I came across this gem: Blue Bacharach
"A Cooler Shaker" (Blue Note)
A compilation of covers in the Jazz/Blues style.
"A Cooler Shaker" (Blue Note)
A compilation of covers in the Jazz/Blues style.
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
Article from BBC Music magazine: Concert Halls of America. Symphony Hall, Boston. The hall was built in 1900, the architects hired a physics professor from Harvard to perfect the acoustics. The result was a Hall with a reverberation time of 1.9 to 2.1 seconds and a shape that focuses the sound towards the audience. The article goes on to say, that the hall is one of the best in America and the World. My questions are, what is reverb, in a concert hall and what is the significance of the reverb times listed? There was no context given. Close to perfection? What is perfection? Can anyone talk about this? Cheers |
I love "Bean". He was the first great jazz saxophone player. And what a sound! He could sound huge and robust, and sensual and velvety all at the same time. Eventhough his style could sound a little "dated" depending on the context, he was one of the few players of that era that could more than hold his own with the younger more "progressive" players that he recorded with over his fifty year career. "Sandra's Blues" is classic blues-ballad playing and showcases his wonderful tone and swagger. "Close Your Eyes" is the winner of the two. The rhythm section really clicks on this cut with a beautifully light touch that still cooks like crazy. Notice Eddie Jones' lithe playing. He really moves the tune forward with lines that cover a wide range on the instrument, as opposed to the monotonous lines within a narrow range (with "thuddy" tone) that Sam Jones plays on "Somethin Else". Connie Kay sounds amazing and there is a much greater sense of interaction within the rhythm section. Great stuff! The importance of Coleman Hawkins cannot be overstated. His solo on his classic recording of "Body And Soul" is one of those solos (Coltrane's solo on "Giant Steps" is another) that young jazz saxophone players study. It literally changed the landscape of the music. The traditionalists criticized that solo (and Bean's improvising, in general) as having a lot of "wrong notes". He was one of the first players that reached beyond the very "inside" colors of the harmonies. The truth is that most players at the time simply could not navigate the harmonic complexity of a tune like "Body And Soul" and would not make all the changes; instead, they "generalized" the harmonic changes as opposed to clearly outlining each and every harmony as Hawkins did. Houston Person on "Moonlight In Vermont" is an example of this "generalization" and not making all the changes. One thing is being able to play over a blues with a nice comfortable, predictable, and sparse harmonic progression; another is being able to navigate a tune with up to four harmonic changes per measure (one per beat) and still make musical sense. Hawkins was one of the first that could do that. |
Orpheus, my intention was not to shoot down "Somethin Else"; it's an excellent record. But, when something is referred to as "the best" it better standup to the very highest scrutiny. I don't think I could pick a "best" jazz record; jazz can be too many different things in too many different styles. Besides, what criteria are we going to use to define "best record"? I am not sure how one would compare (for instance) Dave Brubeck's "Time Out" to Coltrane's "Blue Train" or to Herbie Hancock's "Headhunters". All three are great records that certainly belong in a "greatest" list. Having said all that, if someone put a gun to my head and said I HAD to pick one, I would probably say Mingus "Ah Um" for it's great playing and "time capsule" potential in that if someone with zero knowledge of jazz would be able to get more of a sense of the scope and history of jazz is than from any single record that I can think of. |
Jazz on a Sunday Afternoon: Hank Mobley -- Soul Station with / Art Blakey, Wynton Kelly, Paul Chambers Great Blue Note Hard Bop. One of the most over looked and underrated Tenor players in Jazz. I love his tone. Not an innovator, but a top tier Tenor player. A mainstay at Blue Note. I guess that's the down side of anointing all these 'geniuses'. A great player like Mobley sort of gets lost in the shuffle. Great Rhythm section and excellent song selection. Try it, you won't be disappointed. Cheers. |
*******Rok and Frogman, I would like your critical and expert analysis of these tunes*********. I could find nothing to fault. Great stuff. One of my favorite Tenors, Coleman Hawkins. When you get a lineup of this statue, and everyone shows up, there is nothing to fault. Esp if the tune has the word 'blues' in the title. I see the CD is still aval on Amazon. I put it in my waiting to order thingy. The Frogman can give us a more expert view. Cheers |
O-10: I could not even decide which is the best CD in my collection. I would not even try to name the best album in Jazz history. My simple test is this: how often do you listen to any particular CD. That's the one you like the most. Is it the BEST, could or could not be. What / Who do I listen to most often? Mingus, Monk, Oscar Peterson, Louis Armstrong, Horace Silver, Lee Morgan, Cannonball, the most, and many others to a lesser degree. The problem with naming a best is that you are stuck with it. Can I change everyday? Today, my candidate is Mingus' Oh Yeah. Cheers |
Today's Discovery: THE MONTEREY QUARTET -- Live at the 2007 Monterey Jazz Festival with / Dave Holland (bass), Gonzalo Rubalcaba (piano), Chris Potter (tenor sax), Eric Harland (drums) This is the natural progression of BeBop. They call it Modern Jazz. No matter what it's called, this is an excellent example of great Jazz. The Frogman and O-10 should just love this. They being so progressive. :) I was amazed. I have had this CD for over three years, and have just now got around to really listening to it. It blew my mind. Fantastic!! Each player contributed two tunes to the program. Rubalcaba's '50' was my favorite, but they are all great. They sound so different from most groups. They all play at the same time. It's like all four players solo at the same time, but it's all so cohesive. These are really good players. Great writing. Holland's bass playing is just awesome. And the sax player! Where has this guy been hiding all my life! The drummer? Another new to me, player. Amazing! We all know about Rubalcaba, just his usual brilliant self. If you call yourself a Jazz lover, you have to have this! So, if you ain't got it, git it! The sad thing is, they just came together for this one gig. We won't hear them together again. Another reason to get it. If nothing else, try to youtube '50'. Cheers |
Off one of the best recordings last year. Mike Barone Big Band. http://www.youtube.com/watch?v=4WQKTOMD8zM |
I like 'birdland'. I have it by Quincy Jones and a few more people. All my Weather Report stuff is on LP, but I think I have this number by them. I did youtube it. The guitar player looked like Chuck Conners as he appeared in 'Geronimo' That was a big turn off, so I killed the sound and went back to Monk's 'Brilliant Corners'. Birdland is a nice tune. Just need some serious people to play it. At least on video. I realize Joe Zawinul wrote it. He used to play with Cannonball. How the mighty have fallen. Thanks for the input. Cheers |
Rok and Frogman, I would like your critical and expert analysis of these tunes. http://www.youtube.com/watch?v=yII6IZo4eY8 http://www.youtube.com/watch?v=O1LZUa8prG4 Enjoy the music. |
O-10 You won't believe this. I clicked on the Toshiko youtube thingy at the same time that I was listening to the cannonball CD 'dizzy's business' on my stereo rig. So the same music was coming from the stereo and the computer. They were both playing 'Dizzy's Business'!! Thought I was in one of those Star Trek situations for a moment. Small Jazz world. :) I have the Toshiko CD desert Lady / Fantasy. Guess I'll have to give it a listen now. Cheers |
*******"what was the best jazz album ever"*********** O-10, That is an impossible task. The greatest Jazz album would have to be a complilation. A 100 CD box set. :) This morning I just reached for something to listen to. Happened to be 'Kansas City Shout" Basie, with Cleanhead Vinson and Joe Turner on vocals. Now, if I could only have one Jazz CD and I had to choose between Basie and Somethin' Else and Kind Of Blue. Guess what? It's Basie everytime!! None of that Muted pablum!! Does that mean the Basie is a 'Better" CD than the other two? Nope. This Basie album would probably not appear on any 'Best' list. Therein lies the problem or trying to say ONE Album is the best ever. You gonna leave off Ahmad Jamal's 'Poinciana', Song for My Father, Swiss Movement, Tons of Mingus and Monk. You see the point. And we have not even gotten to some real heavyweights. But we can try. All in fun of course. I will submit my candidate for you aficionados to trash errrr.. I mean to critique, later today. Cleanhead just said "got up this morning, got me a jug, and laid back down" Gotta pay attention. ahahahahahah Cheers |
Rok, and Frogman, Toshiko Akiyoshi's best Bop, can you dig it? http://www.youtube.com/watch?v=7BpQcwe4ncs Enjoy the music. |
Rok, and Frogman, sometime there are other emotional events attached to music that make it so special. Although I've had this album since it came out, after your evaluation, is the first time I've looked at, or listened to it "objectively". Each time I listened to it in the past, there was always instant recall of glorious events swirling around the music. Now I realize those events affected my love for this music. Enjoy the music. |
"Somethin Else" has never been a favorite record. Being a Cannonball junkie, I have owned this record for many years and have always had mixed feelings about it; it should be great, but comes up short of me. I agree with Rok's overall take. Clearly, this is excellent jazz playing. How could it not be? But still...... For me, there are some problems with this date that keep it out of the "great" category. The biggest one is the rhythm section. I agree with Rok on this point, but disagree that the main culprit is Hank Jones. I think the main problem is Sam Jones; I can't believe how monotonous his playing is on most of the cuts. His walking lines usually stay within a narrow range, and his intonation is questionable. A close second is Art Blakey, IMO. I confess that, eventhough I have been a fan of his bands, I have never been a huge fan of Art Blakey's playing. I find it is not rhythmically incisive enough at times, and a little sloppy. I think that the rhythm section limits the soloists and the recording, overall, lacks the fire that Cannonball is known for. Listen to "One For Daddy-O", the rhythm section actually starts to slow down a little bit about 3/4 of the way through the tune. Notice how when they return to the melody, it doesn't have as much pep as in the very beginning of the tune. In general, there is a sense that the rhythm section is not reacting to the soloists as they improvise and are not contributing to changing the landscape. Rok brought up the issue of the producer. A couple of thoughts: First of all the, influence of Miles should not be underestimated. It could be argued that this is a Miles date; he picked almost all the tunes on the record. BTW, the voice heard saying "is that what you want Alfred?" is that of Miles, not Cannonball. Two observations: it was Miles asking the question, not Cannonball, the supposed leader of the date. This supports my point about Miles' influence. Then, why is Miles asking that at all? Because the producer does, in fact, have a lot of power over the goings on. It would not be surprising if the issue was that the producer wanted the tune a little faster or slower, different groove etc., and they finally got it on that particular take. Still, a lot of great moments |
********I think that we sometimes like to think that playing jazz, being a vehicle for free expression, is free of any constraints. While it is obviously true that improvisation offers the player a lot more creative freedom than, say, a classical performance (duh!), there are still fairly strict guidelines********* Frogman, I agree with all you said, but, you are preaching to the choir. Now, if you could only, have had a word with Ornette Coleman, Anthony Braxton, and all the other 'Free' Jazzers of this world. Think of all the aural pain you could have prevented! :) Cheers |
KIND OF BLUE Again we have Julian and Miles, but this time with better backing. The rhythm section was much better and more involved. The addition of a Tenor sax was good. And a tenor sax played by John Coltrane was ever better. Much stronger piano playing from Bill Evans and Wynton Kelly. The Bass player, Paul Chambers, was involved also. I also felt the song selection was better than on "somethin' Else". Again no real cooking numbers. 'All Blues' was the best tune IMO. More dynamic range on all the numbers than those on "somethin' Else'. The tenor helped. Best Jazz album ever? No. Again, not even close. With some much great music by so many great artists it's way too soon to give that honor to one of these two. Hell, we have not even talked about Mingus, Monk, Coltrane, Ella or Armstrong etc..... You get my drift, there is just too much / many still to be heard. The search goes on. But at least we now know at least two records that are not the best ever. That's a start. Let me quickly add, IMHO. That'll stop those Sabre Tooths in their tracks!! Cheers |
SOMETHIN' ELSE Basically a tit for tat between Cannoball and Miles. The rhythm section was not even there. Both Miles and Julian played beautifully, but a lot of muted trumpet and alto sax needs a little more. After all we are talking the BEST ever. There were no really cooking numbers. On the best ever Jazz album, there just has to be. The rhythm section was a big letdown. Big time names, but they didn't play up to their rep. Esp weak was the piano. They only showed signs of life on the last number 'Alison's Uncle', but since that number was not on the LP, it does even count. And last but not least. After playing ended on 'One for Daddy-O' you could hear Julian say "is that what you wanted alfred?" Another example of those egotistical producers making sure they are recognized for enternity!! Trying to give the impression they are in 'charge'. That they are responsible for the great playing. I hate that crap!! That should have been cut before the final pressing. This would by itself disqualify this record from best ever. Best Album ever? No. Not even close. Not even the best Cannonball Album. Kind of Blue? see following post. Cheers |
Frogman, casting "Moonlight in Vermont" aside, I really liked Houston Person and Joey D. Instead of picturing a snow covered Vermont, I could picture a table close to Joey D's organ; man that would be ever so mellow, and Houston's tenor has such a golden tone that I could enjoy it all night long, right there live on the set. Rok's just fooling with us, he got it a long time ago. Enjoy the music. |
****I.E. the song HAS TO BE about vermont only when you sing the words. Otherwise it's just a very nice tune in the category of Autumn Leaves etc..... that Jazz guys like to improvise over.**** Perhaps. But, many great improvisers will tell you that knowing the lyrics to a song, and having the lyrics on their mind when they improvise, is one of the keys to a great solo. Which is why so many players revere singers like Frank Sinatra who were masters at singing lyrics in a very straightforward and unaffected way; the idea being: a great song doesn't need much help. http://m.youtube.com/watch?v=_CiizL8Vfu8 I think that we sometimes like to think that playing jazz, being a vehicle for free expression, is free of any constraints. While it is obviously true that improvisation offers the player a lot more creative freedom than, say, a classical performance (duh!), there are still fairly strict guidelines inasmuch as what is appropriate use of a particular musical vocabulary. "Appropriate" is obviously a tricky and subjective criterion, but to paraphrase someone: "I am not sure what tasty playing is, but I know it when I hear it (or don't)" |
******** everyone on the "Gon" says "Kind of Blue" is the best jazz album ever******** That's probably a true statement of current opinion on this site. Except us Aficionados, we be hipper than that. However, as you ponder the validity or accuracy of the prevailing opinion, consider all the other stuff 'everyone' on the 'Gon' believes!! Then all will be clear, and you can give this 'consensus' it's proper consideration. Somethin' Else?? Maybe one of the greatest lineups ever. Best album ever?? I will have to listen, think, and get back to you. Cheers |
While everyone on the "Gon" says "Kind of Blue" is the best jazz album ever, I say "Somthin else" by Cannonball Adderley is the best jazz album ever. I give you three cuts to help you decide: "Somethin Else", the title cut, "Love For Sale", and "Autumn Leaves". http://www.youtube.com/watch?v=2Kag0vqS8CU [url]http://www.youtube.com/watch?v=3aOK2Ekp760>http://www.youtube.com/watch?v=4tSYXpq2kW0[/uirl] [url]http://www.youtube.com/watch?v=3aOK2Ekp760 Enjoy the music. |
Today's Recommendation: James Williams (piano) -- Magical Trio 1 featuring Ray Brown (bass) and Art Blakey (drums) This is what they call straight ahead Jazz. Modern Bop played at the highest level. It swings. Considering the lineup there is not a lot to say. Great bass intonation! Excerpts from the liner notes: ***"So many of the refugees from the Jazz avant garde of the 60's and the 70's offer much lip service to the Jazz tradition, but when they play Bechet, Henderson, Ellington, Dameron, etc..., it ends up ranging from unintentional parody to simple assassination"*** Even I understand and can agree with that. So you can conclude that ain't the case here. Very well recorded. 1987 Highly Recommended. Cheers |
****"Rok, how do you like Marakesh?"**** I ordered my one-way tickets today!!! See you there!! I wonder if I will be able to find a socket to plug my stereo into? Speaking of Marrakech: Randy Weston -- Marrakech: In The Cool of The Evening Weston plays solo piano. Nice playing, mostly his own tunes. Nothing reached out and grabbed me. The 'Fats' Waller and Billy Strayhorn tunes were the best. An entire CD of solo piano is a LOT. Esp if the player is NOT Oscar Peterson!! There are some nice photos and a very interesting cover photo of 'downtown' Marrakech. :) Even a shot of guys wearing Fezzes. I always thought that was outdated hollywood stuff. I must admit I got this one years ago based on the title. It's not what I expected. Nothing african, middle Eastern or exotic on this one. At least not to my ear. You more ''in depth' guys might hear differently. I have a lot of his stuff, mostly with Melba Liston. This CD is not among his best. IMO! Whew, amost forgot to add that. :) Reminds me of the first LP I ever purchased. Got it from the RCA record club. 'Victory at Sea'. I ordered it because of the battle scene on the cover. I wonder even today about exactly what did I expect to hear. But now i realize it's great music, but not then. I expected action!! :) Cheers |
Ahmed Abdul-Malik, Jazz Sounds of Africa. This sounds brand new, and it could be classified as "World Music", it reminds me of Marrakech. http://www.youtube.com/watch?v=_deuBC1enSI Enjoy the music. |
If you are going to listen to 'Carmen,' then there are many good performances. I prefer Callas. If you are going to WATCH Carmen, then the only choice is Julia Migenes Johnson, Placido Domingo, Orch National De France / Maazel. Julia Migenes Johnson, has the 'assets' to do 'Carmen' justice. She also has a great voice. Cheers |
This is the passage from the Abdul-Malik CD's liner notes. "The public acceptance of a new Jazz musician is generally a difficult thing to attain. Many players after years of hard work find themselves forced to take jobs outside of the music world to feed themselves and their families. Others bastardize their art and play types of music that usually have nothing whatsoever to do with Jazz. Unfortunately, in the Jazz world, a man's ability to play, his skill, or his musical ideas do not govern his success , or his failure. This can be shown in many cases where inferior musical talents have made fortunes while outstanding players have starved." He goes on to say that Ahmed has found it extremely difficult to find work playing the music he wants to play and the way he wants to play it. I guess he wasn't listening. He died in 1993. Cheers |
Today's Listen Ahmed Abdul-Malik -- Jazz Sounds of Africa Abdul-malik (bass - Oud), Calo Scott (cello), Andrew Cyrille (drums) and others Now this is a fine example (maybe the only one) of 'World Jazz'. This is high quality playing that leaves you wondering if you are in Nairobi, Rio or Havana. We hear smidgens of Calypso, Mambo and Samba. No 'traditional' peasant's banging and chanting here. This is Jazz, the real deal. With a world flavoe. No filler, all good well thoughtout tunes. The cello is a surprise. It sounds much more 'suited' for Jazz than does the violin. Several African and Asian intruments are used, and they blend in with the music perfectly. The liner notes are great also. I will copy a snippet and send in a moment. It addresses a topic of discussion we had on this forum some time ago. Good sound. Recorded in 1961-62. Looking for new music? Give this a listen. Cheers |
Totally agree with Orpheus and Frogman's comments on Ella. Simply the best jazz vocalist for me, hands down. Knows exactly when to scat and when not to, and does it with the technique of an instrumentalist. Speaking of singers with the technique of instrumentalists, if some of you jazz fans are curious about checking out some opera singers, try Marilyn Horne. Stunning technique, and an incredible range, and a wonderful voice, though for some of you her vibrato might take some getting used to. A great intro, which also happens to be an incredible recording as far as quality goes as well, is the recording she did of Carmen at the Met with Leonard Bernstein in the 70s on the Deutsche Gramophone label. It's a great intro to opera, and you will recognize a few of the tunes. For some sheer vocal pyrotechnics, check out some of her recordings of Rossini and Handel arias. |
Rok, that vocalist I referred to; if she had named whatever she was singing and going through all sorts of jazzy pyrotechnics on, something else; there is a good possibility I would have like it, but instead, she was messing up one of the classics. Houston Person was not so far from that classic, that I would say he messed it up, but it still wasn't as good as Johnny Smith's version. Lyrics or no lyrics, classics are sacred, and a person can go too far for "aficionados". |