orpheus, I like the hypnotic rhythm of dr. John, I feel like he brings us on the path which we simply cannot resist not to follow till the very end. And then, when we finally feel Gris - Gris anesthetized (he is doctor after all), we are ready to wrap our troubles into dreams: https://www.youtube.com/watch?v=wo7l9FgVN34
*.* blink, blinkJazz 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.
30,410 responses Add your response
Since everybody else has gotten off the jazz track, I might as well join you; https://www.youtube.com/watch?v=MbcXTP7MNbs https://www.youtube.com/watch?v=0ky_Y1v94rM |
And now, for something completely different. My link to the panel discussion on Mingus included a reference to a recording of Johnny Cash with Louie Armstrong. Not only had I never heard of that, I couldn't imagine it! So I had to look it up. https://www.youtube.com/watch?v=v6F7pIF4zOU Talk about musical crossovers! ;^) |
@frogman I'm glad you like my last post and thanks for the positive comment. I agree with your opinion that the execution of the design is very important. Nice example with vintage Louis Lot flutes. Also, I agree with you that mouthpiece, reed, and ligature can have a significant effect on the response and sound of the instrument, much bigger effect than, for example, a silver or gold plating. After all, those parts are sound generating portion of the instrument. “However, I doubt that when a player (Parker) is looking for money for his next fix that he is worried about the material used for his ligature. He would use tape or a shoestring if he had to.” When I read this, could not stop laughing for five minutes. This just might be the truth. When he needed the money for the next fix, Charlie probably didn’t care much about the whole saxophone, let alone the ligature. This was probably the reason why he had pawned his saxophone and replaced it with the cheap plastic Grafton. One question arises here related to the Grafton sax. Why did this strange plastic beast die out? Contrary to popular belief, Grafton’s sax did not die out due to the bad quality of the tone that it’s plastic body produces. The Grafton had very good musical properties and therefore was played, as it is mentioned here before, by some of the biggest legends of Jazz, by Charlie Parker and Ornette Coleman. Although this cheap sax was never intended to be used as a professional instrument, it found its way into the professional 'hall of fame' and that was probably much more than the designer could have ever hoped for. The main reason that these horns disappeared so quickly was in their fragility and unreliability and they were extremely difficult to repair - very little seems to want to stick to plastic body. Grafton visionary sax was made of a plastic that had little better impact-resistance than a wine glass. It was made from acrylic plastic and it is one of the most brittle plastic ever made. Grafton designer selected this type of plastic not because this material had some special musical properties but simply because it was cheap, and it was easy to work with. Here I have to quote again woodwind repairer Mr. Stephen Howard - TheSaxDoctor: “There are no any mystical properties of the body material…………. it really doesn't matter what the body is made from - rather it's because the flaws in the construction knacker the tone. With much blood, sweat and tears (and a considerable amount of swearing) I can get a Grafton to play so well that it's indistinguishable from a decent brass alto.” And that's exactly what I wanted to say in the last post. The material from which the sax-body is made of is far less important than the sax - manufacturers try to convince us. |
Miles Davis Improvises the Score for Elevator to the Gallows .... https://www.criterion.com/current/posts/5369-miles-davis-improvises-the-score-for-elevator-to-the-ga... |
o10, alex, I've had that album (Elevator/Lift to the Gallows, or Jazz Track) since the early '60s. Actually make that two copies, they have different covers and slightly different liner notes. I admit I never bother with the soundtrack side (1). And no, I've never seen the film. However side 2 includes Coltrane, Cannonball, Evans, Chambers, and Cobb (think Kind of Blue) and offers three beautiful ballads - https://www.youtube.com/watch?v=Nic4lb02ANw https://www.youtube.com/watch?v=e6ItyaYgvKM https://www.youtube.com/watch?v=-MnohCMudG4 If you're a fan at all of the most influential and enduring jazz album of all time (IMHO), how could you not love these? |
Pryso, now it's coming back to me; I first heard that in a ladies apartment who was a Miles Davis fanatic, and she had everything he had recorded; this must have been in 1960. Funny thing, I don't remember the cover, but now I remember the tracks; that was a most unforgettable "On Green Dolphin Street"; it always brings back pleasant memories. |
I do love those tracks, pryso; the “Ascenseur” tracks, while enjoyable and mood setting, not as much. I’ve had the record “Jazz Track” for many years and as you imply have often thought of it as a precursor and partner (of sorts) to KOB. For me, one of the most interesting things about “Jazz Track” is Bill Evans’ playing on it. Those tracks were recorded a mere month or so after Miles’ “Milestones” recording. On “Jazz Track” Bill Evans replaced Red Garland in a band in which with the exception of the drummer the personnel was essentially the same; same horns and same bass player as in “Milestones”. It is fascinating to me how on “Jazz Track” Bill Evans plays in a style which is remarkably like that of Red Garland with very little use of single note lines in his solos and relying mostly on chord movement, like guitar strumming; precisely the style that set Red Garland aside from most piano players and a technique and style that Garland pioneered. Coincidence? |
Love Red Garland’s feel and swagger; and that “block chord” style: https://m.youtube.com/watch?v=owL-uQuVYLc |
Today’s Listen: Various Malian and Cuban Artists -- AFROCUBISM At first I thought ’Cubism’ referred to the style of art used on the album cover. To my surprise it was referring to Cuba. I actually like this music. There is history between Mali and Cuba dating back to the wars of independence and the military assistance given by Cuba. A lot of the African players studied music in Cuba. Both of these countries have a rich and real music heritage. The percussion says Cuba as plain as the Trumpet on other discs say Mexico. The liner notes called this Malian / Cuban fusion. I think they nailed it. Unlike some other so-called ’Fusion’. https://www.youtube.com/watch?v=V_RqNOejC58
BTW, sometimes it's best not to know the translation of the lyrics. :) Cheers |
OK frog, educate me. I enjoyed the (new to me) example of Garland's playing. However I heard him play in that "block chord" style up until 1:17, which sounded like a typical group ensemble intro. Then I heard single note lines up to 2:50, which for me was more of a solo focus, after which he reverted to chords, like a larger group joining in following a solo. So my impression was this was not all that different from other pianist's styles of mixing the two technics. Since Garland plays both ways, is it a heavier dominance of block chording that you are referring to? I would like to better understand this. |
Killer little known record. Red Garland, the great Phil Woods and to try and keep up with Alex a little known, but great trumpet player Ray Copeland; rest of the rhythm section not too shabby 😎 (great!): https://m.youtube.com/watch?v=JIRWpxSoYDw https://m.youtube.com/watch?v=uS4dFEzn5MU |
orpheus, I haven’t read much of a Hawes, I must correct that... *.* Bonga - Mona Ki Ngi Xica with pretty photo https://www.youtube.com/watch?v=BQe6hTKX35o with lyrics https://www.youtube.com/watch?v=Vvr6F6kwyEo p.s. awesome music you all are posting... |
pryso, your observations are correct and good for you for digging deeper. Yes, he plays both ways and his style is a heavier dominance of block chording. Importantly, it was the way he did it with a distinctive voicing (arrangement of notes) that he used in those block chords that gave him a distinctive sound. I disagree that this was no different than other pianists’ use of the two techniques. Yes, some players will use chords in their solos, but not with the exact same and unique voicing for each chord nor to that degree which is what gave him that unique sound. My point in comparing Evans to was that I wondered if this influenced Evans’ playing on that record. Evans plays almost exclusively in a block chord style on “Jazz Track”; rather unusual for him up until then. I could not have explained it better: https://en.m.wikipedia.org/wiki/Red_Garland **** Playing style Garland’s trademark block chord technique, a commonly borrowed maneuver in jazz piano today, was unique and differed from the methods of earlier block chord pioneers such as George Shearing and Milt Buckner. Garland’s block chords were constructed of three notes in the right hand and four in the left hand, with the right hand one octave above the left. Garland’s left hand played four-note chords that simultaneously beat out the same exact rhythm as the right-hand melody played. But unlike George Shearing’s block chord method, Garland’s left-hand chords did not change positions or inversions until the next chord change occurred. It is also worth noting that Garland’s four-note left-hand chord voicings frequently left out the roots of the chords, a chord style later associated with pianist Bill Evans. **** http://www.riccardoscivales.com/billy-boy-red-garlands-block-chords-style/ https://m.youtube.com/watch?v=J3UnzDeZ8lI Btw, I don’t set out to educate, but to comment based on what is important to me when listening to music. If asked, as you did, I will gladly try and explain. I hope the above links helped clarify. |
Again frog, thanks for your explanations. I didn't intend to suggest that Garland's specific style was like many other pianists, simply observing that many now use some combination of block cording and single note lines. And I have the "Milestones" album so have heard that "Billy Boy" many times. My basic point here is that after listening to jazz in general for several decades, and having heard many of the linked numbers posted here multiple times, because of my lack in musical knowledge, I'm even now learning some insights on structure and presentation. That provides an avenue to listen anew. Much of the musically technical information you posted quickly went over my head. But grasping just the basics of it should expand my listening. |
Rok, I noticed that was released in 2010; that means high recording quality; although I've recently gotten into "analog"; that's something new and exotic, I think the CD will do. Eliades Ochoa - guitar, vocals José Ángel Martínez - double bass Jorge Maturell - congas, bongos, cowbell Onsel Odit - chorus, rhythm guitar Eglis Ochoa - maracas, guiro, chorus Malian musicians Toumani Diabaté - kora Bassekou Kouyate - ngoni Kasse Mady Diabaté - vocals Djelimady Tounkara - guitars Fode Lassana Diabaté (originally from Guinea) - balafon Baba Sissoko - talking drum |
pryso, you are correct in your observation that many pianists now use that style to one degree or another and that is a very astute observation on your part. For me, the historical context of any music and the influence of players’ styles on each other as part of that historical context is as important as just about anything else. This puts a player’s style in what I think is a very important, even necessary, context. My point in pointing out Garland’s style was to highlight the importance of him in that historical context and how it may have impacted Bill Evans’ approach to the music on the Jazz Track session. One of the reasons that I thought the Mingus panel discussion was so important was that it touched on some of this inasmuch as the very deliberate and conscious effort that goes into the creation of a lot of this great music. Often it is thought to be entirely a matter of some sort of subconscious inspiration that takes over the artist (the idea of the artist’s “Muse”) when in fact it is usually a combination of that (inspiration) and deliberate and conscious “decision making”; what Mingus so perfectly referred to as “organized chaos”. **** I'm even now learning some insights on structure and presentation. That provides an avenue to listen anew. **** Exactly! It can add so much to the listening experience. Thanks for the dialogue. |
Frogman, re Copeland, nice, you've posted that album before, I have not got it, yet. Just looked to see do I have anything else from him, nothing, except one colalboration (with Dave Pike) Re Garland...when listening to him, sometimes I have a feeling that his notes lack 'sustain', they seems to fell 'short' ? Is there some technical explanation that you might provide on that thought or is it just me ? |
Mare, Hampton Hawes served jail sentence for a long time, for some small drug crime. While waiting for his trial that got him 10 years he recorded this album of mostly spiritual content... This song is described as 'haunting'...I do not wonder why... from the album 'Sermon'... https://youtu.be/NNtl1NdvfhU same song played by Satchmo, from his only gospel album 'Louis and The Good Book ... https://youtu.be/bvEmq-cX0G4 |
Similar to classical music, there seems to be a fair bit of discussion on where jazz is headed. Is it fading with an aging audience? Are young people picking up on it? Are there any new musicians with something to say? Following my recent Mingus kick I happened across a video of BBC Proms 2017 with a performance dedicated to his music. The entire video runs just over two hours, but I also found this from the last 20 minutes. It raised the point for me, can this be the direction of "new jazz"? It seems more show than substance but this young guy certainly seems to be athletic and have good wind! https://www.youtube.com/watch?v=krLYZmPRtnc I think I see why Leo didn't make our recent list of top bari players. ;^) |
Alex, as I was posting that Phil Woods/Red Garland clip I kept hearing a little voice in my head that made me wonder exactly what you mention. I guess that little voice was correct; I had posted it previously. Glad you liked it. Very interesting observation about Red Garland and something I had not really thought about previously. I went back and listened to a few things by him and you are correct. When he plays single notes he does play in what would be called a “staccato” style; the notes are short and clipped with little if any sustain. There are two ways that a player can control the amount of sustain. When a note is struck the faster that the player lifts the finger off the key the less sustain that the note will have. Also, a piano has a sustain pedal that a player uses at his discretion in order to give notes more or less sustain. However, when Garland plays in his distinctive block chord style he does use sustain and this can be heard easily. |
Frogman, thanks. Its interesting since you have mentioned that his (Garland) style influenced Evans. I find their styles on very opposite sides, Evans has a 'flow' that I miss when I listen to Garland. Flanagan is another player that comes on my mind, that has a 'Flow'... Pryso, yes, that one is a classic. Than you will like this one too... ...from the album 'Up', from 1964. ...'Sometimes I feel like'....you know how... https://youtu.be/_ZlkSz7guIo If you like 'A new perspective' album that you have posted. perhaps you could try this one too...the line up is stellar, (Green, Hancock,Turrentine, etc) I am curious to hear what you all think about it...the arrangments are not typical for the era... Its a Donald Byrd's 'I m trying to get home', brass with voices... https://youtu.be/j-ZSIoswvOQ https://youtu.be/Wdrl-i9wv6E ... |
Ale, thank you for posting more of Hawes... https://www.youtube.com/watch?v=AkvkePuzSzg Orpheus, I am very glad that you like Mona Ki Ngi Xica... Pryso, haven’t noticed that, maybe I have just missed it or registered myself much later. Will surely check that and get back to you afterwards. |
Alex, and Mary_jo, I can't thank you two enough for consistently posting albums I must have. These albums will be precious, and I know they will get repeated play; that's a sure sign of a winner. Pryso, you have been posting nothing but killers, but we seem to have the same record collection; even bought them not too far apart in time; that's an indication that good jazz minds think alike. |
alex, my thoughts . . . "Motherless Child" was OK simply because I like the song. But the other two? Not so much. As a personal note, I don't care much for jazz with strings or chorus added. I never bought that Charlie Parker album with strings for example. But there can be exceptions. There is a longer story behind this but I still enjoy this Swingle Singers album I've had since it was released. For my ears and tastes, a wonderful blend of jazz and classical. Maybe not strictly Third Stream, but I like it. https://www.youtube.com/watch?v=rH6vCuV-e6g |
I love Red Garland. Always loved the way he plays chords. I met a really good Piano player named Big Al Dupree, at a club, who told me Red learned to play on his piano after the Army. He said Red was a natural, but didn't play cords like everybody else, because he was mostly self taught. https://www.youtube.com/watch?v=25nFlAIHblc Big Al Dupree |
Alex, you are correct they are very different players and there is no disagreement about their styles; very different general styles. However, and this is an example of the depth and complexity of the details that we try and discuss here and how there is a tendency to simply “scratch the surface”. First, if you reread my comments you will note that my comparison to Evans was a speculation or question about whether it was possible that Evans tailored his style to a degree because of who (Garland) he was replacing in the band for the the Jazz Track session. Players can do this. Ask a great piano player to sound like Corea or Hancock or McCoy and it is amazing how well they can do that when they want to. In your recent post you asked about a possible “technical’ reason why Garland seemed to have less sustain in his notes. The use of block chords when soloing, which was the basis for the Garland/Evans question, is another “technical” detail. THAT was the basis of the comparison (and possible influence) of Evans to Garland and is just one aspect of what might constitute “style”. The article I posted does a good job of explaining how Garland’s block chord style influenced, not just Evans, but many players. “Style” is many things; perceived feeling of flow (very subjective unto itself, btw), harmonic approach, tone, rhythmic feel, among many other things. One of the most interesting things in jazz is to look at who the players themselves credit as their main influences. Sometimes it seems (on the surface) to be very surprising and unexpected. It might be surprising to learn that this player: https://m.youtube.com/watch?v=Z6jQ9j1bdkI Was one of this player’s main influences (by his own admission): https://m.youtube.com/watch?v=xr0Tfng9SP0 |
Today's Listen: JAZZ FUTURES / LIVE IN CONCERT https://www.youtube.com/watch?v=ahkITbtbuG8 They were indeed the future of Jazz. I wonder what a current 'Jazz Futures' group would look and sound like. Cheers |
According to Wikipedia; Yusef lateef, October 9, 1920 – December 23, 2013 was an American jazz multi-instrumentalist, composer and prominent figure among the Ahmadiyya Community in America, in 1950. Although Lateef's main instruments were the tenor saxophone and flute, he also played oboe and bassoon, both rare in jazz, and also used a number of non-western instruments such as the bamboo flute, shanai, shofar, xun, arghul and koto. He is known for having been an innovator in the blending of jazz with "Eastern" music. Peter Keepnews, in his New York Times obituary of Lateef, wrote that the musician "played world music before world music had a name. Lateef wrote and published a number of books including two novellas entitled A Night in the Garden of Love and Another Avenue, the short story collections Spheres and Rain Shapes, also his autobiography, The Gentle Giant, written in collaboration with Herb Boyd. Along with his record label YAL Records, Lateef owned Fana Music, a music publishing company. Lateef published his own work through Fana, which includes Yusef Lateef's Flute Book of the Blues and many of his own orchestral compositions. He is one of my very favorite musicians, and I'm going to share some of my favorite cuts with you; https://www.youtube.com/watch?v=uE65pr0JoHA You wont find a bad cut on "Yusef Lateef, Live at Peps", plus he plays more different kind of flutes than I knew existed. https://www.youtube.com/watch?v=HUVS6coChvI I've got more versions of "Delilah" than you can shake a stick at; I believe "Delilah's" are born, not made; she really rocked Sampsons world. https://www.youtube.com/watch?v=xDVy2B0prgo Read the magic words someone added to Delilah; "At dusk, when all is still, I will sing Delilah's song. I will sing it to the evening wind. I will sing it to the rolling hills and rushing streams. With unfathomable passion and joyous spirit I will sing Delilah's song. I will sing of her soft brown eyes and raven hair, her dark ebony skin and velvet lips. I will sing of her long sensual kisses and the fire she invokes deep in my heart. I will sing Delilah's song until we are united once again" Yusef magic Today I am celebrating "Yusef Lateef" |
"The whole reason for Jazz at the Philharmonic was to take it to places where I could break down segregation and discrimination." Norman Granz, founder of Verve records https://www.udiscovermusic.com/stories/norman-granz-the-man-who-made-jazz-black-and-white/ |
Since we are shortly on this track, due to link of Alex... “It is not our differences that divide us. It is our inability to recognize, accept, and celebrate those differences.” ― Audre Lorde Billie, Strange Fruit... https://www.youtube.com/watch?v=Web007rzSOI ... There where people abandon us, music starts... |