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.
mary_jo, I like to keep and catalogue quotes by musicians. I read this quote by the great Wayne Shorter some time ago:
**** There are a lot of people walking around, full-grown and so-called normal—that have everything that they were born with at the right leg length, arm length, and stuff like that. They’re symmetrical in every way, but they live their lives like they are armless, legless, brainless, and they live their life with blame. I never heard Michel complain about anything. Michel didn’t look in the mirror and complain about what he saw. Michel was a great musician, and great because he was a great human being. He had the ability to feel and give to others of that feeling, and he gave to others through his music. ****
In answer to your question “should we value Michel, due to his struggle, more?”. I would say, no. Artists want to be judged based on artistic merit, period. As a good friend likes to say, the answer is often in the question. As you pointed out, he was frustrated because he felt the awards were given because they felt sorry for him. I would say that as fellow human beings we can admire and respect how he dealt with his struggle, but I suspect that he would have wanted his playing to be judged independent of that.
Well, I've been away for a couple of weeks, so much was posted here I could comment on. Even if I concentrated on the music and ignored the personal challenges. ;^)
But that would take too long, in addition to being old news now. So I'll limit it to one post specifically for mary jo, in the event she didn't see it when posted here previously. This responds to the image of jazz ladies in hats -
For anyone who still doubts the importance of stylistic lineage in jazz; aka “influence”. Lester Young recorded this two years before this other famous player’s first record as leader. Stan Getz, anyone 😉?
mary_jo, I posted that link for our resident Nina Simone lover and either he did not notice it or did and was unimpressed. In case he did not notice here again is the link:
pjw, I found it very important, the link about Nina's voice. One does not have to necessarily adore Nina or vice versa to appreciate the overview. It gives you the insight in how someone's voice can be interpreted which is of great value to the ones who are interested in music. As for our resident Nina Simone lover, I think the same, either he did not notice it or did and was unimpressed. However, if I would like somebody's voice, no other opinion would stop me for liking. I simply like it, that's it. What is there to discuss or to debate? I like it, you do not like it. Say what you have to say (I may even learn something new) and move on...
////In answer to your question “should we value Michel, due to his struggle, more?”. I would say, no. Artists want to be judged based on artistic merit, period.///
Yes, fro, I do agree with you on this although I have difficulties separating artist’s personal life from the artist’s life on stage. The life that one leads, this leaves certain taste in my mouth, meaning I grow some thoughts about it in the process. It is hard to get rid of this when listening the one’s performance.
When Michel plays, I know he suffers. Hard to ignore although he would want that from us.
His vocals are ok and in those ballads he sings I can hear the emotional torment through his voice. Maybe it had something to do with his demons who continued to haunt him on and off until his death. He lost his battle with heroin in 1988.
mary jo, "The life that one leads, this leaves certain taste in my mouth, meaning I grow some thoughts about it in the process."
In general I agree. However with some musicians that can be a challenge -- Mingus for example. To me his music was honest and deeply rooted in his own personal experiences. Yet when you read his autobiography it was full of fantasies.
Glad you liked the Prez clip. One of the amazing things about that recording is how he only barely hints at the melody of the tune. He improvises an entirely new melody over the harmony of “These Foolish Things” that stands on its own while only making subtle references to the original.
pryso, I am yet to discover Mingus. On my way to him I am still "stuck" with Chet, Miles, Coltrane, Evans, Getz, Burrell, Cannonball, Peppe, Desmond, Louis, Django, etc, etc...I do not know where to turn first, I am so much behind...
Two old friends meet after long time. The question is made: "What’s up?". The normal guy tells about job, house, wife, kids, dog, new car etc. The jazz trumpeter tells that he just released an album.
mj, I’ve been a fan of Mingus for many years. He was very prolific and released a number of significant albums. Perhaps the easiest to find will be those released by Columbia, which certainly included a lot of great music. But here is one of my favorites from an album not quite so well known -
Then, while I normally hesitate to suggest tribute albums to anyone learning about an artist, rather than the musician themselves, I think this Joni Mitchell tribute to Mingus is worthwhile. It may not apply to you but this is particularly good for anyone coming to jazz from a pop or rock background.
I do have one criticism of her release. The taped candid conversations at Mingus’s birthday party are fun, but I wish they had been presented at the end, or better yet on an included 45. Once I’d heard them I found them to be an "interruption" to the flow of the music on subsequent listens. Still, a great tribute and wonderful album.
mary jo, thank you for that link. I've heard several versions of Pork Pie Hat, by Mingus and others, but was completely unfamiliar with that one. In fact I'd not heard of the Essential Mingus Big Band. I have two tribute albums by Mingus Dynasty, "Chair In The Sky" and "Live at Montreux", both which I can recommend. Yours sounds like a worthwhile addition.
pryso, mary_jo’s clip is of the Mingus Big Band. “Essential” is just part of that album’s title. Mingus Big Band is a fourteen piece band and like the septet Mingus Dynasty is a Mingus repertory band. They share personnel and were both created and run by Sue Mingus.
Very interesting documentary featuring the under-discussed Mal Waldron. Very interesting and unique piano stylist and composer. Some great talk about the creative process in Jazz. If nothing else, check out the footage with Abbey Lincoln @ 4:25; gives me chills:
I have been active 6 months now on this thread. I know Joey Alexander must have already been mentioned somewhere on this thread before I started posting. This kid is amazing. He not only has total command of his instrument, but he has that feel of interplaying correctly with musicians around him in a small or big band setting that usually comes with age and experience
Amazing young talent and clearly a prodigy. Especially amazing given his background. Also clearly still developing as is to be expected for someone that young. Your first two clips are a good illustration of his development.
On the one hand, on the simple blues in the first clip he shows a really good command of the “basics” of the language and does a lot of great and very idiomatic things like starting his solo (@ 3:09) with the same melodic figure that Wynton finishes his solo with in order to create continuity. On the other hand, while his solo has a lot of great and very impressive individual moments, it meanders after a while without the kind of relationship between those individual moments that a more fully developed artist brings to the table to give a solo good musical shape. The solo goes on too long and almost feels like he doesn’t quite know how to end his solo in a logical way; something that is harder to do than may seem. But, the kid was twelve years old!!! Incredible composure to be able to play like that with experienced players like Wynton on a stage like that. Pretty amazing!
Fast forward two years and he sounds much more relaxed on the Monk tune in the second clip; even the tone he gets from the piano is more developed as is to be expected given his larger physical size. Much more challenging tune to play and improvise on and he sounds impressively confident in the way that he plays a lot fewer notes, but with a lot more musical depth. If this kid continues on the path he seems to be on he could be one of the best. Thanks for the clips!
Thanks frogman. Your background in the music industry is a plus for me as far as learning a thing or two.
I would like to think I know a little bit about "how to listen to jazz music" after the last 15 years where have I listened to jazz almost exclusively with other genres taking a backseat. Not having any musical background of picking up an instrument other then listening closely. Sheet music looks like Egyptian hieroglyphs to me.
pjw, I commend you for your inquisitiveness. One of the things that most musicians hold as dogma is the idea that there is always more to learn about the art form; and there is no reason that listeners shouldn’t feel the same way. We all “have a long way to go” and your refreshing lack of ego about this and open mind to different genres suggest that you are a great candidate. Since the art is always evolving one way or the other, there is always something new to learn or understand. This is not to say that there can’t be deep enjoyment or appreciation without understanding the technical aspects of music, but a better understanding can definitely deepen the enjoyment and appreciation. Unfortunately, there is sometimes a mistaken idea that some fall victim to that suggests that knowledge is in conflict with the enjoyment of the emotional component. Nothing could be further from the truth.
I am not familiar with that particular book, but I know Gioia’s work as a critic and reviewer and the guy definitely knows what he’s talking about. The reviews of that book are very positive. I would definitely check it out and please get back to us with your thoughts on it.
pjw, that was remark made in goodwill. I consider you as a true jazz listener...but I do think that another jazz admirerer od even a jazz player can deepen the process of taking pleasure in jazz listening...
mary_jo Glad to hear you are getting into Charles Mingus. It's always exciting to discover new artists. Mingus was one of a kind : a great composer, bassist and bandleader. You can't go wrong with any of his music but may I suggest as a starting point the albums " Tijuana Moods" and "Mingus Ah Um". I agree with your comments on Chet Baker. His singing is ok but as you said" his trumpet is beyond his voice". ;
pjw It's refreshing to hear you say you want to learn more about how to listen to jazz and are thinking of turning to books for help. I too reached this point many years ago and did that. I believed this reading and studying enhanced my jazz listening experience and believe me when I say I also have a long way to go . Give me a day or so and I will mention some book titles you may be interested in. I know that even if someone is not a musician you CAN increase awareness and enjoyment of the listening experience.
frogmanI enjoyed the Lester Young cut you posted on 10/19 where he barely txouched on the melody. I would like to obtain/be exposed to more of his music as he is an important player who influenced many others who emerged in the bebop era.But I recently purchased a You ng date from the 40's with terrible sound (probably transferred from a scratched-up 78rpm disc).Also considering his declining health in the 50's i don't want to purchase something where he was in mediocre form.So I am looking for recommendations I can search out including good playing and good sound.I saw 2 albums mentioned in his bio( Pres and Teddy, The Jazz Giants,56) would these be candidates? Would appreciate some help.
nsp, important player indeed! I agree with Alex about the two recordings you mention and the other two he recommends.
Keeping in mind that some feel that Pres’ best recordings were his earlier ones, I would also definitely recommend “The Complete Aladdin Recordings Of Lester Young”. This reissue set includes the recording of Those Foolish Things that I posted and that you liked. “Lester Young with Oscar Peterson” is a must have, imo; some of his very best playing and excellent recorded sound. If I had to choose only one “later” recording (1952) that would be the one. Pres’ recordings with Count Basie are also important for a good overview. I like “The Complete Decca Recordings”. Very swinging big band and wonderful early Pres. Sound is more than acceptable.
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