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.
"My entire adult working life was in electronics."
So has mine, I failed to see the connection between that and the high end? My knowledge has enabled me to achieve "Stereophile Class "A" sound" at a cheaper price; just yesterday some RCA connectors came in the mail that will be used to make interconnects which sound as good as very expensive one's.
If you can't hear the difference, it would be pointless to pay the difference; I'm not buying for status, I'm buying for sound.
My beginnings in jazz go back to Johnny Smith and "Moonlight In Vermont". I liked all of those albums you posted. As everyone knows, I'm all about memories, and Johnny Smith brings back some good one's.
Everytime I find some fault with "our way of life" somebody pipes up with "Love it or leave it", and I say to them "I'll leave it in a pine box"!
I found a way to duplicate very expensive interconnects, and by word of mouth made them for those who got the word.
Not long ago I discovered the wire I needed was no longer available to ordinary consumers. (no more interconnects)
The people who make a bundle from commercial interconnects discovered high quality interconnects could be made by buying a certain bulk wire that was used for industrial projects, and paid that company not to make it available for little people like me.
I know, all's fair in love and war, and capitalism.
I was just listening to Ahmad Jamal, and realized that my serious initiation into jazz began about 3 blocks from where his group appeared at "The Pershing Lounge" about the time his first big hit "Poinciana" came out in the 50’s.
I saw him in Chicago in the mid 80’s, and I could see by his reaction, (He left immediately after his performance at Ricks nightclub) that he was not pleased with the crowds reaction to his performance. Although it was fantastic as usual, they were used to seeing Ahmad; he was received like Christ in Bethlehem, "Oh there goes Jesus"; rather casual like.
I talked to his drummer "Frank Gant", who told me they had tickets to Japan, and that they could not make a living depending exclusively on the USA.
Presently he makes his home in Marseille France where he’s given the respect an artist of his stature should be given.
*****
that he was not pleased with the crowds reaction to his performance.*****
I was outraged by the crowd's reaction to his performance of 'Poinciana' on the 'at the Pershing But Not For Me' album. Loud talking while he was playing, and lame perfunctory applause after such a brilliant performance. Spoiled the entire tune for me.
*****
Marseille France where he's given the respect an artist of his stature should be given. *****
It's all an illusion. If he has to go to France to get respect, he's a sad case.
Cannonball reworks all his greatest hits, hence the name. Interesting the different paths taken by Miles, Coltrane and Cannonball, once they had 'Reached the Sea'.
I wouldn't call these improvements. I don't think most of these could be made mo' better. Esp 'Preacher.' But, since Cannonball was not capable of making bad music, it's all good. Loved 'Alabama'.
Four months later Cannonball died of a stroke at age 46.
rok, I was unaware of that Cannonball recording. I'm not a big fan of electric piano but I did enjoy those. Not as much as the originals, but still fun to hear new interpretations.
o10, regarding Ahmad Jamal, in college in the early ’60s several friends and I went downtown for his concert. We were all fans and looked forward to seeing/hearing him in person.
So he came out with his trio and sat down at the keyboard and began his first number. Within a few seconds he stopped and scowled at the instrument. He then tried a few short runs which only drew a shake of his head. Suddenly he stood up and walked off the stage. We just looked at one another, all of us stunned. Someone started a rhythmic clapping and most of the audience joined in. But to no avail. A minute later some guy came onstage and announced the concert was cancelled.
Later on when I’d learned more about concert performances I wondered why he hadn’t played a warm up prior to the performance to be certain the piano was tuned to suit him?
"She was a nice girl, obedient, polite, socially acceptable. A bit too reticent, some might say, but so very pleasing nonetheless. A really nice girl.
Oh yes her gaze seemed empty at times and her words sometimes rang, well not false really, but perhaps a bit flat.
Okay, I sometimes had a feeling she was just going through motions of life, but they were such nice motions. Everybody liked her.
She had uncanny ability to keep everybody happy almost all time, though she did not truly seem to be very happy herself. But I could be wrong, she was always smiling. I do not know that I ever heard her laugh - and no one ever accused her of being wildly in love with life - but she had such a nice smile.
She was a very caring person, though in a passive sort of way. She was not the type to turn the world upside down.
Still she was a very nice girl."
from L. Hybels, Nice girls don’t change the world.
Cannonball Adderley -- THEM DIRTY BLUES with Bobby Timmons (p) on 'Dat Dere'
The second recording for this quintet.
Notes: "...For the soulful spirit of the blues---the real, low, wonderfully emotion-stirring, and downright dirty blues that has always been and always will be the bedrock of Jazz--is the basic message of this group. ---- Orrin Keepnews
Great clips of female vocalists from all of you. Here is a lady from Italy that Hank Jones gave the highest accolades to. I have this album and consider it a great display of vocal talent.
https://www.amazon.com/dp/B002EE57QM/?coliid=I2L5L2N2CMIW5V&colid=2MJEFFF7AFXNS&psc=0 Amazon blurb: Every once in a while, a truly great singer comes along who possesses the beauty, individuality and talent to remind us of the magic and majesty of the human voice: that singer is Roberta Gambarini, celebrated throughout the world by fans, critics and many of the world's greatest musicians. With the August 25, 2009 release of `SO IN LOVE,' Roberta Gambarini affirms her status as the "true successor to Ella Fitzgerald, Sarah Vaughan, and Carmen McRae" (Boston Globe) and "the best singer to emerge in over 60 years," as declared by 2009 GRAMMY Lifetime Achievement Award recipient, Mr. Hank Jones. Mr. Jones, the legendary pianist who accompanied Roberta Gambarini's 2008 major label debut, `You Are There,' a superb follow-up to Gambarini's GRAMMY-nominated debut, `Easy to Love,' knows a thing or two about great vocalists - he has accompanied almost all of the most renowned vocalists of the 2oth century such as Ella Fitzgerald, Billie Holiday, Sarah Vaughan, Carmen McRae, Peggy Lee, Frank Sinatra, Bing Crosby, Nat "King" Cole, and Billy Eckstine. Roberta didn't set out to call the new album `So In Love,' but looking back at the song list after the recording, she realized that the "album is all about love: the love between a man and a woman, the love of song, children, and most of all, the love of life." As Roberta explains, she rarely goes into the studio with a "concept," instead she says that she tries "to let the songs come out of a balance between life experience and reflection," capturing the music I feel in the moment." Joining her in this adventurous journey is a group of "exceptionally talented, sensitive, and sympathetic musicians," who are long-time supporters, friends, and collaborators of Roberta since her arrival in the States from Torino, Italy: James Moody; Roy Hargrove; Tamir Hendelman; Eric Gunnison; Gerald Clayton; Chuck Berghofer; Neil Swainson; George Mraz; Jake Hanna; Al Foster; Montez Coleman; and Jeff Hamilton. Recorded by Al Schmitt at the legendary Capitol Studios, with Roberta arranging all but two of the tracks, `So In Love' is dedicated to the loving memory of her dear friends, Johnny Griffin, Ronnie Mathews, and David "Fathead" Newman.
frogman I never knew Dave Brubeck's sons followed his path into jazz music and those 2 songs you posted are so good I ordered the albums.
Since nobody seems interested in Roberta Gambarini or maybe never knew of her what do you think? Was the great Hank Jones genuine in his praise of Roberta? This is from the recording session with Hank Jones:
pjw, there are three Brubeck brothers. I believe two are currently part of a regular working quartet and all three played and recorded with their father together and separately on various projects.
I like Roberta Gambarini. I see (hear) no reason that Hank Jones’ praise would not be genuine. She has a wide ranging and interesting voice a little reminiscent of a young Carmen McRae in character and with a bit of a “cabaret” vibe. Thanks for the clips. I particularly liked the clips with Hank Jones; what a classy piano player!
This is the only recording of hers that I was familiar with (via a singer/friend). Interesting recording with less obvious emphasis on Jazz:
Btw, a propos our OP’s recent mention of the bass clarinet as a favorite instrument, this rendition of a Ravel Classical piece features the contrabass clarinet, a beast of an instrument:
I agree with o10 the bass clarinet can be a wonderful thing to hear. But that's not easy, at least in jazz. Years ago I had a Herbie Mann album that included him playing bass clarinet (which somehow disappeared over time) and I've heard Eric Dolphy on a few albums, but there are not a lot of choices.
So I Googled it and found this, more than I expected -
Going back to Coltrane (one can never have too much Trane), I listened to this today. When the “RECORD” light goes on, sometimes the stars align more than others. Inspired playing:
I think it was Rok that asked recently “why McCoy?”. McCoy is a genius and probably the only piano player who could play with the power to match Coltrane’s at that point. He wrote the tune in the above clip. Check out his playing on this; amazing:
Btw, a propos a recent discussion about RVG, I think these two clips make a good argument for the sonic merits of recordings other than RVG’s. Not as “beautiful” a sound as some of the RVG’s, but I find this type of sound truer to the sound of instruments in a studio environment. There is a certain honesty about it.
You must have a verified phone number and physical address in order to post in the Audiogon Forums. Please return to Audiogon.com and complete this step. If you have any questions please contact Support.