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.
rok, your "Guantanamera" clip is one of the best I’ve seen and heard. Must be a lot of " Bob Dylan’s "in Cuba !
I did not know the children could march .Teared me up that we really don't much care .Serious ?Why do we retain the shuffle that passes for what real soldiers do.? https://youtu.be/ni0xPZ2ACYk?t=2
To my hears a jazz trio or quartet sounds better in mono .Which is why a old mono recording is often 4 times as much as its stereo version among hard-core collectors . acman , your Lateff stuff is outstanding . Some mostly straight ahead stuff . https://youtu.be/IHpng3K7BZA?t=7
<<In this light, old recordings seem more real and more attractive to
folks who appreciate live recording and therefore music with certain
"faults"...
>>
Absolutely. Rudy van Gelder enriched my musical world like no other. These are 60 year-old recordings that are captivating and mesmerizing.
Yusef Lateef "Live at Pep's." Go global. Lateef was the best at melding the music of the far east with American jazz and blues. It doesn't get much better than this.
I bought this CD back in 1995 : The Wonderful World of Three Blind Mice One if my very favorite Jazz CD I went searching for a backup just in case. I found one on the internet for $365.00!! awhile back
On their Remembrance Day, the Cenotaph is the center of all the ceremony. Royals and all that. But, I was always amazed at the number or old timers that march. Esp the Marines and the Parachute regiments. Once, always.
schubert Everytime when rok digs out something from Marsalis, I am curious to see what kind of music combination (interpretation) that will be. For instance I was quite interested in that one with Dylan...It takes a lot to laugh, it takes train to cry.
Many good comments re old vs new recording equipment/techniques.
I think pjw’s premise concerns piano trios specifically. In fairness, I am not aware of any trio recordings by a major jazz piano artist that were done with all three players NOT playing together. There MAY be some degree of isolation between the players by way of baffles, but the preferred method is to play together at the same time and without overdubs. In those cases the issues of concern are excessive multi micing and arguably needless sound processing of one kind or another. So, one could say that this is a moot concern re the original question. However, it is true that with larger ensembles the players sometimes record their individual parts at different times; or some variation of that with possibly a solo being overdubbed at a different time. In pop music and even some of the overproduced “jazz” recordings (some CTI’s) it’s a different matter, with everything done piece meal.
Imo, artistically serious music ALWAYS suffers when the musicians do not play together. In any performance the visual cues that players give each other are very important musically as well as the overall musical cohesion and energy that is generated by being together. Some of that energy or musical vibrancy is always lost otherwise. With heavily produced pop music things are not as clearcut since heavy handed production values can be an essential part of the particular sound aesthetic that the producers or artist actually want. Some of Quincy Jones’ more recent projects come to mind; masterful and extremely creative use of recording tools....if one likes that aesthetic.
I do think, as jpw suggests that with modern equipment in the hands of a really great engineer and producer the POTENTIAL exists for superior sounding recordings. There is a great irony as concerns all this and is something that producers and engineers struggle with. Modern recording studios almost always have far more bells and whistles (electronic sound processing devices) than back in the day. Many engineers find it difficult to NOT use these tools which in the wrong hands often do no more than muck things up. Of course there are great engineers who take advantage of the technology when it will truly benefit and who don’t have the all too common attitude of “we’ll fix it in the mix”; as opposed to striving for best possible sound with minimal manipulation from the start.
"...yes it could sound different, but not necessarily better."
pryso, "better" is the key word and subject of dispute. What is better for me, might not necessarily be better for you. It's more the matter of taste. And yep, it can sound different - in the direction to which you set your preferences to.
"And how about the older recordings being made with everyone playing together at the same time, no individual instruments added separately? I suspect a combination of factors."
Imho, that's the charm of old recordings - everyone playing together in comparison to today's recording (each instrument recorded and added separately). In this light, old recordings seem more real and more attractive to folks who appreciate live recording and therefore music with certain "faults"...
pjw, an interesting question and I'm surprised not to see any following comments:
"I often wonder what the great trio's of the 50's and 60's would sound like using 21st century studio's, equipment, and engineers."
No doubt there have been technical advances in recording equipment. But at the same time many aficionados continue to praise older recordings. Is that because of tube rather than solid state electronics? Fewer mics utilized rather than mic'ing each instrument as is typical today? Simpler mixers (fewer channels), and thus less complex electronics? And how about the older recordings being made with everyone playing together at the same time, no individual instruments added separately? I suspect a combination of factors.
On the other hand, some aficionados prefer the additional detail, extended frequency range, and quieter background possible with modern gear.
Regarding engineers I believe great examples can be identified from 40 years ago or more and today at the same time, same for studios. So that comes down to the individual recording.
Just to muddy the water around your question, consider than with older recordings many prefer the mono releases of a given recording over the stereo version. Anyone surprised by that can check current prices for many Blue Note mono recordings compared to stereo released at the same time.
So for me the answer to your question would be, yes it could sound different, but not necessarily better.
The Jazz At Lincoln Center Orchestra with Wynton Marsalis. -- HANDFUL OF KEYS: A century of Jazz Piano
Wynton invited six guest pianists to play examples of Jazz throughout the Century. They range in age from 13 year old Joey Alexander to 89 year old Dick Hyman.
To be honest I was certain you had , just pulling your chain . If your German is a bit rusty , here is something you don’t know .She had never played it before ! I love the German language , honey in my ears , and I have never heard anyone speak it any better . Mine is not what it once was and I understood every word .
rok, that "closer to me" was most fun I had all week .
**** Man, this might be an instrument even our walking encyclopedic musician isn’t familiar ****
Sorry to disappoint 😊, but I am very familiar with it from having played two runs of Strauss’ (Richard) opera “Elektra” and a concert version of “Salome”. As you point out Strauss liked the instrument. Aaron Copland also scored it in his Symphony No.2. Usually played by a full time oboist. In the absence of a good instrument or an oboist who actually plays it, a bass oboe can be and is sometimes substituted for the heckelphone. That young lady does sound very good. But, alas, the heckelphone always sits at the far end of the oboe section and far away from the clarinets.
She said he was inspired by Wagner’s bombs and thought he could sell a deeper tone wind instrument than existed in this new day of music anywhere . Did sell quite a few ,. R.Strauss wrote for it among others . Wagner heard of Heckel and came to him with an order.
Should , that young lady is superb . In looks too, IMO . There is a whole series of these clips by Stuttgart musicians of every instrument of this great symphony .
Man, this might be an instrument even our walking encyclopedic musician isn’t familiar with.https://youtu.be/Gxj0OLftfFk?t=12 I'll wager he wouldn't mind sitting next to her ,only because she has such a great tone of course . This little princess speaks German as well as it can be spoken ! Perfect diction .Older lady speaks good middle-class . Stuttgart band is in good shape .
"Trane finally left the house"; it's about time, I was beginning to wonder if the boy could play regular piano.
That album is definitely worthy of my purchase; the only artist on that album I'm not familiar with is "Lewis Nash", and he's holding his own.
The rest of the gang is performing like the professionals they are; they speak when spoken to, and they always say the right thing, without saying too much or too little.
Gary Bartz really shines on "If I Should Lose You"; so does the bass man, Christian McBride.
The leader realizes he doesn't have to play every note on the piano, twice; that was unexpected to hear. This is the McCoy Tyner I must hear more of.
Maybe it’s the air, or maybe it’s the beer 😋, what I do know is that Woody Shaw’s playing on that clip is pure genius. The first couple of minutes of the clip are unbelievable with what he does with Body and Soul. Stole the show, IMO. Great clip.
It has often been pointed out here that some band leaders bring out the best in a player. Check out this solo by Kenny Garret as member of Miles’ band just a short time after the date of that clip. With Shaw and Dizzy Putting aside any bias that anyone may have against Miles’ stage demeanor or about the style of the music, a textbook example of what is possible with just one chord change. Brilliant. The “groove master” indeed:
Glad you liked the Anat Cohen clips, pjw. Very talented lady. I like her Brazilian choro band in particular. Good tenor player also. I’ll post some of her tenor things when I have a little more time.
pjw, I’ve had privilege to work with profi engineer precisely on the sound, you would be very surprised to hear what modern technology can do. It can bring out (articulate) the best and diminish the defects on many aspects. It’s art of boosting, cutting, implementing and balancing on all the levels.
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