mary jo, that reminded me of what may have been their best known song. Thanks.
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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Thanks, @mary_jo. |
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Questions to The Frogman: When the tech advanced from 78rpm, with it's severe time limitations to CD where they can play all day, was the overall effect on Jazz playing positive or negative? Not the sound quality, just the creativity / playing. Was listening to Bird this morning, 'Best of Complete Savoy and Dial', the longest tune was 3 minutes 47 seconds. I didn't feel I was missing anything, except there was time for just one soloist. Cheers |
https://m.youtube.com/watch?v=Dkw2R7B5CPI Thank you pjw, you so kind! Happy holidays to everyone. :---) It does not matter how they look like...:---)
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Catching up a little. First, Merry Christmas and Happy Holidays to all! Awesome Jerry Lewis. Man, those guys were talented! Beautiful flute by the great Frank Wess on the classic Basie tune “Cute”. Thanks, acman3. Rok, you raise an interesting point. On the one hand, one of the “commandments” held by Jazz players is the idea that one should say what one has to say with the fewest number of notes possible. One the other hand, some players do have a whole lot to say. However, I think the answer to the question is in looking at it from a different angle and considering that in live performance solos were much longer than what was possible, as you point out, on 78’s, or even Lp’s. When playing live players often “stretch out” quite a bit. For good improvisers it is not simply indulgent and meaningless extended solos. The proof is the fact that one of the goals in good improvisation is thematic development and the development of an idea takes time; sometimes multiple choruses. I get what you are saying, particularly as it concerns Bird. He was a genius and could say what he had to say in whatever amount of time he had available. On the other hand, who can argue with Paul Gonsalves’ solo on Duke’s “Diminuendo and Crescendo in Blue”. Talk about having a lot to say! I think the bottom line is that it depends on the player. I prefer to think that, overall, having more solo time on a recording is a net positive. It opens up possibilities and it certainly doesn’t have to be used.
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@acman3, I wanted to drop, shall we say somewhat of a different music with a gut bucket stank funky jass grove by some new lions on/of the current scene to show case these young cats here but I didn’t want to show out? As it were? But you have opened that door for me to show case this young cat called MonoNeon on the electric bass. Playing it left handed, upside down - nasty! Kind’a like Jimi... Notice how the drummer, Tamir Barzilay effortlessly I might add, keeps everybody in the pocket...Groovy baby! Thank you! Lurch | Scary Goldings (ft. MONONEON)
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Some up tempo here to celebrate and up lift us for the season, baby.
MonoNeon with Ghost-Note: "Phat Bacc" | SugarShack Sessions
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In the words of James Brown, 'one mo gin'. MonoNeon with Ghost-Note "Live at the JammJam in Los Angeles" |