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
Rok, I am afraid that your "opinion" is based on some inaccuracies and mistaken assumptions; I am not sure where to start.  I hope that pointing these out is not felt to be breaking some "detente" and I'm sure you will appreciate some accuracy.

****Why were all the East Coast guys black and all the West Coast guys white?****

While it is true that most practicioners of "West Coast Jazz" were white, not "all" were; Buddy Collette, Benny Carter, Chico Hamilton and Red Callender, to name a few, were black. 

****So, if I were a second rate horn player where would I go to earn fame and fortune? I could go to LA where Jazz had no history or establishment****

The idea that only second rate players were found in LA is absolutely not true and very unfair to the many great players who hailed from LA and were part of a movement in jazz that reflected a different stylistic aesthetic from that of the East Coast and not a reflection of lesser quality.  Additionally, it is not true that in LA jazz had no history or establishment.  There had always been a vibrant Jazz scene in LA with traditional jazz playing a very prominent role.  Even your fave Jelly Roll lived in LA for many years.

LA was, in fact, were many great musicians went to "gain fortune".  Many of the great LA jazz players were also very successful session players in the LA movie studios recording for the countless movie scores being produced.  Unfortunately, that scene was racially segregated during the 40s and 50s, but players/arrangers like Benny Carter were able to change that situation for themselves and all that followed.  There is an interesting connection between the existence of the Hollywood scene and the West Coast Jazz style.  In keeping with, and perhaps as a result of, the demands of the movie industry for very well crafted and extended compositions for their movie scores, the West Coast Jazz style highlights the compositional elements of the music much more than the East Coast (hard)bop style which is typically that of a simple pass through the melody followed by improvised solos.  The West Coast style features more intricate compositions with elements of Classical counterpoint and it was the first time that the very demanding concept of a jazz ensemble without a chordal instrument (piano, organ, guitar) was implemented; all this with a typically softer ("cool") instrumental tone approach as opposed to the harder edged East Coast style.  Does this make it jazz that is less "real" and the other more real?  Since when do the French decide what is real jazz? 😊

Oh, and btw, Benny Goodman was never crowned "King Of Jazz", he was first called "King Of Swing" in 1936; and for good reason.  Swing (a very specific style of jazz) and the Swing Era was touched off by Benny Goodman well before most of the great players one can name.  For perspective's sake, Bird recorded his first record in 1944.

Cheers.
Frogman, I am glad that you have so eloquently pointed some of the high points of West Coast Jazz.
For what is worth, I have noticed that I am buying more and more of such music, it has many hidden gems. Will post some as well.

Regarding Chet Baker, I did not like the article very much, but thats not important. Imho, aldo his playing had its ’limitations’, he has menaged to produce some of the most beautiful and haunting music in jazz, perhaps in music in general.
Furthermore I belive that that fact alone stand as something that cant be overlooked and also that cant be accidental.
So, for sure that my opinion and taste are subjective, but his music (or his interpretation) in some points stand above of anything simmilar that I might have heard
***** Oh, and btw, Benny Goodman was never crowned "King Of Jazz", he was first called "King Of Swing" in 1936; and for good reason.  Swing (a very specific style of jazz) and the Swing Era was touched off by Benny Goodman well before most of the great players one can name.  For perspective's sake, Bird recorded his first record in 1944.*****


Goodman is one of the Good Guys of Jazz.   He did not call himself the King of anything.   The media did that.   As our President keeps telling us, the are the biggest liars on the planet.

But anyway, the Ken Burns Jazz set tells of how they wanted to make Goodman  the 'King' of Jazz,  but that was too far even for the biggest liars, so they settled for Kng of Swing.

Bird recorded in 19944?   That was sort of late in the recorded history of Jazz.   Think of all the guys whose careers were interrupted by the war, and continued while in uniform.   

As Wynton said in the Ken Burns project,"if you are talking about Jazz, you're talking about race".

Long Live Detente !!!!

Cheers

Frogman, and Rok, when I was in LA, I heard music at the clubs that was comparable to the best of Blue Note, by musicians unknown to me. I attributed this to the fact that musicians do not have to leave LA in order to make a living. Although I was in LA, the music was not West Coast Jazz. When I was in Jamaica, while the music at the hotel was reggae, the people (most Jamaicans) preferred jazz. In both cases, assumptions would be wrong.

I noticed Rok constantly picks music from what we call "The Golden Age of Jazz". Music is not made in a vacuum, musicians have to draw inspiration from somewhere. That "Golden Age" also occurred at the same time as the best times in many cities.
Chicago was three vibrant cities at once in the 50's and 60's; rich north side, culture on the lake, and a vibrant south side that no longer exists, Detroit was like the "Emerald City of Oz". St. Louis consisted of Downtown, E. St. Louis, and North St. Louis; three diverse areas that featured live jazz; "bleak" is the most dominant feature of those areas now. There was a certain "vibe" and excitement in each city that generated something for musicians to draw from.

Much of the latest music is "disonant"; not in the strict definition of the word, but it lacks a coherent theme that you can feel and identify with; the musician can't find something outside of himself to draw inspiration from; therefore his music is without life.


Enjoy the music.