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.
Thanks for your response(s), @audio-b-dog. re Rattle: Q: How can one tell that the floor of the stage is level? A: The viola players are drooling out of both sides of their mouths. 😊 |
frogman, so funny that you're hip to the violist jokes. At the L.A. Phil we had a lead violist named Carrie Dennis. She must have been one of the best violists in the world. In her twenties she was chosen as the L.A. Phil's lead violist but she went to Berlin instead. Then she came back to the L.A.a Phil. She used to sway her body like crazy to pretty much any composer. I used to like to watch her. She brought the concerts to life. She performed Bartok's Viola Concerto in bare feet. Then one day she did not come to work. She disappeared, and as far as I know, nobody knows where she is. |
acman3, it has taken me years of working on a book to try to get across my ideas on the Feminine Creative Spirit. I don't know how much you know about physics, but there is a concept called entropy. Basically, it says that forms will eventually dissolve and become white noise. The universe will become white noise (particles scattered without form). Yet the universe has been around 14 billion years and it just keeps getting more complicated and more orderly. Something is missing in our male view of the universe. And it is male, just think of all the famous physicists you can think of. Physics' concepts have been designed by males. There is something we're not seeing. Richard Parnass writes about this in his book "The Passion of the Western Mind." He says our science is based on left-brain, logical thinking and we need to engage our right brains more. Einstein might be an exception because when he was a child he dreamed about traveling on a light beam. But let me give you a quick perception about jazz that is indisputable. Female vocalists are not different than male vocalists simply because their voices are higher. Women convey a song differently than men because feminine expression is different than masculine expression. I don't know why this shouldn't prove true across the board. I don't think there have been enough female musicians (other than singers) for us to see that difference. Any females on this thread? That's another issue. I'm in with your brother and I think females will stand on their own excellence but it will take males some time to understand it. Actually, I think it will take the Feminine Creative Spirit to save our asses, because male-think is about to descend us into social entropy. |
Richard Tarnas wrote the best book about astrology and history after his wonderful book on history of ideas in the West... But he pointed to a polarity not to a sexual difference but to a symbolic one, an archetype... I think it push us in the wrong direction if we associate music with sex differences... We are all male and female on the psychical level with a determined sexuality biologically but we are all male and female and we must balance the two aspects. Iain McGilchrist analysed this polarity well in two books...
By the way i like Chet Baker a lot because he express the more feminine aspect , his anima, in his playing...
Roland Kirk is at the opposite...
I think Miles Davis represent a good balance...
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mahgister, first of all I think it is so cool you've read Richard Tarnas. And you are right, he did not talk about things in terms of masculine and feminine. That is why what I'm doing is so difficult. Nobody has really broken down our history by gender. But in my reading I have found a history of the suppression of women. It is clear to me when and where it happened and the consequences. Now that I've been studying it, I see the results all around me. And I have the difficult job of making others see what I see. I agree with you that we all have a degree of both sexes, and I like your examples of Chet Baker and the amazing Roland Kirk of the many horns in his mouth at once. Male artists, as opposed to men in general, are most likely to embrace their feminine. I have recognized the feminine in myself, although my masculine side is pretty strong. Probably one of the reasons I'm trying to see the feminine. Yet we must admit and see that we live in a patriarchy. This is not just feminist BS. Look at the countries around the world that suppress their women to various degrees. Or in order to succeed their women learn to adapt to the patriarchy. It's a fact that men have developed thought all around the world. We mostly have read male writers in school, although that is changing, partly because women read more than men, especially fiction. Sociologically, psychologically, and politically, patriarchy has reigned. Western music is a product of male minds, with very few exceptions mostly occurring from the latter half of the 1800s onward. Yet, to your point, men who suppress the feminine in themselves long for it. Look at all the poets who have called upon the female muse. In jazz, we have loved our female singers and still do. Religions that have suppressed women still have a female aspect. Mary in Christianity, the Shekinah in Judaism, and I have read that there are feminine aspects to Islam. I am convinced that women were the strongest force in spirituality and the arts, but I can't go on too long here talking about history. I will look at Iain McGilchrist, though. Thanks for mentioning him.
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To be fair to violists, it should be pointed out that there exists an old and unjustified stereotype about violists that assumes that violists are musicians who cannot compete as violinists, so they take up the viola in order to get orchestral jobs. While it is true that the viola does not have the caché that the violin does and not nearly as many important works written for it, it is an essential voice in the orchestra. There are also many fantastic violists who choose to play the instrument because of its unique characteristics and place in the orchestra palette. Having said all that: Q: What is the difference between a violin and a viola? A: The viola burns longer. 😊
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Looking over Absolute Sound's music reviews I came across Branford Marsalis's remake of Keith Jarrett's "Belonging." I loved Marsalis's take on "Belonging" and went back to Jarrett's "Belonging." I don't know how I've missed it before. Jarrett's one of my favorites. Both versions are spectacular. Both of very high quality on Qubuz, too. acman3, thanks for the posts. I'll check them out. frogman, I remember the beginning of one violist joke but not the ending: "The conductor and violist are walking across a cross walk, who do you hit first?" Do you know it? |
Funny, I’ve heard that one but don’t remember the punchline either. Here’s another: A violist is driving on the way to a concert and decides to make a quick stop at a bank. Knowing it would only be a few minutes he leaves his viola on the back seat of his car. He runs into the bank and as he approaches his car on the way back he sees that the rear window has been smashed. Distraught and expecting the worst he looks in the car and in the back seat……two violas. |
https://youtu.be/_ww-XDuaxcw?si=U7wgDEPIuQbI0Lk2 https://youtu.be/CYg_3pQN-LU?si=ae_7wf47y-lnPdBw These two links, I don't know if it's the musicianship and musicality or the musicality and the musicianship? This is killer stuff. |
Glad you like them, @tyray . Two of my favorite saxophone players. Different as could be and both great. |
On my turntable this morning a jazz album that has long been one of my favorites: Amarcord Nino Rota = I Remember Nino Rota (Interpretations Of Nino Rota's Music From The Films Of Federico Fellini) For Fellini fans or those with a European bent to their jazz. Personell include Jaki Byard, Bill Frisell, Wynton and Branford Marsalis, Kenny Barron, and many more. A taste: https://www.youtube.com/watch?v=fJXz7CQ3xVk&list=PLwGTKZ6uNxXkUb4E3nR6K6Sz0F1gUHGP0&index=2 |
@curiousjim, I listened to Mal Waldron. It was a bit sparse for my taste and the bass/drum drone made it seem flat. I don't know if Waldron has that kind of vibe on his other albums. I will listen to him some more. A drone-type bass beat I do like can be found on Alice Coltrane's Journey in Satchidananda. In that case, the drone is like an Indian spiritual thing, and Pharoah Sanders' sax is as spiritual as John Coltrane was. One of my favorite albums. |
@curiousjim, I listened to Mal Waldron's "Free at Last.." I liked it a lot. I'm still listening. Sometimes he reminds me of Keith Jarrett, perhaps my favorite jazz pianist. He's very good and I'm glad to have found him. I might have liked this album better than Glory because I was in a more open mood, or perhaps because Glory was recorded 44.1 khz, like a CD, whereas this one is at 96 khz and delivers a lot more depth on my stereo. It's especially important for the drums which have all kinds of soundstage cues that were flattened out on Glory. |
To my ears, Mal Waldron was, like Andrew Hill, and Horace Tapscott, a player who (in his own compositions at least) tended to take a simple motif and explore it in many subtle variations, as opposed to basing lines off complex harmonic changes. Rhythmic displacement and use of space are evident elements in his playing. All three players shared a similarly dark sound and percussive touch. Waldron recorded recorded albums of standards and albums featuring original tunes and spanned a gamut from inside to outside in the process. Three I particularly like: Seagulls of Kristiansund Left Alone '86 You and the Night and the Music He and S. Lacy were buddies and recorded several times together, for those who enjoy Lacy.
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@audio-b-dog, with the Isao Suzuki Trio – Black Orpheus Full Album (1976), I was always a sucker for some nice and easy Rhodes playing and the drummer just brushing away...A Taste Of Honey - Morgana King. Wow! And Yusef Lateef "Love Song From Spartacus," You're stretching out on these cuts. And these are tunes I've never heard before. @acman3, Mal Waldron Reminiscent suite and Black Forest very nice gems you've introduced me to here this morning. |
My turn...And in Portuguese too. Leny Andrade - Estamos Aí -1965 Full Album Os Cobras - O LP - 1964 - Full Album Baden Powell - Swings With Jimmy Pratt -1963 (FULL ALBUM) I like it when we stretch out here...It sharpens the musical mind muscle.
This may not be jazz, but this song is an Opus all of and on its own. Years ago I popped this cd in my car’s cd player as a friend and I were going to dinner and as she was singing the song and also surprised that I had a cd of one of her countrymen, she cried like a baby while singing cause she missed her Rio de Janeiro, Brazil somethin bad. The Brazilians have a word for what she was feeling, Saudade.
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Love Brazilian musicians’ take on Jazz. For me, sexiest music on the planet. Thanks for the clips. https://youtu.be/-XExdVd7Qpw?si=UDeRD4z51jMFn7N5 This woman dripped Saudade! : https://youtu.be/76Se5hxy8hQ?si=_-UFR5bPyiHQY9a1 https://youtu.be/2fP6QyiyvMw?si=Zaphg-bruZtc8Nj2
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FYI, my intent wasn't to denigrate Clube da Esquina by pointing out it's not Jazz. I love that album! I've listened to many other Milton CDs and have yet to encounter one I enjoy nearly as much. In fact, I've listened my way through numerous lists of recommended Brazilian music and found very little that really captivates me. I wish this was not so.
Can you provide some examples contrasting the two?
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Afro-Cuban jazz, a style of Latin jazz, is a fusion of jazz's improvisational techniques and harmonies with the rhythms and instruments of Afro-Cuban music. It originated in the early 1940s in New York City and is characterized by the use of percussion instruments like congas, timbales, and bongos, along with the distinct clave rhythm. Key Characteristics of Afro-Cuban Jazz:
The clave is a foundational rhythmic pattern that provides a distinctive pulse to Afro-Cuban jazz.
While rooted in Afro-Cuban rhythms, Afro-Cuban jazz also incorporates jazz's harmonic structures and improvisational styles. The rhythm section often employs ostinato patterns, creating a driving and repetitive groove. Notable Figures and Bands:
A Cuban musician and composer who played a crucial role in the development of Afro-Cuban jazz. A prominent bebop trumpeter who collaborated with Chano Pozo to introduce Afro-Cuban rhythms into the East Coast jazz scene.
A Cuban percussionist who collaborated with Dizzy Gillespie and helped popularize Afro-Cuban rhythms in jazz.
The leader of "Machito and his Afro-Cubans," a band that played a significant role in the early development of Afro-Cuban jazz in New York.
A renowned percussionist and bandleader who helped to further develop and popularize Afro-Cuban jazz. A prolific keyboardist and bandleader who is well known for his contributions to the genre. History and Development:
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https://youtu.be/PFgmhz8eWd4?si=O5Y9hAuArepjCvgs Afro-Cuban jazz. |
@stuartk, I didn’t take your Milton Nascimento’s Clube Da comment in anyway negative. In fact I was and are in complete agreement with you! @foggyus91, wonderful descriptor of Afro Cuban Jazz! Although your youtube example of Afro Cuban Jazz, CubaLandz: Afro Cuban Jazz | Concert | Bozar Jazz seems well, kinda schmaltzy and even amateurish at best. Now these are examples of Afro Cuban Jazz: Dizzy Gillespie - Manteca. I am a huge, big fan of the percussionista mastro Chano Pozo. Dizzy Gillespie about Chano Pozo and Manteca’s story I’m also a big fan of Mario Bauza, Machito, of course Tito Puente and Eddie Palmieri who incidentally along with a host of others introduced me to the music of the New York based group Fania All Stars music. I can only imagine being at the Palladium in New York in the late 1950’s and late 1960’s jamming with Tito Puente. +1 @frogman! Elis Regina (and Antonio Carlos Jobim) is an impeccable musician of immense talent. I can listen to and be captivated by Elis Regina for hours.
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Wow! So much music, so little time. Even for me who listens all morning and most of the afternoon while I write, or at least try to. Sidenote: I wrote a poem for my novel and I wanted to make sure its meaning could be gleaned by at least someone on earth. I put it through chatgbt which I've avoided, within 5 seconds it had the most brillian analysis. I wonder if it will work for music? @tyray, "A Taste of Honey" has always gotten to me, ever since I saw the movie in the early sixties. I think there have been a number of versions. On the "Orpheus" album, "Manha De Carnaval" is from the film "Black Orpheus." It's been covered more times than I know about. Vince Guaraldi did perhaps one of the most famous covers on "Jazz Impressions of Black Orpheus." It was a must have when I began collecting jazz albums in the 60s and 70s. @stuartk and @foggyus91, I learned about Cuban jazz through David Byrne who has also done a number of albums on Brazilian jazz. I picked up a number of CDs of artists I liked from "The Buena Vista Social Club," like Omara Portuondo. I will look into some of your suggestions. This morning I have been listening to the wonderful Rosa Passos. First, her CD called "Rosa Passos & Ron Carter." But even better, I think, is Rosa Passos"s "Amorosa." This is a daring redo of Joao Gliberto's (of Getz Gilberto fame) "Amorosa." This might be a bit too syrupy for some like @foggyus91. My interpretation of syrupy at this point, until someone educates me, is that the music goes to your hips rather than your head. Broad brush, I know. Here's a sweet taste and I'll drink down all the syrup I can get. |
@audio-b-dog, you are a man after my own heart. I bought this cd of Rosa Passos - "Pano pra Manga" [1996] (Álbum Completo) in Salvador da Bahia at Randy Roberts record store Cana Brava Records in the barrio of Pelourinho, the historic center of Salvador, Brazil. What a small world we live in, brother. When Brazilians speak (and sing) in their native Portuguese, the accent it has, they do so with and in a rhythm that comes with their cultural upbrings. And there’s nothing like it on earth. I also bought this cd too while I was there Banda Black Rio - Gafieira Universal - full album 1978 and this is a Rio Funk (pronounced ’funky’) album. And to think my intentions were to post a Freddie Hubbard album - First Light 1971 - full album...Hmm |
@tyray, Freddie Hubbard First Light, I own the 1971 album in perfect shape. One of my favorites. Although, I like Red Clay a bit more, probably because it's more earthy. No beautiful melodies like First Light. I have never been to Brazil, although I have been to Portugal and love the Portugese tongue. As I have mentioned, I have many albums from Brazil. If I hear something I like, I'll hunt it down. I don't know why you didn't respond to my post about Tania Maria. The woman's a master jazz pianist and she's got a hell of a voice. Here's a taste of her just playing piano: https://www.youtube.com/watch?v=owo8t6jmabI And here's a taste of her piano and fabulous voice. The only reason I know about her is that I went to a small jazz club in L.A. where I was the only white face in the audience and she absolutely bowled me over. Forty-three years ago, I hate to say. https://www.youtube.com/watch?v=52iRJke0auA And here is a joyous album with Maria Bethania (a Bahia singer with real soul), Vinicius DeMoraes, and Toquinho. I particularly enjoyed the fifth cut "Samba Da Bencao" which was the "Samba Saravah" in "A Man and a Woman," written by Baden Powell and Vinicius DeMoraes |
Wow -- thanks for all of that!
OK. Sorry for misunderstanding on my part. As it happens, today I discovered a Brazilian singer previously unknown to me that I really like (Not Jazz) : Marisa Monte. https://www.youtube.com/watch?v=znp7C0FlxBE&list=OLAK5uy_ldZeBZ3lelSLE3XOauZKVPNZwg16Ik260&index=2 https://www.youtube.com/watch?v=NgPaSv9_WCc&list=OLAK5uy_lvFBKo9UV7VSq3zZOuNQipK50igA3Aay8&index=2
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Dizzy, 'Bahiana' album https://youtu.be/4LUK1VAk7ww?feature=shared Laurindo Almeida and Bud Shank 'Brazziliance' |
@stuartk No big deal it was all AI. |
@alexatpos, a bit of a sidestep into the "classical" world, but staying in Brazil. Hector VillaLobos was a Brazillian street musician as well as Brazil's most famous classical composer. His Preludes for guitar have all of the duende of the streets and Laurindo Almeida plays them absolutely beautifully with more depth of feeling than I've heard from any other guitarist. |
