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.
I have Album Album on lp. But I have not played Lps since around 1987. So, all memory of it is gone. I will look for it on CD. I once thought I had replaced all my good Jazz lps with CDs, but I am learning everyday that I have not.
Dancing around? I would hate for video of me when I am listening to be shown. That's the best part of this game.

I hae nothing by Purcell. Not even on my World Saxophone Quartet Discs. He played with a lot of big time people.

Rok, I am hesitant to say, you will love. It is not a safe choice, but it has been one of my favorites, and is a classic. After starting to listen to jazz from strictly rock, by way of Metheny, I picked up an ECM sampler and "forced" myself to understand what was going on. I picked this recording up at this time and fell in love with it.

If you think about it, it is actually easier, as a young man listening to Zeppelin, to understand free jazz and hard bop than structured classic jazz.
Rok, check out Elvin Jones' album "Dear John C." featuring Charlie Mariano. Absolutely killer album from 1965 in a more modern bag; one of my very favorite records. There are some cuts on Youtube, but I don't seem to be ale to download them. This record shows Mariano at his absolute peak, IMO; before he moved in a completely different direction.
You are correct he is a great player. Awesome tone and phrasing.
I noticed two things from what I have been able to read. He didn't seem to record a lot as leader and then not with the major labels.

The second thing is, he is called underrated, invisible, under the radar etc.... on a lot of reviews. I don't understand that at all. You can't be this good, and invisible an entire career.

I did listen to Dear John C on youtube. I will try him out. 'Boston All Stars' or 'Charlie Mariano Plays'. both seem to be from his best period.

Thanks for the info.

**** Whatever happened to John Purcell?****

Oh man, Acman3! One of the most interesting, and also sad, stories in all of NYC-music-scene lore. I knew John peripherally due to mutual acquaintances and run-ins at various music-industry events. He was (is?) a respected jazz woodwind multi-instrumentalist with a reputation for being a real character with ideas that some considered truly off-beat. He also, sadly, has mental health problems and over the last several years has spent periods of times being institutionalized. A lot of John's controversial ideas have a great many parallels to what audiophiles go through. I have always felt that this aspect of being an instrumentalist has many parallels with audiophilia. You may find this story interesting; and my apology to anyone who finds this too much of a departure from the subject of this thread:

John believed (believes) that anything, and I mean ANYTHING, that you
do to an instrument, no matter how minute and seemingly unimportant, will have an effect on the sound produced by the instrument; that it's all about resonance. Sound familiar? While he was ridiculed by some players for some of these ideas (not I), others thought of him as a kind of genius. If you look at the credits on some of David Sanborn's records from the 90's, you will see John credited as "sound consultant"; Sanborn's sound, that is. I don't mean to bore you with this, but this is a wild experience that I had that was related to this:

There is a well-known instrument repair/set-up man in NYC who, for many years was David Sanborn's repairman. Other saxophone players knew that Mondays and Tuesdays were blocked out for David Sanborn, and it would be almost possible to get to see him on those days. Sanborn is known for being obsessive about the set-up of his instrument, and actually had this technician on retainer so that he could have him service his instruments whenever he wanted. I also use this same technician. One day, after a rehearsal, I needed to have an emergency repair done before the performance later that evening. Even though it was Tuesday, I called him and asked if he could squeeze me in. I got very lucky, as Sanborn and Purcell (who Sanborn always brought along as "consultant") had just stepped out for lunch. I ran to the repair shop and all of Sanborn's gear was there. Here is where it gets good, and how it relates to what audiophiles agonize over concerning tweaks, and wether they make an audible difference or not. Keep in mind that a saxophone is a mechanical instrument with many keys, each operated by a small metal needle spring, not much larger than a sewing needle (hence the name).

I will never forget this: On the technician's workbench were three cork pieces each about six inches square. Two of the cork squares were packed with many springs stuck in them. Off to one side was a third cork square with a single, lone spring stuck in it. I looked at the technician, and he smiled and I immediately knew: THAT WAS THE ONE! That was the one that sounded best.

The last I heard about John Purcell was from a colleague who told me that John had been spotted at an intersection on the Upper West Side of NYC screaming at traffic as it went by. Sad indeed.