jazz. It is because of discussions like these, that my collection is gaining in the most sparkling contributions of modern jazz ever recorded. Enjoy the music. |
I think we need to be a little more precise in what we are trying to establish. We need a better historical context. ****Lee Morgan was to the trumpet, what Charley Parker was to the alto sax**** Are we talking about who is our favorite or who was the most important and influential? And how do we make a comparison like that when Morgan and Parker were active during two different periods in the history of the music? If we are looking for which trumpet player, like Parker did with the alto saxophone, ushered trumpet playing into "modern jazz", then it’s hard to not give the credit to Dizzy Gillespie who was there alongside Parker shaping the new music. Moving on to hard bop: while it is true that Lee Morgan’s output was greater than Clifford Brown’s who sadly died at the age of 25(!), Clifford was, without a doubt, the more important of the two; he was, in fact, Lee Morgan’s main influence. If we are talking about a trumpet player who, like Charlie Parker did for the alto, had the most influence, not only on trumpet players, but on all jazz players by changing the very face of the music regardless of time period, it’s hard to not give that credit to Miles. As great and individualistic as Lee Morgan was, he did not have the overall impact on jazz that Miles did. Difficult comparisons. |
Frogman, as always, your post is 'technically' correct, but in the looser artistic sense I disagree with it. Diz and Bird, 'technically' correct in regard to "Bebop" the new jazz that progressed into "hard bop"; but in regard to Lee Morgans prodigious creativity in jazz that stayed in the mainstream of jazz without 'flip flopping' all over the place like Miles who was always searching for a new audience, I will take "Lee Morgan" any day. While Lee Morgan idolized Clifford Brown (everybody did, and that includes me) it wasn't Lee Morgans fault that Clifford didn't live longer, and that he Lee Morgan should have such a large output of creative jazz that has withstood the test of time and brought him into the top ranks of jazz trumpeters of all time. As I stated before, when I chose Clifford Brown over Lee Morgan, it was because I hadn't heard enough of Lee Morgan; now that I'm listening to Lee Morgan, I'm amazed at the new creativity that pours out of his horn on each album without ever being repetitive. Enjoy the music. |
O-10, no one can disagree with personal taste. I guess I don't really understand what you mean by "was to the trumpet what Charlie Parker was to the alto sax". While size of output is important, I think that size of output is a "technical" matter as opposed to a "looser artistic" matter. I dont think that this is a matter of the "technical" vs "artistic". Are you suggesting that Morgan was more artistic or more important to the music than Miles was? I think few would agree with that assessment. In fact, the "flip flopping" that you allude too is precisely one of the things that made Miles such a great artist. Actually, he didn't "flip flop", he pretty much moved in a straight line of new musical styles. Moreover, while I can't disagree with your comment about Miles' ego, I don't believe that ego was why he didn't talk about Morgan but did talk about other players; I suspect that he simply didn't consider Morgan a pivotal player. Both Brown and Morgan were great artists without a doubt. My point through all this is simply that one can't take the historical context out of the equation and if that is a "technical" matter, then "looser artistic sense" has to be considered personal taste and not much more. Nothing wrong with personal taste. |
Let us XXXXX that statement "Was to the trumpet, what Bird was to the alto". Frogman,it goes beyond personal taste; it involves whose taste is most concurrent with "the street" meaning aficionados from New York, Chicago, and St. Louis, in regard specifically to "Hard Bop". There is no way we can can put this current discussion under that big "amorphous" tent called "jazz". Lee Morgan almost became a subject unto himself; his blazing solos with Blakey yelling "Git mad!" behind him. The artistic merit of "Search For The New Land", the music of which could easily be turned into choreography that told a deep story of a lost people searching for a new "Spiritual Land". The more I search for Lee Morgan, the more I find; I ran out of my search for Miles Davis sometime ago; it's impossible to tell where personal taste ends, and some kind of objectivity begins. However, I will say that I knew people who knew Miles, and loved him like a brother, but had a different opinion of a lot of his most current music. Would you have been in "Slugs" every night to see and hear Lee Morgan, if it had been convenient? I would be willing to bet that "Nica" went there, and let the wine heads guard her Bentley. There is no way we can, nor do I want it to be an objective discussion; either you heard Lee's blazing solos like I did, or you didn't. |
O-10, you make my point perfectly. As you say, this is not about objectivity and yours is a subjective assessment; iow, personal taste. I love Lee Morgan's playing; that is not at issue. But, you seem to be suggesting that somehow he was greater or more important/influential musician than Miles was. I disagree; "the street" did not get stuck on hard bop. Ask yourself this question: how would jazz be different today had there been no Lee Morgan? Probably not much. How would it be different today had there been no Miles? Hugely so, imo; just as it would have been hugely different had there been no Bird. |
Musicians make their marks and move on, Charley Parker was an exception, I don't see music as a series of building blocks from one generation to the next, as in electronics, but for the most part musicians make their mark and move on. As outstanding as this music is, I don't see how it fits in the context of musicians who went before them. What did Miles contribute to this? I just can not get my mind wrapped around your question. https://www.youtube.com/watch?v=jVXvNaMC3FI Enjoy the music. |
Anyone have any idea how life is for a real jazz musician in secondary cities in USA ? I just heard on Jazz 88 in Mpls. a sax guy one Dave Carr ,who i deem to be local playing, with guitar, "Sweet and Lovely" using those Monk up from the bottom chords , just beautiful. All I could think of is this cat could play anywhere |
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Brand new jazz review Julius Hemphill, "Dogon A. D."; this is my kind of music. Before I get into the music, let me share what I know about the Dogon. https://en.wikipedia.org/wiki/Dogon_people It has been claimed that the Dogon have rituals honoring a planet or star not yet discovered; how far out can you get? Here's the music. https://www.youtube.com/watch?v=hWkma6Uzc0w I like to go into a deep state of meditation and let my imagination run wild; with the Dogon people worshiping an unseen star, plus this music, you can take interplanetary travel on this one. Enjoy the music. |
Mark Masters "Blue Skylight" received 4 stars for performance and 4 for sonics in this month's issue of "Stereophile". I'm listening to it as I'm typing this; I like it, it's reminiscent of bands I've liked in the past. I even like the title "Blue Skylight"; it evokes memories of "The City"; I have come to believe a city that is romanticized in my memory, for this is "City" music. https://www.youtube.com/watch?v=lwxtbzrrVQw&list=PLTaU_hpEJweUt9LE-yu7hw609Nu8GiJ8o I will most certainly buy this album. Enjoy the music. |
Not to re-open the debate about "best of" but I agree with @orpheus10 somewhat. That is, nobody could touch Lee Morgan. There was no better trumpet player from the hard bop era. To me, that period is synonymous with what I call "straight ahead" jazz. Miles was hanging tough during his time with Prestige joined by Coltrane. Not close to what Lee was doing. [+1 with @frogman ]But as far as this art form we call jazz, taken in its totality ... Miles is at or near the top. Miles continued to evolve and innovate beyond hard bop. There were large ensembles, full orchestras, a movie score, various kinds of arrangements and presentations. My personal tastes span from the 50's through some of his electrified stuff like "Jack Johnson" and "In A Silent Way" and most everything in between. He lost me at "Bitches Brew". I have plenty of Miles and Lee, and thoroughly enjoy both.Thinking about it in terms of which artist I would miss most, if removed entirely from my collection, as a headliner (vs. sideman) - I'd let go of Lee before Miles. We all have opinions. This is mine. Please forgive me if this has been posted elsewhere on the thread. Hard to believe Lee was only 20 years old or so when this was done. So mature and professional after just 7 years of playing. Found myself sayin' "wow" out loud: https://www.youtube.com/playlist?list=PLjG7IQIqN32eTtxW6Fph9gFVyGubGWF26 Happy Listening! |