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 love the way this guy told a story. Complete command of where he was going at all times. No filler (bs) to buy time until the next “great” idea comes to mind. On trumpet, one for Alex’s “why not him?” list: Lee Katsman. What a player! What ever happened to Lee Katsman?
One of our OP’s favorite players (I think). Pepper Adams was a monster player:
I say this with conviction "Pepper Adams" is the best baritone jazz saxophone player ever, and of course I am familiar with other jazz baritone sax players.
This album is a first for me, and it might be his best "independent" album, meaning his best album without "Lee Morgan; Donald Byrd, or Charles Mingus". In my opinion, his very best work is with Donald Byrd, but his work with Lee Morgan and Charles Mingus is excellent as well.
Presently, I'm looking for "Pepper Adams, Donald Byrd Quintet", Out Of This World on vinyl, and they want $124 used, but I want new; I've already got a used copy. Here are my selections featuring Pepper Adams.
In these times, it's good to be able to time travel and shift into another reality. Not everyone is capable of this feat, so I shall leave them behind.
This evening, I'm going to use John Coltrane's "In a Sentimental Mood" as a vehicle. Picture this; I just left the movie theater with the most beautiful lady I've had the pleasure of escorting out for a delightful evening. It's Sunday night, and although the department stores are closed, she decides to window shop.
The store windows are brightly lit with female mannequins wearing all the latest fashions, and she's asking me how she would look in this that or the other thing, while I'm thinking, "You would look good in anything, and you know it", but she goes on chattering endlessly the way ladies can talk when admiring clothes. Occasionally, she looks at me seeking approval, while we're strolling down the sidewalk past the display windows, which she always gets but doesn't really need.
(From beginning to end, John Coltrane's "In a Sentimental Mood" mood is playing in this little scenario)
I was looking at slides of "The Great St. Louis Balloon Race" and I thought I would share this event with you.
Although the balloons don’t take off until late in the afternoon, you have to get there by 9:00 in the morning in order to get a good spot for taking pictures. There is ritual and protocol involved in this event for all the many people going to watch so many spectacular balloons take off. Unfortunately, it’s just another event that’s scratched off my schedule.
Even as early as nine in the morning, you will only get a parking space a good distance from the balloon grounds, that means you have a long walk over hill and dale across the park to where they take off.
The protocol is to spread your blanket on the ground for you and your family. You will be close to other people on blankets with picnic baskets as well; but here is the protocol that makes this work; "Do not speak unless spoken to"; you have all these people on blankets close together, but they don’t exist, and you don’t exist; that way, although all these people are close together, everyone has their privacy.
Not until the balloons began to take off do we speak to one another; of course there is back and forth chatter about which balloon is the most unusual or beautiful.
About this time, the "very" rich people who live in the large mansions across the street from "Forest Park" come over. They are all wearing very expensive sport coats, even the ladies, and you can tell they are very expensive a mile away. Sometime they bring their dogs "Irish Wolfhounds", very expensive dogs, and they only talk to one another. (this is part of the protocol, you don’t speak to them, they don’t talk to you; the very rich seem to be born snobs) I have no problem with "protocol".
This event has been repeated every year for ages, and I never missed a balloon race for ages; at least not until I could no longer make that long hike over hill and dale
frogman, Not Primary , I just meant that Schubert wrote for that instrument in that piece and that is what is best played for that piece .Which is not to say everything he wrote should be .
I write sloppy these days.
Example , I have a Beaux Arts Trio of Op 100 and I hear the beauty of that great ensemble .When these 3 play I hear the voice of Schubert .May be just me, but there are books in German where his friends wrote the way he spoke, which was quite unusual .
Couldn’t agree more. Interesting, my interpretation and response to your original comment was, in a way, the opposite of what you meant. Sorry about that. Also interesting because my example, Brahms “Clarinet Sonata” No. 1 serves as a perfect example of what you meant.
Brahms dedicated his two clarinet sonatas to the great clarinetist Richard Muhlfeld who Brahms had heard and been so impressed by that he had previously written his Clarinet Trio for him. Brahms was said to have “discovered the beauty of sound of the clarinet”. When he composed those pieces Brahms expressed his voice with the sound of the clarinet in mind. As you say, what he had to say (his voice) would not have been expressed as well on any other instrument. Perfect example:
I suppose in part because relatively few major works have been composed for the viola, Brahms himself later transcribed the two sonatas with the clarinet part adapted for viola. Still beautiful music; but, I don’t hear as much of his voice when performed that way.
I think I’ve read about al there is about Brahms in English . X years ago when I was bi- lingual German / English I read the Muhlfeld Brahms arising in his own words . My hand was shaking .
I believe that for sheer intellect Brahms has no better .
From a take’s one to know one outlook , I am am positive that he simply had severe PTSD from his father sending him into cafes, aka whore houses, in the worlds largest port with a thousand of same , at barely 13 .
Clara Schumann would second it .
P.S . IMO bi-lingual is when you dream in both languages and the story remains the same . P.PS .Exactly in the middle of the wall between my speakers hangs a LOVELY Nonsense cover of Brahms Viola Sonatas with Michael Tree viola and the Great Richard Goode piano . I would not sell it for a thousand bucks .
Well, I’m not pouting, just offline a few days for something more important. ;^) I don’t post as regularly as many of you anyway so not likely noticed.
I March they found a couple of problems with the ole ticker. But with the pandemic underway by then no procedures were being scheduled. Finally last week they got me in for two corrective procedures and now all appears to be well. So, tick-tock, tick-tock, normal rhythm is back.
pyrso, I had a bit of that but it ceased when I ceased drinking coffee. I have a brother-in-law who has lived 40 years with A’fib .84 years and still trucking !
Wise to keep getting checked .
That Brubeck is nice , forgot about that album , thanks . P.S when you do post it's good .
I chose a Sailor to sing our National Anthem because she does just that, minus the drama. I also have always thought the Navy Band was the most musical of allour military bands .
Not to mention the US Navies Nuclear Submarines insure that nobody wants to attack the USA.
It's one thing to look and listen to the "Fifth Dimension" now, but it's an altogether different thing to have been there in 67 when it happened; I was there and I sailed in my imaginary balloon right along with them.
Pryso, I have some kind of heart problem, but what kind I don't know because I don't want to know, if I did I could just look in my medical file right now; that's called being in denial. Deny it or not, I have to take some very expensive pills for this condition, and I wish I could deny that.
1967 has special significance for me as well; and especially today. I hope this comment doesn’t cross the line into hypocracy given recent events here. If so, apology.
In 1967, after waiting for more than ten years, I and some (long story) of my family were blessed with the privilege to leave oppression and make a new home in freedom.
frog, congrats on your perseverance, so glad you made it.
Regarding your selections, I never heard Satch play that before. But I recognized him immediately. Then, in spite of the strings, I enjoyed the Haden (a little barb for your other recent comments). Here's another bass tribute for today --
I’d like to know who made the chart for American Dream , as many say ,it should be our National Anthem . Every human sees life and truth though their own eyes and plays through the cards they were dealt .
Never brag or whine , only God knows why one got a deuce and another a King . In the sweet bye and bye we will all hold four Aces .Mary Jo will hold God's hand . This lady sings our map , not where we park . https://youtu.be/E0bs9ZvM8gQ
"Baby Face Willette" was a jazz musician who lived for his music; he was also a friend of mine. I’m writing this post in honor of his memory, when he played the biggest stage in St. Louis; that’s center stage Fair St. Louis on July 4, 1969.
He got an incredible right up in news papers, but I can’t find anything to verify that fact. That was consistent with so much of "Face’s" life. I can’t even verify the incredible music he was playing that Summer; none of it was recorded. Fortunately there is a record in my memory to verify this incredible jazz musician and the music he was playing that Summer.
He was looking for a place to stay, and I told him I had a spare bedroom in my bachelor apartment and he moved in. When we greeted at breakfast, he did most of the talking while I listened. There were a lot of thoughts going through my mind while he talked; for example (How do you just wake up "cool", he took a shower and got dressed the same as me, but he’s dressed "cool"; how does he do that?. He even talks "cool"; is that another gift that jazz musicians have?
That day we went to scout places for future gigs. He introduced me as his manager, saying I was the silent type and didn’t talk much . Fortunately, he was very well known on the jazz circuits in St. Louis. He talked to the person in charge of hiring while I listened; nodding approval or frowning in disagreement based on his body language.
We didn’t have any trouble getting our first gig, now all we needed was the rest of the band. I was thinking "This is impossible"; we got the gig, and we’re supposed to be jammin on the stand in just a few days.
We went back to the apartment and he got on the phone and called the "Musicians Union". At any rate, on the day of the gig, one hour before show time, a drummer and a guitar player showed up. "Ain’t no way this can work", I thought.
Here I am, sitting right there, and listening to every word said, and sound they made with their instruments for an hour, and understanding nothing.
From the first notes, this musical trio had the crowd. For six years, I had followed "Face", but this music was new, it was like "Bird" on organ, fast and articulate, without one slurred note. As I listened, I began to have visions of how my fortunes could change as his manager; just imagine notes coming from an organ as fast as notes coming from "Bird’s" sax, without one note slurred.
We did pretty good all Summer long, until "Face" got sick at the end of August; my dreams of riches, and his career was over because he could no longer make the gigs.
When we parted, neither one of us realized how tight a bond we had formed; jazz musicians evidently have a hard time dealing with their feelings, because that was the only time he fumbled. My dreams of riches vanished, and even more important, what would be my friends future?
There is no recorded music of his that resembles what he was playing that Summer, so just find whatever music you like the best by "Face".
Now could not be a better time to be a combination "audiophile jazz aficionado"; even this "Lockdown" thing is working perfectly, everything ugly is sealed out, and all the beautiful music is sealed in.
The music on my old records is sounding brand new as a result of upgrades on the analog rig; this enables me to travel back in time without delay, to a much better time.
"Speak Low" is one of my favorite songs, and thanks to my play list I can hear several different versions in series.
Speak low. When you speak, love Our summer day Withers away Too soon, too soon Speak low. When you speak, love Our moment is swift Like ships adrift We're swept apart too soon Speak low, darling, speak low Love is a spark Lost in the dark
You are all tough cookies, I'll say. I am very glad you are all ok.
This is jazz:
"In the summer noon, Like a winter night, A silence, A hush prevails.
The doves cooing, A meditative still; Time slackens, Planted in stirrups.
The world heeds its heart, Hearing judgement on death and life. A smile imbues the air Like someone hears the Rabab*( *bowed string Instrument) .... in sleep.
And I alone Lost in thought Set out in search Of my longing .... A lost, Helpless Sojourner Wandering Lying on the ground, I tread the sky.
I too have lent my heart an ear, To find some purpose or scheme to life; Some cause for pain and death, And the grain of my conscious in eternity.
o10, I had an interesting reaction to "Speak Low", although I've certainly experienced it before.
This applies to songs with lyrics since that establishes the context. To me, "Speak Low" suggests no more than a moderate level (duh!) and a slow rhythm. Sonny's version was too quick paced, so lost the meaning of the song.
I appreciate this may be a personal thing, so may not a problem for others. But for me that is an important part of the "interpretation" of any song. The tempo sets the mood and the mood should match the song, particularly when there are lyrics to guide us.
Another example, can you imagine any real, heart-felt blues played at a fast tempo?
I don’t believe Pryso was saying it was "trite", but more saying the words dictated a certain mood and rhythm that needed to be observed in the music, at least for him to really enjoy.
I don’t seem to really worry about the context of a songs words, since most jazz is using the cords to improvise and little else. Maybe, I should try to listen a little differently.
katia & Marielle Labeque -- AN AMERICAN IN PARIS / PORGY AND BESS
Got this years ago, almost at the beginning of CD. From a 'Stereo Review' review.This is a remastered version from 2002. Mine is from 1984. Still has the German price tag on it, 37.80 DM. Made in West Germany!
Notes: "This recording features the world premiere performance of Gershwin's previously unavailable two-piano score of 'An American In Paris."
Anyway, beautiful playing, by the French Sisters, of music written by a unique talent.
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