In fairness to the ladies, while these "Funkettes" (meant to represent the Radio City "Rockettes"; an American institution) aren’t exactly "in the pocket", the video track is not in sync with the audio track. It is a little ahead of the audio track so the whole thing looks a little off. It’s also not a live performance. The music was recorded in a studio. Then, James, the band and the dancers were put on a stage for the filming of the "concert" scenes and they "performed" to their own studio performace trying to replicate, as close as possible, the movements of what they did in the studio. Look closely (especially the saxophone and guitar players), they aren’t really playing what you hear on the track. @:22, James sings, but his lips aren’t moving. The video producer oughta be shot. The audio production is excellent ’though and James and the band kill it, as usual.
Jazz for aficionados
Jazz for aficionados
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.
Enjoy the music.
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.
Enjoy the music.
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I have that CD of Gershwin / Levine. My favorite. Lets visit James Brown one more time. This is what could have been a great clip, ruined by the Carl weathers character prancing all over the place in that stupid outfit. Had me cheering for the Russian. My question concerns the babes in the blue and white outfits on either side of Brown. They seem to be dancing and moving to a different beat than is Brown and the Band. I think it's awesome, but is it true? https://www.youtube.com/watch?v=c5BL4RNFr58 Thanks Cheers |
Excellent! Good catch. He quotes Gerswhin’s "Rhapsody In Blue"; the passage that follows the end of the opening clarinet solo: @ :40 https://m.youtube.com/watch?v=KPL19IgsEHc James Carter is a monster saxophone player; a real virtuoso with amazing technical command of the instrument. Very exuberant player. What I like most about his playing is that he can play in a modern bag with a tone that harkens back to the traditional, big fat, robust tenor sound of the old players; especially the Texas tenors. Great clip. |
Today's Listen: Another one of the promising 'young Lions' I am sure he "quotes" something at 1:37. James Carter -- JC ON THE SET https://www.youtube.com/watch?v=OlJFnmpfppw Maybe they all fulfilled their promise and I am just beginning to realize it. This guy can play. Cheers |
****Who can name the tune that Joe Henderson quotes at the very start of his solo at :45? Hint: Cuba**** https://m.youtube.com/watch?list=PLLhORrvwD4q8PiN2bIn5cbuaHiomigktt¶ms=OAFIAVgF&v=nC0zxx... Since there were no takers, the answer is: https://m.youtube.com/watch?v=0oWhz0G4-Tg The melody starts at :11. "Siboney" is, along with "Guantanamera", one of the tunes most associated with Cuban music. It’s title refers to the name of the island’s native Indiians. Beautiful melody. What would give a great jazz player like Joe Henderson the idea to quote a tune so seemingly removed from the jazz lexicon? The answer shows the vastness of the musical reservoir and intellect of the great jazz players; and gives great insight into the creative process involved in the creation of a cogent jazz solo. Why this tune? For anyone interested in this sort of thing (you can stop reading now O-10 😉): Hargrove’s tune starts with a simple minor chord in the key of C; three notes, C, E flat, G. The first three notes of the "Siboney" melody are precisely those three notes, C, Eb, G. Henderson then uses that little musical kernel to develop his entire solo. He takes that little musical idea and uses its basic shape and goes off in many different directions, but comes back to it in an obvious way at various points in the solo to sort of "ground" it to the original idea. He does this at 1:22. This time, he morphs that musical kernel into a quote of a tune with a similar shape, Ellington’s "I Don’t Mean A Thing....." (gotta love it!). He goes off again and makes one final obvious reference to it at 2:02 and ends the solo. All this may sound to some like a lot of intellectual gobbly-goop. It should serve, at least, to show just how much is going on in the minds of the jazz greats; they are artistic and intellectual giants. Importantly, wether we are able to recognize what is going on or not, this is one of the reasons that some players hold our attention and some don’t; why we like some and not others. Those we don’t like as much tend to be the ones who, even with impressive technical skill, don’t have the ability to apply this kind of logic to their improvisation and just play a lot of unrelated licks. Like the old timers like to say: "They ain’t sayin shit". |
Rok, man!, you sure covered a lot of saxophone ground with those two posts; Webster/Hodges to World Saxophone Qt,! Love the WSQ! But, then, I love saxophone quartets. For guys known for their avantgarde playing this is some of the most "inside" stuff they've done; but it works and I love it. Very difficult to play without a rhythm section and still create that kind of groove. And, of course, the sonority of a saxophone quartet is somethin special. At at the opposite end of the saxophone sonority scale you can have the kind of refinement that is not heard too often from the saxophone. Nothing like Bach played by a good classical saxophone qt.; closest thing to the sound of an organ that I know of: https://m.youtube.com/watch?v=31fXCKg1KNg |
If everyone is sure we got it, whatever it is, then maybe I can continue doing what I was doing before my trolley jumped the tracks. With everyone's permission, I would like to investigate Horace Silver's music, the same as I did with Donald Byrd; but I can't proceed until we are all in sync. Enjoy the music. |
jzzmusician, thanks for the clip. Wasn't familiar with MeShell and always good to make musical acquaintances. Her music seems to be in a kind of neo-soul bag and definitely creates a mood. Is that her playing bass on that cut; I understand she's a pretty good electric bass player. Of course, we always have: https://m.youtube.com/watch?v=p_PxgSQ9Vf4 When I first listened to your clip for some reason (probably the Rhodes piano) it made me think of: https://m.youtube.com/watch?v=knbmKDUYDXc |
This is what I posted before the manure really hit the fan. Let me repeat, "I still appreciate your musical wisdom, for those like Rok, and Acman who benefit from it". We all know that you do not want to know anything about anything. What we don't know is why you are so ADAMANT about telling us this at every opportunity. We get it. "Are you sure you get it"!? Enjoy the music. |
Have not played these in a while. Ben Webster -- SOULVILLE https://www.youtube.com/watch?v=valDuyzY-V4 we have over looked this guy for too long! Duke Ellington and Johnny Hodges -- PLAY THE BLUES https://www.youtube.com/watch?v=niHX5F6ZbpQ (that's Harry 'sweets' Edison on trumpet) Cheewrs |
Today's Listen: The World Saxophone Quartet: RHYTHM & BLUES https://www.youtube.com/watch?v=lRCvCTHL5uw PLAYS DUKE ELLINGTON https://www.youtube.com/watch?v=5QSLtG9xtKY Interesting and likable, but it reminded me of a CD I have of a Brass Ensemble Playing Vivaldi's Four Seasons. But, in spite of all that, I must confess I like these guys. Cheers |
I didn't know anyone here dug Me'Shell NdegeOcello; check this one; https://www.youtube.com/watch?v=fnJ8jXFzmJQ Enjoy the music. |
frogman: Here's another for you. Me'Shell Ndegeocello singing "Make Me Wanna Holler." A very powerful tune. Bob https://www.youtube.com/watch?v=FHEZPzsEnDA |
orpheus10 OP 2,724 posts 04-02-2016 8:40pm A long time ago, someone not even on this thread, mentioned that Blakey played behind the beat, and I mentioned it with no thought of Frogman. The real question is why does Frogman always make mountains out of mole hills and think everything I utter pertains to him personally, and why did Frogman go on and on; he does that each and every opportunity he can find. He wrote three long paragraphs about "Behind the beat or in front of the beat". Not only that but he totally misinterpreted what was about nothing, without even a thought of him in mind. shadorne 5,291 posts 08-17-2011 10:53pm Art plays in front of the beat. He gives it an energetic sound but I can understand Foster_9's view. Many find that the pocket lies slightly behind the beat. In contrast, playing behind the beat gives a more relaxed feel. Some drummers can play both styles with ease and move around in order to create tension and release in the music. Think Elvin Jones. Now that the two posts are juxtaposed, there can be no misinterpretation, although it was Foster_9 who stated that Blakey played behind the beat, and that's what made me think "Behind the beat or in front of the beat, I still like Art Blakey". Enjoy the music. |
O-10, oh geez....do I have to do this? Frogman 10-04-2014 **** I do think that Blakey sounds, as usual, a little lazy and sloppy. That’s his style but not my cup of tea. He is obviously a great drummer.**** Orpheus10 10-04-2014 ****As I sit here trying to respond to your post, I get more and more "discombobulated"; Art Blakey a "sloppy drummer".....**** In keeping with what I wrote; I would say. Nonetheless, if you insist on feeling that I think that "everything you utter is directed at me" and that "I lay claim to things that I didn’t say about Blakey’s drumming", by all means, knock yourself out; the facts are the facts. In the meantime, how about a meaningful comment about music instead of bs? You are, after all, "the one and only Orpheus". Oh, and a minor detail: The comment that you were referring to, we now learn, was FROM A DIFFERENT THREAD and posted TWO YEARS BEFORE THIS THREAD WAS EVEN STARTED! Why on earth would anyone think that you were NOT referring to a comment made by someone ON THIS THREAD. Are you serious? Btw, I know you are a fan, sorry to report Gato Barbieri passed yesterday. RIP, Gato. This one's for you O-10. Not exactly my cup of tea, but the guy definitely had a sound and played from the heart. https://m.youtube.com/watch?v=IX5pfCFjmVo |
psag, welcome to thread! Rok beat me to the punch with his comment. I think it's hard to make a case for ****In the 60's the hotseat for jazz creativity moved to Europe, **** when, for starters, you had the work of, among others, Miles and Trane during that period. Please don't let the challenge discourage you from posting. You will find very passionate opinions about jazz and its history here; but, different and interesting points of view are always welcomed. Looking forward to your comments and contributions. |
Hargrove "Soppin The Biscuit". Nice! Probably my favorite Hargrove so far. Notice how he left space in his solo and didn't cram every beat with notes; much more coherent solo as a result. Turrentine; what a sound! Knew it was him after a few notes. Loved this one; then again, it's with another one of my favorite tenor players: https://m.youtube.com/watch?list=PLLhORrvwD4q8PiN2bIn5cbuaHiomigktt¶ms=OAFIAVgF&v=nC0zxx... Who can name the tune that Joe Henderson quotes at the very start of his solo at :45? Hint: Cuba I may have to get check out Hargrove again. Thanks for the clip. |
Willis Jackson: Jackson, Charles Earland, Pat Martino, Idris Muhammad; what could possibly go wrong? Soulful, funky; and that tenor sound! Martino has always liked to play with organ players; he is a monster player. Muhammad was one of Dexter Gordon's last drummers; great player. Earland "The Mighty Burner". Great lineup. In his review on Allmusic, Scott Yanow states "This is a particularly exciting release... The chord changes might be fairly basic but Willis Jackson plays with such enthusiasm and exuberance that it almost sounds as if he had discovered the joy of playing music". |
Digging the last 25-30 posts. Love, love love Byrd, Roy Hargrove and James Brown. Just finished ripping almost 2000 cd's and finally have time to listen. James is funky. Seriously so. I've heard him live twice and his band starts the gig like they've been playing for a couple of hours locked up hard in the groove. This is a new one for me. A serious groove, a serious cover by Nina Simone. The bass player is, (for me) the epitome of cool. Have a great night. Bob https://www.youtube.com/watch?v=9yWOVrwe1Zw |
Frogman, maybe this was when when you were "Shadorne" on 08-17-2011. Like I said Frogman, you think everything I utter is about you; you even lay claim to things you didn't say in regard to Blakey's drumming. shadorne 5,291 posts 08-17-2011 10:53pm Art plays in front of the beat. He gives it an energetic sound but I can understand Foster_9's view. Many find that the pocket lies slightly behind the beat. In contrast, playing behind the beat gives a more relaxed feel. Some drummers can play both styles with ease and move around in order to create tension and release in the music. Think Elvin Jones. shadorne Enjoy the music. |
Although I've been on Audiogon for years, I'm just seeing this thread. I'm in my 50's now, and I started in my teens with Miles and Coltrane. Most of my jazz listening came from collecting the 7000 or so LP's now in my collection. I see the first review in this thread is Blakey's Moanin, Its a fine record, and between the early 50's to the mid 60's I'd say that there were many hundreds, if not thousands, that are at least as good. Many of these are well-known, but many came out on tiny and/or obscure labels. In the 60's the hotseat for jazz creativity moved to Europe, and many of those records were pressed in tiny quantities that until recently were seldom heard outside of their native countries. The sheer quantity of top notch jazz during this period is beyond compare. I wonder if there was something special in the water during the 1920s, when many of the jazz masters of the 50s and 60s were born. There's really no way to have a 'best of', when there were so many masters making incredible statements. |
Today's Listen: Roy Hargrove -- WITH THE TENORS OF OUR TIME https://www.youtube.com/watch?v=_y8PZkqJTIE&list=PLLhORrvwD4q8PiN2bIn5cbuaHiomigktt&index=1 Much Better. You could say he rose to the level of the Tenors. Cheers |
Don Pullen: Not my favorite player by any means, but I do like him more now than I used to. I have three by Pullen, but I am partial to this one: Don Pullen -- KELE MOU BANA https://www.youtube.com/watch?v=8cAuAfKqvZc Cheers |
I am not familiar with DD Jackson, but read one of his mentors was Don Pullen. One of the most individual players I know of. http://www.youtube.com/watch?v=JvbqxgxSs8U |
Great DD Jackson Clips. It's so compelling, it just grabs you and takes you along. Since this was next on my shelf: Willis Jackson -- BAR WARS https://www.youtube.com/watch?v=DrGgAXTbkMA Jackson and Pat Martino often record together. Who'd a thunk it? Cheers |
D.D. Jackson (again): Some musicians march to a different drummer (no pun intended); and this guy definitely does. I haven't quite gotten a handle on this guy, but he has something going on; I'm just not sure what it is yet. Love the humor in his playing and somehow reminds me of some of Zappa's work. Thanks again for the introduction. https://m.youtube.com/watch?v=DlOlbi1Co20 https://m.youtube.com/watch?list=PL0pQGXGT8y0PkIN-JLEteYAbZdDi0j-gs¶ms=EAEYATgBSAFYFWILcUhDe... |
****Is this the "I feel good" James Brown?**** Damn right! You beat me to the punch with that clip. Killing! and totally in the pocket; as always. DD Jackson: Fabulous! Loved it and one that I will have to get. James Carter sounds amazing; this is one time when his exuberance as a player sounds completely appropriate and not bordering on "over the top". Thanks for the clip and the introduction. https://m.youtube.com/watch?v=AsVyPAVBzRQ |
O-10, I have a nice glass of Cabernet in my hand so I am feeling patient. I will give it a shot: I have no interest in anyone’s (including your) acknowledgment of my "wisdom"; I don’t think of it that way, and I don’t operate that way. The issue, and something that you seem incapable of understanding, is that it is downright annoying (at best) and disrespectful (at worst) when you come chiming in and basically say that, since I was not addressing musicians, my comment was worthless to participants in this thread; especially when the comment was in response to someone else’s query, not yours. Please don’t misunderstand; when I say "disrespectful" it is not that I feel I deserve any particular respect for any other reason than what can be expected in any reasonable human, and adult, interaction. I make no mountains out of molehills. This claim is, however, your pattern. You make a blanket statement that is dismissive of a comment that is intended as an honest contribution and then when there is a reaction you make your claims. Anyway, I could go on, but as I write this it becomes more and more clear that it is not surprising, and actually quite fitting, that someone who has no interest in knowledge should be so blind to the truth of what happens in basic "social" interaction. ****and think everything I utter pertains to him personally, **** Don’t flatter yourself; that is the last thing I am interested in. However, it would be nice if you got your facts straight. ****He wrote three long paragraphs about "Behind the beat or in front of the beat". **** Really? I believe it was one; and not directed at you. But it begs the question: why does it bother you that there is much to say about rhythm? I thought you were a music "aficionado"? Enough of of that nonsense; Blakey: I have news for you. It was, in fact, I who made the comment about Blakey’s rhythm; however, as is typical, you misconstrue what the comment was really about. Go back and search our "archives", and you will find that my comment was that I found Blakey to play with a somewhat "lazy" time feel and that I generally prefer a drummer with a more "incisive" rhythmic sense. You reacted very strongly to this comment and since Blakey is one of your musical heroes, you seemed to feel that not only was my comment incorrect, but you seemed almost offended by it. Now, let me ask you: should not a person like yourself who puts so much stock in subjective opinion respect what was, simply, my subjective opinion about Blakey? I, in no way, claimed that he wasn’t a good drummer, but simply that I preferred a different style of drumming. Btw, that discussion was in the context of a debate about the relative merits of Miles’ "KOB" vs Cannonball’s "Somethin Else"; if you care. Time for another glass. 🍷 Cheers! |
I read about "modal music" in the 60's, and I still don't know or care what it is. I realize there are people who do care, and that's good, but I don't, now hang me or shoot me. "Behind the beat or in front of the beat" pertained to a statement about Blakey, and had nothing to do with Frogman. Now that I've written all these posts, I'm sure you can find something else to go on and on about; remember "my friend", the musician who didn't practice; how long did that go on? |
Along time ago, someone not even on this thread, mentioned that Blakey played behind the beat, and I mentioned it with no thought of Frogman. The real question is why does Frogman always make mountains out of mole hills and think everything I utter pertains to him personally, and why did Frogman go on and on; he does that each and every opportunity he can find. He wrote three long paragraphs about "Behind the beat or in front of the beat". Not only that but he totally misinterpreted what was about nothing, without even a thought of him in mind. |
Frogman, Trane lost me in 63, and I'm still lost when he goes into zones known only by him. As I recall McCoy Tyner and Elvin Jones were also lost, and if he could lose them, who am I? No I'm not indignant, but apparently you are. Whether or not I soak up your bits of knowledge, I still appreciate them for those who feel they're being enlightened, and in the future I will refrain from commenting on them. Not that it matters, but my selections are made on a purely subjective basis. No one can fathom the human mind; doctors may know about the brain, but the brain is only a storage place for the mind, and I choose to let this infinite computer tell me what I like and don't like; that's what "subjective" thinking is all about. Let me repeat, "I still appreciate your musical wisdom, for those like Rok, and Acman who benefit from it". The next artist I'm going to investigate is Horace Silver. Do to the fact that we didn't have computers, or "you tube" I can easily see how we bypassed music that would have been very important to our collections; I've added three albums by Byrd, when I Thought I had everything by him worth having. Who knows how many I'll add by Horace Silver after we investigate his music. Did you like the way we investigated Donald Byrd's music? Enjoy the music. |
****Although it’s good to know such things if you’re a musician.**** Actually, it’s also good to know these things if you’re just a listener; which is why I bothered making the comment. You may choose to be the kind of listener who doesn’t care about knowing these things and continue to, as you yourself just admitted, "get lost", and that’s perfectly fine. Or, you can choose to not be so dismissive of a little bit of knowledge and become a more astute listener. I assure you that there are many listeners who are not musicians who don’t "get lost" so easily or need musicians to tell them "what’s going on". Now, you can choose to get indignant and we can, once again, get into some bullshit sparring; or, you can choose to be a little more gracious about a simple and well intended offer of a little knowledge related to a question asked by someone else (Rok) who apparently is interested in a bit of knowledge ("in the pocket"?). Your choice. Btw, you probably think of Frank Wess as being a flute player because he was one of the very first to play and record jazz on the flute; firstly as a member of Count Basie’s orchestra. However, he was first and foremost a tenor player; and a great one at that. Great clip; thanks Acman3. |
It's amazing how we think of artists who play flute and sax; for reasons unknown to me, I think of Frank Wes, flute; Bud Shank, flute; Yusef Lateef, flutes of every description. Maybe it's the compositions they play the different instruments in because I can't say I favor one instrument over another, although Frank Wess was beautiful on lush life. Enjoy the music. |