Frogman, much of what you said is consistent with comments that I've made. For the most part concerning a clear explanation of music in order to support a preference for a particular work and/or artist. Another suggestion that I made and I'll rephrase it here, is that pronouncements over how music should be labeled for point of comparison is ambiguous and will typically lead to arguments. I've never suggested that we converse like musical Spoc's as though we are regurgitating data. For some reason, other members are either looking to argue and have a habit of misinterpreting what others say. I base this on the fact that nearly 5 pages of this forum consists of arguments with members targeting one another. Anyway, I would expect that if someone where to have an intelligent conversation about a musician, i.e. Charlie Parker (which is what I assumed from the members here), that they would have a certain knowledge about music itself in order to support and clarify their comments. I don't see why this is too provocative or unreasonable as it seems to have been the standard on other forums. However, there is a great deal of resistance to what I've just suggested and since I don't like to argue, I will reserve my comments.
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.
30,443 responses Add your response
Frogman, as always, you make thought provoking comments. Since "all" music is subjective, I have no problem with someone's proclamation that this musician or that is superior. As someone stated, "My religion, is the only true religion"; fortunately no wars have been fought over disagreements about jazz. An objective analysis of jazz can only occur when many aficionados concur. Currently, I don't know of any aficionados who concur with my opinion that the best jazz is no longer being made in America. Youn Sun Nah was made in Korea, and Sharmila Guha was made in India. I have no explanation for the reasons regarding this abnormality, but my ears seem to prefer jazz made in other parts of the world over domestic jazz. Don't blame me, blame my unpatriotic ears. Fortunately, there is so much jazz from the past that I have yet to hear, my unpatriotic ears wont be a problem. Enjoy the music. |
" I would expect that if someone where to have an intelligent conversation about a musician, i.e. Charlie Parker (which is what I assumed from the members here), that they would have a certain knowledge about music itself in order to support and clarify their comments." I Disagree. A person can make any comment he wishes about any musician. No special knowledge is required, other than, hopefully, he has listened to that musician's music. The 1000 lb gorilla in the room is this, musicians are whatever the PUBLIC, says they are. Not what their peers think of them. I am sure Miles et al. knew guys who deserved to be as great as they were, and I am sure they thought of them on their way to the bank. It's always been that way and it always will. Someone decides who will be great. Back in the days of classical music it was the local Patron paying the musican's livelhood. In other words, a few decided. Now millions decide. It's a tougher room. I think Goofyfoot and The Frogman could be in advanced music / improvisation theory, but, have wandered into Jazz Appreciation 101. Here, we just comment and share what we hear and how it moves us. And all are qualified to do that! Of course, all others are welcomed. A person can never have too much knowledge, and The Frogman is our local guru when it comes to the finer points of music. Fighting and being argumentive? Well, it's better than being boring! Boredom kills threads! And if The Frogman and I can live together in peacefull coexistence, then anyone can! Cheers |
Rok, I thought the following comment you made was thought-provoking and very true: "I am sure Miles et al. knew guys who deserved to be as great as they were, and I am sure they thought of them on their way to the bank. It's always been that way and it always will." This is not mean as a criticism of Miles--he was a Jazz great. But there probably were other Jazz musicians of his time who might have been revered on the same level if they had just received the backing and freedom provided to them by a major record label like Miles was. A lot of these guys recorded for minor labels for peanuts and if they would have proposed projects like "Porgy and Bess" or "Sketches of Spain," the record companies would have laughed at them. Miles certainly deserves the praise he receives, but who knows who else might have similarly flourished with the resources he had. |
I am mixed about the subject of the "unsung hero". I agree that there have been, and are, many examples of musicians deserving of greater recognition than they got (get); but, personally, I would be careful about attributing too much of the reason for this to forces outside of the musician himself. Musicians can be (and often are) complicated and difficult individuals who sometimes make choices that are not conducive to "success"; some don't even want it. In general, the best players get the attention. This conversation between jazz greats Billy Taylor and Frank Wess addresses some of this: http://www.prx.org/pieces/20223-billy-taylor-unsung-jazz-players-1-of-2 This subject, with the focus on Miles Davis, is particularly interesting because it (inadvertently?) touches upon, and causes one to question, one of the running themes in this thread: the idea held by some of us that the best jazz has already been played, or that a particular period in jazz has the most merit. The two records cited (Porgy and Bess and Sketches of Spain) could not be better subjects for this particular discussion. These two records, and especially the earlier "Birth Of The Cool" sessions (which were the first collaborations between Davis and Gil Evans) are records for which Miles Davis got top billing when it could easily be argued that Gil Evans was the primary force behind these projects. Yet, these are always considered Miles Davis sessions. When was the last time anyone of us heard any of those records referred to as "the Gil Evans record ....."? Davis was the higher profile individual (to the public) as the rising star of the jazz trumpet world. But, the real interesting point (and irony) in all this, and how it relates to our reverence for Miles and certain specific periods in jazz is seen when we look at what it was that made Miles the success that he was. The collaboration between Miles and Evans was a direct result of their dissatisfaction with, and a concerted effort to move away from, what they perceived to be the dominance, and limitations of be-bop. As we all know, miles was one of the creators of be-bop. That kind of constantly forward-looking attitude, with an openness to change, is what made Miles great. Is it not ironic that we revere an artist who achieved great success, in great part, by always moving away from his artistic past; yet, some of us resist a similar open-mindedness? |
"Trio Tre Bien", this is a group that I just re-discovered. Although I heard this group some time ago, they slipped through the cracks of my memory and got lost. Now they're on my top play list. This CD "Coming Together" by the Trio Tre Bien is flawless, and I've only given this high praise to one other album. Every cut on this CD is tops. The musicians are: Jeter Thompson on keyboards, Harold Thompson, bass; Howard Thompson, drums. While none of the names are well known, the music is world class. For me, this music is like the breath of fresh air I so desperately needed. Although my collection consists of the best of the best in jazz, hearing the same music for the umpteenth time can get old. The music on "Coming Together" flowed from one cut to the next in a manner that never lost my attention, and the sonics were spectacular. Recently, although the music is fine, "sonics" are sadly lacking on my new acquisitions of old music. This music is on par with my old music, but it's not old music, that explains the spectacular sonics; I'll describe them. Vibes were ringing out of the center channel, with drums thumping on the left, while a solid bass pounded on the right; and all the while there was a holographic integrity to the music as a whole, this was all the way live. "Sonics", plus the music I love, is so rare. It went from wildly exotic and exhilarating, to deeply personal and introspective. That's when it connected to some long ago forgotten corner of my mind. Rok has often mentioned gospel's connection to jazz; whether or not you have ever heard a gospel record in your life, or even know what Gospel is, you can feel it's presence in some of this music; it has a very moving emotional impact. These musicians, through their music, communicate who they are. As much as I listen to music, and as much music as I've listened to, it's not easy for a group of musicians to keep me entertained for 73 minutes without losing my attention. That's how long this CD was and I truly enjoyed every last minute. The music on this CD is so far above anything I found on "You tube" by them in the past, I decided not to post a "You tube". This CD is Trio Tres Bien, "Coming Together". Enjoy the music. |
I don't think there's even an issue about jazz being dead, but by definition the best music is in the the past. For any mature artform that is always the case. For instance, a linear synopsis of jazz could be Armstrong, Ellington, Monk/Parker, Miles, Coltrane... and it's just not clear who comes after Coltrane. I think only time will tell. I'm most interested in who would get nominated. |
"When was the last time anyone of us heard any of those records referred to as "the Gil Evans record ....."? Davis was the higher profile individual (to the public) as the rising star of the jazz trumpet world." Why should they? Nothing new about this. The soloist always gets top billing. Miles did the playing. Evenas arranged and conducted the orchestra. He did not conduct Miles! Think of Anne-Sophie Mutter playing with the Berliners. Who gets top billing? Not the conductor nor the orchestra. The person the public is paying to hear. I have 25+ CDs by Miles, not counting his stuff on LP. Take away the Spain / birth of cool / Porgy Bess, CDs, and there is a LOT of stuff left. Before, during and after Evans. And my little collection is puny compared to his total output. He was just great. Evans was just a minor stop on the way. Cheers |
From WIKI -- Ian Ernest Gilmore "Gil" Evans (né Green) (May 13, 1912 – March 20, 1988) was a jazz pianist, arranger, composer and bandleader, active in the United States. He played an important role in the development of COOL JAZZ, MODAL jazz, FREE jazz and jazz FUSION, and collaborated extensively with Miles Davis.[1] Good Grief!!! This man helped murder Jazz!!! I think he benefited more from the collaboration with Miles, than did Miles! IMO. Cheers |
Latest Acquisitions: Horace Silver -- Paris Blues Includes: Tokyo Blues - Filthy McNasty - Sayonara Blues all tracks over 10 minutes long. Exquistie playing By Silver on Sayonara Blues. The extra track lengths gives all the players time to really develope their solos. Live in Paris, but the sound is first rate! Blue Mitchell on trumpet. Thelonious Monk -- The Unique Thelonious Monk Monk playing standards. The liner notes says, this was done to try and widen his audience, instead of his 'frightening' originals. hahahaha As Fats Waller said, they like Jazz, but in small doses. He, waller, was speaking of uptown or downtown NYC. I guess the part where Harlem ain't! Blakey and pettiford appear. Charles Mingus -- Mingus In Europe Recorded while on tour in Europe in 1968. I think this is a complilation of several concerts on that tour. Released by his estate. A few glitches with the sound, but not a constant thing. Great playing. Eric Dolphy is on board. They go crazy on the tune 'So Long Eric' Roland Kirk -- The Inflated Tea Please do not think of this player as some sort of show off or clown. This guy can play! If you don't have any of his stuff, better hurry. A lot of it is already in the hands of 'these sellers'. A unique talent. Most of the music I talk about here was recorded almost 50 years ago. O-10 touched on this, and I agree. There is so much genuine Jazz out there that I have not heard. Why worry about the latest 'genuis' out of Bangladesh! Cheers Check out Roland Kirk !! |
Frogman, I do not disagree with your assessment. I did not intend to imply that outside forces are the only or even key reasons for success. Agree that Miles "constantly forward-looking attitude" is a character trait that contributed to his greatness. A lot of musicians did not have that attitude and it wouldn't have mattered what outside resources were available to them. |
****Why should they? Nothing new about this. The soloist always gets top billing. Miles did the playing. Evenas arranged and conducted the orchestra. He did not conduct Miles! Think of Anne-Sophie Mutter playing with the Berliners. Who gets top billing? Not the conductor nor the orchestra. The person the public is paying to hear. **** Not a relevant comparison; and I think you miss the point of my comment. I would argue that the reason that "The Birth Of The Cool" is important is the arranging and overall concept, not Miles' playing; Mulligan plays his ass off as well on those sessions, btw. Those sessions were seminal in the evolution of jazz. When Mutter puts out yet one more version of the Beethoven concerto, it does nothing to shape the direction of the music nor of the place of that concerto in the history of classical music; that place is already well established. Besides, how is this relevant to the bigger issue of Miles' constant search and change? That's the more important point I was making. And BTW, clearly, I was not there, but I would bet you my copy of that LP that Evans DID "conduct Miles" quite a bit. |
****" When Mutter puts out yet one more version of the Beethoven concerto, it does nothing to shape the direction of the music "***** You are correct, but, When I used a similar argument when we fought about errr.... I mean discussed, the 'influence' of various cultures on Jazz. You dissed it then. BTW, Your post was excellent. Cheers |
Some more recent purchases: Nina Simone -- The Best of the Colpix Years Nina is great as she always is. The sound quality is hit and miss. The song selection is ok, but this being a compilation, the songs and the sound quality is disjointed. She sings 'Fine and Mellow', I always thought that song belonged to Billie. After hearing Nina, it still belongs to Billie. The critics seem to feel that she did her best work at Colpix. If the title of this CD is correct, I disagree. I like the Philips output much better. Branford Marsalis Quartet -- Four MFs Playin' Tunes Who Dat?? Who Dat, say Jazz is dead?? It is alive and well, and this CD is proof. I am not familiar with his quartet, but they are great. Esp the piano player (Joey Calderazzo). But all are great. I think this is where the be/hard bop guys were heading. It's fresh, new, and progressive, with it's orgins/roots firmly planted in the past. This is the new Jazz! Don't need no Koreans or Arabs or any of the rest. I think Branford might be better than his brother. Joe Henderson -- Our Thing with/Joe Henderson, Tenor sax / Kenny Dorham, trumpet / Andrew Hill, piano / Eddie Khan, bass / Pete LaRoca, drums Good Blue Note outing. Professionals at work. The liner notes of the LP, and the Remaster, this is a RVG CD, are something to behold. I had to check to see if they had been written by The Frogman! I wonder how many Jazz fans think of, and 'hear' the music the way Messrs. leonard Feather and Bob Blumenthal perceive it? Dizzy Gillespie -- Dizzy's Big 4 with / Dizzy / Joe Pass / Ray Brown / Mickey Roker. Typical OJC sound quality, which is very good. Dizzy continues to amaze me how he can play in the upper register with such ease and purity of tone. He is without peer doing that. 'Be Bop' is my favorite. They take it at light speed!! Birks Works is also very good. Another Norman Granz production. I am currently reading the Hershorn book about Granz. Cheers |
Branford is the real deal. This record is on my list of must-gets. With your endorsement, it just got moved to the top of the list. Wynton is a more meticulous instrumentalist, but his jazz playing leaves me cold; almost as if he is playing solos that have first been written out. Branford plays with a lot more abandon and spontaneity; very good player. |
Rok, this is the "umpteenth" time we have gotten confused in regard to CD's, and it's not our fault; there are just too many CD's with the same name, by the same artist even. I have a 2 CD set by "Rhino", Artist: Nina Simone Title Of Album: Anthology: The Colpix Years Year Of Release: 1996 Label: Rhino Records / R2 72567 Country: United States Genre: Jazz, Soul, Blues, Vocal Jazz Total Time: 2:30:45 Tracklist: Disc 1 01. Blue Prelude 02. That's Him over There 03. Theme from "Middle of the Night" 04. Willow Weep for Me 05. Solitaire 06. Black Is the Color of My True Love's Hair 07. Exactly Like You 08. The Other Woman 09. You Can Have Him 10. Cottom Eyed Joe 11. Fine and Mellow 12. Nobody Knows You When You're Down and Out 13. Trouble in Mind 14. Porgy 15. Li'l Liza Jane 16. Rags and Old Iron 17. No Good Man 18. Gin House Blues 19. Work Song 20. Forbidden Fruit 21. Come on Back, Jack Disc 2 01. He Was Too Good to Me 02. House of the Rising Sun 03. Brown Baby 04. Children Go Where I Send You 05. Do Nothin' Till You Hear from Me 06. I Got It Bad (And That Ain't Good) 07. Hey, Buddy Bolden 08. Solitude 09. The Gal from Joe's 10. Blackbird 11. If You Knew 12. The Twelfth of Never 13. When I Was a Young Girl 14. Erets Zavat Chalav 15. The Young Knight 16. Spring Is Here 17. Falling in Love Again 18. That's All 19. Porgy, I Is Your Woman (Bess, You Is My Woman) All jazz "aficionado's" think Branford is the better Jazz musician. Enjoy the music. |
O-10 The 'Best of the Coplix Years' contains 19 of the tracks from your Rhino CD set. And it is on the 'Roulette' label. Generaly, you can't go wrong with Rhino compilations. They do it best, so yours might sound a lot better than mine. Some of the tracks were good, but the sound quality was sub-par, as were the song selections compared to say, 'Four Women'. IMO, as always.:) Cheers |
****I have always thought of Wynton and being more than just a Jazz player**** Very true. He is a formidable force in jazz today; as you said, "the face of jazz". An outspoken embassador for jazz with a dedication to and understanding of the history of jazz that, were he to take part in this discussion, would make all of our comments seem like those of kindergarten students. He is an incredibly talented trumpet player with the kind of meticulousness in his playing that allows him to be a very credible classical player. But, an interesting jazz player none of this necessarily makes; he never really was, but perhaps from the standpoint of sheer virtuosity. His brother Branford is a much more laid-back and relaxed individual who plays much like the way he is as a person. He, also, has recorded some of the classical repertoire, but with less success. I find it an interesting study on personality and how that translates to certain players' musical personality. In a nutshell, I doubt Wynton would EVER title one of is records "Four MF's Playing Tunes" (I assume we all know what MF stands for). |
One of my very favorites by two of my favorite singers. If you have never heard Betty Carter in her "earlier" voice, this may be a revelation. Ray Charles; well, what more can be said about his genius. I can probably do without the chorus "sweetening" on a couple of the cuts, but overall, a beautiful record: http://m.youtube.com/watch?v=G5Rbkcxiibw |
'Soultrane' is a great CD. I had forgotten how 'normal' Coltrane can sound. Great playing. Maybe Red Garland and Paul Chambers kept order! I listened to the Ray Charles and Betty Carter CD. I thought it was very good. Esp 'Baby It's Cold Outside' and 'Takes Two To Tango'. The Choral groups doing the 'sweetening'? Nothing new, ever hear of Bird and Strings? Nat Cole's Christams CD? On that one there were two(2) orchestras and three(3) choral groups to 'help' him. Just ruined one of the greatest Christmas CDs of all time. Lets not even talk about Gil Evans and Miles Davis. But it is the same thing / mind set! I don't think any of these great artist 'requested' help! "They' always seem to think they can make it Mo' Better. Defend the Music!! Maybe you are beginning to see my point. Cheers |
I have to listen to that "Mellow Fellows" CD. I think Branford's Eternal CD is excellent. It is a mix of original and standard (but less familiar) ballads, with Branford playing both soprano and tenor sax. Dedicated in memory to people in Branford's life, some famous, one a childhood friend. Usual quartet. Absolutely beautiful music. |
I have to listen to that "Mellow Fellows" CD. I think Branford's Eternal CD is excellent. It is a mix of original and standard (but less familiar) ballads, with Branford playing both soprano and tenor sax. Dedicated in memory to people in Branford's life, some famous, one a childhood friend. Usual quartet. Absolutely beautiful music. |
"Party With Punte" is my play of the day. Tito has never failed to put the heat on. His name symbolizes hot Latin jazz. No one but the "Dizzy G man" can do it better, and that's the highest praise I can give when it comes to combining jazz with a Latin beat. Tito puts his personal stamp on two well known jazz classics: "Killer Joe",and "Take Five". The rest of the CD is Tito gone wild; it makes me want to get up and do some fast fancy steps, (I couldn't do fast fancy steps back in the day) that's the way this music affects you. These are some of the hottest rhythms I've ever heard coming from "El Ray", The Mambo King, and I believe you will agree. Enjoy the music. |
Rok, you get what you pay for. I've been flipping back and forth between "Moods" by the three sounds on LP and and CD. I'm not into that CD, LP thing. I'll take a good CD over an LP, it just so happened LP was the only way this was available. The LP projects the emotional impact of the music, this is most noticeable on the piano; it's missing on the CD; however, at this price I'm not complaining. Enjoy the music. |
Lastest played: Hank Crawford (alto sax) -- Mr Blues / Mr Blues Plays Lady Soul If you ever wanted to stroll down Beale street, this is it. David 'Fathead' Newman, Pepper Adams, Bernard Purdie and others lend support. Party Time music. You'll think you are in a rib joint in Memphis. 'Going down slow' and 'Since you've been gone' my favorites Crawford Was Ray Charles Band director in the early 60's. Three of Ray's former sax players died in 2009. Crawford and 'fathead' Newman were two of them. There are three(3) pictures of crawford on the cover, one on the back of the cover, one on the CD surface, one on the inside bottom of the tray and one on the rear of the insert. lest we forget?? Abbey Lincoln (vocal) -- Abbey Is Blue Her best and one of the best period. 'Afro-Blue' and 'Laugh, Clown, laugh' are standouts among standouts. The recording is difficult to describe. Her voice is center and perfect, but it sounds as if she is in a large room with wooden floors. This is not a bad thing. I thought the band could have been a little more upfront. Stanley Turrentine, Kenny Dorham, Wynton Kelly, Cedar walton, Philly Joe Jones and Max Roach in support. Truly a great performance. Afro-Blue is worth it all by itself!! Chano Dominguez (piano) -- Hecho a Mano This is an attempt to merge Jazz and flamenco. I will leave it to music experts to say to what degree he succeeds. I know, I like it. This is the real deal. Very nice listening, which is what it's all about. Great recording. Great Piano Playing. Cheers "I found out as a young musician growing up in Memphis that if you weren't reaching people and having them tap their foot, then there was nothing happening." Hank Crawford. I like his attitude! |
Rok, I really appreciate your playlist, it helps me to decide on new CD's. In regard to those bargains, I suggest you use that music for deciding which CD's to buy. In the case of the 3 sounds, the piano is flat, and the piano is everything in their music. I suggest you chalk that cost off, and buy the original CD if you like the music. In the case of "Moods", I paid $35 for a used LP, and now I see a used CD for $106.96, that lets you know how good the music is on that album. Enjoy the music. |
O-10: I found your comments on the Three Sounds to be very interesting. The first time I played the 8 Classic set I compared it to my only copy of them on Blue Note. I put one of the classic cds in one player and the blue note in another player. Both were playing thru the same amp. I just toggled between them and decided that the piano on the Classic cd sounded flat, just as you said. I went back and forth until I was sure. Yep, flat. Then I went to the kitchen for coffee and talked a while with the wife, then came back into the listening room. The two players where still playing. The lights on the amp were defeated, as they always are. I had forgotten which CD player was selected. I sat there looking at two cd players, both on, with the counters counting, but I had no idea which one I was listening to. I had stumbled into a blind test! So I concentrated as hard as I could. grrr, grrrr, grrr, and decided that the piano was flat, so it must be the classic cd. Wrong! It was the Blue Note Playing thru the SA8001. What does this prove? Nothing. Just food for thought. I then wrote my 'review'. I stand by it with the following understanding: My review is for the The Three Sounds only. I would not buy any of the heavyweights, Miles, Coltrane or Rollins etc... But for groups that are not that important to you and ones that you would not normally buy, the classic sets are a good buy. After all, I only had one Cd by the Three Sounds. Much more on LP. As several reviewers have said, their music has a sameness about it. Nice lounge music. I do have a lot of Gene Harris. Thanks for your comments. Cheers I think my brain knew I was listening for FLAT, so it provided FLAT. That happens a lot of this site. I just admit it. When I knew which Cd was playing it was easy. When I didn't know, things got a lot harder. |
Rok, I repeated the test. This time I gave the bargain CD all the advantages. The CD was in my listening room and the LP was in the basement. After synchronizing the two, I listened in the basement for awhile before going back to the listening room. This time the results were even worse; it sounded like the bass tone controls (which I don't have) were turned up on the bass, and it was "boomy". There is a possibility my love, affection and familiarity with this music could give me the ability to detect a deviation that others wouldn't sense. Enjoy the music. |
O-10: Are you sure we are talking about the same Cd? ' The Three Sound Eight Classic Albums. Real Gone Jazz. RGJCD285'. I am listening to it as I type. No way I can hear booming bass! And BTW, CD vs LP, upstairs / downstairs is not a valid comparison test, but even so, the CD should sound OK. I guess we will just have to agree to disagree about this one. Cheers. BTW, you just destoryed my rep as a 'reviewer'. Thanks! |
Gene Harris is my most under appreciated pianist. Since I don't have a good explanation for this, I wont even try; however, I will explain how and why I discovered this. My friend Rok, recommended some bargain CD's by The Three Sounds, and that's when I discovered how important a pianist Gene Harris is. It's not what he says, but the way that he says it. Each time he strikes a piano key, the way he does it is saying something. I didn't discover this until I acquired "The Three Sounds" stripped of "nuance". This is such an important word to an audiophile, that I'm going to give you the definition. Nuance: A subtle or slight degree of difference, as in meaning, feeling, or tone; a gradation. A shade or graduation difference in colour, also as in carefully nuanced words. The very same word can have a multitude of meanings, depending on how it's spoken. "Nuance", in my opinion, is the most important word in the English language to an audiophile. Enjoy the music. |
Rok, on my original post I stated, " 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." The reason I didn't mention that CD is because I felt it was lacking in "nuance". This CD contains some of the very best jazz in my collection. Since we disagreed on The Three sounds, there is a good possibility we'll disagree on this one as well, and that's why I'm going to reveal this CD. Atlantic Jazz 7 81951-2, Ray Charles & Milt Jackson; Soul Brothers/Soul Meeting, is a 2 disc CD that is as good as it gets. Brother Ray even blows a mean sax. While the music is 5 star jazz, the sonics on this CD are inferior to the LP, which is why I didn't review it. Now I realize that for people who never heard the LP, that might not matter. I give you my favorite tune on the album "Blue Funk" http://www.youtube.com/watch?v=NHold6ylvEM Enjoy the music. |
Speaking of 'Nuance', may I recommend the following: Jimmy Scott (vocals) -- All The Way Probaly unknown to most on this forum, but he this man is an awesome talent. If you like singing at the highest level try to find a way to listen to this cd. Try to YouTube him if you can. I think The Frogman will love his style. His voice is almost feminine. I have had this CD for years. Listened to it last night. Great late night singing esp with that special someone. His personal story is a sad one. Ella Fitzgerald -- For the Love of Ella Fitzgerald Two Cd set. A tale of two CDs. CD #1 swings the other one is mostly Ballards. I like the swing stuff best. Of course there is no sense trying to describe Ella's performances anymore. Hell, it's Ella. That's all you need to know. She is backed on one song or another by almost everyone in Jazz. From The Duke, Basie, Louis, Oscar to Nelson Riddle. Her performance of 'Rockin' in Rhythm' with Duke's band is awesome! She scats thru the whole thing. Duke and Band are out of their heads. The brass section in particular. They get 'up there' and stay up there for a while. With Clark Terry , Ray Nance and Cat Anderson on trumpets, what can you expect! Man, I love this stuff! The ballards are just run of the mill awesome! The woman does anything so effortless! And please, no comments about flat pianos! :) BTW, O-10, I received my copy of 'Trio Tres Bien' today. I will report later. I noticed they used the term 'Jazz Aficionado' in the liner notes. You didn't write them did you :) Cheers Give Jimmy Scott a listen. And Ella also. I looked on youtube, I saw her doing rockin in rhythm, but not with the Duke. Cheers |