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.
Hey, speaking of bean (âBeanâ). I meant to post this last night, before being âdistractedâ by Inna đ. Another favorite tune from Marijaâs soundtrack list.
It is often said, and for good reason, that Coltraneâs âGiant Stepsâ was in many ways a game changer in not only what was possible on the tenor saxophone, but also the overall scheme of Jazz improvisation. Rewind a couple of decades and this recording of âBody and Soulâ by Coleman Hawkins (âBeanâ) was a game changer in the way players improvised; and it laid the groundwork for the harmonic complexity and less linear approach which would go on to morph Swing into Bebop.Â
Coleman Hawkins version of Body And Soul is another example of genius!!
I am 1/3 of the way through the Dexter Gordon book by Maxine (Little Red" Gordon and it is fantastic thus far. Maxine even dedicates 4 full pages to the "origins of be bop"
Your opinion that David Gilmour is the best rock guitarist is ok by me. It is an opinion, however, that I do not agree with.
I am of the school of thought that when it comes to playing musical instruments of any kind that there cannot be a "definitive best".
Everyone is moved differently by what the hear and feel.
As an example, when Joe Satriani released "Surfing With The Alien" in 1987 everybody I know was floored. Comparisons with other guitarists in vogue at the time such as Slash from GNR were being debated by everyone every where.
I was never a big fan ofÂ
Yngwie Malmsteen because of the direction he choose to go in his career and play the majority of the time was repetitious and, to put it lightly, pretentious. That does not mean I thought he was not talented - I know he is - just don't like his music.
Your statement
Joe Pass is alright, though he canât really play, technically speaking. His âvoiceâ lacks depth as well
is an insult and you still have not given an explanation for it.
Govan is known for his command of the guitar, due to both his technical ability and proficiency in various styles. A 2006 interview hailed him as the "virtuoso's virtuoso" and said of him, "Guthrie Govan is recognised by his peers as possibly the scariest guitarist alive. Combining an unparalleled technical ability with a mastery of almost all styles, Guthrie is comfortable comping in a traditional jazz combo as he is performing death-defying 'shred' guitar. Coupled with some seriously funky grooves and an encyclopaedic knowledge of popular music styles, a wonderfully developed slide style and improvisational abilities to match anyone, he may just be the most complete guitarist out there".
Govan's earliest influences were Jimi Hendrix and Cream-era Eric Clapton; as such he describes himself as coming from a "blues rock background".[2] While he is "wary" of 1980s technique driven guitar music ("shred") he cites the imagination of Steve Vai (as well as Frank Zappa, with whom Vai played) and the passion of Yngwie Malmsteen. Jazz and fusion elements are an important part of his style: he cites Joe Pass, Allan Holdsworth, Jeff Beck and John Scofield as pivotal influences in this respect.[3] He also admires a lot of modern guitar players with different styles such as Derek Trucks and Alex Machacek. Although a very able player in a diversity of styles, Govan has a distinct playing style typically characterised by long, smooth runs often using chromatic notes to "fill in gaps", his fast and fluid tapping up and down the neck, funky slapping, and occasional use of extreme effects. Govan has said that the guitar is simply a "typewriter" for getting a musical message across. Due to his experience in listening to music and working out riffs, Govan states that he is often able to visualise playing in his head without even playing and said that he pretty much has all of the notes in his head before writing something or learning to play something to produce the sounds that he wants.
Ostad Elahi is for Yehudi Menuhin one of the greatest musical experience in his life if we read him...Same for me...
I own many Joe Pass album, saying that he cannot play is akin to ridiculize ourself.... Sorry....Joe Pass did not even need any argument for his defense....Saying that Einstein is a moron mind is on the same level....
Taste in music dont mean anything if we cannot first experience all true geniuses....And true geniuses, even those which we dont love dearly ask for respect...
Our tastes NEVER set the rule for what is great, our tastes judge us first, not the music....
A true guitarist for me but on the Persian 5 strings tanbur designed by the master himself ...
Frog and others, sorry, my opinion remains the same. Pass has no depth whatsoever and his technique is weak. Also, this is not real Persian music. Try Hossein Alizadeh and many others. Govan makes no sense to me either.
Yeah, Gilmour is not a great singer but at times alright when within his limitations. Definitely better singer than me.
Frogman, thanks very much for putting that list of "greatest jazz guitarists" links. They may not have budged Inna, but I enjoyed running through them and reading the comments. And of course I added half a dozen titles to my acquisition list.
I just mentioned Charlie Christian here last week, but I find it interesting that he consistently shows up fairly high on these lists. Perhaps it's out of homage; his tragic death at only 25 (tuberculosis) would, sadly, seem to limit him to being one of the most influential of all time, as opposed to one of the greatest.
The page that invited anyone to vote had Kenny Burrell at #37! An outrage, but that's what happens when you open up "specialty" topics for the general public to vote on.
Your opinion here is just the same bullshit that you give about Pass "who does not know how to play"...
You take pleasure to object to everyone?
When someone speak of American music this encompass ALL genre Bernstein and Bob Dylan not only traditional folk older music...
Ostad Elahi is a sufi mystic who improvize on one of the most used instrument in Iranian music the tanbur.... Alizadeh is a contemporary composer and master of the tar...
wikipedia: « Elahiâs music is rooted in a TRADITION involving the rhythmic recital and invocation of sacred texts in devotional gatherings, accompanied by various instruments such as the tanbur (an ancient lute), the ney (reed flute) and the daf (frame drum).[20] »
This is PURE persian/iranian instrument....Persia/Iran has millenia of various music tradition coming from old Persia or India or Turkey etc........Sufism is certainly a very important one...
Hey frogman I did not see your "jazz guitar lists" on the bottom of the last page. I read the first 2 which both have Joe Pass very high - number 1 on the second.
David Gilmour is a great guitarist no doubt. But after playing for close to 60 years he cannot play like Govan and Mr. Malmsteen does not even come within a whif of Mr. Govan.
Govan with his group "The Aristocrats" at the Frankfurt Jazz Festival.
Donât eat crow. If you prefer Di Meola that is fine. If I recall I said not one is better then the other but yea, I do know Holdsworth is held in such high esteem and is listed as a main influence of many of todays greatest guitarists.
BTWÂ and FWIW a friend of mine Joe D has been playing guitar since he was 7 years old and his father also played guitar. He is 55 years old now and a very good player. He plays gigs at many of the Long Island concert halls and bar/restaurant establishments. If not for kidney problems which started in his early 30's he might have been able to do more. He recently received kidney transplants.
Anyway to the point. When I mentioned Holdsworth to him once he said and I quote "that guy is annoying!"
Joe D is a big Joe Bonamassa fan and has seen him live many times. You see Joe likes more blues oriented stuff like Bonamassa is known for. Everyone has different taste and likes different things. If we were all carbon copies what good would the world be.
But although Joe D said Holdsworth was "annoying" he also said he has deep respect for what he achieved and his playing. Just not what Joe D likes.
****
But although Joe D said Holdsworth was "annoying" he also said he has
deep respect for what he achieved and his playing. Just not what Joe D
likes.
**** Exactly what I was trying to get across last week! I wouldn't go as far as "annoying." I'm just not interested in pursuing players who play a sub-genre that doesn't appeal to me.
This is the story about second greatest jazz guitarist of all time. Everyone who likes good movies should see it. Perhaps even could help you decide who's the best ?
'Sweet and Lowdown' directed by Woody Allen from 1999.
Alek thanks for the introduction to Etta Jones' "Love Shout"
The links you sent would not play for me so I found them and posted them here. This is a terrific album which I will rip to my collection before sending it off.
Etta Jones with a rotating cast of musicians including Kenny Burrell and Bucky Pizzarelli on guitars, Larry Young and Kenny Cox on organ and piano. "LOVE SHOUT"
Great movie, Alex and one of the few times I have enjoyed Sean Penn. Thanks for the reminder.
A little history:
âSweet and Lowdownâ, the tune, by the great George Gershwin, one of the most important American composers.
We tend to forget what a huge influence George Gershwin was in the history of Jazz. He composed so many tunes that helped shape the music early in the 20th century; and, so many that became Jazz standards and are still played today. Many of Gershwinâs compositions were written for, or commissioned by Paul Whiteman and His Orchestra. May seem hard to believe that this orchestra was a major force in the evolution of Jazz as we know it today, but it was.
(As an aside, Iâm always amazed just how real, in their way, these old 78 rpm recordings sound, as opposed to the more âmodernâ, hyped âaudiophileâ sound that we have all become accustomed to. We can still hear every instrument and in a very musically natural way; they sound more like an ensemble and less like individual players. Imagine yourself standing near the back of a club or dance hall full of patrons and hearing this) :
@keegiam Thanks for your follow up comments re HHâs The River: The Joni Letters as well as that "making of" link. Tastes definitely differ. Me personally, never heard of Corrine Bailey and honestly wasnât taken with her voice on that recording. No offense intended, but too much of that little girl "thing" going on which seems a popular style these days. Iâll pass.
âSweet and Lowdownâ directed by Woody Allen from 1999.
Canât remember anything from it. Is it possible that I did not see it? (Please spare me your kind of irony here. :--)) I have watched so many Woodyâs movies. But where suppose I should watch it?
Obviously, we all have different tastes, but seriously, there is a huge difference between saying one doesnât like a style of playing and saying âhe canât playâ. I think itâs important to separate the two things before making grand statements like that which can easily be disputed by objective (yes, objective) criteria which define a music.
Ghosthouse, your link doesnât work for me. Please repost, Iâd love to hear it.
Just taking a guess here. âThe Man I Liveâ is one of Gershwinâs most beautiful tunes. Is the link Herbie talking about his gorgeous record âGershwinâs Worldâ? If so, the singer would be none other than Joni Mitchell sounding awesome and much more âmatureâ than on her earlier, more folksy stuff. Like I said in my recent post about her, âMore of a Jazz singer than many claiming the titleâ (or something like that). Thanks.
Sorry the YouTube link didn't work. Â Was supposed to take one to the full Gershwin's World album which is relevant to subjects of recent discussion: Joni Mitchell and George Gershwin. Â Great review of the album on the All Music Guide. Â I agree with your assessment of Joni's singing on The Man I Love (though I hardly pretend to be any kind of expert on female jazz singers). Â I was really surprised to learn it was her. Â Didn't know! Â
I don't own Gershwin's World but might have to remedy that lack...and as you know, that's from someone often "lukewarm" about the standard jazz repertoire. Â BUT there's no denying the excellence there and maybe repeated listening will improve my tastes! Â Herbie impresses me - his playing, as well as the arrangements that I'm guessing he is responsible for. Â The cat is talented (not to mention having had a fine music education and training).
I'm not a "fan" of Corinne Bailey Rae. As I mentioned, I bought her first CD. I played it once or twice. It sits on the shelf. I think she did decent work on the Joni Mitchell tribute, but, now that you mention it, she does throw in too much "baby talk" effect. Rickie Lee Jones does that too. That's pop, right? Intriguing style though, and I do like her cockney moments.
Keegiam, again, this was posted before, but if you do not have this album, check it out. Same line up as on 'Idle Moments', in fact it was recorded roughly on the same dates, but the album was issued years later under Bobby Hutcherson name.
It is as clear as day that the shape of the bore, irrespective of the instrument, will affect the sound that the instrument produces. If a brass instrument has a conically shaped bore, then the tone of the sound produces is warmer.
However, the instrument will have fewer upper harmonics.
On the other hand, if an instrument has a cylindrically shaped bore, then the tone of the sound it produces is brighter as compared to instruments with a conical-shaped bore.
Additionally, the instrument will have more upper harmonics. The exception to this rule is the horn, otherwise, it is generally applicable to every other instrument.
There is an archaic formula used to describe the shape of the flugelhorn and the cornet respectively. It states that the cornet has a bore that is half-cylindrical and half conical, while the flugelhorn is a third cylindrical and two thirds conical.
Though a bit old-fashioned, this formula gives a slight clue on how the two instruments differ from one another, when it comes to the bore shape and consequentially, the sound the instruments make.
I am surprized by the intoxicating enebriation given by Larry Young and Grant Green in these blue note recordings...
Sometimes what struck me with some artists is less their virtuosity than their soul....It is the case here....I like the Hammond touch by a quiet soul....The guitar side is no less finely cool, the word "cool" is at the right place here....The rythm here serve the colors, not the opposite....
I don't have the Larry Young "Complete Blue Note Recordings" its a little pricey. I do have all of the songs on it I believe most with Larry Young as the leader where session was released in his name (I have a dozen or so Young discs) and others where Larry sat in as a sideman.
The first song you posted "People" is from a Grant Green album titled "Talkin' About" which I have in my large Grant Green collection (30 plus discs).
The second tune "Talkin' About J.C." is from a Larry Young album titled "Groove Street"
Both of those songs are excellent.
Check out the funky side of Grant Green here with Emanuel Riggins instead of Young on the organ.
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