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.
I was reading about Art Pepper today, and came across this. It makes me sad and mad to think of his story. This has to be the only country that locks up it's creative people for taking drugs.
He made some very interesting points in the short interview. Esp about having to mix the new with the old, so as to not lose the public.
Great clip, and your point re the politics of it all is well taken; a real shame. To use this musical term again, your post is a perfect "segue" to the Duke Pearson posts (accidental?...I don’t believe in "accidents"). Why a perfect segue?
When I went to YouTube to listen to "The Right Touch" the first tune from the record that I listened to was "Scrap Iron":
What do the tunes that Pepper plays on the interview/clip (and Freddie Freeloader) have in common? They are modal. KOB, is the acknowledged most important introduction of modal music to jazz. Much has been made on this thread (and everywhere else) about whether KOB deserves all the credit it gets. Believe me it does; there are no accidents.
BTW, another reason that your clip is so fascinating to me is that I had never heard Pepper play so "hard" before. I mean the intensity with which he blows into the horn as opposed to the lighter approach of most of his playing on record. Yet another bow to the influence of Cannonball and even Coltrane (KOB)? No accident.
Although David "fathead" Newman is primarily known for his work on tenor sax, he's also a fantastic flutist. One of my favorites by Mr. Newman is "The Thirteenth Floor", his most awesome flute work.
Rok, do you remember that statement in "The Godfather", about the intended market for hard drugs? That line of thought has been able to sell a lot of things; but now we have unintended consequences, and the heroin user is a 21 year old, blond hair, blue eyed, resident of the "burbs". Maybe law enforcement will have a different outlook.
Drugs, and drug addiction, only become a problem for society if the people taking drugs and those hooked on drugs, CANNOT afford to buy them.
The implication being, they must commit crimes in order to support their habits. Then it's a problem.
What rich, or, well to do people do in the privacy of their homes, does not attract the attention of law enforcement. What street thugs do on the streets trying to get the money to buy drugs, or 'protect' their 'turf' to sell drugs, does attract the police. As it should.
I don't think any well known musicians were out robbing and killing to support their habit. The only people they hurt were themselves and their fans.
You're making o sense Rok, which is nothing new. If a well to do (white) person buys and uses an illegal substance it's ok; but if an African American, Hispanic, or musician buys and uses drugs it's a crime. That line of thinking is nothing new except when all those young people began overdosing, then "We got a problem".
My heart pumps purple panther pee for the problem if that's the outlook.
Where in my post did I say 'well to do' or 'rich' meant white? And it may be / is, unlawful regardless of who is doing it. We were talking of punitive measures for using drugs. And if the cops don't see it, they don't know it. Rich and well to do means privacy if nothing else.
And The Godfather. When was the last time you saw a mafioso on a corner pushing drugs?
I will bet all I have, that there were NO drugs being sold in the Godfather's neighborhood.
You do the math.
Cheers
And BTW, you go to Jail for intent to sell or distribute. Not use.
*****Rok, what did Billie Holiday go to jail for? What did Art Pepper go to jail for?******
The laws / attitudes have changed. Back in the day, a guy was sentenced to 1500 years in prison for possession of one joint of weed. Happened in Dallas county, Texas.
The thinking then was that draconian sentences would stop the spread of drug use. They were wrong.
Having been there in the 40's and 50's Jazz musicians were assumed to be drug addicts by the general populace of the USA . Easy pickings for cops and DA's looking for an slam-dunk collar and conviction around election time . Many pleaded because attorney knew jury trial was hopeless and would just get them more time . Black guys didn't need attorney to tell them that .
Schubert, race has been used to elect the people who gave us this present "Corporatocracy"; and the constant threat of terror, has been used to take away our rights. We have always perceived that if someone else's rights are taken away, that's OK because it's not our rights; but it's their rights today, and our rights the next day because now we're left with no one to help defend our rights.
All of the above are phenomenal suggestions, and the number of fantastic recordings make it difficult to pick out even four or five. So I will try to suggest one that hasn't been mentioned and is a little obscure: The Sound of Jazz - A TV special in 1957. The show can be seen on YouTube, amazingly enough. The album from that session was EPIC. Red Allen, Billie Holiday, Lester Young, Count Basie, Mal Waldron . . . A must listen for any jazz aficionado! And to be able to see them play (although not great video quality) makes this special set even more special. This was the first time that Lester and Billie played together after their long rift, and Young died not long after. For more info on this amazing session, see https://en.wikipedia.org/wiki/The_Sound_of_Jazz
jzzmusician, don't know if you spin vinyl, but this is a favorite record of mine. Great reissue with fantastic sound (in mono!). Highly recommended, and available!
Spaeking of jazzmen who ended up in prison, because of possession of drugs, one should not overlook the faith of Hampton Hawes, who was sentenced to 10 years in prison, only to be pardoned by JFK after serving 5 This is the album that Hawes recorded while he was expecting trial. No wonder that themes are spiritual, it is called the 'Sermon'.
Sometimes when I am in the mood, I spin this album after that one mentioned above. Louis Armstrong and the Good Book, I belleive his only album with spiritual songs.
motoman, great stuff that clip of the TV show. Always amazing to be reminded that music of that quality was recognized and featured in mass-media at one time.
Alexatpos, thanks for the Hawes clips. Beautiful player with a distinctive rhythmic feel; and a fascinating story. Beautiful brush work by Stan Levy. Thanks.
In keeping with my New Years resolution to be more direct, I need to make an observation: Perhaps unrelated (hopefully) and just a coincidence, but it seems to me that when the discussions here turn to non-music topics, and politics in particular, and there is disagreement some of participants in those non-music discussions disappear for a while. Unfortunate. I am all for discussions of any and all topics remotely related (or not) to music, but perhaps we could all stand to have thicker skins and be big boys (and girls?) and hang tough and secure with our opinions; or simply stay clear of those other topics.
Replaced Wayne Shorter in Miles’ band at 19 years of age! Possibly the greatest of the post-Coltrane tenor players and another who had to overcome a serious drug dependency. Amazing player:
@frogman, thanks! Glad you enjoyed it. I actually just put it on tonight as I haven't seen it in a while. Even better than I remember! Red Allen's "Rosetta" with Coleman Hawkins et al. is masterful, as is Billie Holliday's "Fine and Mellow," although everything is magnificent. Here is the link for anyone that is interested in watching . . .https://www.youtube.com/watch?v=sMkHxEyXV5Y
*****
as is Billie Holliday's "Fine and Mellow*****
This video of her always makes me very sad. It's great, even if her voice is almost gone. Painful to listen / see. But she owns that song. Speaking of drugs.
****At :09 and 2:06 Was there anything amiss there?****
Nothing that is not intentional and musical, if you're hearing what I hear. At .09 (actually, at .10) he just cuts the melody short; varies it, if you will, like many players do. Its all the more obvious with a familiar melody like NIT. Notice how he does the same thing again at .17. It's just his personal interpretation of the melody. It actually makes it interesting and it did what he intended: caught your attention. At 2:06 it sounds like he turns away from the mic a little and when he plays the multiphonic the note doesn't speak right away so his sound seems distant and almost like a mistake or missed note; it's not. Good for you for listening for those nuances. BTW, a multiphonic is when the player sounds more than one note at a time. It's a great sound; very expressive.
Classic (and some of the first ) use of multiphonics:
@rok2id, interesting . . . Fine & Mellow didn’t make me sad, other than to think how we lost such a great talent. Even with her voice shot, she was amazing, and you’re right, she OWNED that song. Look at her face as her friends are doing their solos . . . a long career with friends who supported her in the ’30’s all together again . . . I may watch it again now! FYI, the LP from the show is a much better recording, quality-wise than the TV soundtrack, and was apparently recorded on a different day, and the arrangements are slightly different. Definitely a great listen . . .
And thanks to the OP and others for reminding me of "Moanin’" and "Bean Bags," two recordings that I hadn’t listened to in ages and pulled up because of this thread! Talk about timeless records!
**** but Hentoff, is a well known 'know it all' and all around jerk.****
I have no particular love for Hentoff; but, jerk?. Why? Reading his bio I see a pretty accomplished individual who has done much for the health of jazz.
****it does include some greats, it just could have included so many, more important figures.****
Like who; and, why are they more important? It should be remembered that important artists are busy individuals and not always available for even the most important projects. However, I see a pretty impressive and pretty comprehensive list here. I look forward to your substitutions.
And, Rok, what exactly is your beef with NY? Firstly, ask yourself why it is that the majority (obviously not all) of important jazz musicians want and have wanted to go to NY; I assure its not for the bagels. Importantly, do you really think that Wynton would be Wynton as we know him today if NY didn't exist?
******
Reading his bio I see a pretty accomplished individual who has done much for the health of jazz. ******
His Bio makes my point. NO ONE is that accomplished. He is a Country Music critic!! Really?? That's when he is not solving the problems of the Middle east, and being a critic of U.S. Presidents and their Foreign policy. This guy is surely the World's Foremost Authority. Jack of all trades, Master of none. Another Tony Cordesman.
*****
I look forward to your substitutions.*****
First I realize they mnight not have been able to get just everyone. I should have said that. I started to, but I felt it was obvious. However,
There are 9 tracks on the CD. One is Holiday doing 'mellow' and two by the Basie All-Stars. That leaves 6 tracks to be filled. That assumes they could not accommodate more time wise.
So, if the intent is to showcase Jazz to the public, you start with Armstrong and maybe end with Mingus. With Ellington, Cannonball, Morgan, Peterson, Miles, Ella or any number of folks in between. You arrange the order.
Henry 'Red' Allen is a fine p[layer, but if you were given the task of selecting the performers, I don't think he would be on your list. I could be wrong.
*****
In keeping with my New Years resolution to be more direct, *****
I am going to state the obvious and say, Everything we Read, See or Hear concerning the arts, is decided by someone for us.
Too many of those decision makers are from a very small; group of people in NYC.
If taxpayer money is involved in the arts, and I am sure it is, Then it seems to me that the entire country should be involved and benefit from their investment.
My previous example was that, the NYPO has played in North Korea, but I bet they have not played in Nebraska. You would hard pressed to find a German City of any size in which The Berliners have not played.
Wynton does take JLCO on the road a lot. He stays true to the music and is the most effective promoter of Jazz. He did not change his concept of the music because he is in NYC. His body is in NYC, but his heart is still in Nawlins. Thank You Jesus.
I think that there is no right or wrong when talking about Sound of Jazz. Rok2id is certainly correct that there are other jazz "greats" that should have performed with the 32 that did, but as frogman pointed out, who knows what Louie Armstrong's or the Duke's availability was at the time of the taping? For all we know, more were invited and either didn't want to participate or were unable to participate. Plus, mix into that the fact that the format of the show only allowed for 55 minutes of broadcast, so it wasn't as if you could just play as many songs as you wanted.
Here is the ultimate lineup: Open All Night (aka Fast and Happy Blues) - Count Basie All Stars: Emmett Berry, Doc Cheatham, Joe Newman, Joe Wilder (tp); Roy Eldridge (tp, flhn); Vic Dickenson, Benny Morton, Dicky Wells (tb); Earl Warren (as); Coleman Hawkins, Ben Webster (ts); Gerry Mulligan (bs); Count Basie (p); Freddie Green (g); Eddie Jones (b); Jo Jones (d) The Count Blues - Basie, Green and E. Jones playing as John Crosby introduces the show. Wild Man Blues - Composed By Louis Armstrong, Performed by: Henry "Red" Allen, Rex Stewart (tp); Pee Wee Russell (cl); Coleman Hawkins (ts); Vic Dickenson (tb); Milt Hinton (b); Danny Barker (g); Nat Pierce (p) Rosetta - Composed by Earl "Fatha" Hines and William Henri Woode. Personnel same as Wild Man Blues. Dickie's Dream - Same personnel as Open All Night Blue Monk - Thelonious Monk (p); Ahmed Abdul Malik (b); Osie Johnson (d) (does not appear on 2003 idem DVD release) I Left My Baby - Jimmy Rushing (v), with Count Basie All Stars (personnel same as Open All Night) Fine and Mellow - Billie Holiday (v), with Mal Waldron All Stars: Roy Eldridge, Doc Cheatham (tp); Vic Dickenson (tb); Coleman Hawkins, Ben Webster, Lester Young (ts); Gerry Mulligan (bs); Mal Waldron (p); Milt Hinton (b); Osie Johnson (d) The Train and the River - Jimmy Giuffre Trio: Jimmy Giuffre (cl, ts, bs); Jim Hall (g); Jim Atlas (b) Blues My Naughty Sweetie Gave to Me (appears on item DVD release, 2003), performed by Jimmy Giuffre, Pee Wee Russell (cl); Jo Jones (d); Danny Barker (g); Milt Hinton (b).
With Billie, Lester Young, Coleman Hawkins, Basie, Thelonious Monk, Ben Webster, Russell, Freddie Green, etc. It's a pretty damn impressive collection of over-the-top talent to get organized to perform together at the same time and in one place. Think about the logistics involved to pull that off today . . . Schedules, negotiations, contracts, pay, cooperation among record companies, royalty splits and credits, rivalries, egos, selections that everyone agrees on . . . It is monumental.
Nat Hentoff . . . he is recognized as a "professor" of sorts of jazz during that period, and like any academic trying to impose intellectual analysis on a visceral experience like jazz will not surprisingly come off like a know-it-all and have opinions that others disagree with. But looking at what he assembled, regardless of some of his pontifications about one record or another, it was pretty impressive, even judged from these days, not to mention then, when everything was done with letters and telephone calls!
Oregonpapa's thread, "Does West Coast jazz get any better than this?" has some of the best jazz musicians of that genre, on one disc. I'll be covering them individually a little later on.
Good post moto_man. Also, let's not forget that some (many?) of our music heroes, as much as we may resist believing this, are divas and prima-donnas (this applies to both sexes) and are very difficult and demanding when it comes to public appearances. Some of them may have wanted too much money, or wanted headliner preferential treatment, or, or,....; have seen it happen many times.
****I am going to state the obvious and say, Everything we Read, See or Hear concerning the arts, is decided by someone for us.****
Rok, I have to point out, once again, the inconsistency in your stance. What happened to your "the great unwashed decide" mantra?
Moto_man, thanks for the video; although Billie's voice was in decline, she projected like no vocalist I've ever seen, all the horns were blowing to her and for her. To see Billie, was to idolize Billie; she was so beautiful in that special kind of way that we saw.
@rok2id, the track list from the DVD (released in 2003) includes more of the songs than were on the LP or CD. I've been unable to locate a copy of the DVD, however . . . :(
As an aside, I am blown away by the amount of content on Youtube of old clips of the greats. It's just amazing, especially when you consider the technology (or lack thereof) that was available!
**** It is the answer to much of the disagreement on this thread.****
No it isn't. Much of the disagreement on this thread is due to a both narrow minded and arrogant mind-set on the part of some that assumes that the ability to analyze intellectually and the visceral experience are mutually exclusive. Unfortunately, instead of aspiring to more knowledge and better understanding which, in turn, enhances the visceral experience, discourse is kept at a sophomoric level. Not to mention any semblance of humility re the level of appreciation that exists. This is a theme that is truly tiresome and has been beaten to death. Perfect, and very recent example of what I refer to:
****Grossman: 'Tunisia"
At :09 and 2:06 Was there anything amiss there?****
++++Nothing that is not intentional and musical, if you're hearing what I hear. At .09 (actually, at .10) he just cuts the melody short; varies it, if you will, like many players do. Its all the more obvious with a familiar melody like NIT. Notice how he does the same thing again at .17. It's just his personal interpretation of the melody. It actually makes it interesting and it did what he intended: caught your attention. At 2:06 it sounds like he turns away from the mic a little and when he plays the multiphonic the note doesn't speak right away so his sound seems distant and almost like a mistake or missed note; it's not. Good for you for listening for those nuances. BTW, a multiphonic is when the player sounds more than one note at a time. It's a great sound; very expressive. ++++
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