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

I get it. I understand (I think) why you feel the way you do and it is a perfectly valid viewpoint. As you pointed out, “beauty lies in the eye of the beholder”. The following comments are not meant as a rebuttal to yours, simply an explanation of why I (!) feel that the SGQ could be considered to be the greatest ever and, for me, they were.

You cite “beauty of expression” as the determinant factor for you. For me there is no less beauty of expression in the playing of the SGQ. However, it is of a different kind; a different aesthetic. It is rhythmically more obtuse. Improvisations are more removed from and less grounded in the melodic and harmonic “centers of gravity” of the composition than those heard in the tunes on KOB, to use your example. Some would say, more adventurous. Don’t get me wrong, I love KOB and it is one of the most important records and one of the greatest bands in Jazz history. During the time of the SGQ Jazz, in general, was in a different place than it was during the KOB era. As always great art reflects the time of its creation and if prefers one particular aesthetic over a more “progressive” aesthetic than that would guide our judgment of one over the other. Those are all things I would say fall under the “in the eye of the beholder” rule. A personal call. I like both aesthetics; probably equally so.

However, for me, it goes beyond that. The level of musical interplay between the members of the SGQ is simply amazing. In my opinion, it is on a different level entirely. There is a level of musical telepathy, musical conversation that happens between the players that is breathtaking. Particularly impressive when one considers how abstract Miles’ approach to a melody could be, as an example. A perfect example of this connection is heard in the very beginning of the live clip that I posted previously. They walk out on stage, no banter, no count off of the tune, no hesitation. Miles simply plays an opening phrase and they take off in perfect synchronicity and it goes from there. Pretty impressive stuff.

One thing that I think is indisputable is the genius of Miles Davis.

 

 

 

 

Speaking of “abstract approach to a melody”. One of my favorite Miles recordings. Same rhythm section as the SGQ, but different tenor player. I have always liked George Coleman. Great, but different voice than that of Wayne Shorter.  A different kind of beauty in his playing. 

https://youtu.be/XdrAzpYdOYs?si=YijSVyBwoh5jg4rf

I like his sound more than Shorters.

In his autobiography, Miles said “He was a hell of a musician, but Tony [Williams] didn’t like him. Tony wanted somebody who was reaching for different kinds of things, like Ornette Coleman.” Williams, Hancock and Carter wanted to play freer, “and they felt that George got in the way. George could play free if he wanted to; he just didn’t want to. He preferred the more traditional way.” But Miles has only praise for the tenorist.'

https://youtu.be/bzCmVJ_iuYY?feature=shared

WIKI:      

Do people actually like free jazz?

While it's true that free jazz can be both sonically and intellectually challenging, it can also be stimulating. And believe it or not, it's actually possible to enjoy it (rather than endure it).

What does SONICALLY AND INTELLECTUALLY CHALLENGING mean?  And why would anyone want to listen to that type of "music"?

Inquiring minds want to know.

Cheers

  

Much to say about the topic, when time allows. But, for starters:  “freer”, in the context of the music of the SGQ,  does not mean “free jazz”.  

Alex, you may have read my unedited post, but I edited since I did not want to be presumptuous.  I am not the least bit surprised that you like Coleman’s tone better than Shorter’s.