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.
Orpheus, for me, its tough to endure listening it. That music creates kind of 'pressure' on my chest.... Maybe I am getting older as I too remember listenig different kind of music few decades ago....that when I listen now, I wonder....
I have the ability to go back in time and experience what the music sounded like when I first heard it. That music is so different from the "straight ahead jazz" that we currently listen to that it's understandable why you don't like it.
I liked Eddie Costa's "The House of Blue Lights".
Your second submission didn't work.
The last 3 were good solid straight ahead jazz, keep them coming.
Jackson's recordings are hard to come by. This is one I have always wanted (dig the title) but it has only been released on vinyl multiple times and never on CD. See Discogs here:
Herbie Hancock's music was definitely different in the early 70's, and best heard live. Some local groups here in St. Louis played his music utilizing the electric piano plus similar instrumentation, and I couldn't get enough of the music; it was fantastic to watch and hear live.
The music you presented Acman was different, but it sounded consistently good according to my tastes.
Without the cities with their Bistros, the very high level jazz that was created in the past will not be forthcoming. There will be some kind of music they call jazz, but it will be like fast food as compared to dining at a fine restaurant.
I recall a Bistro that I went to every weekend in the 70's which had a band that utilized a "Kalimba" in place of an electric piano. They played music similar to Herbie Hancock's fusion, but with a twist; they put a little jungle in the music, and I was spell bound every weekend.
Right now I'm trying to find an example of that music, but I doubt if I'll be successful. Here is a demonstration of the instrument.
For those who only like "Straight ahead jazz", the loss of cities and Bistros might not be much of a loss as far as the music, because so much fine straight ahead jazz has been created in the past, but for those of us who lust for something new, that is of the same quality of new sounds that were created in the past, I say just enjoy the past because the future is most bleak.
Forgive me if this has been discussed here, but I’ve searched the thread and not turned this up ...... Jammin’ at Condon’s ..... a jazz "(semi-) jam session" put together by George Avakian featuring Eddie Condon’s Club’s house band, along with guests Billy Butterfield (tp); Lou McGarity (tb); Peanuts Hucko (cl), Bud Freeman (ts), and Dick Cary (as). Condon’s house band at the time consistented of Condon on guitar, Wild Bill Daviso on trumpet, Cutty Cutshall on trombone, Ed Hall on clarinet, Gene Schroeder on Piano, Al Hall on Bass, and Cliff Leeman on drums. It was recorded in two sessions in 1953 and 1954. The album features five extended length "jams" with each musician having a chance to solo along the way. The "jams" are from 5 to 13 minutes long, and feature mostly 11-13 choruses handled both by soloists and ensembles, and one 20 chorus set ("How Come You Do Me Like You Do").
The original Columbia mono recording is very well done and if the LP has been treated well, can be exceptional. I have not heard the CD, but it was issued on the Collectables label back in 2000 or earlier. Pure pleasure. You will never be unhappy with this one.
Forgive me if this has been discussed here, but I’ve searched the thread and not turned this up ...... Jammin’ at Condon’s ..... a jazz "(semi-) jam session"
That is considered "Dixie Land" jazz (I believe?). Great stuff I listened to the whole album.
I was intrigued with harrylavo's Eddie Condon post and acman's subsequent posting of the music the former posted on that I looked Condon up on Wiki.
Wiki informed me that Condon wrote an autobiography in 1948 and I searched for it on Amazon. In the Amazon blurb it says that Condon's music was known as
Chicago-Dixieland, though musicians refer to it simply as Condon style. Played by small ensembles with driving beat, it was and is an informal, exciting music, slightly disjointed and often mischievous.
The title of this book is "We Called it Music" and has been reprinted in paperback.
Condon was also the author of another jazz book titled "Eddie Condon's Treasury of jazz".
This book, written by Condon and published in 1956 has no reprint but there are still worn out copies of the hardcover book for sale on Amazon. 64 year old book!!
Thanks acman and pjw81563. I've known him through his music and bands but books about these guys are always informative and increase appreciation for the times ... I'll add this one to my list.
Currently reading Ricci Ricardi's latest book on Louis Armstrong on the middle years wherein he transcended jazz and became an American pop icon. A good read, as well as a well-documented piece of history.
The first car I ever bought was a 1970 Plymouth Roadrunner. I was 17 years old and paid 500 bucks for it in 1981. Powered by a 440 Magnum to a 4 speed. It had an animated picture of the Roadrunner holding a racing helmet from the cartoon series in the middle of the steering wheel. Also had a Roadrunner on each front fender with a dust trail behind it going back to the rear quarter panel. Roadrunner decal on the back trunk lid and quarter panels as well.
I found this on You Tube. Its the same color blue as mine was. Mine was all blue though with no black strip. Same black interior. Mine was a 4 speed manual not automatic like this one:
The guy in the video says they had to add the Roadrunner decals on the body. I guess you lose those once the car is 50 years old and has been repainted. When I bought mine in 81 it was 11 years old and still had the original decals.
Cruising around with my GF....Those were the days.
"Miles Davis"; I have had a long time love and not like so much affair with Mr. Davis's music. We're from the same "neighborhood" but I didn't know this until after he was dead, and I read his autobiography.
I knew his brother "Vernon" for ages, but it's not like Vernon ran up and down the street screaming "I'm Miles Davis's brother". No, Vernon was his own person, and all the other people I was close to who were Miles best friends never ran up and down the street screaming they were Miles best friend.
I was 3 years old when Miles left our neighborhood; consequently, I knew him the same as everyone else, as a jazz fan. The fact that I'm listening to Miles right now, prompted me to write this. "Miles Plus 19" is the title of the album.
As a matter of fact, the beautiful lady who introduced me to this album lived next door to the big house where Vernon still lived, that was Miles childhood homestead.
Beside liking every cut on this album, that was a beautiful time for me with nothing but wonderful memories.
She was one of those people who thought that the main characteristic of love was permanence. Perseverance, persistence, you name it. Not a passion or sudden enthusiasm, but simple permanence. Persistence to last.
When you want to fix things if needed and when you show the desire to understand them. That kind of persistence. That allows you to grow.
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