Here are some more alternate grooves.
https://www.youtube.com/watch?v=T6i7Sfza2c4
https://www.youtube.com/watch?v=B-ebLK-l0jc
Enjoy the music.
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.
31,717 responses Add your response
Wynton Marsalis -- At The Octoroon Balls-String Quartet No.1 I am surprised none of you 'progressive' folks have mentioned this one. I am not sure what this is, but I like it. All the music was composed by Wynton Marsalis. This just adds to Wynton's reputation. The man can do anything musical. Played by the Orion String Quartet. Also included is "A Fiddler's Tale Suite". Sort of Marsalis' version, or his take on Stravinsky's "Soldiers Tale". Wynton plays trumpet on this piece, he does not play on "Octoroon Balls". The complete Fiddler's Tale with narration is available on another Sony Disc. Played by Chamber Music Society of Lincoln Center. Not for everyone, but how can a Jazz / Classical Aficionado be without it? I feel it's historic. I loved it. Outstanding Sound Quality. Interesting Notes. Check it out. Cheers |
I had a similar experience in Korea. Our Commander was also the adventurous type, and liked to take all the Officers on these 'tours' to experience real Korean life. Nothing as upscale as your experience. We started with the street vendors. We began with squid, clams and octopus, then on to fried insects and dog. But the best was yet to come. On another occasion, we went to a sitdown restaurant and we all had soup. That's when I formulated the first law of eating in Asia. Never, never, never, order the soup!!! Still thinking about if you analogy applies to music. :) Cheers |
I was in China about three months ago. I sat down to a meal with a very food-adventurous colleague at a very interesting restaurant and ordered, at his recommendation, a crazy dish with jellyfish as it's centerpiece. The strange combination of exotic and new-to-me flavors and strange textures were definitely not to my liking. However, there was no question that the chef was a master. The presentation was incredible and the weird flavors had an unmistakably perfect balance, right down to the partnering soup (?) that, as weird as IT tasted, was perfect for the dish. It all screamed: "Only a great chef could do this and there are foodies out there that love this stuff". Not for me 'though. |
*****Rok, I have 80/81 and Full Circle; didn't think too much of either one. We must have depended on the same reviewer. I noticed we have a lot of the same records that might as well be in the dumpster. ****** Whenever I say "I have that on LP", that means it didn't make the cut to CD. I agree about 80/81 and first circle. But mistakes are to be expected as a person finds his way into his proper lane. And understanding reviews, and reviewers is part of the process. Today we make far fewer mistakes. There is so much information and technology available. You can now hear it before you buy, and you can read reviews from real people. And a person just knows more. I look at a list of my LPs and wonder, WTF was I thinking!! Whenever I saw the word JAZZ on a LP, I thought it meant Jazz was being played. Silly me!! LPs for Sale Cheap. Played once!! Crusaders, Claude Bolling, George Duke, Howland Ensemble, Al Di Meola, NY-LA Dream Band, Jean-Pierre Rampal, Lee Ritenour, Stanley Jordan, Gabor Szabo, Weather Report. Some of these were ok at the time. I just moved on. I think I recall reading that James Booker had a mental problem. He was classically trained on piano. He often lapses into the classical world on his albums. Cheers |
I believe that a really good and worthy goal for any discerning music lover is to be able to truly understand the difference between not liking a particular artist's music and feeling that he "doesn't have it in him"; they are two very different things. It's a tricky thing: how does one acknowledge good artistry while at the same time not liking it? Pat Metheny is a brilliant musician. Clearly, his soft-toned and not-obviously-blues-based concept with its sound-pastiche vibe is not to everyone's liking, but the guy is amazing with his very subtle improvisational ideas and unique sound; even if he doesn't wear a suit :-) I agree with the comments about James Booker. I knew of him and the fact that he had mentored players like Dr. John, but had not heard his recordings. Rok, thanks for the introduction and I am pretty much amazed by what I have heard so far; definitely someone to become more acquainted with. The Yellow Jackets are still going strong and I recommend you give the band another shot. "Samurai Samba" is from an early iteration of the band. Personally, Marc Russo's alto sound with its relentless and almost hyper vibe drives me crazy. The band of the last several years has featured Bob Mintzer on reeds with a very welcome and much more sophisticated and insightful playing style; he is also a wonderful composer and arranger. O-10, you ask a poignant question: "Why?". I suppose it's simply because musicians are people just like anyone else in any walk of life, with personal demons and different capacities to deal with them. Now, add genius to the mix. We would like to think that the type of insight that is a hallmark of genius would help them deal with those demons; but, ironically, it seems that the insight sometimes only serves to give a better look into the whatever torment they must be feeling and not necessarily help them find a way out. Thanks for the clip Acman3; nice. |
Rok, I have 80/81 and Full Circle; didn't think too much of either one. We must have depended on the same reviewer. I noticed we have a lot of the same records that might as well be in the dumpster. I knew a musical genius, who like James Booker was hooked just as bad; that's when no shows get to be a constant thing, and unreliability is not tolerated in the entertainment industry. "Why"? That was a question I never got an answer to. I heard his last live sets and although he'd found what he was striving for musically, it never got recorded. As good as Mr. Booker was, I don't think he quite discovered his "inner self"; that's the one I hear in between the lines. If only he had lived a little longer. Enjoy the music. |
O-10: Both clips were very good. The Yellowjackets are a blast from the past. I have them on the LP, "Samuria Samba". That clip has an African tinge for sure. Pat Metheny clip was good also. I also listened to this one so I could see the band playing. Done in Poland. http://www.youtube.com/watch?v=eUAK02_o9cI The girl is a Fox. The tune seemed unbalanced. It opened with the vocal stuff, then Metheny did his solo, and it ended. Should not the Vocals have come back to close it out? The audience looked like a meeting of the communist central committee. The seating, the hall, and EVERYONE clapping. :) But both were well done. I didn't think Metheny had it in him. I have his LPs of "80/81" and "First Circle". The women were dressed, I guess the guys couldn't get to the cleaners in time to get their suits. :) Thanks Cheers |
John Coltrane -- EVOLUTION:THE ROAD TO GIANT STEPS Four CD box set from the same folks that gave us 'The 100 Best Jazz Tunes of the 1950's' and 'The Best of 1960/61' sets. Excellent packaging. Nice booklet with very interesting info on trane and his career. Good pictures. Excellent info on each tune on the CDs, including player lineup and the album the tune was taken from. The only downside is that, CD #4, is the Coltrane CD, 'Giant Steps'. I would assume EVERY Coltrane fan has that CD. The CD #4 does substitute the alternate takes found on the original 'Giant Steps' CD, with interviews given by Coltrane. Four of them. I guess that's an ok trade. The other three CDs have Trane as leader, and as sideman with a bunch of folks. Miles, Monk, Adderley, Garland, and many more. The sound quality is the same as the previous sets. Which is very good. A must have? A lot of us, including me, have a lot of this music contained in our current Jazz collections. But it's worth it to me to get the nice packaging and the informative notes. Besides, I love well done Jazz complilations, esp box sets. Cheers |
Now that everyone else has submitted their alternate groove, it's my turn. Not only do I like the music, but this goes deep into that "audiophile" thang; my tweeters are tweetin, and my woofer is woofin, all in high definition. Anna Maria sounds like she's humpin to please on Pat Metheney's "Are You Going With Me" http://www.youtube.com/watch?v=FJLN7_FaN04 On "Wildlife" we run with the gazelles and other fleet footed hoofed animals across the African veldt. (close your eyes and use your imagination on both tunes) http://www.youtube.com/watch?v=aiVk-SDy8cA Enjoy the music. |
This Louisiana gumbo is catching. Dr. John is Mr."Nawlins"; I like this. Unfortunately, New Orleans is so sad now, in regard to the people who live in the "Jects", that every time I think about New Orleans, I want to break my own rule and and go off on that subject; but let's stick to music, as hard as it is some time. Enjoy the music. |
Three tenors! Haven't seen that since Woody Herman's band. Distinctive horn section sound due to no alto and tenor heavy. I don't think there is a singer that has more "Nawlins" vibe than this man: http://m.youtube.com/watch?v=N4OVqVXvg_Q |
It wouldn't jazz but it sure swung. I like that Louisiana gumbo, check out Marcia Ball: http://www.youtube.com/watch?v=bx8k15FtnXY Enjoy the music. |
May not be jazz, but it sure swings. http://www.youtube.com/watch?v=0fHokM-ITfc |
Temporary storage: Not Jazz. http://www.youtube.com/watch?v=nFIOu2sYxoc http://www.youtube.com/watch?v=Nu9RVPTpDyA http://www.youtube.com/watch?v=pNj9bXKGOiI http://www.youtube.com/watch?v=LlLsbL2LJKw http://www.youtube.com/watch?v=oab4ZCfTbOI http://www.youtube.com/watch?v=xO0Q3192Jrs http://www.youtube.com/watch?v=fJX_MHeMm5g http://www.youtube.com/watch?v=aRctq68MGxM http://www.youtube.com/watch?v=qOPYn1l1pvw http://www.youtube.com/watch?v=43QMfiXMCeo |
These are not being presented as input to the Jazz thread. Just a convenient place to store them for easy retrieval. http://www.youtube.com/watch?v=A4C4NiVKrXk http://www.youtube.com/watch?v=n4ZyCPhVvvM http://www.youtube.com/watch?v=en6kmiX0SDc http://www.youtube.com/watch?v=F6pnzyfFi9w http://www.youtube.com/watch?v=I0XMn0U9b2Y http://www.youtube.com/watch?v=PmvT7B3u7II http://www.youtube.com/watch?v=5EdmHSTwmWY http://www.youtube.com/watch?v=UIt3dx4an9c http://www.youtube.com/watch?v=CqBtS6BIP1E http://www.youtube.com/watch?v=XWIGu6-r67Y http://www.youtube.com/watch?v=-0oFadjx-is http://www.youtube.com/watch?v=6IEJlSGRX1Y |
O-10: The people that contribute to this thread can define Jazz anyway they please. No need to 'appease' me. Some celeb, I forget who, once said, "I know my lane, and I stay in it". I do the same when it comes to music. There is plenty of choice for everyone. I am just glad I lived in the heyday of recorded Jazz. The young crowd can take it on in from here. On the thread 'SET Bliss', Charles1dad recommended Monk's 'Live at the IT Club -- Complete.' I have it, so of course I listened to it. Great stuff. I have a question / Comment. Monk, along among all the greatest Jazz players I am aware of, seemed to play quite a few of his 'Hits' on almost all of his recordings. Why is that? Silver only played 'song for my father' once. Trane, 'Giant Steps' only once. I am not counting compliations or live recording dates. But all of Monk's records seem to always contain a lot of his "hits". Am I wrong in this? Any explanation? The link you sent: Most negative social situations can be traced to one basic problem. There are too many people on this planet!! Think about it. Cheers |
Rok, in my last post I stated that I stayed within the narrow definition of jazz to appease you. While that was the downside, the upside more than made up for it. Had it not been for you, I never would have discovered Nica, and those two very well recorded decades of jazz. In regard to factors surrounding jazz, they are the same factors surrounding everything; every body except the very rich have a lot less money or are unemployed. If you want to know what I'm talking about, go to this website http://wp.me/p2vRlu-4 Enjoy the music. |
Schubert, and also Rok, Herman Baumann's recording of the Mozart Horn Concerti on natural horn, conducted by Nicolas Harnoncourt, with the Concentus Musicus Wien, on the Telefunken label, is the finest natural horn playing I know of. Truly astounding. There are a few other good ones out there, but none of them better that one, which was I believe the first time they had been recorded on natural horn, in 1974. |
Nice clip, Acman3; nothing like a good tenor battle. A couple of thoughts that relate to recently discussed subjects: Completely unimportant period instrument trivia: Craig Handy is playing a Selmer MK6 tenor and Joshua Redman a Selmer "Balanced Action". Redman's is the historically "correct" horn and is like what a player would have played in Kansas City at the time. The model Handy is playing was not made until almost twenty years later. Both great players and Redman actually captures the style of that era better than Handy who hints at a more modern harmonic sensibility. Great stuff! Error in personnel listing: the baritone player is James Carter not Don Byron; Carter is the one with the "I am better than both those guys put together" expression on his face. The suit thing: I agree that it's important; but, let's remember that most men wore suits and hats to walk to the drugstore. That's the way men dressed back then. Thanks for sharing! |
Craig Handy & 2nd Line Smith gets a mixed review from me. When It's good, it great. Unfortunately it only feels good for me 1/2 the time. Probably a killa band to see live! If you're feeling in a swingin' 'Nawlins mood, I highly recommend a record I just picked up yesterday; Henry Butler & Steve Bernstein (& the Hot 9!)- Viper's Drag. Now this is the shit!;). Bernstein's a good trumpet player with excellent credentials, one of them being that he co-produced the soundtrack for 'Kansas City'! http://www.youtube.com/watch?v=WxbPKLHl_A0&feature=player_embedded |
Hi Schubert - I am really not very familiar with Musica Antiqua Köln. I don't believe the group is actually in existence any more, I think they disbanded several years ago. If I remember correctly, they are the ones who specialized in the lesser known composers of the 17th and 18th centuries, and when they did perform say Bach or Handel, it was lesser known works. I have always had an interest in the natural horn, but I never did pull the trigger on buying one and really learning the technique, I have only just messed around on one for a few minutes in a horn shop before. There is an active early music group in my area who tried to talk me into it, and would still probably hire me and program some stuff with horn were I to decide to do it, as there is only one guy in the area who does, and he doesn't do it very well anymore (he is nearing retirement), but I haven't yet. It is quite a bit different from what I normally do, so it would involve much time and work in my off-season, when I normally take some rest from playing. Not to mention the money involved in buying one and traveling to take some lessons to learn the special hand techniques involved. I would be lucky at this point to ever break even on that, as there wouldn't be a whole lot of opportunities to perform with it, there being only the one group in my area. So I would just be doing it for fun, which it no doubt would be. |
Acman3: I have the soundtrack CD from the movie 'Kansas City' and another titled 'Kansas City Band/After Dark' which includes additional music from the film. Your Clips: This is Jazz in it's natural enviroment. You got ya small cramped bar, you got ya smoke, you got ya rowdy crowd, you got ya working girls. Not a sheet of music in sight. The music just has to be Jazz!! I see they are all wearing suits and ties. :) It does matter. I prefer the Kansas city style above all others. It swings! Thanks for sharing. Cheers |
Craig Handy was one of my favorite Tenor players in the 90's. I have all three of his 90's CD's. None are on youtube, so …. http://www.youtube.com/watch?v=0KZ_9MuUjMg http://www.youtube.com/watch?v=vKlFv0mhi3s I thought I would bring him up, because he has a new album out, called " 2nd line Smith". Rok can then say Nawlins. Has several guests who's name begin with M. |
The Frogman & Learsfool: Can't the French get a little love? :) I saw the 'crooks' on the stage floor behind the players at the BBC Proms. As far as the answers about why playing 'period' instruments would be a problem; it brought to mind the famous exchange between Monk and Coleman Hawkins. :) Thanks to both of you for your excellent information. Where would we be without your unique perspectives on music and musicians. Cheers |
Hi Rok - as the resident horn player, allow me to clarify Frogman's answers (which were good). The period instruments (what we now call "natural" horns), had no valves. So they could only get the notes of the natural harmonic series of the key that the instrument was pitched in. To change the key of the instrument, tubing had to be added or subtracted to it, pieces of tubing called "crooks." To fill in the notes of the scale, the players used a hand technique, which is much easier demonstrated than described - they would "close" the bell of the instrument with their hand, which bends the pitch to the correct note they want. These "stopped" notes have a much more metallic sound - we still do this today, actually, for the sound effect - Mahler in particular wrote a great deal of "stopped horn" notes. With the invention of the valves, this allowed the horn to play chromatically and get any notes needed without hand stopping them, with an even tone quality. I hope this is a decently satisfactory explanation - feel free to ask any questions this brings up, and I will try to clarify. Most modern players do not have training in the specialized hand technique required to play the period instruments well anymore, only the people who actually play these early instruments would need to learn it. The technique can be demonstrated roughly on a modern instrument, however, which I often do at educational concerts, but I am not really a "natural horn" player. It is no surprise at all to me, by the way, that the horn players on your Gardiner recording sound much better than the others. The guys in his group are pretty much the best in the world at it, as far as orchestral playing goes, anyway. The French groups are not nearly so well regarded as far as horn playing goes, and this actually goes for the modern instrument as well. One thing to bear in mind is that in those Handel pieces, there aren't that many "stopped" notes anyway - hence, they will sound much more like modern instruments than they would if they were playing say Mozart or Beethoven, who wrote much more difficult and complicated parts for the horn. If you listen carefully, however, to that Gardiner recording, you will hear the difference between the "stopped" and open tones. Part of the technique is to make the "stopped" notes sound as much like the open ones as is possible, and those guys are really good at it. So they won't sound so metallic, they might sound more "covered" instead. That is a great recording, in fact the best I know of for the natural horn playing. |
Excellent questions. ****Is it possible that the French horn players, played the piece exactly as they intended. **** Unlikely. Choice of volume, blend and tone, possibly. Those are aesthetic choices in part dictated by the conductor. However, out of tune playing is never a desirable choice. The French players were very out of tune; better in tune playing can sometimes be perceived as "smoother". The English Baroque players are simply better players. Having said that, it is probably true that orchestras back then did not demonstrate the often flawless intonation heard from modern orchestras. This is due not only to today's, overall, much higher technical standard on the part of players, but also the superiority of modern instruments. I suppose an argument could be made that "rough-around-the-edges" playing was, in fact, what was often heard back then; but, I would wager that composers back then often cringed and wished that the playing were more refined. ****Why isn't all, or at least most, Classical music played on the instruments in use when the music was first written and performed?**** Assuming the availability of enough period instruments (still intact) to go around (not a safe assumption), playing those instruments presents special challenges to players. These instruments were not fully developed design-wise with fewer (or no) keys or valves in the case of the winds. These same orchestral players would also need to be ready to play more contemporary works that require the sophistication and more complete design of modern instruments without which much of the more modern (1800 or so +) repertory would simply be unplayable. It would be almost impossible for players to keep and stay up to speed on such a wide-range arsenal of different instruments for each historical period of music. |
The Frogman: English Baroque Soloists / Gardiner -- WATER-FIREWORKS Received this yesterday. It's on 'Authentic' Instruments. I noticed that the horn sound was much smoother and rounder than the horns on the Proms/French piece. They sounded almost liked modern valved horns. Is it possible that the French horn players, played the piece exactly as they intended. Could it be that that's the way the horns would have sounded when Handel wrote the piece. The BBC presenter did say the sound would be 'different' to modern ears. Why isn't all, or at least most, Classical music played on the instruments in use when the music was first written and performed? Cheers |
Various -- THE BEST JAZZ TUNES OF 1960 Various -- THE BEST JAZZ TUNES OF 1961 From the same people that produced the "100 Best Jazz Tunes of the 1950s" The sound quality is of the same high standard. As before, all top tier players and groups. More lesser known tunes, but that is a good thing. Nice notes in the inserts with good pictures. Nice package. 2 CDs in each set. I felt that the 'middle' was sort of weak on Coltrane's 'Giant Steps' and Ornette Coleman's 'Blues Connotation'. At low levels it can disappear. That Ornette gets better every time I hear him. ANDY BEY AND THE BEY SISTERS. This is great singing with awesome arrangements. Ain't got it, git it. This is the one on the 'prestige' label. I am listening to my second CD by Bey and his sisters now. Another great one I think! Cheers |
I am reposting with (hopefully) working links. Agree about Michelle Rosewoman. And like Chazro points out, not for the faint-hearted; but, man her stuff is interesting! One of the most creative musicians on the Latin scene; she kills! Where's ONE?! http://m.youtube.com/watch?v=sHhZAIs8XrA This intro is just beautiful! The great Howard Johnson plays some beautiful penny-whistle (!) and then kills on tuba. http://m.youtube.com/watch?v=sJ60HyN9Eos And some keep claiming that jazz is dead?! |
Every study I've seen shows Jazz AND Classical combined are listened to by 2% of American Public. Of course thats 6 million souls. I'm lucky , the college where I live has a Jazz Studies program that Downbeat has rated #1 in US 3-4 times. Has 3 big bands and numerous ensembles giving free to cheap concerts many times from Sept to Mat + visiting artists etc. I believe about 300 majors . Decent classical and vocal concerts as well. A mini Indiana. |