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.
frog, before dad married my mother he had a part time gig in a dance band playing a C melody sax. As you might guess that was during the '30s when they were popular. I'm not aware of many (any?) sax players using those today. I imagine with the size of Dr. Cohen's collection he likely has one though.
Anyway, it was dad's love of jazz from the late '20s to the swing bands from WW 2 that gave me my history lessons in that music. Admittedly that was subconscious at the time as I didn't care for much of it then. But years later I grew to appreciate that foundation as I could hear the influences in what developed afterward. Then too I discovered I really did love music from such as Louie Armstrong and Jack Teagarden, as I've confessed here before.
Where does music come from? It comes from musicians. Where do musicians come from, specifically jazz musicians, the likes of Roland Kirk, Bobby Timmons and Charles Mingus? They have stretched all the words pertaining to "creativity".
Before we examine the musicians themselves, let us examine their incredible music starting with "Rashan Roland Kirk". In each case, the music could be transformed into a short story, or a painting.
"Short story; "She did it, she did it; she made him fall madly in love like he never dreamed he could fall before".
Bobby Timmons "Moanin" is self explanatory. "So Tired"; a man looking for a job, and he's so tired, but he has to keep pushing until he finds one. Or, the myriad of other things that one can be in pursuit of that will not let one rest until it's found; it could be peace of mind.
Mingus's works are tone poems in themselves.
Let's go back to the original question "Where did they come from?". Since I gave a link to their biographies, you can draw your own conclusions and tell us your conclusions.
Great clips. You have to admire this man on so many levels, his talent, overcoming blindness, and most of all, having the balls to walk out on stage with 5 or 6 horns hanging around his neck. And, it's not a gimmick, he plays them all at a professional level.
Tete:
Great clips. Not familiar with this player, but he can play. He is blind also. I always judge players to a large degree by who they have played with. He has played with some of the greatest. He plays Jazz. No prefix needed.
Speaking of Spain (Moors) and Jazz, check out the piano player on the second clip above. Talk about swinging. One of my favorite piano players and probably the most under appreciated (here) truly great piano player. Hailing from Spain, the great Tete Montoliu. I love this guy’s sense of swing:
**** I find a connection between some Middle Eastern instrumentation/melodies and jazz. ****
Without a doubt, pryso; great observation. The subject of one the great early “bruhaha’s” (to quote our OP) here. The connection is undeniable and well documented; unless, of course, there is some other agenda at work which tries to invalidate or deny the existence of cross-cultural influences in the arts.
One of the most obvious “instrumentation” examples is the guitar, the classic Blues instrument which had its roots in the Arabian “Oud”. The Moors controlled Spain for centuries and the Spanish and French influence is well established in New Orleans.
From none other than Jelly-Roll Morton himself:
“Then we had Spanish people there. I heard a lot of Spanish tunes. I tried to play them in correct tempo, but I personally didn’t believe they were perfected in the tempos. Now take the habanera"La Paloma", which I transformed in New Orleans style. You leave the left hand just the same. The difference comes in the right hand — in the syncopation, which gives it an entirely different color that really changes the color from red to blue. Now in one of my earliest tunes, "New Orleans Blues", you can notice the Spanish tinge. In fact, if you can’t manage to put tinges of Spanish in your tunes, you will never be able to get the right seasoning, I call it, for jazz.”
That’s my good friend Dr. Paul Cohen. I posted that clip a while back in (I think) another thread (maybe here?). During the ‘20s there was literally a “saxophone craze” in this country with a huge variety of different saxophones manufactured for a public that just couldn’t get enough of the saxophone. There probably wasn’t a Vaudeville act that didn’t feature at least one saxophone player and most families had a member who played the saxophone. Most of those saxophone variants would be obsolete within a couple of decades.
I think you have a rare album. I think the first LP is with the dubbed over applause and the second LP is 3 live tracks recorded at the Museum Of Modern Art plus 2 additional studio tracks.
Anyway if the music is good does all this really matter?
pjw the seven Cuts listed on your seven song version are the ones on my first LP. in the liner notes it states that those seven Cuts were the original ones issued when the album first came out a time and a place. on the 8th song version you listed the cut Far away lands is not included anywhere on my double album.
My second album includes three additional live cuts blue bossa is that so and Dailey Bread. It also includes two more Studio cuts satin doll and Misty
my album is listed as being recorded at the Museum of Modern Art. I believe Columbia screwed up on the recording date and the personnel
Bass Clarinet -->> Eric Dolphy Check him out with (Village Vanguard and Africa/Brass) and without Coltrane (Outward Bound, Out There, and Out to Lunch!). But be prepared ... as Miles said, whenever Eric plays it sounds like somebody is stepping on his foot. Or something like that.
The "Bass Clarinet" is one of the most unusual instruments; it seems like I just discovered it yesterday and can't get enough of it. The music takes me somewhere I've never been before, but I want to keep going back to that same place.
I know that wiki usually a suspect source but discogs listings are 100%. They catalog the songs, the personnel, the dates, ect. on every album listed with them. I have purchased at least 50 discs from them and never had a problem.
I checked discogs for the "added applause" reissues without "lost concert" in the title and could not find a double LP just singles.
All music says a double LP was released in 1982 yet discogs has no listing for this. Also there are 8 tracks on the "lost concert disc" and All music states the double LP has 5 additional tracks so they are saying the version without "lost concert in the title is the one you have plus 5 extra tracks to make 12.
Here is the "Time and Place" 7 tracks supposedly dubbed in applause:
8 The Time And The Place Composed By – Jimmy Heath 10:24
There are no song times listed on the 7 track version. You may have a rare album with the 7 track version plus 5 additional songs. Are the first 7 songs on your double LP the same as the 7 song version?
If they are the same as the 8 song version then I’m confused.
Another thing does your double LP list the venue where the "live" tracks were recorded? If so was it at The Museum Of Modern Art NY?
pjwInformation on the art farmer "the time and the place "is somewhat convoluted.I disregarded the comment made by the poster on the cut I posted. He Is probably getting his information from the Wikipedia link you posted which May be some what suspect. The disc you posted listed on discogs has a different piano player Albert Dailey , from the listing on my album which is Cedar Walton. I went to the all music link on your posting from Wikipedia and I think their information is better first of all Jimmy Heath did the Arrangements on the date. All music lists the same session for my album as the Mosaic listing. All of the song times on mosaic disc are the same as the cuts on my double LP. But as all music list it my double LP has five additional cuts three live cuts and 2 Studio cuts of a later date. I think these two Studio cuts have Cedar Walton as The Pianist not the live earlier cuts. in any case I believe my double LP which was issued around 1982 has three additional live cuts and 2 Studio cuts which the mosaic reissue doesn't have.The Wikipedia info where they say that a studio album had added Applause to it and was issued as a live album I don't believe. Wikipedia is not the best source
I find a connection between some Middle Eastern instrumentation/melodies and jazz. So "The Astounding Eyes of Rita" was an interesting discovery. Here’s one of my favorites -
Louis Armstrong -- LOUIS ARMSTRONG THE HOT FIVES VOL 1
Possibly as close as you can get, on record, to the source. This is what Jelly Roll meant by ’Jazz’. I think this is Armstrong’s first recording under his name. Lineup includes: Armstrong, Kid Ory, Johnny Dodds, Lil Armstrong, Johnny St. Cyr. FTW!!!
Excellent Booklet. Short history of Pop’s move from New Orleans to NYC and Chicago etc... Recording date and personnel for each track. 16 tracks, most around three minutes in length. It occurred to me that this entire, historic / priceless album, is about the length of a Coltrane solo. Well, it’s close.
Rok, while my posts seem to imply that I "stream", my tastes are far too specific, and my time too valuable to stream. Also, I spent years, some time ago perfecting my rig; thank God I'm no longer into that; it required listening to everything except the music.
As I have often stated, I have a computer "Guru" who is worth his weight in gold. I know nothing about computers, I don't even understand when he takes time to explain (past tense; when he took time to explain, he doesn't waste that time anymore)
I use "WAV" on an external hard drive that enables me to have "very long" play lists. I even have files of "play lists"; one list can run for 12 hours or more; that makes it like listening to the radio.
I've been to many schools, and learned many things, but computers do not compute in my brain. I suggest that everyone who is unable to understand computers find a friend who does.
OP, Since you are into streaming, try these to check out your system. Of course I don’t own anything he mentioned. These guys can’t hear the music for the notes.
I agree Mingus Live at Antibes is one of the all time great jazz albums.
I think Mingus at Cornell is just as good. They were 2 of the first 50 or so jazz albums I purchased. Here is the song "So Long Eric" from the Cornell album recorded 18 March 1964 and the same song recorded and filmed in Norway in April 1964. Eric Dolphy died on 29 June 1964. I also have the new 5 disc Mingus in Detroit.
This is one of the best examples of music for the "Bass Clarinet"; it sounds about as lonely and forlorn as music can get; lost on a sand dune in the Sahara Desert.
Rok, music functions as a time machine for me; I can visualize the people I was associating with (especially the ladies) where I was, (Atlanta) and what I was doing when I hear "Deodato".
I know you remember the fantastic Disco clubs in Atlanta.
*****
Folks, this is one of the greatest tunes in the history of jazz.*****
From one of the greatest Jazz albums in the history of Jazz. Funny, this and 'Antibes' never get mentioned in the 'debate' over greatest Jazz album of all time. Also 'Ellington at Newport'.
rok, I was not familiar with Gary BB Coleman, but I surely liked that number.
o10, that Ray Charles was the one that got everyone up dancing at parties in the early '60s.
"Mingus at Antibes" was lost for some time before release, right? I know "Tijuana Moods" self proclaimed to be Charlies' favorite album, but I thought later he said it was the Antibes recording.
Now for fans of Miles who may not have heard this, I just discovered a great interview with Carlos Santana and his perspectives on Miles. It runs nearly half an hour so make sure you have time if you begin it. Pretty obvious they had a solid connection.
Folks, this is one of the greatest tunes in the history of jazz. I wont tell you what it is, but perusing my memory over many years, when a person discovers that I'm into jazz, they ask me if I've heard this tune, and this has happened countless times.
As you know, I listen to music the same as someone listens to the radio, it just plays endlessly, and I have to identify it by my memory of the tune. Sometime my memory is out to lunch, so I just enjoy the music. It's at those times that I can hear with clarity, because I don't know who the artists are, I only know how good the music is.
"Mingus at Antibes" is one fantastic album; I would have said that it's impossible for any "Wednesday Night Prayer Meeting" to be better than the original, but here it is. Who ever first posted this gets "The aficionado 5 star award".
Mingus at Antibes was originally issued by BYG Records under the title Charles Mingus Live With Eric Dolphy in Japan in 1974. It was recorded at a live 1960 performance at the Jazz à Juan festival at Juan-les-Pins by jazz bassist and composer Charles Mingus; and was re-released by Atlantic Records in more complete form as a double album with the title Mingus In Antibes in the United States in 1976.
The album captures a performance at Jazz à Juan, and features some of Mingus's then regular musicians in a generally piano-less quintet, though the band is joined by Bud Powell on "I'll Remember April", and Mingus himself plays some piano on "Wednesday Night Prayer Meeting" and "Better Git Hit in Your Soul".
Track Listing;
"Wednesday Night Prayer Meeting" – 11:54 (included on both BYG and Atlantic issues) "Prayer For Passive Resistance" – 8:06 (included on Atlantic issues only) "What Love?" – 13:34 (included on Atlantic issues only) "I'll Remember April" (Gene de Paul) – 13:39 (included on Atlantic issues only) "Folk Forms I" – 11:08 (included on both BYG and Atlantic issues) "Better Git Hit In Your Soul" – 11:00 (included on both BYG and Atlantic issues)
Charles Mingus – bass, piano (on tracks 1 and 6) Ted Curson – trumpet Eric Dolphy – alto saxophone, bass clarinet (on track 3) Booker Ervin – tenor saxophone (except on track 3) Dannie Richmond – drums Bud Powell – piano (on track 4)
The different personnel take these originals to a higher level with even more energy; this will be added to my collection ASAP
Eumir Deodato had his time in the Sun and he shined brightly. Although he seems to have been forgotten by most of the members of this crew, I remember him quite well.
Birth name Eumir Deodato de Almeida Also known as Deodato Born 22 June 1942 (age 77) Rio de Janeiro, Brazil Genres Pop, rock, R&B, Brazilian jazz, Latin Occupation(s) Musician, composer, arranger, record producer Instruments Keyboards Years active 1959–present Labels CTI, MCA, Warner Bros. Associated acts Kool & the Gang, John Tropea, Hubert Laws
He was hot in the 70's; that's also when "Disco" was hot, and you could even dance to some of his music.
Thanks for the disc recommendation Art Farmer The Time And The Place.
Did you read the comment on the link that it is a Studio recording with applause dubbed on later. I researched and found the "real" live version it has a different song set and its called Art Farmer Quintet
–
The Time And The Place/The Lost Concert.
It seems that the most profound love songs always involve the Sun; "Ain't No Sunshine"; "The Sun Died"; "Softly As In a Morning Sunrise"; I could give a ladies name to each one of those songs, but I wont; I'll just share the music with you.
Pjw, I've got a ton of Herbie Mann, he runs the gamut in music; I must say that I like his "Afro centric" albums best, although he has a lot of other music I like as well.
You must have a verified phone number and physical address in order to post in the Audiogon Forums. Please return to Audiogon.com and complete this step. If you have any questions please contact Support.
