Todays' Discovery:
Charles Mingus -- MINGUS AT THE BOHEMIA
features: Mingus(bass),Eddie Bert(trombone), George Barrow(tenor Sax), Willie Jones(drums), and Max Roach as special guest on drums.
The first step on the road to 'Ah Um', 'Oh Yeah', 'At Antibes' et al. Recorded at Cafe Bohemia, NYC DEC 1955.
Comments by Nat Hentoff, Down Beat, state that "This was Mingus' first recording with a working band of his own. The group was also the first to carry the Mingus Jazz Workshop Banner."
So this is very, very early Mingus. It you listen you can hear a little of what is to come. The music just sounds familiar. Now, not then. This was cutting edge stuff then.
Eight tracks. No throwaways here. 'Septemberly', 'All the Things you C#', and 'Jump Monk' feature exceptional playing.
Mingus does a very nice duet with Max Roach, on a tune called 'percussion discussion.' Mingus on Bass.
'All the things that you C#' contains elements of 'all the things you are' and Rachmaninov's 'prelude in C# minor' and a little dash of 'Clair de Lune.'
On the alt take of C#, he stopped the band, and restarted them after a little admonishment. hahhaha Gotta be Mingus! The guy was worst than Monk!!
Check it out. Any Mingus / Jazz fan has to have it.
Cheers |
Rok, this is a diamond in the rough. It illustrates how fast Mingus learned because it's a long way from the polished diamond which is "Mingus Ah Um". He quickly discovered that he needed tailor made musicians, those are the ones who could hear and play his music which was so radically different at that time. He tailor made Dannie Richmond's drums to fit his music, because a traditional time keeping drummer couldn't work with such radically quick shifting times. Now, I'm going to get back in another groove with one of my favorite female vocalist, Miriam Makeba. When she was young, like here, her voice just exhilarated me. I definitely don't have enough Miriam Makeba. http://www.youtube.com/watch?v=oztzZu5zPzs http://www.youtube.com/watch?v=F4dT7l7sWVgThis was when all the best female vocalists were in fine form, including the sexy Brazilians, and Miriam Makeba still stood out; she was "electrifying", and my body resonated in harmonic sympathy with the sound of her voice. Enjoy the music. |
O-10:
Two of my favorites. I never thought ANYONE, could perform them better than the babes that sing with the Sergio Mendes group
Sergio who?? Makeba has made these songs her own.
She not only sang them well, if you listen closly to her tone and her phrasing on 'mas que nada' she actually made it African.
I will have to see what is avalabile on CD at Amazon. I have a lot of her on LP, but only one CD.
She was a favorite on mine back in my Joan Baez / Buffy Saint Marie, days.
Great recommendations.
Cheers |
******* He quickly discovered that he needed tailor made musicians, those are the ones who could hear and play his music which was so radically different at that time. He tailor made Dannie Richmond's drums to fit his music, because a traditional time keeping drummer couldn't work with such radically quick shifting times.********
So true. Monk faced a similar situation. I think Charlie Rouse stayed with him for years. He understood Monk and his music.
Cheers |
Rok, when I was in El. A. In the early 70's, there was incredible jazz in lounges everywhere. While Zoot Sims was famous, most of the musicians I saw were unknown, but could jam as well as the best in our collections. From what I could surmise, they didn't want to go on the road and leave El. A.; besides, they were making a good living. Although Zoot has better music, it's not on video, and this lounge gives you the feel of El. A. at that time. http://www.youtube.com/watch?v=V1eqs3-5_A0Here's the real deal, back in the groove. http://www.youtube.com/watch?v=MEFaBKok1jgEnjoy the music. |
Zoot Sims seems to be good player, but I could never get past his name. I see ZOOT, and I think Vaudville. Some guy in a plaid suit. :) Silly but true. I understand that is not his birth name. He should have stuck with the birth name. Can you image a Zoot Coltrane!!
He did make a record with JUTTA HIPP. A female Jazz piano player from Germany. Eventually found her way to NYC. I have one of the few LPs she made. I think she only made three. I have her 'At The Hickory House Vol 1.
She quit Jazz because she suffered too much anxiety playing with the big boys. Horace Silver et al. She quit Jazz and became a seamtress!
I was listening to The Jazz Messengers last nigth. 'Jazz messengers at the Cafe Bohemia. With Horace Silver, Kenny Dorham and Hank Mobley. They made the set.
Cafe Bohemia must be quite a place. That's where the Mingus performance was recorded.
Cheers |
Zoot Coltrane! I'm still laughing! Jutta Hipp is a name I remember, and I don't know where from. Between Horace Silver and Bobby Timmons, there's no way I would make a choice. http://www.youtube.com/watch?v=PuM75h_vRC0This is what I found on "you tube", but I still don't know where I remember the name from. Back in the day, we would go from one pad to the next, spinning albums, consequently I've heard many albums I can't remember. Enjoy the music. |
If I may, a slight change of pace.
http://www.youtube.com/watch?v=6I3QZIM7dNk
http://www.youtube.com/watch?v=TPwwaoShG-A
Cheers |
I enjoyed half of your change, the first half; that's Aretha's song. I really liked the way they dressed. Too many people look like "bums" wherever you go now. This is just the kind of change I was thinking about, but a little more in the jazz vein. Do you remember Eddie Jefferson, and King Pleasure, I was thinking about them.
Enjoy the music.
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Are you dissing disco?
cheers |
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Today's Listen:
Miles Davis -- KIND OF BLUE
Davis(trumpet),Cannonball(alto sax), Coltrane(tenor sax), Wynton Kelly & Bill Evans (piano), Paul Chambers(bass), James Cobb(drums)
I assume everyone and their brother has this recording. It is considered one of the greatest if not the greatest Jazz recordings ever. I thought I would 'review' it and tell everyone WHY, it is, or is not, the greatest ever.
I listened to it several times. Each time I tried to write about it, the words seemed inadequate. I thought it was great without being to explain why I thought so.
I said, great tune selection, and not too many(5) or too few. Too many dilutes the playing, and too few leads to overblown very long solos.
I said the solos were complex but sounded simple and eloquent.
I said the soloist never played at the same time. In other words, no clutter and no filler.
I said someone(miles) was obviously in charge, otherwise Coltane's solos would be longer than the entire CD.
I said all the entire performance seemed to flow seamless. The tunes seemed connected by style and dynamic range.
The rhythm section was awesome. Essential support, but never in the way of the masters.
I think all this is true but does not make it the greatest ever. So I did some searching and found this review online:
*****In the documentary drummer Jimmy Cobb -- the only surviving participant -- stated that he didn't understand why KIND OF BLUE stands out above any of Miles' many other outstanding albums. Perhaps it is because the user-friendly music satisfies the listener at whatever level they prefer. If you want to get emotively involved with the music, it leads you there. If you're a musician looking to pick apart the music, you'll discover a level of sophistication attained by very few. If you want to relax, the music is soothing on its surface. If you want to hear memorable improvisations, Miles and his sidemen lead the way by avoiding the use of cliched phrases. If you want to hear teamwork, the musicians know how to create together (when to play and when NOT to play). If you want something timeless, the music's freshness has no expiration date. Yet if you have a nostalgic twinge for the cool, acoustic jazz of the 1950s, this album will take you back in time.******
I think this guy nailed it. But I want to hear what the AFICIONADOS that contribute to this thread think. I know you have it, so listen to it, and share your thoughts.
The greatest? Hmmmmmm, there's still 'Blues and the Abstract Truth' to consider. And others. I reserve comment for now. :)
Cheers |
For me, it's a pleasant nostalgic album, and from what I remember, it was far more impressive to my friend who bought it; some people are more in tune to Miles music than others.
Lovely pictures of sweet memories flowed past in my mind like a movie of better times that I would like to relive when I heard the sweet sound of Miles horn, and I found the nostalgic aspect of this album to outweigh all others. In regard to the best ever, "I don't think so". That would be a different album every night for a week, depending on my mood.
"Otherwise Coltane's solos would be longer than the entire CD;" try 45 minutes of "My Favorite Things" live. McCoy Tyner, Elvin Jones and the bass man were trying to keep it together, while Trane went out into the nether regions.
Enjoy the music.
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Rok, there's nothing like a live organ, and I say "live" because not even the best rigs can duplicate the "howls and squeals" a Wild man on organ can generate. I've found the best examples I could find of "wild men", but they come up way short. Although these are the same organ players I heard "live", there is no way to duplicate what I heard. These guys could exhilarate, and mesmerize a crowd of people like you wouldn't believe. I know, because I was one of the "mesmerizees", and I can testify to that fact. http://www.youtube.com/watch?v=sK3lNoHrkLc http://www.youtube.com/watch?v=5vILXAc_eO0Enjoy the music. |
******For me, it's a pleasant nostalgic album*******
HERETIC: one who dissents from an accepted belief or doctrine : NONCONFORMIST
This be you!
Cheers |
Speaking of Organ. German girl. I know she is the best looking and she can play. I have her on my to buy list.
http://www.youtube.com/watch?v=MPqYZNqg15g
Jimmy smith is my main man on B-3. Followed by Jack McDuff and Jimmy McGriff.
The stuff smith recorded with blue note was his best.
I never understood why the organ and trombone were not more prevalent is Jazz. I have several by J.J. Johnson and a few by Al Grey.
A CD with Johnson and Kai Winding is very good. (sweet georgia brown alert!!)
Cheers |
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Mission Impossible is The greatest theme ever!!
Two themes I had to have, so I downloaded them: Mission Impossible and Peter Gunn.
Cheers |
Another great song from theme music. Paris, Texas.
http://www.youtube.com/watch?v=_yF5DWFSBTY
Cheers |
"Paris Texas" is the most depressing music I've ever heard. When, and if I feel like hanging myself, I'll be sure and play "Paris Texas" to make sure I don't change my mind. That's no reflection on Ry Cooder who's all over the map in music; I mean that literally, from Rangoon to Cancun, you'll find "Ry Cooder", he's even all over Africa, Ry get's around. He's even been to E. St. Louis, that Ry guy gets around. http://www.youtube.com/watch?v=050TIMlpmL0 http://www.youtube.com/watch?v=7BUTqnmVIHkEnjoy the music. |
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Hi Orpheus - that cover of Jaws is hilarious, I had never heard that before. |
I can't understand why Ry Cooder's music would make a person want to kill themselves. However, I fully understand why living in East St Louis would. :)
Cheers |
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Been away for a while; hope everyone is well and doing lots of listening. The subject of the pit musician is one which very close to home so I wanted to have time to do the subject justice. The "pit musician" Orpheus refers to is not the same pit musician that Rok refers to. Orpheus was impressed by a player known as a "doubler". The term usually refers to woodwind, or reed, players who double on multiple woodwind instruments. While good doublers will excell on all flutes, clarinets and saxophones, most have a particular strength on one of those instruments. Additionally, some will also be able to play one of the double reeds: oboe or bassoon. Double reed doublers are very in demand; particularly in Broadway pits. Orchestrators for musical theater, and other commercial music productions, expect woodwind players to be proficient doublers; and, as a result of the continuing reduction in the size of pit orchestras (due to financial considerations), they really exploit doublers' flexibility by sometimes writing extremely busy parts with very quick changes from one instrument to another. The level of proficiency in the "doubling world" has risen dramatically over the last couple of decades. This has been a result of better training and also of the continued scarcity of work for many musicians. There was a time, not long ago, when there was so much, more glamorous and lucrative, work for commercial musicians in the recording studios and radio and television staff orchestras, that the best players did not take "pit work". As staff orchestras disappeared and studios closed, these players moved to the pit orchestras with a resulting dramatic rise in the level of proficiency in the pits. These are very good and extremely versatile players who are often also good jazz improvisers. But, the truth is that it is rare the woodwind player that, in spite of tremendous technical and stylistic flexibility, can play any one woodwind instrument at the same extremely high level that a successful orchestral ("straight") wind player can. Classical orchestra players have always set the standard for proficiency on an instrument in absolute terms; and are often revered by "doublers". It is not surprising, given the tremendous amount of training and practice that is required to reach that very exalted level of proficiency on ONE instrument; let alone several. At the same time, the accomplished "doubler's" stylistic flexibility can sometimes give him the edge over a "straight" player when a specific stylistic approach is required for a part in an orchestration. This need for stylistic flexibility applies to all players, not just woodwind players. It is common nowadays for Broadway pit orchestra brass sections, for instance, to be composed of players who also work as extras in the Lincoln Center Orchestras (NY Phil, Met, ballet, etc.), and/or prominent jazz bands. There have been a few heroes in the woodwind doubling world that have been able to reach, on more than one instrument, the level of proficiency of great orchestral players; they have usually been clarinet/saxophone doublers. The greatest of them all was the great Alfred Galladoro who was an amazing saxophone and clarinet virtuouso, and was on staff at NBC and played in Toscanini's NBC Symphony, member of Paul Whiteman's orchestra and recorded extensively as a soloist and sideman, among many other accomplishments. Well past his prime, but here is a charming video of Al before his passing a couple of years ago: http://m.youtube.com/watch?v=Rr6ynMTuHn4IMO, the greatest doubler of all time, and one who was able to add equally proficient flute to his arsenal (although he has more recently concentrated on the clarinet) is the incredible Eddie Daniels who played in the Broadway pits before gaining recognition as a soloist in, among others, the Thad Jones/Mel Lewis big band (the Village Vanguard Jazz Orchestra of today). He posseses an uncanny ability to move from a classical music sensibility to jazz and pop: http://m.youtube.com/watch?v=GTUCtf8txQwEddie on tenor: http://m.youtube.com/watch?v=6Bm44p04SVYThe "pit musician" that Rok refers to is the classical player who happens to work in a ballet or opera orchestra pit. They are, as instrumentalists, generally of the same extremely high caliber that most orchestral players are. Playing in a ballet or opera orchestra requires a somewhat specific sensibility compared to orchestral playing on a concert hall stage. This is primarily due to the fact that, generally, the orchestra is accompanying the singers or dancers; but, this point can be easily overstated. However, a particularly keen sense of restraint and flexibility is sometimes required playing in an opera orchestra. Still, the orchestral repertoire, as a whole, puts more extreme technical demands on players than much of the opera or ballet repertoire. They are somewhat different disciplines, but both on an equally high level. The term "pit musician" unfortunately possesess negative connotations for purists who consider playing on the concert hall stage the pinnacle of instrumental playing. While this may be true to an extent, in reality it's a much more complex issue than that. |
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Welcome back Frogman. The word on the street here in Texas was that you had packed all your Spike Jones LPs and headed up state New york to become a gentleman farmer. Guess the street was wrong.
Excellent and informative post on the 'pit musician,' as are all your posts.
Cheers |
Thanks. I don't know about the gentleman part, but the farmer part might surprise you :-) |
Frogman, I'm glad you're back; you left us hanging in the air for the longest. As you can tell by my last post, I had ran out of things to talk about; I hope you found it humerus.
The "doubler" I saw was truly incredible, Leersfool referred to him as a "sight reader". Since he was most certainly both, there's no conflict. His skills were beyond my comprehension; if I hadn't seen it I would not have believed it; but a long time ago, an older jazz aficionado who had been everywhere and done everything told me that "pit musicians" were the greatest of them all, now I can believe that.
Thanks for your enlightening contribution.
Enjoy the music.
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Great, and a little closer to Jazz.
http://www.youtube.com/watch?v=IRi6yhqmuxU
I have this on dvd and cd.
'Bill Gaither presents a Gospel Bluegrass Homecoming Vol One.
Every MUSIC lover must have it.
Cheers |
Hi Orpheus - first, Frogman's post on the woodwind doublers is fantastic, as I knew it would be. One comment on your latest post - my comments on the great sightreaders were actually about the studio (movie) musicians in LA, not the Broadway pit musicians, though of course they would have good sight reading ability as well. But the LA studio musicians pretty much sightread for a living, whereas the Broadway pit musicians are often playing the exact same show night after night for a few years - total opposite musical experiences. Both types of musicians are among the best in the world, along with the top symphonic musicians, as Frogman said. |
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The Frogman:
The Spike Jones clip was great! Shades of Ed Sullivan!! I know O-10 loved it as well. I understand Orpheus and Jones share the same Tailor.
Listen for today:
T.S. Monk -- CHANGING OF THE GUARD
Except for Monk, the players are mostly unknown to me. That is my loss. This is an exceptional CD. Hard Bop does not get better than this.
As the liner notes point out: "the material was drawn from the repertoires of men who were not only gifted composers but also had substantial reputations as instrumentalists."
Two of Monk's tunes, 'monk's dream' and 'crepuscule with nellie' appear.
All the tunes are very good and the playing is exceptional. Check it out if you don't have it. Of course all you 'aficionados' should already have it.
I have three CDs by T.S. Monk, 'Changing of the Guard', 'the charm' and 'monk on monk'. All are first rate.
For those new to Jazz, T.S. Monk is the son of the late, great, Thelonious Monk.
You know you want it, so git it!!
Cheers |
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Leersfool, I have a good idea of everybody's favorite music except yours. Since I want to put the spotlight on "Lalo Schifrin", I would like for you to find your favorite music by this artist. Take your time, he has music in almost every genre.
Enjoy the music.
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Wynton Marsalis -- MARSALIS PLAYS MONK-STANDARD TIME VOL.4
I think we can all agree that no-one can play Monk like Monk could. Having said that, this is a very enjoyable outing.
The recorded sound is a big improvement over the Monk-era sound and the players are very capable. A lot of lesser known / played Monk tunes are included.
Great arrangements by Wynton Marsalis. Where would Jazz be today without this man! 'Brilliant Corners' has never sounded as Brilliant! Nice trombone playing throughout by Wycliffe Gordon.
check it out!
Cheers |
Today's Gem:
Oscar Peterson Trio with Milt jackson -- VERY TALL
The first time Oscar and Jackson recorded together. The Vibraphone and the Piano make a very good pairing. Wonderful and unique sound.
Six Tunes. All excellent. Includes 'on green dolphin street',(for some reason I love that title) 'work song', and 'john brown's body'.
Awesome interplay between Oscar and Jackson on 'work song'. I felt there was a lot of good natured 'head cutting' going on between the two throughout the entire set.
All performance were Five Star.
Jackson seems to be a different player once he is away from MJQ, or more to the point, away from John Lewis.
When the Good Lord said BOP!, Lewis thought he siad BACH!, And away he went.
Awesome set. Everyone has to have it. Case Closed!
Cheers |
Rok, it's amazing how much we agree; I just got a HD Download of the MJQ, to replace a scratched 2 LP set, and even that didn't help. Milt Jackson "Bags" on the other hand can do no wrong, I think you've identified the problem. "On Green Dolphin Street" is also one of my favorite tunes. http://www.youtube.com/watch?v=HbHCrFvzwG0Enjoy the music. |
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Cedar Walton -- COMPOSER
walton(piano), roy hargrove(trumpet), christian mcbride(bass), vincent herring(alto sax), ralph moore(tenor sax), victor lewis(drums)
The CD is very aptly named. This is all about the composer and his compositions. All tunes well crafted and played.
Nine tunes, all composed by Cedar Walton. This is very advanced bop. Beyond the 50s / 60s blue note era stuff, but still bop, and still JAZZ.
All solos are well executed. No blowing just to be blowing. Recorded in 1996. Great sound quality.
It is obvious these are serious Jazz players with a serious player in charge.(walton) you can always tell.
The playing shows the kind of professionalism shown on 'kind of blue'.
This is the only Cedar Walton CD I own. That is almost criminal. This man is a Jazz pianist / composer of the first rank. I will have to correct this oversight.
That's one of the best things about this thread. You find out where your music collection is lacking. Kenny Barron was another oversight.
Check this one out. You will love it. Just coherent, beautiful, and effortless playing throughout.
Git the CD!!!!
Cheers |
Film-Noir?? Some of my favorite movies are from this genre. The women were as tough or tougher than the men. For some reason I always thought of the tough guys as having survived WWII.
Quite often'film-noir' themes were Jazz... They even had Jazz plaing on the juke box in the bar scenes.
Susan Hayward was one of the toughest babes in the movies. Her only rival would have been Miss Barbara Stanwyck. I was working in the theater at the time, so I probably saw it a zillion times. Good Jazz. of course I didn't know what Jazz was at the time. :) But when I heard the music, I knew what to expect.
Ella Fitzgerald was in 'man with the golden arm'. That theme was one of the best ever. I hear it now and can see and feel the tension. That movie could only have had that theme music. No other music would have worked. Brilliant!!!!
One of the few other themes in that class is the Mission Impossible theme. Perfect, no subsitutes!
Cheers |
Film Noir one of my favorite forms of entertainment.There were the 1940s versions that were usually NYC based and by the 1950s many used LA as the locale.The west coast 1950s films really relied on jazz based sound tracks, I love them.
In addition to Cedar Walton and Kenny Barron, another very fine but under appreciated pianist was John Hicks, he can play! Check him out and I`m sure you`ll like him.
Charles, |
Speaking of film noir and music, check out Hadda Brooks playing piano in Nicolas Ray's "In A Lonely Place". That's Bogart and Gloria Graham who's best known as Violet in "It's A Wonderful Life", but noir lovers will always remember her for being scalded with boiling coffee by Lee Marvin in "The Big Heat". |
"The Big Heat" yep, that was a good one . |
Charles1dad:
I have two, on CD, by John Hicks. 'The Missouri Connection' with Jay McShann, and 'Two of a Kind', with Ray Drummond.
You have provoked me into 'reviewing' them. :)
Cheers
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Rok,
I look forward to your reviews. I bet you'd really enjoy "Together" this is a duet with Hicks and the wonderful Frank Morgan(alto) recorded live.
Charles, |
Hi Orpheus - I do not have nearly the collection of or familiarity with all the great jazz that is out there as the rest of you on this thread do, first of all. Probably only about 10-15% of my collection is jazz, another 5-10% spoken word recordings, and the rest is classical. That would probably also be an accurate reflection of the listening I do as well.
The collection of jazz recordings I do have is pretty reflective of my taste, though. By far the biggest artist represented in my collection is Ella Fitzgerald - I have just about all the songbook albums, and many more besides. She is by far my favorite jazz vocalist, though I also like Sarah Vaughn in particular. I'm not that big on male voices in jazz, for some reason.
Being a professional brass player, I tend to center in on brass players in the jazz world, which means mostly trumpet. I have several Miles Davis albums, several Wynton Marsalis albums, a little Lee Morgan, a little Louis Armstrong. I also like Clark Terry, John Faddis, Freddie Hubbard (the earlier stuff, not the later). For trombone, I have a couple of JJ Johnson albums. I also have some jazz horn albums (yes, it does exist, though it's very rare) - Julius Watkins I have mentioned earlier in the thread. There are a few different guys making their living doing jazz horn right now, too. One is a Russian guy whose name I would butcher without looking it up first, Arkady something or other, last name starts with an S. Tom Varner is another. A famous "crossover" player is Tom Bacon, who is also big in the classical world. He used to own a gay bar in Houston that featured live jazz nightly, but I think he sold it long ago, as he doesn't live there anymore.
Another of my very favorites is Oscar Peterson, who would be my favorite jazz keyboardist, though I also like Bill Evans and Monk. I also like the Basie and Ellington bands. All of this is very mainstream, I realize, but there is a good jazz club in my city which I visit sometimes, especially when a friend of mine plays there, who is a bass player in my orchestra but who is an equally accomplished jazz artist - he has a few different groups, one of which is very avant garde, and the other main one does old standards. I guess the biggest name I have heard in there live is Curtis Fuller, who unfortunately chose to spend the entire evening playing very softly, with the mike actually up his bell, and then waving a plunger mute over both. Very bizarre, though he did manage to create some interesting effects. The band with him was absolutely fantastic, though, all much younger New York guys.
I don't play a whole lot of jazz myself (mostly just when we have a jazz group or artist with the Pops, or do a big band/swing themed Pops), and have never done any jazz improv (I have, however, improvised cadenzas on the spot in horn concerti). I have played sometimes in a big band, both in school and also once or twice professionally, though that was probably 20 years ago now. This bass player friend of mine is thinking of putting a group together to recreate The Birth of the Cool live, and if he does I may get to do that. That will be fun if it happens. I guess that about covers it for now! |
Rok, Charles, film noir is one of my favorite genres, for sure. I would like to mention a few more ladies one should not leave out of the conversation - Rita Hayworth, Lauren Bacall, Martha Vickers, Joan Bennett, Rhonda Fleming. |
