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

I forgot one of the best classic female jazz musicians of all time. Alice Coltrane. She flies very high in "Journey in Satchidananda" accompanied by Pharoah Sanders.

@audio-b-dog 

Is this your first time visiting this thread?

If so, your willingness to pass judgement seems a bit hasty,. 

Perhaps I misunderstand your poem, but are you suggesting Jazz is, by definition, all church on the one hand and alleyway funk on the other?  Do you believe Parker, Coltrane, Davis, Shorter, etc. were adverse to leveraging their intellects?  

 

stuartk, good question about intellect versus funk, or what I call raw emotion. What the poem is saying is that music doesn’t come from the intellect, it comes from the streets, and I include the feminine because it is often excluded from discussion of the arts. 

I am not a music scholar, but I know that many classical composers find their themes in folk music. Bartok is probably one of the most well-known for this since he studied Hungarian folk music. But I have also heard that Haydn used folk music for themes. Folk music, in my mind, comes from the streets.

I like your choice of jazz musicians, Parker, Coltrane, Davis, Shorter. All of these men include a strong emotional content in their music. A lot of jazz I hear tends more toward the intellect and I like it less. Strong emotion coralled into artistic form is what I like in all the arts. De Kooning, for example, in painting.

I apologize for my judgment. I was trying to shake things up a bit. But I judge the world--yes, the entire world--for their exclusion of the feminine, especially in the arts. I have been researching and writing a novel about the suppression of the feminine, especially in religion, so I see pretty much everything through that lens.

But in regards to music, I’m not just talking the talk. I play more female jazz musicians than male. Although, right now I am listening to Charles Lloyd’s Forest Flower. Keith Jarrett has some great passages on there, and he is a male jazz musician I listen to a lot.

Back to the feminine for a bit. It is my belief that women were our first artists. I think that they were the early cave painters who created those beautifully drawn animals. I have a lot to say about that, but I’ll stop here.

I would ask that you try Tania Maria, especially "Brazil With My Soul." I think you will immediately be struck with a feminine strength that is not found in other jazz you might have heard. You must remember that she is playing the piano. She was classically trained in Paris.On my stereo those songs fill the room and wash over me. One thing I heard that might apply is that men show their swagger by the way they move their shoulders when they walk. Women show their swagger by the way they move their hips.

@audio-b-dog 

FYI,  also write poetry.

I’ve also played guitar (not Jazz) for many decades. As you know, in art we have inspiration/intuition and craft/application of techniques and concepts. The point I was trying to make is that there are no dumb Jazz musicians. For even the most naturally gifted, Jazz requires a sophisticated understanding of harmony and its application in improvising. This isn’t typically handed down by the muse.  

While emotion is number one for me in enjoying music and as an artistic man, I identify with and value the inner feminine more than men of other persuasions, I think it’s important to not throw the baby out with the bathwater. Mental discipline and the ability to analyze and conceptualize have an important place in all the arts.  

Of course, Jazz covers a very wide range. Some styles/genres are more complex than others and needless to say, individuals vary according to their natural expressive inclinations and natural talents. Some incline towards cool "intellectual" abstraction while others are more earthy, emotional and blues-based. And these factors are not necessarily mutually exclusive. I was speaking of Jazz players who have the ability to cover a wide stylistic spectrum, including the most harmonically sophisticated scenarios. 

Perhaps @frogman will join in and provide an inside-out perspective.