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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
ghosthouse's avatar
ghosthouse
4,312 posts
 
Something good to listen to while the discussion unfolds...

from "The Music of Eric Von Essen Vol. III" 
Track 4:  It's Just One Big Party
https://www.youtube.com/watch?v=OFeyG91Lg0w

Link to the All Music E.V.E. bio...
https://www.allmusic.com/artist/eric-von-essen-mn0000801306/biography

The All Music Guide review of Vol. III
https://www.allmusic.com/album/the-music-of-eric-von-essen-vol-3-mw0000660394
orpheus10 OP
8,668 posts
 

Frogman, I have pointed out MY observations not yours. Maybe their stylistic differences are so great that I don't consider them good jazz.

Why are the best examples you display are of them playing Mingus's music?
frogman
7,457 posts
 
O-10, thanks for your comments. I don’t understand an “observation” of something that cannot be there. The issue of whether current players are improvising or not is not a matter of observation it is a matter of fact or not; and it is a very simple matter to establish. I have no issue with you not liking the way that modern players play, but I think they at least deserve credit for what they are in fact doing.

I don’t understand the comment about Mingus. Those examples may be the best for you, but I don’t understand the relevance here. I would appreciate some clarification on this and perhaps some clips of examples of prominent modern players in which you feel that their solos are “written down”. Feels like we have done a complete about face on the issue of modern players. I hope not. Btw, re Aaron Diehl’s style and your question: what are your thoughts?

Again, some really great comments by nsp, bluesy, pjw and pryso as well. I think that the spirit of the “ESSENCE” of jazz that nsp talks about is something worth striving for as listeners.

https://m.youtube.com/watch?v=V69Flv9XqA0

Future jazz standard?:

https://m.youtube.com/watch?v=CzJ7jLAn4Iw

nsp
653 posts
 
bluesy41
Well spoken we ARE blessed and let's enjoy the music. The answer to  your question : we  are nothing without music. Maybe you are onto something when you say that artists in the past recycled songs more often giving different versions
and maybe today's artists do not do this to the same degree. Maybe only after having your peers play your song(s) many times will a pieceor body http://m.youtube.com/watch?v=rPkr5QOwqgg
of music be then considered to be a jazz "standard".  I am not sure and hope others  weigh in on the subject.

older & live G Benson:



 
frogman
7,457 posts
 
**** Maybe only after having your peers play your song(s) many times will a pieceor body of music be then considered to be a jazz "standard". ****

That’s exactly right. It becomes a jazz “standard” because players like to play a certain tune and the tune becomes part of the jazz lexicon over time. Not all tunes lend themselves to jazz interpretation nor are they necessarily good vehicles for jazz improvisation. Players like tunes with a good melody, but also with interesting harmonic changes that have a certain musical logic to them. Or, as in the case of modal jazz (KOB), they have a “simplicity” or economy of harmonic movement that, in a way, opens up more possibilities to the improviser as he is not bound to the constantly changing harmonic backdrop. At the other end of the spectrum, sometimes players simply like the challenge of a tune like “Giant Steps” which, more than anything, is a test of a player’s ability to “think” VERY quickly on his feet with its very fast changing harmonies.
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