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.
orpheus10

Showing 19 responses by onhwy61

Wow, some much incoherence and misinformation in so few paragraphs. Of course, there's always the possibility that it's all an eloborate joke that's gone over my head.

Cheers
Frogman, thanks for the info on John Purcell. I knew him from the Mt. Vernon public school system. He was a few grades ahead of me so it's not as if we socialized, but he was someone who other students looked up to as a style maker. When I was in 6th grade I was in a group that took part in a local talent contest. My band performed "Chattanooga Choo-choo" and took fifth place while Purcell's group did "Summertime" and took first. After Denzel, John is the most artistically talented person of that generation to come out of Mt. Vernon.
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.
Extensive improvisation, sometimes hours long, is at the heart of classical Indian music.
Here's how it was explained to me by a working musician -- you don't actually know 1,600 songs. What you do know are standard harmonic devices which are the basis of popular music. You know these in different keys and can work them in various modes. With a few exceptions the structure of most songs are fairly standardized. It also helps if someone in the band actually knows the melody. And if you start to get lost, you can always play some blues. Finally, he said you have to study specific tunes from people like Ellington, Monk or Shorter because they are different enough to require individual study. The way I understand what he was saying is that once you understand what form the music is in, playing the song becomes relatively easy, assuming you have talent and you've put in the hours of practice.
There's a certain kind of person who cannot be elevated. They can only drag you down to their level.
I think it's safe to say that Miles Davis was envious of the success of Sly Stone and Jimi Hendrix. They were being hailed as creative geniuses and were seen as pushing the limits of popular music. Jazz had been forgotten. Miles Davis redefined jazz by basically having jazz musicians not play jazz. To this day it's still not exactly clear what to call the music those bands played. Take a listen to "Tribute to Jack Johnson" for a fairly accessible example. Listen to "Agharta/Pangaea" for something more challenging. It's amazing music.
Speaking of film noir and music, check out Hadda Brooks playing piano in Nicolas Ray's "In A Lonely Place". That's Bogart and Gloria Graham who's best known as Violet in "It's A Wonderful Life", but noir lovers will always remember her for being scalded with boiling coffee by Lee Marvin in "The Big Heat".
"Blood Count" was a featured piece for Stan Getz for decades. As much as I love Johnny Hodges, it's Getz who embodies the song. There are numerous YouTubes and recorded version. Here's some interesting commentary about Getz and the song.

On a different topic, check out the story and video of Sarah Vaughan.
Everybody has an opinion and I have stated mine. I have nothing but respect for anyone who disagrees with me. Well, maybe not everyone.

Not to change anyone's opinion, but here's another critic who agrees with me.
which has been trained to be obsessed with the issue of race

Who within our society trained us to be obsessed with the issue of race?
"Blood Count" was a featured piece for Stan Getz for decades. As much as I love Johnny Hodges, it's Getz who embodies the song. There are numerous YouTubes and recorded version. Here's some interesting commentary about Getz and the song.
That's the sum total of my comments about "Blood Count". I stand by this statement. It is not a statement of fact, but of opinion. To be perfectly honest I do not understand the consternation these few sentences have raised, particularly since the arguments against my comments are nothing more than opinions. For instance:
It's totally 100% impossible for anyone other than Johnny Hodges to embody the essence of what Billy Strayhorn has written better than, "Johnny Hodges".
you cannot say a player can 'embody' a tune written by a great composer, on his death bed, and written for players of whom he had a very intimate knowledge as people and players.
Are these anything more than opinions?

What I particularly like about how Getz works the tune is that he strips it down to what I would call its essence. It's raw and emotional. Those are two words not often associated with Ellington/Strayhorn. You could argue that Getz is violating the intent of the composer. If he is, so be it. That's one of the reasons jazz performances are considered creative events as opposed to recitals.

Please make allowances for me not knowing the official orthodoxy regarding Strayhorn/Hodges and "Blood Count". Apparently Elvis Costello didn't get the message either.
Frogman, thank you for withdrawing your comment. Knowing what to say, when to say it and when not to say something is a sign of a cultured person. Although truth be told Louis Armstrong, Duke Ellington, Billie Holiday, Miles Davis, Charles Mingus, John Coltrane & Wynton Marsalis are nearly always talking about race in America with their music. It's a quality that rap/hip-hop shares.
Frogman, why do you even bother?  Do you think after two years a light bulb is suddenly going to turn on above his head?  Look at his user name -- the id doesn't respond to logical arguments and I suspect a rocking id even less so.
Whenever I read the comments section of a major new story I always regret it and come away with an "unclean" feeling.  Will I ever learn to not click on the comments section?  This thread is the Audiogon equivalent.  Frogman, I applaud your effort to fight the good fight, but it's time to stop.  I have never experienced a more concerted effort by a few individuals to not learn what they do not know.  Logic, knowledge and experience have their limits.  You would have a better chance of changing the mind of a creationist regarding biological evolution.
I DO NOT KNOW SQUAT ABOUT MUSIC
Not to put words in other peoples' mouths, but I believe there is a consensus that the above is a true statement.

David Sanborn played in Mr. Wonder's band in 1971/72.  He has very nice things to say about that time.