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.
**** 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.

Foster, the key to finding what you're looking for is the time. My recorded version is 7 minutes long while that was 18 minutes long. The biggest difference is Horace's long "unrestrained" solo. That goes for "Senor Blues" as well.

Although I've got a ton of Silver's music, nothing like that. Let me know if you find a CD of what you're looking for.

Enjoy the Music.

"Soul Jazz", that sounds like an appropriate name for the music presented by this aggregation. However, I beg to differ in regard to the home thing. I picture myself seated at a table with a beautiful lady who enjoyed jazz even more than me. Kenney Burrell's resonant guitar is the perfect compliment to Stanley's sax and Shirley's organ. There's nothing like the scintillating feeling you get from live music reverberating in your ear; the most expensive rig can't even come close, and since this is my fantasy, that's the way I'm hearing it.

"The Electrifying Eddie Harris" is my pick. Artists on this album were: Eddie Harris - tenor saxophone, varitone
Melvin Lastie, Joe Newman - trumpet
King Curtis - tenor saxophone
David Newman - tenor saxophone, baritone saxophone
Haywood Henry - baritone saxophone
Jodie Christian - piano
Melvin Jackson - bass
Richard Smith - drums
Ray Barretto, Joe Wohletz - percussion.

"Theme in Search of a Movie" is just that, it sounds like every beautiful musical score you've ever heard, all rolled into one. Some of Eddie Harris's most beautiful music is on this LP, while his most exciting music was with him and Les McCan, on "Compared to What". That music is just as real and relevant today as it was then.

Frogman, Charlie Mariano is one of those musicians, I saw out of the corner my eye; meaning he was around, but I just didn't see him. I also discovered what we wont discuss, in consideration of Rok's sensitivities.

Good "West Coast" jazz is something I'm trying hard to acquire. All the records I had have long gone, and it was something that came and went. I recall me and another aficionado going to movies just to hear the soundtracks; that's where the very best examples of West Coast jazz appeared, as well as TV backgrounds. The movies were so forgettable that I've forgotten them. Maybe you remember some good West Coast jazz?

Enjoy the music.
" I also discovered what we wont discuss, in consideration of Rok's sensitivities."

hahahahah I didn't know I had any of those.
Discuss, please.