2. music
  3. 1361722327

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
rok2id's avatar
rok2id
7,859 posts
 
******"First, the fact that any one listener cannot “hear” African rhythms as the listener knows and understands them in jazz does not mean that those rhythms are not there; or, at least, serve as the foundation for those jazz rhythms as they are understood. It is like insisting that European based chord progressions and harmony do not exist in the music because the listener cannot hear them as such."******

The Frogman is saying that just because we amateurs(you & me) can't hear the African stuff as we understand African stuff, i.e. Hollywood, that does not mean the African stuff is not there.

That's a fair statement.

HOWEVER, I have asked The Frogman on many occasions to post a clip of Jazz in which he can then point out to us the African stuff as we listen.   Of course he would also have to compare it with indigenous African music from the 17th century.   Nothing!

Apparently he is accepting this stuff on blind faith.

Food for thought.   Back in the 20s and early 30s, white people said they had invented Jazz.  Where was the African crowd then?   Just asking.

Cheers
frogman
7,441 posts
 
Rok, you leave no recourse but to be blunt. Think about all the times that you have, in a rare moment of magnanimity (unsolicited), said “I just love it when the Frogman points out the fine details in music”; or something to that effect. When you don’t need to have those things pointed out to you and you, yourself, can hear and point some of those details out to others here is when you will be able to hear the African influence and connection to jazz. Or, simply be less cynical and have some faith (not blind) that there are some (and I don’t mean me) who study this kind of stuff on a very high level and know what they are talking about; then use that as a starting point for learning to hear those details. Wynton’s demonstration is actually excellent. If you can’t grasp what he is pointing out, I don’t know what to tell you; it’s pretty clear.

**** Wynton was saying what was expected of him. Nothing more. ****

Pathetic. Again no recourse but to be blunt; you don’t know what you’re talking about.

Btw, I never referred to you or O-10 as amateurs; I wouldn’t do that.
frogman
7,441 posts
 
O-10, I did read your post. I did not comment on the clips (not that I thought it was a requirement 🤨) for the simple reason that with the African rhythm dispute so fresh I did not want to add any fuel to the fire by pointing out that the “Moanin” clip that you posted three times does not have Pepper Adams playing on it. The baritone player is Ronnie Cuber, the player that pryso will likely hear when he goes to hear “Mingus Dynasty”. The last “Moanin” clip that you posted by itself is with Pepper Adams. Btw, I don’t know why Rok thought they were better than the originals; I’ll let him speak for himself. Pepper Adams could not have been the reason for why he liked that Moanin better since it wasn’t Pepper. Btw, with so many versions of Tunisia, which do you consider the “original”? For me it would have to be Dizzy’s original, no?


orpheus10 OP
8,668 posts
 
Rok, I want you to know that I agree with your post in it's entirety.

First and foremost, I knew personally, professional musicians who played "Hard-Bop", and they would have laughed at you, coming up with this African crap.  Like they were playing it but didn't even know it.  

Yes, he is the most important man in jazz, but since "Mr. Cholly" determines that...... but "Mr. Cholly" determines everything.


sloryder's avatar
sloryder
5 posts
 
And now for something completely different.... A lot of this is Axeplay cuz I was a pro 6-slinger for years. But not all of it.

Kenny Burrell-Best of
Wes Montgomery-The incredible Jazz Guitar
Friday Night in San Francisco-Paco, Al and Johnny
The Crusaders-Best of
Mingus Big Band-The Essential Mingus Band (a tribute but way cool)
Joe Sample-Did You Feel That?
Trilok Gurtu-Believe
John McLaughlin-The Promise
Jacintha-Here's to Ben (I use Danny Boy to center image speakers)
Mike Garson-The Oxnard Sessions Vol. 2 (the guy is certifiably insane)
Return to Forever-Romantic Warrior (jazz/fusion supergroup!)
Tomasz Stanko-Suspended Night (the Pole can play)
Lee Rittenhour-Wes Bound (nice recording)
John Scofield-Bump
Jimmy Smith Live!-Root Down (essential organ jazz)
Louis A-Live at the 1958 Monterey Jazz Fest (gotta mention this, he's my homeboy)
New Orleans 2005 (That's all iTunes had for a title-various NOLA jazz royalty)

And the late great guitar genius-not for the adventurously challenged-Allan Holdsworth:
All Night Wrong
Then!

Hope you find something you might like. I also have some suggestions for Norwegian death metal...(seriously), lol

More to discover