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 wouldn't call that soul but it is interesting. Or was that sarcasm for the last month or so posts about who has soul and who don't! A lot of great musicians on that recording session.
I loved that Jackie McLean “Soul”. It may not be “Soul”, but it sure has a lot of it 😊. Very creative and McLean sounds as good as I’ve ever heard on record. Thanks!
Was at Birdland last night to see the 4 Generations of Miles show featuring Mike Stern, Buster Williams, Sonny Fortune, and Jimmy Cobb.
It was an excellent show with Stern playing most of the sax parts on guitar and Fortune playing the trumpet parts on his an alto. Williams was in great form on the acoustic bass and Cobb (at 87 yo I believe) never disappoints on the drum kit.
Interesting Mike Stern interview talking about (1:58 in) Miles cooking dinner and driving in Miles’ Ferrari to go see his horses https://www.youtube.com/watch?v=3StiR5wCYrU
While I agree Miles was shaky at best, the video has 163 likes to 2 dislikes. The bands he put together were always top notch and entertaining. A lot of people love the latter Miles. Probably people who would never listen to his earlier stuff, and yes, I believe he made some money. Even more, it seems to me, he enjoyed the adoration. He might have had a big ego.
Miles would still be the greatest, even if he just stands there with his trumpet, does nothing, blowing into nothing. Years active:
1944–1975
1980–1991
Hell, I would be dead after two years performing. The man did so much for the music, that he can surely afford whatever damn he wants to afford. Period.
Acman, I don't know if Mike Stern was a perfect fit for Miles or if he began to sound like Miles in regard to his musical ideas from playing with Miles; either way, they were a good fit.
I have that Jim Hall disc. Really good group he put together for that session.
IMHO Miles made just a couple of good studio recordings 80-91. The live stuff is better. I only own 1 studio album from that period-Star People. I really dig his first electric phase 1968-75 and have just about everything he recorded in that period.
Mike Stern is a really cool guy. He enjoys playing and at the show he kept talking with and smiling at all the other band members especially Sonny Fortune. He also smiled and talked to the audience at the tables right near the bandstand. Outstanding guitar player.
I see Gary Bartz in the Isle of Wight festival link acman3 posted and it brought back a great memory I have of meeting him.
I was at a Lou Donaldson gig about 7 years ago at the Iridium NYC and when I left after the first show I saw Lou at the burger joint upstairs out on Broadway (Iridium is on the corner of 59th and Broadway). So I walk in and sit down at his table and we just start talking. Mostly about boxing, baseball (Lou is a big fan of both as am I), and music.
The time flew by and then one of the employees from the club sticks her head in the doorway and shouts "Mr. Lou your second set starts in a minute." Lou asks me am I watching the second set and I say no don’t have a reservation so he invites me down to sit on the side of the stage right up on the left side just out of view of the audience. People were packed in like sardines in a can in that joint so my leg hit one of them small (and quite wobbly) tables on the way up there and spilled everybody’s drinks. Mr. Lou said don’t worry bout that crap!
I watched the show then afterwards Sweet Papa Lou (as he is known as) takes me into the band and staff room. I talked for another half hour or so with Lou and the band and a few other people that were back there. When I left I shook hands with everyone and I asked one guy I didn’t recognize his name. He says "Gary Bartz pleasure meeting you." Well needless to say he was much older and did not look the same but I still felt like an ass for not recognizing him.
That was a great night and I will never forget it!
I saw Miles in Chicago 69, and this is the sound he presented with a different band. This sound was totally foreign to me at that time, and I couldn't believe I was looking at and hearing "Miles Dewey Davis" dressed in a fringed buckskin vest.
I'm amazed at how good it sounds now; that just goes to show how we change, and become acclimated to new sounds.
Miles had the biggest ego in the business, and also the best ears for new talent; I recall seeing him just before his eternal rest, and he had a white unknown sax player (unknown to me) who was very good. He was playing a long solo that sounded especially good, and he was just developing it, when Miles just blurted in, sounding like an ardvark fart.
I don't know if he ever did that to Trane, but he always complained about Trane's long solos.
Acman, could you tell me what album that's on, ( The Isle of Wight Festival) it sounds especially good now.
You should just get the DVD "Miles Electric" which features his performance at the Isle of Wight. I have a copy and its very cool. Includes lots of extras with interviews of Herbie Hancock, Chick Corea, and Carlos Santana to name a few.
Jazz critic Stanley Crouch is featured talking about when Bitches Brew came out and he kept playing it over and over not liking it.
Carlos Santana states: "To Stanley Crouch and people like that you know they need to be reminded that it takes a lot of courage to leave all of your security blanket behind and jump without a parachute"
I’m watching it now and I’ll tell you this Miles’ wife Betty Davis was beautiful!
pjw Did you know the group you saw 4 Generations of Miles cut a cd 16 years ago for Chesky. It's available as a hybrid . Like you I enjoy the live music Miles cut from the 1968 thru 1975 period. The Isle of Wight video posted was pretty representative of that period. I would like to buy it but it's pricey. I think I only own Star People from his later work also ,I did not like the Miles in Berlin clip too much, but I did get the opportunity to see Miles in NY the year before he died and his group stole the show. The group was 2 guitars, sax, bass ,keyboards ,drums and multiple percussion. The group sound was similar to his 70's groups and Miles was in fine form. I picked another J McLean piece w/O Coleman from a later period after heaing the cuts you posted. http://m.youtube.com/watch?v=s_pE0ElxttI
nsp thanks for the link on that Mclean disc. I will probably end up buying it. Glad you saw Miles. I did not because I discovered the beauty of Jazz when I was around 30 and Miles was gone. I was strictly a rock & roller until the early 90's when I grew tired of its repetitive (at times) nature. I still dig rock but I'm much more selective now.
That Miles Electric DVD is well worth it. The first 40 minutes or so is interviews with Miles and many great musicians and the second 40 minutes or so is the entire Isle of Wight show. One song, 40 plus minute jam session with no title!
As I listen to “Quiet Kenny” I just want to mention him as one of the great trumpeters of his or any time. This session showcases him accompanied only by piano, bass and drums. Don’t often hear that. Kenny had a beautiful tone and styling.
Sidetracked by dark and calm sound of cello being successfully opposed to the bright and vivacious sound of kora, I'm posting
Chamber Music - album by BallakeSissoko and Vincent Segal
mary_jo, the music by Sissoko and Segal is very cerebral; I could relax and meditate to it all day long. They are new people I will add to my collection.
No need for melodrama. Nothing is destroyed. Time changes, music stays. Who wants to dig out good stuff such as good old jazz and bring it out to the open, will do it and enjoy it. Who doesn’t, will die in blissful ignorance. Everybody happy.
What a bunch of self-serving nonsense. First, accusations about destroying Classical music while using as an example music that not only isn’t “Classical” music at all, but doesn’t pretend to be nor was, as far as I can tell, posted as such....right. I guess that since a cello is used and it’s referred to as “chamber music” then it must be “Classical”. Can’t we do better than this? And then, of course, and once again, followed by condemnation of ALL new jazz. As my wife likes to say, “Jeez Louise!”
Anyway, was listening to this this morning. Kills me every time. I just love this guy’s sound and attitude:
The Turrentine reminds me of the time a year or so ago, I picked up a lot of great records with a man's name on them. I bought as many albums of this one mans collection as I could afford. When checking out I found out a man had passed, and his kids sold his collection.
I knew a girl who could dance, and could she shake her hips to this tune. If you can not dance, or know a girl who can dance to this tune, or imagine a girl dancing to this tune, just sit quietly and listen.
Although Newman played for Ray Charles, in my opinion, he got too advanced for Ray Charles, and split after the band director began treating him like a choir boy, and told him to be on time for practice.
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