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.
O-10, I like learning the history of the relationships that musicians had with each other. This is the first time I hear about Newman leaving Ray’s band on bad terms. Their relationship was known to be one of fast friends and I had always thought that he left because he was becoming a top session player. Is this something that you opine or that you know to be fact? Would love to hear more details. Thanks!
pjw That Miles Electric DVD is a bargain at less than 4 bucks although I do like to listen to most music on my 2 channel stereo system. I was also thinking of buying the Miles cd "Live at The Fillmore East" which has the same group lineup and is recorded around the same time period.
mary_jo Nice cut you posted by Sissoko & Segal--I like music which defies categorization but affects ones emotions and relaxes the mind and body. I post this as something similar: http://m.youtube.com/watch?v=PLPQmT1msOE
Frogman, the beef was not directly with Ray Charles, it was with his musical director who was treating David Newman like a rookie with his rules which David wasn't going along with, and Ray sided with the director who he had placed in charge. Since this was behind the scenes, there was no need for him and Ray to fall out, and they didn't.
I'm having a hard time swallowing the interview Acman posted. In his heart, Grant Green was not "Funk"; I heard Grant Green play for himself, and I'm sure that was the truest music he ever played; this was in 58, before Blue Note.
If you listen to all of Grant's music like I have, you'll know that the funk thing is just not in his soul; plus that, non of his closest jazz friends were into funk. (musicians have jazz friends who are closer than brothers)
Some of the "funk" sounded more like jazz, and some of it sounded like Grant's heart wasn't in it. Gospel yes, but not funk.
Acman, great find, thanks for that. It seems that musicians have more relaxed attitude towards different styles and music in general, than the fans. Green seems to be a very calm and quiet individual...
...'when you listen to George Benson playing instrumentals, you are in fact listening Grant Green'....
I think that clip of Ray Charles is proof of what I've been saying all the time; Professional musicians do not have to spend forever practicing and rehearsing, especially if they are performing several times a week; jazz and Ray Charles music is about "feel", not what's written on a piece of paper.
Man and Woman, there is so much good "straight ahead" jazz out there that we don't have to waste money on new crap. I know the next time somebody tells me I have to adjust my hearing for some "new jazz" I'm going to come where ever he is and "Bop" him; you can not even sell the stuff after you buy it.
"New Jazz" for me will be "West Coast"; there is so much of it I like that I'm unfamiliar with, and it's so different from East Coast.
This is one hip version of "Nica's Dream", my all time favorite tune in jazz; plus I have many beautiful memories revolving around "Nica's Dream"; I always heard it live on a swinging set.
Thanks for the Steve Turre clips. Good and funky player with a really nice feel. Interesting on shells too. Here’s some more current players who are playing some very good new cra....I mean, jazz 😎 They all have something to say:
Acman, Gerald Wilson, Algerian Fantasy is another must have record. (isn't it ironic that back then, all we could get is records, and now that we have CD's, all I want is records)
So much desirable music has been submitted, that I'm going to have to take out a loan in order to purchase it all.
mary_jo, I enjoyed the clip a second time around, it did my heart good to see people laughing, dancing and having a good time. Once upon a time, that was common in all our major cities.
I'm rooted in reality, and it's easy to explore our major cities with the PC. When I was younger, I spent good times in Chicago, Detroit, Atlanta, LA, and of course St. Louis. Atlanta might be the only city that resembles it's old self. The South Side of Chicago is a wasteland, and that goes for almost the entire city of Detroit.
I wont spoil everyone's day by going into why, the poorer sections of all of our major cities are hell holes not fit for human habitation.
Shelly Manne was considered by many jazz aficionados to be one of the founding fathers of west coast jazz. Here are some quotes: From wiki: Manne is often associated with the once frequently criticized West Coast school of jazz.He has been considered "the quintessential" drummer in what was seen as a West Coast movement, though Manne himself did not care to be so pigeonholed. In the 1950s, much of what he did could be seen as in the West Coast style: performing in tightly arranged compositions in what was a cool style, as in his 1953 album named The West Coast Sound, for which he commissioned several original compositions. Some of West Coast jazz was experimental, avant-garde music several years before the more mainstream avant-garde playing of Cecil Taylor and Ornette Coleman (Manne also recorded with Coleman in 1959); a good deal of Manne's work with Jimmy Giuffre was of this kind. Critics would condemn much of this music as overly cerebral.
From Drummerworld: Widely regarded as a most versatile and musical drummer, Shelly Manne (1920-1984) was a founding father of the West Coast jazz scene in the 1950s. Manne possessed a phenomenal technique, which he channeled into some of the most creative, lyrical drumming ever heard. His solos were unique, sometimes humorous, and above all else, musical.
Manne played in the Woody Herman and Stan Kenton big bands and countless smaller ensembles which included Charlie Parker, Coleman Hawkins, Johnny Hodges, Don Byas, and Dizzy Gillespie.
Another quote from wiki: When the bebop movement began to change jazz in the 1940s, Manne loved it and adapted to the style rapidly, performing with Dizzy Gillespie and Charlie Parker. When Gillespie came to 52nd Street, Manne was an eager listener and sat in when he could. He was, notably, the drummer on the first recording of Gillespie's "A Night in Tunisia" in 1945. In the words of Jack Brand, "Shelly...literally slid into the next era....His ears were always open, his mind ready to adjust...."
For the recorded live sessions at the Blackhawk he assembled a quintet with Richie Kamuca on Tenor Sax, Joe Gordon on trumpet, Victor Feldman on piano, Monty Budwig on Bass, Manne on the drum kit. All of these musicians show off their talents on the live recorded Blackhawk sessions. https://www.youtube.com/watch?v=wP--FIyBkmw
Thanks for the links frogman. As orpheus10 stated some "refreshing", and to me great sounding straight ahead jazz. I noticed Peter Bernstein plays guitar on the first 2 links. He is an awesome guitar player whom I have had the pleasure of seeing live on more then one occasion.
Without a doubt, Shelly Manne was THE preeminent drummer on the West Coast; however, I don't see any "founding father" of West Coast jazz, it seemed to spring from the mood of the West Coast, which was laid back and casual, as opposed to "hard bop" East Coast, which reflected the New York lifestyle; fast!
Glad you all liked the clips. I’m sure it did no go unnoticed that all those recordings were made by younger jazz players. In my book all that music is “new jazz”. Straight-ahead jazz to be sure, but definitely with a conceptual approach that is more modern or “newer” than what was heard in the fifties and sixties; including the ones that are not new compositions and are covers of standards. There is so much great new jazz out there by very talented young players that if anyone thinks otherwise they’re simply not looking or don’t want to see it for some reason.
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