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 like Berg, but until you pointed them out, hadn't recognized the commonalities shared with Thomas, who I've always tended to regard as a more outside player. BTW, Thomas did a stint in the J. McLaughlin band that recorded Live in Paris. Berg co-fronted a band with M. Stern at one point and appeared on other recordings in that genre (I don't know what to call it) over the years as well as a smattering of more mainstream sessions.
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Yes, nice Bob Berg clips. Thanks! @stuartk , a couple of sessions with Fusion (“electric”) elements that he played on and led by two great players that seem to stay under the radar. With pianist Niels Lan Doky: https://youtu.be/U2zFlthiPnw?si=3QL6IA-pR7loFC11 https://youtu.be/Z2ioZkGZeU4?si=seRQ625iyjFh2Dg7 With one of my favorite vibraphonists, Joe Locke: https://youtube.com/playlist?list=OLAK5uy_nWfLCIjHbRBPFcZeXmv-vI0G-COSJAw3M&si=rvJQUH4yScAD65bS
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Miles Davis-Kind of Blue Miles Davis-Bitches Brew Return to Forever-Romantic Warrior Pat Metheny Group-Pat Metheny Group Yellowjackets-Yellowjackets Stanley Clarke-Journey to Love Chuck Loeb-The Moon, the Stars, and the Setting Sun George Duke-I Love the Blues She Heard My Cry Weather Report-Black Market Jaco Pastorius-Jaco Freddie Hubbard-Red Clay Herbie Hancock-Headhunters Herbie Hancock-VSOP |
I could not even choose the one (line up) I like the most, yet alone the 'greatest', but definitely prefer the one from the KOB to the 'Second GQ'.Pity that they did not record more. For me, the difference is in the sheer beauty of expression of the first group. Of course, I am aware that beauty 'lies in the eye of the beholder' as well as the passage of time between them, but still, to my young ears, no contest |
I get it. I understand (I think) why you feel the way you do and it is a perfectly valid viewpoint. As you pointed out, “beauty lies in the eye of the beholder”. The following comments are not meant as a rebuttal to yours, simply an explanation of why I (!) feel that the SGQ could be considered to be the greatest ever and, for me, they were. You cite “beauty of expression” as the determinant factor for you. For me there is no less beauty of expression in the playing of the SGQ. However, it is of a different kind; a different aesthetic. It is rhythmically more obtuse. Improvisations are more removed from and less grounded in the melodic and harmonic “centers of gravity” of the composition than those heard in the tunes on KOB, to use your example. Some would say, more adventurous. Don’t get me wrong, I love KOB and it is one of the most important records and one of the greatest bands in Jazz history. During the time of the SGQ Jazz, in general, was in a different place than it was during the KOB era. As always great art reflects the time of its creation and if prefers one particular aesthetic over a more “progressive” aesthetic than that would guide our judgment of one over the other. Those are all things I would say fall under the “in the eye of the beholder” rule. A personal call. I like both aesthetics; probably equally so. However, for me, it goes beyond that. The level of musical interplay between the members of the SGQ is simply amazing. In my opinion, it is on a different level entirely. There is a level of musical telepathy, musical conversation that happens between the players that is breathtaking. Particularly impressive when one considers how abstract Miles’ approach to a melody could be, as an example. A perfect example of this connection is heard in the very beginning of the live clip that I posted previously. They walk out on stage, no banter, no count off of the tune, no hesitation. Miles simply plays an opening phrase and they take off in perfect synchronicity and it goes from there. Pretty impressive stuff. One thing that I think is indisputable is the genius of Miles Davis.
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I like his sound more than Shorters. In his autobiography, Miles said “He was a hell of a musician, but Tony [Williams] didn’t like him. Tony wanted somebody who was reaching for different kinds of things, like Ornette Coleman.” Williams, Hancock and Carter wanted to play freer, “and they felt that George got in the way. George could play free if he wanted to; he just didn’t want to. He preferred the more traditional way.” But Miles has only praise for the tenorist.' |
What does SONICALLY AND INTELLECTUALLY CHALLENGING mean? And why would anyone want to listen to that type of "music"? Inquiring minds want to know. Cheers
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Much to say about the topic, when time allows. But, for starters: “freer”, in the context of the music of the SGQ, does not mean “free jazz”. Alex, you may have read my unedited post, but I edited since I did not want to be presumptuous. I am not the least bit surprised that you like Coleman’s tone better than Shorter’s. |
Frogman, no need to explain yourself, I fully understand your point. (and I would dare to say, even perspective in which Miles headed in that period of time) I have not respond on your previous, longer, post about second quintet, because we have spoken about that subject in the past. I might add, jokingly, that I have expected more of myself, because, since than obviously I have not made much progress listening wise and I still prefer more 'accessible' music aldo I appreciate what the artist (Miles in this case) wanted 'to say'...but, it (still) seems that 'beauty' of the tone more affects my affinity towards some music... |
Interesting discussion. Although KOB is often referred to as the beginning of modal Jazz and held up as an example of improvisation that is less tied to chord changes; more "free floating", if you will, it still strikes me as more structured, less amorphous, than than the recordings by the Second Great Quintet -- especially those that feature their original compositions. As in visual art or poetry, there’s a spectrum that covers a graduated span between the explicit/representational to the implicit/abstract. Each of us will, given sufficient exposure, discover what feels most stimulating/natural along the spectrum. As I’ve aged, my tolerance for atonality, absence of evident structure and more abrasive timbres has noticeably diminished (no pun intended). ;o)
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Good comment, @stuartk .
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Yes. You are of course 100% correct. I should have said diatonic chord changes. I’m aware that one may take the tones of a single chord and utilize them as a scale from which to build other chords, that while remaining within a single harmony in theoretical terms, allow players to deploy more contrast, movement and tension/resolution compared to simply vamping away on a single root voicing. Then, there is also the possibility of superimposing other harmonies on top of the root harmony. I didn’t go into this stuff because I don’t assume that everyone here is a player and is therefore interested but I will make an effort to be more accurate in future! |
Something mentioned by @simonmoon on @jafant’s ongoing "new in 2024" thread: "Perpetual Mutations" by Gavin Harrison and Antoine Farad. These players are new to me and I’m not sure how to label this genre but I’m guessing some of you might enjoy it: https://www.youtube.com/watch?v=xe2y_CtrFhg https://www.youtube.com/watch?v=VGmQST2nMGA
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We can both be thankful to @simonmoon , who consistently recommends music no one else ever mentions! . |
Alex, I honestly can't agree with myself on what Miles group was best, so best all time is impossible, but what I really like about Miles' "Second Great Quintet" is how they not only play solos that carry over ideas from the previous solo, but they basically finished each other's sentences. They play fragments of an idea that another player picks up and finished. This fragmentation gives it a little uneven sound, until you start following it. Once I heard it, I thought, It doesn't get any better than this. Interestingly, Bill Evans trios have great interplay between each member. It's not just Bill's playing. They mesh seamlessly. Different ways to get the same effect. |
Haven't posted anything for awhile. I found this in the Qobuz new releases. https://youtu.be/IFRPurO0rV4?si=YjaNj0fRU3-uk8q5 The whole album is on Bandcamp... |
Great comments re the “greatest” ever Jazz band. Which one? Some thoughts: Tone is clearly very important. But, as has been pointed out, beauty is a subjective thing and tone quality is only one piece of a player’s personality. Consider a great spoken word story teller or narrator. What is more important? The sound (tone) of his/her voice, or his/her ability to tell the story in a convincing, interesting and captivating way? Jazz playing is story telling. Story telling in melody, rhythm and harmony. As much as I love a great tone, I am tolerant of less than beautiful tone if the story is great and the style individualistic. Personal call. |
It’s been awhile since I’ve been here and I thought to share this link but I wasn’t quite sure to post this cause it’s not (all) jazz per say, but after seeing this last page I noticed @jafant mention Esperanza Spaulding and @alexatpos mention Wayne Shorter and I said, why not? This is an NPR Music Milton Nascimento & Esperanza Spalding: Tiny Desk (Home) Concert. The compositions are: Milton Nascimento: ’Cais’ Please enjoy. @frogman,’style individualistic’ I couldn’t agree more. I’ve always been drawn to dynamic musicians who make you not only look and listen to them but are also great accompaniment to their bandmates. Just like Wayne Shorter and Esperanza Spaulding.
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@tyray Dont be shy, there are not many people posting here anyway...which is perhaps strange,because there are so many views of this thread... For our regular crew (and others too) this is another Howard McGhee’s album worth mentioning: ’Sharp Edge’ from 1961 with G.Coleman, Junior Mance, Tucker and Cobb. Published on Black Lion label (the one I have) https://youtu.be/1_VtXjJoKB0?feature=shared https://youtu.be/AWJdfo0DNKU?feature=shared https://youtu.be/u2dx9PpXCxU?feature=shared
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Thanks @ho249 , Right now I have the house to myself and the amps are warming up.😁 |
@curiousjim Wow, turn it up! |
How about this Miles Davis record ? https://m.youtube.com/watch?v=2Kag0vqS8CU Play music you love and know. If the band shows up, your good. |