BTW O-10, Extremely nice clip of Milt and Wess. I just love that style of play.
Cheers
Cheers
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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Today's Listen: Christian McBride Trio -- OUT HERE McBride(b), Christian Sands(p), Ulysses Owens jr(d) Jazz Lives!! Old-timers like me live for these rare moments. I knew I was in for a treat when I saw the first tunes were ' Ham Hocks & Cabbage ' and 'Hallelujah Time' :) 9 Tunes. No weak tracks. Who is this piano player, and where has he been hiding? His playing on 'hallelujah time' is just awesome. McBridge plays the Bass using the bow on this and other tracks. I think even the Frogman would be impressed with the intonation and articulation of this bass playing. They do an awesome 'My Favorite Things'. Is there any tune more suitable for Jazz improvisation?? It's almost impossible to screw up this tune. And they nailed this version. Love it! A unique 'Cherokee' is also on the CD. They end the session with a killer 'who's making love'. Seems as if this set started and ended in the Delta! Great playing all around. This bodes well for the future of Jazz. The cover photo is great. Serious players, and young ones at that, playing serious music. No faded jeans with holes in the knees, here! The recording quality equals the quality of the performance. Without fault. You know you gotta have it. Check it out. I will have to see what else they have recorded. Cheers |
I don't have anything by Wess as leader. I do have him on 'Basie at Newport' and 'April In Paris'. In fact he seems to be on all my Basie CDs. Its always sad to lose these guys. Esp since their quality of musicianship won't be replaced. If he reached 91, he must have lived a good and clean life, at least by Jazz standards. So many died so much younger. He looked like a true pro. Max substance, min show. Serious! Cheers |
Unfortunately everything I had by Frank Wess was on LP, and who knows where that went; but I found this, and I thought I would share it with you and Rok, http://www.youtube.com/watch?v=703LlU1pwX4 Bobby McFerrin made me feel like I was in church in Mound Bayou, Mississippi; way back when. Enjoy the music. |
Yup. We have a winner! http://m.youtube.com/watch?v=barWV7RWkq0 On a more serious note, thanks for bringing Gene Harris to the discussion, I was not familiar with his work other than by reputation. Fantastic player. |
OK, jazz aficionados, here is an opportunity to be the first recipient of the "Lobotomy Award": Can you name the tune that Frank Wess and Gene Harris are playing on? On the above clip you never actually hear the melody of the tune, only the harmonic progression and improvisation. The chord progression of this tune is one of the most distinctive and recognizable. Hint: Duke BTW, the title of this award was inspired by a quote of one of my favorite comments ever read on this forum ** "Hell, no wonder I don't GET IT. Ever since I had my lobotomy, (in a vain attempt to be able to hear wire)" - Rok2id |
Frank Wess passed yesterday at 91 years of age. A beautiful player that will be missed. Nothing else that I can say except to listen to this (look at the faces of the NYC saxophone young lions in the section; that says it all): http://m.youtube.com/watch?v=B1xZJqsjr58 This one's for Rok: http://m.youtube.com/watch?v=GILdf3RqRQA |
Frogman to the rescue! I had to look at Bobby and Bags for a third time in order to confirm Frogman's post. Since Bobby is my man, I certainly didn't look at this with any bias; but Bags is the greatest ever, and when you read between the lines, both he and Bobby are acknowledging that fact. Enjoy the music. |
Acman3: As I said, I enjoyed the CD better than the video. Video can giveth, and video, can taketh away. It took away in this case. See the talk on Milt and Hutcherson for an example of video helping.. Could have done without the screen in the background. Added nothing to the performance except to make it appear less serious. "it is my unofficial biography" could you elaborate? Cheers |
Nice stuff from Bags and Hutcherson. Swinging classic jazz from two masters. Thanks for the clips. O-10 is exactly right when he says: "Bags is saying more with fewer words". Hutcherson plays great, but his playing is much more notey and he likes to be flashier than Bags. There are certain subtle "statements" that players make for each other and for the audience that don't always have anything to do with the music in the usual sense, but speak volumes about that player's attitude and sense of self. For instance, notice how on "Just Friends" Hutcherson plays the first solo and takes 5 (!) choruses; that is a lot of blowing by any standard. Bags follows and has the confidence to, instead of saying: "Oh yea, I'm gonna take six", he says : "I don't need five choruses, I can can say it in two"; and he does. Love it! I also agree about each player's tone; I prefer Bags' tone. A large (not all) part of the reason for the difference is the equipment they use. Both instruments do have a pedal (they all do). Since Hutcherson's is, overall, more streamlined, the pedal is harder to see as opposed to the pedal on Bags' vibes which is larger and more "decorative". Bags' instrument also has the large wooden side panels which tend to give the sound a fuller quality, as well as the arched resonator tubes which is really just a cosmetic difference to give the instrument that contoured appearance in the front. If you look closely at the mallets that they each play, you will notice that the heads on Hutcherson's mallets are smaller and less "fluffy"; hence harder. That is the main reason for the difference in tone. Bags' mallet heads are larger and softer giving the sound a slightly rounder, fuller and less metallic quality. Both beautiful players. |
I did a brilliant 'review' of the Bobby McFerrin CD 'Spirit you all" a while back. Of course it was totally ignored by the Aficionado community. It has been in my player everyday since. Here is a youtube of my favorite cut. ' 25:15 ' http://www.youtube.com/watch?v=mgV-xKe6vGE The Cd is even better. No weak tracks and no filler. Ain't got it? Better git it! Cheers |
Rok, Jackson and Hutcherson were twice as nice the second time around. Bags seemed to be saying more with fewer words, especially on "Bags Groove". Did you notice how well coordinated the color scheme on their attire was. "Delilah" on the CD "Skyline" by Bobby is exquisite, I bought the CD just for that cut, although it was all good. The artists were: Kenny Garret, alto sax; Geri Allen, piano; Christian McBride, bass; and Al Foster, drums. Bags vibraphone had a pedal and seemed more complex, also I liked the tone better; but I never would have noticed if you hadn't mentioned there was a difference. Yes, this was better than the double piano because both artists were "deep in the groove" on this one, wish I had been there. Enjoy the music. |
O-10: Jackson and Hutcherson -- Jazz Baltica 99 WOW!! I loved it! There is absolutely no substitute for SEEING these magicians at work! These were serious players, playing Jazz. This clip is even better than the Gene Harris double Piano clip. Did you notice the glances exchanged between Milt and Hutcherson as they ended their solos? On 'Bags Groove' I thought Milt's glance said, "you do know who 'Bags' is? don't ya!" hahahahahahhahhahah But it was great all around. We are so fortunate now to have this stuff, and hopefully forever. Delilah -- It was good also. I thought they played it just a tad too long. It sort of petered out rather than ended. It might have been no longer than the other concert, it just seemed longer. Smoother? :( I only have two CDs by Hutcherson. His first as a leader,'dialogue', and 'Color Schemes'. I also have him with 'The Timeles All-Stars' and Eric Dolphy's 'Out to Lunch'. I think he tap danced around the avant garde stuff for a while. He seemed to be with Dolphy and Andrew Hill a lot. But on these clips he was back in the groove. Had seen the error of his ways and was bopping once again. Redemption!! Thanks for the clips. Great stuff! What was the difference between the two player's vibraphones? Cheers |
O-10: Eddie Harris - It's amazing how sensitive these guys can play. This was a great tune and light years from 'Swiss Movement'! That's another reason Jazz is so much like classical music. Not only is it timeless, but can go from the Sublime to the outrageous, from one track to the next. Quite a range of emotions. Cheers |
O-10: Hank Crawford: Good clips. We are getting close to home now. This guy operated in Memphis, just up the road, highway 61, from my home. I liked all the youtubes, but, 'Peepers' was my favorite. As much R&B as Jazz, and that's a good thing. Seems as if he played with all the greats, B.B. King, Ray, Bobby Bland and Ike Turner etc.... I consider his stuff to be what they call 'soul Jazz', and that's a good thing also. His music is easy to relate to, though not innovative. On 'Peepers" even Sanborn got in the groove. I think Crawford is quoted as saying,"if the audience ain't moving, you ain't playing". :) My kind of attitude. I have just one CD by Crawford. A twofer on Collectables Jazz Classics; Mr Blues / Mr Blues Plays Lady Soul. Mostly R&B stuff. I think there should be a seperate sub-set of Jazz for people like Crawford and Ray Charles and others that stayed and played in places other than NYC or LA. Stayed close to the source, both musically and geographically. Thanks for the Post Cheers |
Here's one with Milt Jackson and Bobby Hutcherson. http://www.youtube.com/watch?v=hSPJ96pRTI0 http://www.youtube.com/watch?v=w3T29fsqfz4 Enjoy the music. |
****** You could argue that Getz is violating the intent of the composer. If he is, so be it.******* If this is true, then how, pray tell, could he embody the intent of the tune at the same time. I think this guy is an 'audiophile'. He should go back to the 'wire' and 'mine is better than your' arena. Cheers |
"Blood Count" was a featured piece for Stan Getz for decades. As much as I love Johnny Hodges, it's Getz who embodies the song. There are numerous YouTubes and recorded version. Here's some interesting commentary about Getz and the song.That's the sum total of my comments about "Blood Count". I stand by this statement. It is not a statement of fact, but of opinion. To be perfectly honest I do not understand the consternation these few sentences have raised, particularly since the arguments against my comments are nothing more than opinions. For instance: It's totally 100% impossible for anyone other than Johnny Hodges to embody the essence of what Billy Strayhorn has written better than, "Johnny Hodges". you cannot say a player can 'embody' a tune written by a great composer, on his death bed, and written for players of whom he had a very intimate knowledge as people and players.Are these anything more than opinions? What I particularly like about how Getz works the tune is that he strips it down to what I would call its essence. It's raw and emotional. Those are two words not often associated with Ellington/Strayhorn. You could argue that Getz is violating the intent of the composer. If he is, so be it. That's one of the reasons jazz performances are considered creative events as opposed to recitals. Please make allowances for me not knowing the official orthodoxy regarding Strayhorn/Hodges and "Blood Count". Apparently Elvis Costello didn't get the message either. |
Words matter. "Embodies" was a bad choice of words. Change that, and I have no problem with anything else he wishes to say. But, you cannot say a player can 'embody' a tune written by a great composer, on his death bed, and written for players of whom he had a very intimate knowledge as people and players. He knew who would play his work. You can't get around that. He wrote many tunes for the Ellington Band. Now if you like Getz, fine! Liking Getz' version is a valid 'OPINION'. Just leave the 'embodied' thing out of it. And lastly, this place is more of a conversation, than the usual "audiophile Thread". NOTHING here has to be better, or worst, than anything else. It's all good. Now as the OP said, lets consider the CASE CLOSED, lest we become like the rest of Audiogon. Cheers |
Consistent with the power of great music, the subject of "Blood Count" has elicited some very strong feelings. I don't think I can add anything to what I have already stated concerning my reasons for considering the original version to be the best other than to encourage all to consider that context (historical or otherwise) is very important when "judging" any art. I invite and encourage Onhwy61 to tell us why he considers Getz's version to be superior. Not to take him to task, but simply as an attempt take this discussion beyond simple statements of "I like this better", and learn what exactly he means by stating that Getz "embodies" the tune. I realize that putting feelings about a performance, and art in general, is not an easy task. But, surely, some commentary should be possible; if only something as simple as "I prefer the sound of the tenor saxophone", but hopefully something beyond that. Having said all that, and since Gioia's review was cited as support of Onhwy's particular viewpoint (or, at least, how his comment was interpreted), a couple of observations about the review: Interestingly, Gioia never says that Getz's version is superior at all. He never says anything about Getz playing it better than Hodges nor that Getz's quartet renditions are better than Ellington's. Notice that I said "his quartet's rendition's"; this goes back to my previous comments about musical context and the need to look at the entire composition/orchestration, not simply the melody. What he actually does say is "Getz owned this song". What does he mean by this? I doubt Gioia is lurking on Agon in order to tell us, but I think we have some important clues. Again, context; historical context: Strayhorn wrote it, Ellington/Hodges performed it and recorded it (once). After Strayhorn's passing (and adding poignancy to the whole matter) Ellington never played it again out of respect for Strayhorn. Many years later, Getz makes the composition a staple of his repertory and plays and records it beautifully; and, by all accounts, probably much more frequently than any other artist. THAT is what I believe Gioia meant by "Getz owned this song". Not, that he played it better than Hodges did. I believe Gioia (or any credible jazz writer) knows better than to say something like that, while fully understanding the reverence held for Ellington, Strayhorn, Hodges, and the circumstances around that composition. Speaking of reverence and the other "review" that is cited (Scott Albin). First of all, I find it conspicuous that he uses the same language that the far more credible writer (Gioia) used; that Getz "owned" the tune "FROM THAT POINT ON" (1982). I would not argue that point. However, he also said that Getz "outdid Hodges". While I definitely don't agree with that assertion, I think that he, also, misses the point about needing to consider the entire composition and not just the tune. Now, the part about reverence, and I admit that any conclusion about this is conjecture on my part, but it decreases this particular writer's credibility in my book: I find highly suspect this writer's assertion that Getz had never heard the Ellington/Hodges recording of "Blood Count" prior to recording it fifteen years after Ellington recorded it. First of all, Getz had a great fondness for Strayhorn tunes; to the extent that he recorded an entire album of the music of Strayhorn, as well as performing many of the compositions live on a regular basis. A great jazz player with a fondness for a particular composer would be familiar with just about all of that composer's work. Additionally, given the prominence of Ellington, Strayhorn, Hodges and the circumstances around the composition, the story is the kind of thing that travels like wild fire within the jazz community. It is difficult to believe that Getz had never heard it. Obviously conjecture on my part, but I think it points to the use of hyperbole by that particular writer. Not that Ohnwy61 needs anyone's opinion to support his own; he doesn't. But, personally, I would appreciate knowing why he has it. |
http://www.youtube.com/watch?v=992vUDmp5W8 http://www.youtube.com/watch?v=_u1qm7zJ9lY http://www.youtube.com/watch?v=0SJIgTLe0hc she sings cords around 6 min. Snarky Puppy is a real Fusion band. Jazz,Funk,Rock,Hiphop, whatever… http://www.youtube.com/watch?v=gQ99OMlI5cg WOW! |
Onhwy61 "The most beautiful yet sad and haunting jazz compositions that I have ever heard. This was written by Billy Strayhorn for Ellington's band and was his last composition. He was dying from cancer and finished it while in the hospital. Johnny Hodges is simply incredible on this." This was written by Billy Strayhorn for Ellington's band while he was dying of cancer. It's totally 100% impossible for anyone other than Johnny Hodges to embody the essence of what Billy Strayhorn has written better than, "Johnny Hodges". The way Billy Strayhorn, Duke Ellington, and Johnny Hodges went together, your statement in regard to "opinion" is almost sacrilegious. I gave you the benefit of the doubt when I stated it was possible that Getz version sounded better. Opinion means nothing in regard to this, and Ted Gioia's review was no less irreverent than your statement. Case closed. |
Bobby Hutcherson is an artist I don't think we touched on. In regard to his recognition as a top vibraphonist, his biggest problem has been "Milt Jackson". While many others compare everyone to the "jazz giants", I listen long and deep to each individual artist's contribution to jazz. In the case of Bobby, I give you "Delilah". http://www.youtube.com/watch?v=amgLychKCMY That was most certainly a treat for my ears. Enjoy the music. |
Everybody has an opinion and I have stated mine. I have nothing but respect for anyone who disagrees with me. Well, maybe not everyone. Not to change anyone's opinion, but here's another critic who agrees with me. |
Eddie Harris, "A Child Is Born", this is one beautiful tune. That reverberation makes the sound come from far away, and it just knocks me out. I had "reverb" in a 66 Electra 225 that made all the music sound this way; it was like riding in a cave. http://www.youtube.com/watch?v=_N1mPWwxgRI Enjoy the music. |
Re Getz and Blood Count: I love the way Getz plays that tune; I can't think of anything that Getz did that I didn't like. ****As much as I love Johnny Hodges, it's Getz who embodies the song**** Interesting choice of words about a song written by a man who is about to leave his body. I agree that Getz's versions are great and there is no point debating who plays the song better. However, to my way of thinking, "Blood Count" is about the composition, orchestration and all, and not just the "song". It was the last statement by a brilliant composer/orchestrator intended to be played by a group of musicians that he knew exactly how each would sound on each individual part; they were his musical palette. No piano/bass/drums rhythm section can capture the dark and funereal (literally) sonorities of Ellington's brass and reeds; his chord voicings are amazing. The orchestration as a whole is a dialogue between the soloist (Hodges) and the band. Great stuff. |
"Blood Count" was as you described it. Johnny Hodges was "Mr. Alto Sax" before Bird. This music prompted me to go through the vaults; I found a treasure of Duke Ellington, Billy Strayhorn, Johnny Hodges and others, for my listening pleasure, that was quite rewarding. This is music I heard as a child, when such things as who was making the music were irrelevant. Since I associate music with what I was doing when I heard it, childhood memories flashed across my mind like a slide show; in regard to the music, I only recall a joyous feeling and liking it. http://www.youtube.com/watch?v=uIkekMoEQY4&list=PL927020F299B15A86 Enjoy the music. |
"Blood Count" was a featured piece for Stan Getz for decades. As much as I love Johnny Hodges, it's Getz who embodies the song. There are numerous YouTubes and recorded version. Here's some interesting commentary about Getz and the song. On a different topic, check out the story and video of Sarah Vaughan. |