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.
Herr O-10 , I got as far as " turned blue" only to find my Google ain’t customized and since I don’t know how to do that either ,its not likely to be . I have no real contributions to make to jazz "pastes" in any event .
If you REALLY want to hear classical as beautiful as it gets, go to You Tube and select the version by the great Scottish violinist Nicola Benedetti, the Decca Classical Version,who not only has this music in her bones , but is about as beautiful as women get. She only plays the first half on this version but she does it to such perfection IMO its the place to start . Full versions of 15-18 minutes are on Tube as well but none in her class .
To boot she plays one of the best violins in the world and the production of this Decca selection is beautiful beyond belief, so beautiful that words truly fail me, never seen anything like it !
What's new? How is the world treating you? You haven't changed a bit Lovely as ever, I must admit
What's new? How did that romance come through? We haven't met since then Gee, but it's nice to see you again
What's new? Probably I'm boring you But seeing you is grand And you were sweet to offer your hand
I understand. Adieu! Pardon my asking what's new Of course you couldn't know I haven't changed, I still love you so
Most standards are a short story in and of themselves; if you've lived the city life, they're a page out of your very own diary.
Picture this; while strolling past your favorite lounge, you decide to go in and have a couple. Your eyes are still adjusting to the dim light, but in the middle of the bar, you see the love of your life that you haven't seen for a year, and the song goes on from there;
"Google" has what's called a "Drop-down-box" as far to the right and as high as you can go; when you have your marker over that box, "customize google chrome" will appear click on it and see what happens?
Schubert, I could teach a fox terrier how to do this, quit making excuses. You're telling us you have a computer different from everybody else.
I'm sure you know someone else with a computer. If you are afraid to ask them for help, that makes you are "not too bright". Unless you can do this, you can not fully participate in the thread; quit writing these failure notes and keep following those instructions.
It's ok to ask questions, but failure is not an option.
The difference for me is the Mozart makes me awestruck , the RVW makes me cry. Not a figure of speech .
Sabine Meyer is on my top-ten list of greatest living players of any instrument . To my old ears Cleveland lacked the lyrical element for the great composers who wrote everything in human voice terms,Mozart and Schubert above all. Leaving out the clarinet sounds almost like Haydn. Dresden band has it , not surprising for a German ensemble . Of course , I could be all wrong , don’t mind being corrected .
I can’t disagree with your assessment. I confess I am demonstrating my bias in including the Szell. You’re right, the Dresden has it. When I refer to my bias, I am talking about my (and that of just about every other living clarinetist) bias in admiration of Robert Marcellus and his impact on the clarinet world; that is why it’s a favorite. I could get into it here to the point of boredom, but will spare you. Marcellus started a revolution in the clarinet world and is beloved for moving clarinet playing away from the bright reedy and unfocused tone approach that was prevalent up until then. The Marcellus recording was considered THE recording of the Mozart for clarinet players of my generation. In just about every other way, especially the lyricism, the Dresden/Meyer has it. Still, I like the ever so slightly slower opening tempo of the Szell...perhaps just my conditioning. Good to have options. If you have the opportunity check out Karl Leister’s with Berlin/Karajan. Generally not a fan of Karajan, but Leister sounds fabulous.
Yes, I remember how Marcellus was the go-to . After listening several times I thought he was 98% of what Meyer was and the recording could be the difference .Still , reminds me of two great singers equally fine , one of whom hits their high-notes just a tiny bit easier . My bias speaking . Mayer teaches at the Hochschule level in Lubeck . just gets better and better.
Thought I'd share a recent find since it's related to the original 4 year old post.
Found a PERIOD Blue Note MONO LP -Art Blakey and the Jazz Messengers- the "Moanin" album
This is a HOLY GRAIL, must have album for any Jazz listener. I have had it on my radar for many years, since I wasn't going to fork over big dollars at market price.
What made this an amazing find is it was in a box of "new arrivals" for a buck. I think the millennial staff overlooked this one and figured it was worth as much as the Bobby Goldsboro or Kate Smith album.
Dont bother with those reissues in stereo, THIS IS THE ONE.
Tablejocky, I appreciate your thoughtfulness in sharing that find; not many of us left who can appreciate such a find, and to think they are still around.
Ages ago, I began replacing albums such as that one with the original, and still have LP's that have hardly been played, and that makes a big difference; I don't want to hear one scratch, it ruins the mood.
I wish you continued success in collecting those original LP's which are the best.
Tablejockey, before computers, I recorded my best LP's to reel, now I down load them to "hardrive". There is no loss in fidelity provided it's done right; it's not too difficult or too expensive, and that way you can listen to those precious LP's over and over without any damage.
"not many of us left who can appreciate such a find, and to think they are still around."
Orpheus10- unfortunately, an indictment of our times. Another recent jewel I found is an unmolested Clef/Verve Billie Holliday "Body and Soul" Impossible to find an original Clef(without opening your wallet wide)but the next best thing. Lady Day and musicians are "present" in my room when this album is played-breathtaking. Even the best presses today, will be challenged comparing to one of these.
"I recorded my best LP's to reel, now I down load them to "hardrive". There is no loss in fidelity provided it's done right; it's not too difficult or too expensive, and that way you can listen to those precious LP's over and over without any damage." "Just wondering if you do the same?"
My aim is to continue bin diving and replace/add to my collection with ALL period mono/stereo albums. Since my preference for music is generally pre 80's, I will spend the remainder of my lifetime happily visiting grungy, hole in the wall record stores and Goodwills-much to the chagrin of the S.O.(she "gets it" once I drop the arm on the record)
Cataloging my collection to digital files will be a future project. For now, I still enjoy the ritual of cleaning and playing a record.
The other passé activity I enjoy, is listening to my beloved tubed Mac tuner. The way things are heading, our PBS stations really have a steep uphill challenge like never before.
Time is a limited commodity in this hobby. One has to focus on how to best spend it for their maximum enjoyment.
Now that I have perfected the archiving process, each minute detail is presented, and I have to do everything all over again after I make any cartridge or analog upgrade. Presently I'm doing it all over again because I just crossed that significant barrier where you hear new music on old records; this was a result of new cartridge and phono pre. change, this is the last upgrade; it is another way to get a new collection, and it's quite rewarding.
Our hobby never ceases to amaze me in regard to how we take different routes to reach the same destination; although the process, or mode of transportation must be as enjoyable as the end result; I can see how rummaging through bins would give you a great deal of pleasure.
When I was in LA, there was so much good jazz on the tuner that you could live without anything else; not so where I live, but if it was, a tube tuner would be the way to go.
Tablejockey, you should count yourself blessed to appreciate the music of "Billy Holiday"; not everyone can, she puts her heart and soul on display.
Some people THINK this music we love is "objectively good", but it's not; some hear it, and some don't. I understand this very well, and consider myself blessed to be able to hear the music.
Just as our rigs transform electricity into audio, those artists we idolize transform their life experiences into music; since sometime we have endured the same experiences, their music resonates with our soul; that makes the music that much more personal and enjoyable.
As far as I'm concerned, this has to be her best record, because it vibrates everything in me that can be resonated; every cut on this album is a short story that she tells so effectively. "Easy Livin" is livin with the one you love, and nothing can be easier; it's on this album.
Your choice in Lady Day's music is from perhaps her best period-between 1940-1950's. By the time she was signed to Verve, her storied life was nearing. It's no wonder how Billie and Ella sang beautifully, they both lived tough lives, which most of us can't imagine.
"When I was in LA, there was so much good jazz on the tuner that you could live without anything else; not so where I live, but if it was, a tube tuner would be the way to go."
Yes, I'm in SoCal. It's terribly expensive,overcrowded, driving is awful and I haven't got to the bad things yet....
Our Jazz and Classical stations arent what they used to be,but I enjoy them. There was a time, one could own just a tuner and life was good.
Have you tried streaming some of these Jazz stations online? Seems to be popular for those who don't have radio access. I'm doubtful it compares with Ella singing "Black Coffee" through a Marantz 10B, but I've read users say it's pretty good.
Once upon a time I had to live where everything was happening, but now I live where you can hear the grass grow, and I like it.
I have tried streaming jazz stations online and enjoyed the wide variety.
When it comes to music, I'm mostly into "classic jazz"; although I've tried to venture out, I always come back, and there's a reason for that; you can't get any better than the best, and there are so many records and artists that fall into that category of "classic jazz" and at the same time, being the best, that it's impossible to get bored.
My introduction to jazz began with this record; Harold Land blows so pretty on this cut, and the equipment has come a long way since that time, which means that with the right LP, it sounds even better today.
"When it comes to music, I'm mostly into "classic jazz"; although I've tried to venture out, I always come back,"
Orpheus-
With all the derivatives in music today, "straight ahead" Jazz is like coming home.
Im not a fan of "smooth jazz" which seems populate the Jazz stations. I suppose its a "gateway" for new listeners.
As a long time guitar player, Im a big fan of the guys who sat in those bands behind Billie, Ella and the crooners-Freddie Green,Jim Hall,Barney Kessel...
So much great music to discover, or rediscover on a nice cheap record.
orpheus, since you listen to jazz station streaming, have you ever tried KSDS FM, the City College station in San Diego? I favor music from the '50s to early '70s and they continue to cover quite a lot of that.
I started listening to jazz in the late '50s as I finished high school. They say we favor what we grew up with and in large part that is true for me. Now a good portion of my 3K LP collection is jazz from that era.
Morning breakfast here, enjoying a cup of dark Italian roast while listening to a 10" Barney Kessel on the Contemporary label. Simply fabulous music.
I was fortunate in getting this one cleaned on one of those fancy Audiodesk ultrasonic cleaners...Wow!
I've been on the fence, buying one of these pricey machines.
Yes, I try and seek out the players. It part of the hunt,since most of this stuff is practically nonexistent
I have the luxury of a neighborhood record store(used exclusively) The owner informs me of the latest arrivals. Always a joy to find something that has been dismissed as unobtanium, and its between a Mitch Miller Xmas album and a Polka record.
Great to see new participants here. I knew you were out there! Welcome and I look forward to your comments. A vote for WBGO 88.3 FM out of Newark, NJ. Fantastic jazz station and great mix of the classic and the new (no smooth jazz).
frogman, I consider "smooth jazz" to be an oxymoron. For me a better term is elevator music! In fact I find it embarrassing that the concept seems to have originated by a FM station here in San Diego several years ago. There is even a locally published magazine devoted to it. Of course everyone should have the freedom for music of their own choosing, just don't bastardize that stuff by associating it with jazz.
"I find it embarrassing that the concept seems to have originated by a FM station here in San Diego several years ago."
If you listened to any LA Jazz radio in the 80-90’s,you’re familiar with the great Chuck Niles. He often voiced his dislike of "smooth jazz" and the changes in music. I remember reading articles of musicians jumping ship and recording "smooth jazz" type music because that’s what the masses were buying.
Your estimation of origin may be off. The decline in interest by the late 60’s influenced the up and coming to branch out. By the mid 70’s "straight ahead" was diluted.(certainly not in a bad way)
George Benson certainly isn’t a "smooth jazz" musician. His recordings of that period paved the way for the schmaltzy,processed stuff passed off as Jazz.
Listen to George Bensons very early works, and you hear his heroes in his playing, but the music is the new recipe of what is to come.
Any day is a good day for new "Aficionados", but Fathers Day is better than most for me; it's a day where I have confirmed an especially important friendship, the one with my son, who gave me an especially funny card that I will share with you, but back to another important bond for now.
After we have gotten older, our "face to face" friends have dwindled, and the one's left we may not invite to our audio room because that's not what we have in common;consequently, our "on line" friends assume a place of uncommon importance because they share our passion for jazz; not any jazz, but the very best jazz available.
My son's card: "Dad, when I think about EVERYTHING you've done for me, and all that you've given me, I REALIZE there's NO WAY I could ever repay you. I'm COOL WITH THAT, if you are. He could hear me laughing from down the hall.
"Smooth Jazz", not smooth jazz, George Benson is one cool dude; he ain't no Kenny G.. There is a reason this thread is named "Jazz for Aficionados", and you just hit upon it.
tablejock, my comment was based upon never hearing the term (as a musical category) until the San Diego station began advertising it. While I live somewhat close to LA I didn't search out jazz stations from there. So no claim to authenticity about the origin of the label.
I agree there was an overall decline in interest in straight ahead jazz, but the faithful never turned out the lights.
**** Art Blakey must be rolling over in his grave! ****
I kinda doubt it. Most musicians don’t think that way. Does the music project sincerity and show a high level of musicianship? Many of the great jazz players are known to have objected to strict genre classification. Some have even objected to the name "jazz" itself. There has always been musical fluff; every era has had it. A lot of "smooth jazz" is musical fluff. Personally, I can’t stand most of it; but some of it isn’t fluff and has some redeeming qualities. Moreover, the lines get blurred with some music that falls into the "fusion" category; and there’s certainly a lot of interesting stuff in that category.
Personally, I don’t feel anything is being "bastardized" by appropriating the term "jazz" for the name "smooth jazz". Truth is "smooth jazz" or whatever one wants to call it is characterized by having many of the elements of jazz (by any definition): harmonic changes more complex than most rock or pop tunes, incorporates improvisation that is decidedly an offshoot or extension of the vocabulary of classic jazz and often features a horn, usually saxophone which is practically emblematic of jazz. The idea that Classic Jazz was somehow hurt by modern jazz, fusion, smooth jazz or whatever is mistaken imo. As tablejockey wrote, the decline in interest in "straight ahead" jazz came first. What we know as Classic Jazz is the product of an era and reflects that time. As great as it was, and still is on record, that music is simply and sadly not as relevant in the context of the overall culture as it once was. Good news is that, as always, there is great new jazz being performed and recorded at a very high level of musicianship and creativity. Whether a particular listener likes it or not is a different matter.
My favorite "pre-fluff" George Benson album (1967):
I agree with frogmans assesment. If anyone is a Wes Montgomery fan, even his later albums are covers of "songwriter" and pop tunes with guitar doing the vocal lines.
I've read that because of the declining interest, this was the only way to generate a paycheck, other than performing.
Weather Report or Return to Forever are examples of fusion that came out of the 70's. All those guys have a "Jazz" pedigree, but had a vision to evolve.
There is however, plenty of processed "fluff."How about those awful remixes/interpretations of classics?
Since we are discussing two guitarists, let me throw in another "jazz guitarist" to put what I know into perspective. Before Grant Green went to "Blue Note", he was on the St. Louis local scene. The place where he performed on the weekend, was also the place where we (me and my buddy's) hung out.
Grant would come through on a quite night (Wednesday), and somebody would turn the jukebox off, and he would play; not for us, but for himself, and leave with very little conversation. This gave me an inside track on Grant Green's most intimate guitar; that was when he was playing for Grant Green and nobody else.
I am one of Wes Montgomery's biggest fans; I'm talking about "Nap Town Wes". That was when he played some of the coolest guitar you ever heard. After he became the famous "Wes Montgomery", I was still a fan, but I understood the difference. No matter what a person does for a living, paying the rent takes on a high priority.
If Wes had lived longer, we would have heard a lot more of "Nap Town Wes", because that's when he would have been able to shift his priority to what pleased Wes.
Down through the years, I'm not certain what my priorities were, but now I'm certain it's collecting the very best jazz available.
The interesting thing about Grant Greens playing is, that cat never or rarely played chords! He was a single note playin kind of a guy.
I wish I could find an authentic PLAYABLE Grant Green record.His albums are on the unobtanium list. Very difficult to find.
Wes..A few of the "young and upcoming" who were lucky to be in the presence of "the thumb" George Benson Larry Coryell Pat Matheny
As a teen, my guitar lessons were in an old music shop,upstairs studio. During break, my instructor and I would listen to "the thumb" in their audio dept(a music store-instruments,records AND HiFi gear)
The owner encouraged us to listen to music other than "those Beatles" He was from the WWI generation and would tell us about "the scene" in old LA-Charlie Parker in one club and down the block some other major talent in another club. Biile and Dinah Washington also regulars. WOW!
I would just smile and feign interest. As a teenager, I just didn’t "get it" Way over my head as to the significance Western Ave had on west coast Jazz.
This was how I got introduced to Jazz. I’m forever indebted to my instructor and the store owner.
Your quite welcome Tablejockey; although I know one aficionado who's saying "I heard that one before". (smile)
It's even a mystery to me as to why I don't have Grant Green LP's, especially since there were no CD's back then, but as we speak, I'm listening to "Idle Moments" which is one of his best records that's on LP.
"I would just smile and feign interest. As a teenager, I just didn’t "get it" Way over my head as to the significance Western Ave had on west coast Jazz."
You will have to explain that to me as well Tablejockey.
"You Tube" is what I like best about these times; you can search for all those albums that you don't have.
I can always find time to watch Wes. Just mesmerizing to watch him play.
O- if you dont already have the DVD "Live in 65" I strongly recommend you get it. It's one of a series "Jazz Icons"
"I would just smile... You will have to explain that to me as well Tablejockey."
Noticed my memory of those times typed "Western Ave" That should be "Central"
Wiki Central Ave tidbit: From approximately 1920 to 1955, Central Avenue was the heart of the African-American community in Los Angeles, with active rhythm and blues and jazz music scenes. Local luminaries included Eric Dolphy, Art Pepper, Chico Hamilton, and Charles Mingus. Other jazz and R&B musicians associated with Central Avenue in LA include Benny Carter, Buddy Collette, Dexter Gordon, Lionel Hampton, Hampton Hawes, Big Jay McNeely, Johnny Otis, Shifty Henry, Charlie Parker (briefly), Gerald Wilson, Anthony Ortega, Onzy Matthews and Teddy Wilson. Commenting on its historical prominence, Wynton Marsalis once remarked that "Central Avenue was the 52nd Street of Los Angeles."[3] Although Central Avenue is no longer the thriving jazz center it was, its legacy is preserved by the Central Avenue Jazz Festival and a small number of jazz clubs, including Bluewhale in Little Tokyo.
Still in my R&R phase, I just wanted to play like my heroes. I wasn't one of those enlightened students that understood/accepted Classcial and Jazz are is where one begins on their musical journey.
While having dinner, I watched "Live in 65" What a great DVD. Haven't seen it in years.The series roster has all the usual suspects, and I'm going to buy few more...just don't know where to start? All the artist are great!
I'm sure LA still has a thriving jazz scene. St. Louis is "Style and profile", if you want to go to a swanky club to see and be seen we have them. Although the music is right up to date, apparently I'm not, because I could live without it.
After looking at all those DVD's available, I don't know where to start. They sound better when you're watching them perform; I witnessed that from watching that "Blue Note" DVD; Herby Hancock never sounded so good.
Heard this on WBGO this morning. I've heard this contemporary guitar player with Donald Fagen, Michael Brecker and others, but not his solo efforts. Love the feeling he and the rhythm section get going on this Latin flavored tune. Interesting how his soloing goes in unexpected directions:
Steve Kahn is a name I've heard before; I'm sure he's on some of my records, not classic jazz for sure.
Tablejockey, when I hear a relatively new name that sounds interesting, I like to follow it up and see what else he has that we might like. When we do this as a team, we get quick results.
If you have any thoughts on how we can increase our collections of the best jazz available, don't hesitate to chime in.
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