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.
A good example of the later version, with better everything, being actually better. I have the Pershing Disc, who doesn't, and on my copy you can the audience talking throughout, Also, the applause was very perfunctory. Like, oh he's finish, I guess we should applaud.
The Paris one is better, but I just wish they would stop trying to speak French. They all do it. It just encourages the French.
With respect, you’re twisting some of what I wrote. First, I did not say Wynton is not significant. He is very significant (“Fabulous legacy”). He is insignificant as far as being part of where Jazz has been going for quite some time. His stuff with JALC is very significant as is much of his other work. I also did not say that new jazz is not being recorded. I said little of it is being recorded relative to how much is going on live and certainly relative to how much was recorded in the past. This is not news; we know this.
The argument that there is no good new Jazz simply doesn’t hold water. Any given listener may not like new Jazz for stylistic reasons and that is fine. But there is plenty out there and and some of it is being recorded. The idea that no new Jazz is happening at a very high level is simply nonsense; doesn’t mean everyone will like it. When was the last time you wore your purple bell bottoms? My objection to the constant pessimism is that it does the art form a disservice in more ways than are obvious. Moreover, what is the point, on a more human level, of constantly putting down what others, who are obviously not idiots, find value in; other than to try and put oneself on some sort of pedestal? Btw, Frank Wess and players like him don’t promote younger players like Robinson because they need opportunities to play. They do it because they believe in their artistic vision and where they are taking the music.
Ahmad Jamal now makes his home in Marseille; speaking of live music, my budget will not allow me to fly to France. (when are the French going to learn how to spell; that's pronounced "Marsay".)
Cannonball Adderley -- CANNONBALL AND THE POLL WINNERS
The poll winners were Ray Brown, Wes Montgomery and Cannonball.
This grouping came about almost by accident, Cannonball was playing in SF at the Jazz Workshop, Oscar Peterson, with Ray brown, was at the Black-Hawk, also in SF, and Wes was across the bay in Oakland. All that talent by chance within a stone's throw of each other. there was such depth in Jazz at that time. Made the polls fun.
All your points support mine. We are in total agreement. I say it's gone, you say it's not being recorded, very small audience, and you have to go to large cities to hear it. Same thing. When scientist say a species is extinct, there may be a handful left, but not enough to maintain the species.
*****
His forays into those other segments of “the Jazz you are speaking of” have been been lackluster and not significant. *****
Maybe not to Jazz insiders, players, critics or kingmakers. But to the great unwashed, it is a different story. He is very significant. He tries to stay that way by playing with people like Clapton, Willie Nelson, popular singers, and getting youngsters involved.
Frank Wess, like you, is a professional. He sees the entire Jazz scene from a different perspective than does the public. First and foremost, pros want to play. For Love or money. Besides, I have nothing against players because of age.
***** But without the well-spring of live music it all means nothing .You have to drink from the well to placate your thirst .****
That is exactly right.
**** The Jazz you are speaking of is gone. Gone. ****
That is exactly not right. The problem is that very little of it is being recorded because the audience is much much smaller than it used to be. It is there in clubs in major cities and some not so major. We bemoan the shrinking of the market for “the Jazz that you are speaking of” but we don’t go out and support live music.
**** once Wynton is no longer with us, that will be the final nail in the coffin of Jazz as we knew it, as far as it being played at the highest level. ****
I don’t believe that for one second. Way too pessimistic. Besides, I believe you are conflating a lot of different issues; painting with way too broad a brush. Wynton’s legacy will be that of keeping a specific segment of “the Jazz you are speaking of” in the public eye (ear). Fabulous legacy. That effort, so far, has had little to do with bebop, hard bop, post bop and beyond. His forays into those other segments of “the Jazz you are speaking of” have been been lackluster and not significant. Those other flames are being kept alive by others that will not get the financial backing of the powers that be because of that sadly small audience. Go to the small clubs in NYC, Chicago and others and you’ll hear it.
**** That's why we don't need no stinkin' New Jazz. ****
Maybe you don’t. But, understand this, you are handing Wynton the hammer for that final nail.
Nice story about your aunt. As nice as that story is, I would rather take the message from someone like Frank Wess who, like on my last clip, was totally digging where the younger player was taking things. Not the way HE would do it, but he recognized how good it was. Another little and interesting aside in that clip that may or may not mean anything to some, but is just another little example of how most players themselves usually respect both sides of the equation, the old and the new. Look closely, the older player is playing the latest and current model Selmer saxophone, the younger player is playing an old Conn from the ‘40s. Symbolism at its best.
Imprint -- To fix indelibly or permanently (as on the memory) webster
I had an aunt that passed away back in 1999. Very sophisticated woman. Well traveled, Berkeley, HS Principal, taught Latin in High school. Her former students in large cities, LA, Detroit and esp Chicago, formed clubs of former students and would invite her and honor her like royalty. She loved the attention. Made 'ladies' of hundreds of girls she taught through various social clubs. Embraced all things new and modern. Loved music. Played the huge pipe organ at our church.
When she died I received her floor standing console music player. A lot of wood! Mono, one speaker. And on the platter when I opened the top: A 78 rpm record of Duke Ellington and his Orchestra. I just smiled. She stayed true to her time.
Rok, you're right about good inexpensive sound quality; remember when you got all those best jazz CD's, and I told you they were better than my original records; that speaks for the digital vs analog.
And you're right; I'm sure we haven't heard all the best old stuff yet, you just brightened my day.
0-10 and rok2id , both well said . But without the well-spring of live music it all means nothing .You have to drink from the well to placate your thirst .
One of the many dangers of old age is your lack of thirst , I have to remember to drink .
If anybody wonders why so many good to great jazz musicians stay with bands like WDR , I’ll tell you why . These people are civil servants of the German State , they have full medical and dental coverage , 6 weeks a year paid vacation and at 62 can retire with a good pension if they so desire . In short , they are under little stress . I know some good players here who are badly stressed out to make medical and dental for their family . I consider that criminal .
*****
Rok, the reason I keep going back to the 2015 jazz poll is because I'm trying to refute my own thesis that good jazz is no longer being created.*****
The Jazz you are speaking of is gone. Gone. Accept that fact. Also we must accept that once Wynton is no longer with us, that will be the final nail in the coffin of Jazz as we knew it, as far as it being played at the highest level.
BUT, there is always a but, look what we do have to be thankful for: The Compact Disc The Internet You Tube Amazon Very good and inexpensive stereo gear (once you get pass the hype, marketing and ignorance, this stuff has never been better or cheaper) Smart phones
So, we will always be able to hear the good stuff. And hear it in the best sound quality ever. And the older and better it is, the cheaper it is.
So focus on the the bright side. Besides, we probably have not heard all the old stuff yet.
Gil Scott was an idealist who made social commentary in a style that is now called "Rap", but I'm sure he wouldn't want to be called the first rapper. "Rap" is totally disgusting when compared to Gil Scott's social commentary; Rap is low life, but it is what it is, it's what life is about when you sell dope, rap or starve; look at Detroit, Cleveland, and a host of other cities. That's what life is about when all the jobs are shipped out to another country.
Gil Scott was before the working man had come to that state. He was about preventing what we see now. While some were left behind during his time, the "American Dream" was still alive and well; Detroit, Chicago, (even the South Side) and a host of other cities were great places to live; this was in the late 60's and early 70's.
There is a song that paints a picture of a young working man's heaven, it's called "Summer Breeze";
See the curtains hangin' in the window In the evening on a Friday night A little light a-shinin' through the window Lets me know everything's all right
Summer breeze makes me feel fine Blowin' through the jasmine in my mind Summer breeze makes me feel fine Blowin' though the jasmine in my mind
See the paper layin' on the sidewalk A little music from the house next door So I walk on up to the doorstep Through the screen and across the floor
If that same young man was living in that same house, he would be living in an uninhabitable crime ridden, dope driven neighborhood; that's what it is today.
What gets me with Wess in that clip is he still seems to not have lost his nuance factor which is remarkable at his age ,don’t have to cut any slack for him!
If WDR ever calls for you (very likely) don’t forget to see the Cologne Cathedral(Dom) , near their studio and likely the most beautiful church in the world .
Indeed a crime, Schubert. Strassmeyer is very fine; and you’re right, being a good doubler is a requirement for membership in a band with a repertoire like theirs which runs the gamut.
Speaking of Frank Wess, Maria Schneider, doubling and new Jazz. This tenor is one of the most interesting of the new (ish) crop of players on the scene. Member of Schneider’s band, he is an incredible multi instrumentalist who was taken under his wing by Frank Wess. Can play styles old and new at the highest level. Plays many unusual and exotic instruments, but tenor is his primary horn. Instruments as exotic as his wardrobe 😊. A bit like James Carter in that his tone concept is traditional, but can play very modern harmonically. Check out Frank Wess’ expressions while he listens to Scott. No doubt in that old master’s mind whether Scott can play or not. Frank Wess was 87! when this was done. I hope I can still pick my nose at 87:
It is a crime how little Hefti and other great arrangers are so generally unknown !
It amazes me how all these old American masters end up playing in Cologne with WDR .frogman , I’ll wager you’d be amazed what that fine WDR Saxophone lady, Karolina Strassmayer, can do with her miserystick , only fleeting glances of her changing instruments seem to be on the tube .
Even more relaxed tempo. Of all the renditions of this chart that I’ve heard, my favorite. The great Frank Wess leads a Basie alumni band. Fabulous instrumental blend; like velvet. Snooky Young is wonderful:
pjw I have that rich Lionel Hampton Art Tatum disc you listed for quite a while. It's very good. Art Tatum was quite a player and Rich plays brushes a lot and is quite subdued in this context. RecommendedI agree with frogman's assessment of Rich and that it was "the Buddy Rich Show" bombastic in-your-face loud big band which I liked at first but grew out of as my tastes changed.
Words of wisdom; an aficionado reads with his eyes and hears with his ears; if he reads something that is contradictory to what he is hearing, one of them is wrong; which does he believe?
"Drummer Buddy Rich, whose quicksilver, frenetic technique earned him the accolade “fastest hands in the world,” died Thursday after suffering a seizure at a Bel-Air residence where he was recuperating from brain surgery. He was 69."
Maybe he was born with a tiny brain tumor that grew; his behavior was always erratic.
You make an interesting point about Buddy Rich as a sideman and you may be right that those are his best recordings. However, I’m not sure that I agree that he didn’t hire great players. I know a lot of the players who played in his bands post around 1978 or so. Great players. Although I did not know him, his featured tenor soloist Steve Marcus is a great player as were many others. I see it as the other way around. Buddy was an ego maniac and often abusive. As a sideman, he would never get away with that kind of behavior. As a leader, he could and did. Musicians will not give of their best under those conditions. Even so, I think that the main reason a lot of his later big band stuff is not particularly great is the same reason that later Maynard Ferguson stuff wasn’t either. The focus was not great big band playing, it became “The Buddy Rich Show”. The style became this extremely aggressive, bombastic “always balls to the wall” style of playing that I personally can’t stand. Still, amazing drummer.
I know that Buddy Rich was very opinionated and critical of other genres of music or just of music he thought "stunk" and he did not care who might have distanced themselves from him or, as another way of putting it - drove people away.
And as nsp pointed out did indeed have a black belt in Karate.
As for his curse filled rantings I believe Buddy’s mistake was not choosing the best players to begin with. And then he would chastise them when they screwed up which only makes it worse. I think that is why a lot of his "Buddy Rich Big Band" output is mediocre. Although there are a lot of gems too. His small band sessions are better - maybe because it was easier for Buddy to get everyone on the "same page" His leadership skills were nowhere close to a Duke Ellington or Count Basie when it came to big bands.
I love Buddy Rich but I think his best recordings are as a sideman whether in a big band or quartet/septet.
I wonder how Buddy would have handled himself in a trio recording with accompanying bass and piano.
Seems as if everyone is scaling down. I think it was preordained by the advent of the CD player. The vinyl brigade is holding out, but eventually it'll all be one or two boxes. And Polks of course.
That's the one thing I didn't like about the digital disc, There was nothing for me to do. I didn't feel involved. But I got over it.
Nah! I don’t compete that way. The glee will come when you see the light and stop being a Africa-connection denier. Besides, I am in the process of downscaling my system for something simpler and that doesn’t require the push of seven (!) “on” buttons for it to play music. Well, at least I’m thinking about it. Maybe Polks? 🤥
We were sharp but we trained just as hard as 173'rd . We were there as a trip wire that ensured NATO we were serious. 6,000 dead Americans couldn’t be ignored . We, at least Senior NCO’s and Officers knew that . Our barracks , old German ones but in good shape were 1.4 km from 500 Russian Arty 155 pieces . As you know , the Russians are the masters of Artillery . Talked to some former eastern front soldiers about that , their greatest fear. Their joke was the Russians fire control asked which pocket the infantry wanted . Cheers
2nd AD - Ft Hood, 3rd Armored Cavalry - Ft Bliss, 4th ID - Ft Carson, 2ID - Korea, 1CD - Ft Hood.
First Cavalry is almost as good at self-promotion as the Marine Corps. That's saying something.
My sister worked for the Army in Berlin as a Teacher of English to soldiers to whom English was a Second Language. Mostly Hispanic. She thought the Berlin Brigade was the best thing since sliced bread. She based this on their sharp appearance. :)
I always thought they were for show, because in case of war, they could immediately kiss their asses goodbye.
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