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.
***** I’ll never know why Kind of Blue gets all the credit.*****
Because besides be a fantastic record with great playing as well as having “good tunes and is laid back” (mostly laid back) in the overall context of Jazz it ushered in, among other things, the modal Jazz movement; a hugely important milestone (😎) in the history of the music. If context, history and evolution of the music is important to you, that is why.
I agree with the frogman 100% in regards to Kind Of Blue.
A "landmark album" in the jazz genre and maybe the best one at that.
I also consider a few of the Mingus and Brubeck albums "landmark" as well as the initial bebop recordings in the 40's
I am still waiting for the frogman's assessment of Steve Coleman and the Five Elements, which if he does not have any of his material in his collection and has not listened to any of it in the last 40 years will not be a speedy undertaking. :)
Mind you Coleman uses rappers on a few of his tunes. These songs I could do without. Here is how an All Music reviewer described one of his albums:
Alto saxophonist Coleman conceives his music as "a symbolic language used to express the nature of the Universe," and it goes much deeper as his extensive liner notes attest. It probes dissonant recesses of space with spiritual and ancient thematic parallels, his rambling, tart saxophone lines placed squarely in the middle of either chaos or orderly settings, both being quite prevalent. The varying instrumentation and connectedness of the seven compositions lends to a suite-like concept. Haunting violins and violas act nearly as synthesizers. Hard blues funk is more prevalent rhythmically, but there are many instances of no-time spaciness. Vocals as on "Maat" and "Seth" are shaman sounding and hymnal. Help on select tracks from saxophonist Craig Handy for "Precessional," vibist Stefon Harris soloing on a processional "The Twelve Powers," and tenor saxophonist Ravi Coltrane with trombonist Tim Albright and Coleman only for the minimalist ebony framed trio workout "The Gate," show Coleman to be a benevolent leader, time-sharing ideas and concepts. Jason Moran's dramatic piano on three cuts shows his ever-growing prowess. "Seth" and "Ausar" are odes to a dead Pharaoh reincarnated, then resurrected. Polyphonic harmonies and stealth tones dominate the recording from start to finish. There's also some impressive unison playing among front liners. This is yet another bold statement for Coleman. It holds a strangely exotic, alluring beauty that challenged listeners should appreciate and fans will recognize as another step ahead.
pjw, you asked for my thoughts on Steve Coleman. First, I should point out that I live in Brooklyn. I’m sure you are aware of the Brooklyn based M-Base Collective which Steve Coleman co-founded. Very interesting collective of extremely creative young Jazz players doing a lot of interesting things. They are pretty omnipresent in the NYC creative music scene.
Coleman is a wonderful player with a beautifully developed alto tone and technique. He plays with a very modern harmonic language that, in keeping with one of the stated philosophies of M-Base, seeks to more deeply explore the spiritual aspect of music making. Steve Coleman is one of the very best examples of the relevance of Jazz today and a great example of the logical and natural evolution of Jazz. Personally, I am always mystified by the argument by some that the best times for Jazz will always be in the past; that there is nothing new that is good at a very high level; or, why there’s an argument to begin with. There is a lot of very relevant Jazz happening today that builds on what came before while exploring new creative ground. Coleman has a true voice with great conviction and plays with a unique language that is a departure from a language that is more obviously blues-based, but he can swing and tell a story, in his way, as well as many of the “greats”. This is a favorite from Coleman and as far as I’m concerned it absolutely kills:
frogman, I am clueless about the technical elements of the harmony , but it is interesting in that he is saying something and you can’t listen to this as "" background ". It is a conversation .And one you don’t want to walk away from . Even if you don’t know the language . The killer in the M-base is growth is the goal. We live in a world where "progress "is all-important . Growth is something that belongs to you and always will . "" Progress" is a never ending race to nowhere .The former is why artists are more important than businessman .
Thanks frogman for your candid take on Steve Coleman, The Five Elements and M Bass Collective.
I agree 100% that the oft rotating musicians in Coleman’s collaborations are always creating and evolving. The signature Coleman blues/funk grooves are an expression of funk that stand alone IMO. The list of great musicians that have joined Coleman over the years is a testament to the ongoing quest and enjoyment of creating new sounds.
I really like that duo album you posted with Coleman and Dave Holland. I have all of the Holland albums in which Coleman appeared on except that one which I will remedy soon. I have about 20 of Coleman’s releases as a leader. I have one M Bass collective album titled "Anatomy Of A Groove"
Steve Coleman is also a fantastic composer/arranger who "blows up" the recently discussed "everything sounds the same" discussions.
Coleman sounds amazing on the live in Paris. Thanks for that. Interesting and unusual take on Round Midnight and appropriate that he quotes “Freedom Jazz Dance” (1:20). Awesome player.
They all seem to have a compulsion to try to speak French. I wonder why.
No notes to speak of, a folded piece of paper, with just a paragraph by Dee Dee. "Jazz is a music of improvisation, a music of feeling deeply rooted in me."....
The CD cover does not convey any sense of the music actually on the CD. It says nothing. The rear is a proper Impulse Jazz layout.
As usual, playing catch-up again. My excuse this time, I was traveling.
O10, "I Only Have Eyes For You" remains one of my favorites from back in HS (the original). Not that long ago I heard Lester Bowie's version which knocked me out. Unfortunately I can't find his album link any longer so this lesser version will just have to fill in -
Pretty sure I mentioned my enjoyment of War previously as well.
Regarding "Kind of Blue", I use two measures in judging music. First, does it grab me and hold my interest all the way through? Second, do I continue to enjoy it with repeated listenings? I've been listening to "Kind of Blue" since 1959 (not every day mind you) and have not tired of it yet.
I know little about the technicalities of music, many of you know more. And frog is way beyond that. But if the melodic line pleases me, the arrangement/instrumentation fits, and the performance is stimulating then I'm hooked. Well, with some the lyric line can be an added bonus, but in general I find it less likely to really enjoy vocal versions.
They wanted to learn French because most were from the American South and in France they found white folks who were actually decent , civilized and educated , the exact opposite of where they came from . French was love in their mouth . Still is for that matter . The same thing is happening in the Great Quebec Universities . Black students go there for a semester exchange and most never come back . Oscar Peterson knew what time it is .
Frogman, Kind of Blue is a great record. I think it gets more attention because it was one of Mile's turning points but Seven Steps is IMHO even more amazing and Miles is at the peak of his form. I will have to check out Steven Coleman. I have not listened to him yet. Orpheus, there is loads of more current material that is just as amazing as the old stuff. Check out Oregon or The Dave Holland Quartet, John Scofield, Mike Stern. I guess I could keep going on for quite a while :)
Pjw, since this thread began, we have talked about everything under the sun. The way this works is that you simply ignore what you don't like and it will go away; however, it will stick around as long as you comment on it.
Quite often the "Deleter in chief" comes around without warning and deletes everything, so that's another thing you can count on.
In regard to Steve Coleman, I liked Country Bama, it was long and the way he developed the theme and worked it, made the music interesting.
I don't want you to take this personal, everyone knows how I feel about standards; when a musician plays a standard in such a fashion that it's unrecognizable, I feel they should have put a different name on it and claimed it as their own. Such was the case with "Round Midnight".
0-10 I was talking only about American Black Musicians , Nothing else .Just time to go . Thanks , frogman, your giving of your vast musical knowledge has no equal . You are one of a kind . A credit to both your lands .
Nice move, O-10. Go for the unwarranted, baseless and petty personal attack; that’s a mature and reasonable approach for sure. Now, even if your criticism were true (it is far from true), this is a music thread, no? So, what’s the problem?
In answer to your question. I think you know perfectly well what I meant by my comment. Very often when the discussions deviate to some of these other subjects conflict ensues. An accurate observation and I pointed it out again. You don’t like that I point it out? Too darn bad; your bs is tiresome.
**** , but it is interesting in that he is saying something and you can’t listen to this as "" background ". It is a conversation .And one you don’t want to walk away from . Even if you don’t know the language .****
And that is why Schubert shouldn’t leave the thread.
Sort of subdued Basie, esp the full Band numbers. Much better on the small group (septet) numbers. I only recognized the names Basie and Joe Pass, on the list of credits. Maybe that's what's missing. Recorded the year he died. One of his last, if not his last recording. No notes to speak of.
There is a scene in what is possibly the greatest American musical theater piece ever composed, West Side Story (Leonard Bernstein/Stephen Sondheim) and which is really the story of Romeo and Juliet in a modern urban setting, in which Maria and Anita are talking about the opposite sex. Maria’s brother is Anita’s lover and a member of the Puerto Rican gang the “Sharks”. He is getting ready for a big turf fight with the rival gang the Anglo “Jets”. The younger Maria asks Anita “Why do they fight?”. Anita responds “Too much passion” “and when they fight they get it all out“.
The Tony Williams drum intro at Umbria Jazz 1988 is amazing. His technique on the snare drum is flawless. One of the greatest drummers to ever sit behind a kit.
In reading these recent posts I could understand why Schubert feels the way he does. Schubert, for quite sometime now, has had a great rapport with the 2 fellows that ushered him off this thread because of their recent posts belittling him.
Schubert if you are still monitoring this thread I think you should not let those two have any influence on you. I thought your posts here over the last year or so were honest and informative and you never belittle any members here.
Keep on participating and just ignore the 2 members who, although they both have posted opinions that discreetly embrace racism and bigotry, are for the most part harmless. Out of thousands of posts by both of them a very small percentage are abrasive and belittling towards other members.
Freddie Redd Quartet -- THE MUSIC FROM THE CONNECTION with Jackie McLean. Music composed by Freddie Redd.
I don't think I have ever heard this much Jackie McLean.
This music was written by Redd for a play by Jack Gelber called "the Connection". It's about musician drug addicts. The play takes place in a room where the junkies are waiting for their 'connection', i.e. drug connection, named 'cowboy', to show up with the heroin. The musicians playing here are actors in the play also. Along with real actors.
Nothing about this music says 'drug addiction' to me, but I have not seen the play. If it can be ferreted out, the OP can / will do it. Good Jazz nevertheless.
Rok, I had a good friend who was also a professional musician who had that problem; consequently I saw the problem up close and personal, something no one ever wants to see.
There are many misconceptions about drugs and jazz musicians; number one is that they use drugs to play better. That's a flat out lie. While they can't play if they don't get it, they can't play if they get to high; but they are the most incredible musicians I've ever heard when they're just right.
Drugs have zilch to do with the musician; he or she would have become a drug addict whether they became a musician or not. Charley Parker was using before he became a musician. Billie Holiday had experiences that are fundamentally the reason behind so many drug addicts. Physical pain is gone once it's gone, but mental anguish never goes away, it keeps coming back, and "dope" is the only way to temporarily escape it. Of course there are a multitude of other reasons why people use dope, I just gave the reason that almost guarantees a dope addict.
Incredible musicians and "dope" is just a coincidence, or what ever drives them to use dope also drives them to become incredible musicians, but it's for sure "dope" doesn't help them play better.
Since I have that album, I'll get back to you about the music after I've listened to it again.
Rok, that's "real jazz", not imitation jazz. Imitation jazz is when some dude who's been to "julee yard" hears real jazz and says "I can play that". Sure enough, he can play it. and to the uninitiated, it sounds like the real thing. But just like a jeweler can tell the difference between a fake diamond and the real thing, so can a true blue "aficionado" tell the difference between the sound alike and the real deal.
The "real deal" comes from within, not without, and if you ain't got it within, it can not come out; but if you been to "Julee Yard" you can probably play the notes off your instrument, and therefore come up with the best fake jazz anyone has ever heard.
I have two different albums of this music; one that showcases Jackie McLean, and another with different musicians except for Freddie Redd. Both albums have the same cuts, but different musicians.
Right now I'm listening to the one with Jackie Mac. I assume you also want to know how the other album with different musicians sounds. The album with the musicians listed at the bottom is the other album. I'll get back to you tomorrow with a full review.
Schubert, one of the strangest experiences I've ever had is related to Vietnam.
This was at a New Years Eve party, 68 or 69, and a fellow sitting across from me struck up a conversation. He was about 24, well dressed, soft spoken, good looking, had a soft smile on his face. As he spoke, I began to look into his eyes, and shivers went all through my body. That's when I began to talk to myself; "It's early, I haven't had anything to drink yet, I just looked into that guys eyes and my blood froze."
There was nothing outwardly intimidating about this person, but when I looked into his eyes again, the same thing happened all over again; it was like looking at the face of death.
After I discovered he was just back from Vietnam, I put two and two together; the eyes are the window to the soul, there was no telling what he had experienced in Nam, and it was still with him. I've never been to Nam, and I know a lot more about it than I would ever want to talk about, that guy experienced more than anyone would ever want to talk about.
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