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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
rok2id's avatar
rok2id
7,859 posts
 
Today's Listen:

katia & Marielle Labeque  --  AN AMERICAN IN PARIS / PORGY AND BESS

Got this years ago, almost at the beginning of CD.  From a 'Stereo Review' review.This is a remastered version from 2002.  Mine is from 1984.  Still has the German price tag on it, 37.80 DM.  Made in West Germany!

Notes: "This recording features the world premiere performance of Gershwin's previously unavailable two-piano score of 'An American In Paris."

Anyway, beautiful playing, by the French Sisters, of music written by a unique talent.

https://www.youtube.com/watch?v=7oN3X53dn0c   

https://www.youtube.com/watch?v=paWmOS4sj6Q  

Cheers

    


pryso
1,956 posts
 
O10, no, not trite at all.  See if this helps my point.

Had I never heard words to "Speak Low" then my feeling for any rendition would be based on the musical merits, other than what the title might suggest.  But once I've heard the lyrics to any song then that hangs a context on it for me.  That specific lyric suggest a subdued, intimate conversation.  Your quoting those lyrics just reminded me for whatever of them I'd forgotten.

With that, Sonny and friends might have offered up a great number, except I was preconditioned for the mood simply based on knowing something of the words.  So I found his tempo out of sorts, being too fast it was not intimate at all.

The tempo can be a major element within the number of things that make up an individual interpretation and his version simply didn't mesh for me.  To further my point of my perception I offered another example.  For me, solid blues with a lyric of lament is best taken at a slow pace and I picked that Albert King rendition to demonstrate. 

You may see it differently but I hope that helps explain my view.
frogman
7,487 posts
 
Interesting topic and interesting comments. Tempo IS a major element in the success of an interpretation; and regardless of genre. I had the same reaction as Pryso to one of the recently posted “Lazy Afternoon” clips. I then posted one that I felt was “a lazier Lazy Afternoon” to make the point.

This was my comment just a couple of days ago about tempo re a Classical work that was posted (sorry for the self-quote):

**** Now, and not meaning to get too “Zen” about this. Some pieces of music just seem to flow more at a particular tempo; arguably (but probably) the tempo, or very close to the tempo, that the composer intended. One of the many little mysteries in music performance. ****

Here is the composer of “Speak Low” himself and his chosen tempo:

https://www.youtube.com/watch?v=VgQJvNhuiAE


mary_jo
1,525 posts
 
"I have to see a definitive cut of the film before I even start thinking about the music, I tell the director what my feelings are and what I would like to do. He accepts what I say or discusses it or destroys it. Eventually, we have to find a compromise." E.M.

From nytimes:

"To many cineastes, Maestro Morricone was a unique talent, composing melodic accompaniments to comedies, thrillers and historical dramas by Bernardo Bertolucci, Pier Paolo Pasolini, Terrence Malick, Roland Joffé, Brian De Palma, Barry Levinson, Mike Nichols, John Carpenter, Quentin Tarantino and other filmmakers."


La Califfa
https://www.youtube.com/watch?v=V8MFX6W4O2c

L’estasi dell’Oro
Song taken from "The Good, the Bad, the Ugly", performed in Venice and directed by Ennio Morricone himself.
https://www.youtube.com/watch?v=J3IlqY1CbI0

The Good the Bad and the Ugly
https://www.youtube.com/watch?v=h1PfrmCGFnk

The Good, the Bad and the Ugly - The Final Duel
https://www.youtube.com/watch?v=aJCSNIl2Pls

For a few dollars More
https://www.youtube.com/watch?v=WtblCZQXRsA

Once Upon A Time In The West
https://www.youtube.com/watch?v=-mMd6D1Gw1g

Ennio Morricone 
receiving Oscar...
https://www.youtube.com/watch?v=HJDN1e_OIKw

Some news are not sad. They are real. Long and prosperous life. Something one could wish for.
https://www.nytimes.com/2020/07/06/movies/ennio-morricone-dead.html

"They’re all my children... every score I’ve done." E.M.

Thank you Mr. Ennio Morricone, for all your children.


pryso
1,956 posts
 
Thanks frog.  So now my question: which came first, Weill's music or Nash's lyrics?  I could see the music influencing the character of the lyric if Weill composed that first.  Similarly if he was inspired by Nash's lyrics first then they in tern likely influenced his chosen tempo.

I hope I'm not splitting hairs here and can understand if others don't find this meaningful.  For me it is simply something I've always felt in judging a performance.
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