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.
31,535 responses Add your response
New York City (WABC) Pat Metheny's music is so diverse that he is the only artist ever to have won a dozen Grammy Awards in a dozen different categories, and his latest record features some of New York City's most talented young musicians. Excellent 3 minute video on Metheny here: Grammy winner Pat Metheny talks about new album and its influence (msn.com) |
Swede Ulf Wakenius is quite the guitarist in his own way. Here are a trio of his countrymen first without Pat Metheny (9) E.S.T. Esbjorn Svensson Trio - Jazzwoche Burghausen 2004 - YouTube With Pat Metheny (9) ESBJORN SVENSSON TRIO , PAT METHENY - YouTube |
John McLaughlin talks about taking Miles Davis to see Jimi Hendrix (9) John McLaughlin talks about Jimi Hendrix - YouTube |
Bror Fredrik "Esbjörn" Svensson (16 April 1964 – 14 June 2008) was a Swedish jazz pianist and founder of the jazz group Esbjörn Svensson Trio, commonly known as e.s.t. Svensson became one of Europe's most successful jazz musicians at the turn of the 21st century before dying, at the age of 44, in a scuba diving accident. Swedish Guitarist extraordinaire Ulf Wakenius created a tribute album in memory of the pianist Bror Fredrik "Esbjörn" Svensson after his untimely death in 2008. Love Is Real by Ulf Wakenius:
(9) Believe Beleft Below - YouTube
|
Hello pryso its been a while. Yes its a short video but full of great remembrances by McGlaughlin. Hendrix drummer Mitch Mitchell was a huge fan of Toney Williams. John McGlaughlin and Mitch Mitchell were once in the same band together. One night after doing a show at the Village Vanguard Mitch Michell invited John and organist Larry Young and bassist Dave Holland to come with him around the corner to Electric Ladyland Studios for a jam session with Jimi. Mcglaughlin was playing a hollow body electric guitar at the time. Mcglaughlin met Hendrix drummer Buddy Miles from Hendrix's Band Of Gypsies group that night and Buddy brought John to one of Hendrix's live performances at Madison Square Garden. |
Thank you... I focus my energy to bought many of his albums.... He was unknown to me.... I like european jazz but particularly nordic jazz very much.... |
I like the Nordic Bands , esp, the Danish Radio, Danes are under less stress than any others . https://youtu.be/1D1TFW2QDQE |
Thank you...Happy to help. I like the trio as well. Are you familiar with guitarist Terje Rypdal, drummer Jon Christensen, bassist Arild Anderson and brass/reed man Jan Garbarek? (9) Terje Rypdal / Victor Bailey / Billy Cobham - Jazz festival Viersen 1994-09-17 (Full Concert) - YouTube (9) Jon Christensen: The Lyrical Drum Solo - YouTube All four performing Afric Pepperbird (A song from a Garbarek album of the same name) (9) Jan Garbarek Quartet - Bremerhaven - 26 Sep 1971 - YouTube Afric Pepperbird - Wikipedia |
Keith Jarrett in Oslo 1974 brings a more soothing harmonies to meld with Garbarek's typically experimental (avant garde) creativity. (9) Keith Jarrett, Jan Garbarek & "Nordic Quartet" Oslo 1974 (NRK TV-studio) - YouTube |
I like the Nordic Bands , esp, the Danish Radio, Danes are under lessOh thanks for this big band.... Marvellous.... And yes i am too very found of the nordic cool.... |
I begin to listen to some album of the Esbjörn Svensson trio .... "When everyone has gone"..... Astounding freshness and creativity....Sometimes music is heaven... Thanks pjw81563 https://www.youtube.com/watch?v=gRiemxo4ZWU |
mahgister I have been listening to a lot of the Scandinavian musicians, old and new, over this past summer. All of them, old and new, are extremely talented and diverse musicians. Garbarek and his 4 bandmates I listed that played with him on the 1970 album titled Afric Pepperbird recorded the majority of their music on the ECM label. ECM, since its inception in 1969, has welcomed the majority of jazz artists that are, shall we say, a breed apart. The music these artists create simply cannot be called "jazz" The music on ECM label releases has been called many things. avant garde, diverse, world, improv, and free are 5 words that have been used but I myself prefer the word "creative" Please post your favorite creative Scandinavian artists songs. I always enjoy new music that I am unfamiliar with. EST’s "When Everyone Has Gone" is one of my favorites. This one also gets repeated listening sessions: (9) Esbjörn Svensson Trio Plays Monk - YouTube |
I have around 100 albums recorded on the ECM label. I know Paul Bley has been a topic recently here and this live album that Bley, along with Gary Peacock and Paul Motian recorded for ECM definitely is in my top 10 ECM favorites department. (9) When Will The Blues Leave (Live at Aula Magna STS, Lugano-Trevano / 1999) - YouTube |
Nice to see guys are widening you knowledge , it is a big world !. Thanks to all and will look for what you suggest Tom . P.S Speaking of big world,. few days ago the Italian's passed a new law , If you have a job , any job, in Italy you have to be vacinated within two weeks or you will have NO job in Italy , period . Taking care of business in Rome . |
@pjw81563 Thanks so much for the McLaughlin interview ("soliloquy?"). In our world, this is priceless history. It's refreshing to learn that Miles was spellbound by another musician somewhere along the line. Maybe I need to dig deeper into Miles the person, because the only other compliment I can remember is something like "that cat is playing piano the way it should be played" (re: Bill Evans). Gotta wonder if he ever expressed being spellbound by geniuses other than Hendrix. Anyone know? |
**** Gotta wonder if he ever expressed being spellbound by geniuses other than Hendrix. Anyone know? **** Based on what I’ve read and on hear say: Gil Evans Claude Debussy Mike Bloomfield Tony Williams, reportedly his favorite drummet. Sly (“Sly and the Family Stone”) and, surprising to me…Buddy Rich. He loved Buddy Rich |
**** Gotta wonder if he ever expressed being spellbound by geniuses other than Hendrix. Anyone know? ****I think that what is at plays in music appreciation is way more deeper than craftmanship only and mastering of the instrument evaluation points and virtuosity appreciation ... The musical content specifically played by a specific musician some day and not an another one is more important sometimes than the objective level of craftmanship "per se"... In music miracles drew our attention to the content which is also a miracle sometimes in a way the usual and the ok did not...Sometimes what seems only ok to one reveal itself to be a true miracle to an another one.... Like love, music bath itself each day only in miracles.... Be it an interpretation or an improvisation or the two in a specific content and from a specific content, written in part or not....It is all miracles...Save for the deaf or for the part of ourself which is deaf again for the time being... Then our tastes are hidden mysteries.... Even to ourself....We open them by listening to our own soul.... It is the reason why music history is also one of the deeper chapter of the human consciousness history.... And Miles choices a list of improbable picks at first sight....His own consciousness is a mystery in the making...And we must perceive this becoming to learn from it.... Listening so imperfect it is, is the door to pure consciousness.... For some masters the cosmos is only one sound: OM.... Why? or How? Perhaps OM is like a fractal, and any sounds is in it like the filament and thread that comes from it and go back to it at the sames times... My deepest respect to our friend and musician frogman.... |
Good comments, Mahgister! To be clear, for me the names on the list don’t seem improbable at all. Not only is each of those musicians a virtuoso of one kind or another, they also fit what I understand to have been Miles’ constantly changing broad artistic aesthetic……except Buddy Rich, whose artistic persona seemes to me to not be a good fit with Miles’…..for me. The contradiction is obviously in my mind and not Miles’. This goes to something that I have always felt is important to have….a certain amount of humility when listening and to not be too rigid with one’s opinions. Clearly, the message for me is that I have to listen to more Buddy Rich. Regards. |
“birds of a feather” ?! Certainly as far as public persona was concerned. But, musically? I don’t see (hear) it. A drummer who in spite of his virtuosity also had a certain “signature” in his sense of swing that to my ears was very different from Miles’. Rich, I hear as very rhythmically aggressive, playing very on top of the beat while Miles’ was rhythmically much more relaxed. Rich, technical perfection, always. Miles, could sound very rough around the edges as a part of the musical attitude that he sometimes tried to project. Hence my surprise and why I need to listen to more Rich and try to hear more of what Miles heard. |
Well if you have the time I found this Mel Lewis take on Buddy really good. (9) Mel Lewis on Buddy Rich - YouTube |
Been posting on JFA for 4 years now and everyone know how I feel about Buddy Rich. To my ears he is the best big band drummer I have ever heard.... Its like boxing which I love just as much as jazz. Its no coincidence that the golden age of jazz - 1935 through 1965 - was also the golden age of boxing. The great American journalist A.J. Liebling who wrote one of the best all time pugilistic books titled "THE SWEET SCIENCE" wrote in the book 3 words that have been re- written by other authors and has been repeated in millions of conversations about boxing since the beginning of the sport known as SWEET SCIENCE. Those 3 words are STYLES MAKE FIGHTS. It is my opinion the STYLES MAKE MUSIC. and Buddy had style - a truck load of style. The unmistakable style that propelled many a big band. Just a few favorites of mine: (10) Buddy Rich with Tommy Dorsey & his Orchestra 1943 "Well Git It" - YouTube (10) Buddy Rich - Mercy Mercy Mercy Live (1968) - YouTube (10) Buddy Rich Big Band - Big Swing Face - YouTube Buddy detractors say he is not capable of holding back with a light touch - keeping the swing propelling without overpowering the other musicians. Well I give you this small band with Lester Young, Nat King Cole, and Buddy. (10) SOMEBODY LOVES ME by Lester Young, Nat King Cole and Buddy Rich - YouTube |
**** Its no coincidence that the golden age of jazz - 1935 through 1965 - was also the golden age of boxing. **** Intriguing comment, pjw, please elaborate. Thanks. Btw, to be clear, I hope my comments don’t give the impression that I am a Buddy Rich “detractor”; I’m not. While he may not be my favorite drummer he was clearly a great drummer. He had a certain style which interestingly is very different from Mel Lewis’ (thanks for the clip, I had seen it) who is a favorite. |
**** Its no coincidence that the golden age of jazz - 1935 through 1965 - was also the golden age of boxing. ****Just as there were the most recognized and dominate pugilists during that period the same hold true for jazz wouldn't you agree? You know the jazz greats who performed during that 30 year period frogman so I'll just name a few boxers as this is a jazz forum and though I would love to talk boxing for hours I have other avenues for that. Archie Moore called the mongoose, was the greatest Light Heavyweight of all time had his first professional fight in 1935 and his last in 1963 Moore fought in 4 different decades compiling a record of and retired with 186 wins - 132 by knockout with just 23 losses. Archie loved jazz and was very good friends with Lucky Thompson who used to play his sax while Archie trained. Joe Louis, arguably the greatest heavyweight of all time fought from 1934 - 1951 Louis is widely regarded as one of the greatest and most influential boxers of all time. He reigned as the world heavyweight champion from 1937 until his temporary retirement in 1949. He was victorious in 25 consecutive title defenses, a record for all weight classes. Louis had the longest single reign as champion of any boxer in history. Sugar Ray Robinson fought from 1940 - 1965. Ray had 174 wins - 109 by knockout with only 19 losses. Ray turned professional in 1940 at the age of 19 and by 1951 had a professional record of 128–1–2 with 84 knockouts. From 1943 to 1951 Robinson went on a 91-fight unbeaten streak, the third-longest in professional boxing history. Robinson held the world welterweight title from 1946 to 1951, and won the world middleweight title in the latter year. Ray was great friends with Miles Davis and it was at Ray's urging that Davis kicked his heroin habit in 1953. Rocky Marciano also fought during these years. Marciano became the Heavyweight Champion in 1952 and defended his belt until 1956 when he retired undefeated at 49 - 0 with 43 knockouts. |
Frogman I’M sure you are aware that the United States of America was very, very different back in those days compared to 1965 through 2021. The 40’s generation was known as "The Greatest Generation". Numerous books have been written on the subject. The reasons given for why "The Greatest Generation" are the very same reasons that made artists the most creative, uplifting, courageous, sincere, unselfish, and most of all hard working and willing to sacrifice humans. I just named some and there is more. Don’t get me started on the Second World War - there is not enough space. Its not a coincidence the artists - which musicians and boxers both are - share all of these words that define "The Greatest Generation" |
pjw, I'm curious about defining the "golden age of jazz from 1935 through 1965"? Is that your framework or someone else's? I ask because I have a different perspective. Perhaps not "golden age" but for me the real beginning of modern jazz begins in the late 1920s with Louis Armstrong's Hot Five and Hot Seven recordings. There was more foundation in the late 30s with Hawkins, Ellington, Basie, Goodman, etc. But that was interrupted until after WW2 when Parker, Gillespie and BeBop emerged. Any sort of "golden age" was not carried forward by Glen Miller and the like. That term to me suggests a continuous time period of creative development. With that I see the "golden age" for jazz running from 1946 or 7 to around 1965. Or maybe I'm simply defining the period I like best and consider to be the most influential? No offense if you see it differently. Never having been a boxing fan I can't comment on that aspect. |
I thought that your suggestion was that there were reasons why both disciplines coincided. I was curious what those might be. Black Americans is the answer. As their employment / career opportunities increased across the society, the number of them wanting to Box or be Jazz musicians decreased. There have probably been many potentially as good as Ali, Louis and Marciano etc ... they are just working in cooperate America. Or maybe in the NBA, NFL or MLB. All a lot easier than boxing or trying to earn a living in Jazz. Other groups, Irish, Jews, Italians etc... traveled the same journey. Cheers |