Jazz for aficionados

Happy Thanksgiving to all.

Today has been a Booker Little day. Far Cry, Out Front, Booker Little & Friends have played so far. Qobuz has “The Complete Album Collection” so with repeats, I think I’m good until dinner time.

https://m.youtube.com/watch?v=Ran5_bu9qME

@curiousjim 

re: Booker Little

Check out the 3 live records from the 5 Spot with Eric Dolphy and Mal Waldron and the self-titled record on the Time label.

Fred Hersch

@curiousjim 

It’s actually "Booker Little Quartet" on Time:

https://www.youtube.com/watch?v=mGEWBmAw2-0&list=OLAK5uy_lUIq-30MKjoPVl_UkR9R2cdVdCQiyDw5s&index=2

First of the live Eric Dolphy led Five Spot sessions:

https://www.youtube.com/watch?v=BsJpa2uxkiw

John Fedchock

Listening to Miles Davis,  Miles 54, The Prestige Recordings. (2024)

Below is the synopsis from Qobuz.

Focusing on a transformative period in Miles Davis' career, the 2024 anthology Miles '54: The Prestige Recordings rounds up all of the tracks the legendary jazz trumpeter made for the label that year. Certainly, 1954 was an important time for Davis. The rising jazz star had just recovered from heroin addiction, a nagging habit he had struggled with on and off since the late '40s. Clean and fit (he had also started working out in a gym and boxing), he returned to the studio for a handful of sessions that showcased his strong trumpet chops, as well as a renewed creative approach that found him moving further away from bebop and embracing more of the spare lyricism and bluesy swagger that would come to define his work from the late '50s into the '60s. It was a style that took deep inspiration from the work of pianist Ahmad Jamal, whose classical-informed playing was a major catalyst for the cool jazz movement. While still evincing a cool atmosphere and often utilizing his distinctive Harmon mute played close to the microphone, Davis' playing in 1954 was more confident, a style imbued with the rhythmic grooves and bluesy harmonies that prefigured the sleek-edged hard bop and modalism to come. It was also a vibe that would come into full flower on his subsequent albums Cookin', Relaxin', Workin', and Steamin'. Here, he surrounded himself with equally confident and forward-thinking luminaries, including players like pianist Horace Silver, saxophonist Sonny Rollins, bassist Percy Heath, and drummer Kenny Clarke, among others. These are tracks that were first released on such 10" LPs as Miles Davis Quartet, Miles Davis Quintet, Miles Davis with Sonny Rollins, and Miles Davis All Stars, Vols. 1 & 2. Soon after, they were compiled on more well-known albums, Blue Haze, Walkin', Bags' Groove, and Miles Davis and the Modern Jazz Giants. Included are classic recordings like Davis' original versions of "Four" and "Solar," his iconic version of "Walkin'," and puckishly sparring collaborations with Rollins, including "Oleo" and "Doxy." All of these are considered essential recordings, and there is nothing but superb playing throughout the Prestige box. It also doesn't hurt that we get a nice book of photos and liner notes with writing by Ashley Kahn and Dan Morgenstern, all of which helps put the recordings in context. That said, given that Davis recorded some of the tracks on these albums in 1953, such as side A of Blue Haze, those recordings are not included here. Furthermore, these are just his Prestige sessions and do not include any of his similarly classic 1954 sessions for Blue Note. Still, this was arguably the year Miles Davis came into his own as a bandleader and entered his first truly auteur period, something Miles '54: The Prestige Recordings spotlights nicely.

Great stuff, @acman3 , thanks.  My favorite big band and one of my favorite arrangers.  Right back at you:

https://youtu.be/hTFhcL-YrDU?si=Kdvg7iSaWEJs1b4Y

Ronnie Scott’s Presents: Dr. Lonnie Smith Trio Livestream

I found this, this weekend and wanted to share with you all even if it has already been posted? Please enjoy!

Streamed live on Apr 21, 2018

We are delighted that the good Doctor Lonnie Smith is returning to the club, bringing his supreme self-taught styling’s of psychedelic funk, gospel, jazz and more. With a career that spans half a century, this Master of the Hammond B-3 organ has accumulated a plethora of accolades, recorded over twenty solo albums, and toured with the likes of Dizzy Gillespie, Etta James, Ron Carter and Lou Donaldson. Expect an eclectic evening of bold musical landscapes brought by one of the strongest musical outfits touring today.

LINE-UP:

Dr. Lonnie Smith - Hammond organ

Jonathan Kreisberg - guitar

Xavier Breaker - drums

Produced By Ronnie Scott’s Production

Directed By Christian Doho

Sound by Gareth Miani-Hunt & Matt Gush

Thanks, @tyray ! Don’t be a stranger.

https://youtu.be/Liy9tw03p1I

Jihee Heo

Listening to Thad Jones-Mel Lewis,   Consummation and OMG Is it great!

I enjoy Abraham Burton’s version of Laura. His interpretation is a bit slower and probably a bit heavier on the sax. Very nice sound to my ears.   Laura

Lou Donaldson - Blues Walk (One night with Blue Note) [HQ]

@frogman Will do! This is the place I come to get ’new’ music. Sometimes I’m overwhelmed by the amount of outstanding and high quality sound of music that’s posted here as I’m always playing catchup to the marvelous music posted here.

@curiousjim You are so right! ++++ on Consummation!

@acman3 You are killing it, with all those glorious posts here. Keep it up!

@michaelspiellman 

I enjoy Abraham Burton, too.  Are you familiar with the live recording "The Magician" ?

https://youtu.be/a3CZHr5uiNM?si=xAA7SbjBuIKa5MdC

https://forum.audiogon.com/users/stuartk

I'm not familiar with "The Magician". I'll definitely check it out.   

Jaden Evans - Evans On Evans

Joe Henderson, Charlie Haden, Al Foster - An Evening With.

Excellent!

@curiousjim 

If you like that, try Henderson's "State of the Tenor-- Live at the Village Vanguard"  trio records. 

@curiousjim

Yet another J. Henderson trio: The Standard Joe, with Rufus Reid and Al Foster

Joe Henderson Trio Live at Umbria Jazz - Recorda-Me (J.Henderson) – 1993

In ’N Out (Live)

The Believer (Live)

Taking Off (Live)

Not trio, but new:

McCoy Tyner and Joe Henderson: Forces of Nature: Live at Slugs 

@stuarti 

I listened to both of you suggestions and thoroughly enjoyed both.

Thanks as always.

JD

@acman3

I haven’t listened to Forces Of Nature in years! It and Umbria are on today’s playlist. 

Thanks for jogging the grey matter.

JD

@curiousjim

I listened to both of you suggestions and thoroughly enjoyed both.

Thanks as always.

Glad you enjoyed them!

You’re welcome... as always ;o)

curiousjim

My copy of "Forces of Nature" arrives next week.  Season's Greetings.

Happy Listening!

When I am reviewing all of these comments I can’t help but returning to a conclusion of how subjective opinions are about “favorite” albums. Back in my day it was possible to go into a record store or a store that sold records, and be able to audition before purchasing. And at the ripe old age of 16 or thereabouts I was entranced with Coltrane’s version of My Favorite Things; a work so beautifully performed that my adolescent sturm und strung floated away. My love of jazz started then, and many albums since Coltrane have moved me but like not My Favorite Things…mystically onomatopoeia…Until listening to Yusuf Lateef’s Eastern Sounds on Love Theme from Spartacus, a track that for me fortifies and conveys the beauty of tragic love without a word to convey it. Which brings me to this conclusion: any music that moves you to feeling deeply is the only criterion that is fit to do justice to the incredible musicians who move us like no other and right in our listening rooms. IMHO

@jaym759

Not sure I follow you. Yes; we all have our favorites and these may differ substantially from one person to another. As an example, in your case, you mention the particular affection you harbor for Coltrane’s "My Favorite Things". Clear enough, so far.

But you lose me here:

Which brings me to this conclusion: any music that moves you to feeling deeply is the only criterion that is fit to do justice to the incredible musicians who move us like no other and right in our listening rooms.

How does individual preference "do justice to" musicians? And what do you mean by "fit to" ? Compared to what? Which criterion would be "unfit" ? I’m not arguing semantics, here. I honestly don’t understand what you are intending to communicate.

@stuartk 

thanks for taking time to respond to my comments…sorry to add any confusion. So let me try it this way. I would strongly suggest that for a musician their ultimate goal is to truly move the audience. My point is that for me the music I am familiar with has been the non-verbal emotional quality of a specific piece and not comparisons with other works. When I imply that a particular piece is fit (which I can see how this was not clear to you) is my way of saying that if the listener is truly moved than that is doing justice to what I assume to be the ultimate goal of a musician.

Charles Lloyd Quartet

Rabo de Nube

sublime…

https://youtu.be/T6Db9BYY018?si=wTGZNHNuPY8C4wP3

The Roy Hargrove Quintet

Live in Paris

Strasbourg St. Denis

https://youtu.be/1w3FVfkBVTE?si=P_GRd38SChLuH4Fx

The Roy Hargrove Quintet 

Live in Paris 

Divine -Trust

https://youtu.be/VIid2aBAeDY?si=09vAJx_d4hA9iNxA

Re the interesting topic discussed by jaym759 and stuartk and not meaning to disappoint listeners’ expectations or put too fine a point on things, but while I agree with most of what I think jaym759 is trying to say this comment is not accurate:

” I would strongly suggest that for a musician their ultimate goal is to truly move the audience.”

The ultimate, first and foremost goal of musicians is to move, and by doing so, gain the respect and admiration of the peers/colleagues that they are playing with. By doing so, the performance achieves the highest level possible. There is no disrespect intended to the listener; quite the contrary.

@jaym759

Thanks for the clarification. Now I understand!

I’m not sure that all artists would agree that moving the listener is their top priority, though. We creatives tend to be extremely critical of our work so I’d venture that most artists aim to please themselves first and foremost.

In terms of playing music in a group situation, the highest reward may vary from player to player but for many (including me), those moments when everyone is locked in together and the music becomes a channel for a mysterious power that "appears out of nowhere" and dramatically ups the intensity level is something familiar to many players although they may not be able to name it.

The Grateful Dead coined the phrase "the music plays the band" to refer to this phenomena and it seems as good as any. Once experienced, it’s unmistakable and when musicians access this state, there’s no way the audience won’t be swept along.

I don’t know your musical tastes, but my first exposure to this as a listener was when I was in high school, courtesy of the Allman Brothers Live at Fillmore East album, particularly Whipping Post and Elisabeth Reed. There are, of course, many many other examples. I’ve certainly experienced this with live Jazz, especially with the Dave Holland Quintet. I’m not much of a Classical fan, so I can’t speak about how this might manifest in this genre.

As a listener, my top priority is emotional engagement, so I can relate to the value you place on this.

@jaym759

Sorry for my careless sentence construction. I meant the greatest reward/top goal for some players, including me, in playing in a group is accessing that state wherein "the music plays the band". There’s a sense of being propelled along by a powerful force or "riding a wave" that’s incredibly exhilarating/intoxicating. It cannot be made to happen but when all the right conditions are met, magic can occur.

Stan Getz album’s Anniversary and Serenity.

There is a story, I believe written by A.Huxley, where he writes that at one point in time W.Blake met young Constable who was just finishing one of his paintings. Blake, very impressed seeing it, said that painting is a pure inspiration, on which Constable replied that he ment it to be a landscape.

I would dare to say that relation between artist, or his work and audience is often not related

Any artist listen to his inspiration and is moved or motivated sometimes by other artists but  not the public. Save small artist in need of recognition.

But when he create any artist must be oblivious of anything else, even of fellow artist work.

But improvising jazz with fellow musician is a collective work. The musician must listen the other one or the result will be unbalanced.

 Thanks for the Blake anecdote by Huxley...

I admire Blake beyond  almost  anyone...

I think he was a prophetizing archangel raging to walk without wings.

There is a story, I believe written by A.Huxley, where he writes that at one point in time W.Blake met young Constable who was just finishing one of his paintings. Blake, very impressed seeing it, said that painting is a pure inspiration, on which Constable replied that he ment it to be a landscape.

I would dare to say that relation between artist, or his work and audience is often not related

@alexatpos

I would dare to say that relation between artist, or his work and audience is often not related

Hmm. . . I’m not so sure, now that I’ve had more time to reflect. I found performing equally rewarding and frustrating and for me, that phase was short-lived. However, I’ve known guys who would most likely not play at all were they not able to gig! Performing is where most of the enjoyment lies, for them. On the other hand, one must garner sufficient enjoyment from playing alone in order to accrue the skills necessary to play out and not be laughed off the stage. So this brings us back around to pleasing one’s self.

@stuartk Thanks again for your  insights  from a musician’s perspective! BTW I was at the live Allman Brothers Fillmore East concert and from my memory it was like walking into an alternate reality that I didn’t want to end and which is a great example of what I was trying to communicate in my rather awkward choice of words. At least for me trying to put words to non-verbal experiences is challenging and in my comments it was hurriedly written. So thank you very much again for taking your time to respond. 

@mahgister. Your comment that between musician and audience is very often not related I suppose could apply to any creative work! And I would agree. The in between time-space that Martin Buber speaks to in “I Thou” and his I It I think convincingly expresses that mysterious experience where both participants are changed as a result, but not in any preconceived way. Being unrelated is in my opinion not only true oftentimes but also irrelevant.

@stuartk If we consider an art as a form of expression (that later becomes 'validated' as such thru different reasons, standards, morals and time) and by looking in many forms of it, it seems to me that there many possible conclusions, as well as there are many different men, (artists) why and how people choose to express themself .(thru some art form). Every art form at some point in time was considered as a 'modern' art and not necessarily excepted, neither by public or by critics, so I think that it would be interesting to know what inner forces exactly drove some of the great artist that made them endure in their work despite all odds. As we all know, there are many of them who failed to gain any recognition during their life and still they did not change the way they create. Of course, there are many others who are or were the opposite example. I admit, I am always more intrigued by the ones who lived and created things following their own rules or mindset, but thats probably because of my romanticism. Blame it on my youth.     

Great post! i concur with your analysis according to Buber...

Between musicians and the public there is a mystery space, where the musicians do not enter nor the public but the 2 are transformed by the felt space of meaning, spontaneously created,  by  those playing and by those listening, a space from which their consciousness is excluded .

@mahgister. Your comment that between musician and audience is very often not related I suppose could apply to any creative work! And I would agree. The in between time-space that Martin Buber speaks to in “I Thou” and his I It I think convincingly expresses that mysterious experience where both participants are changed as a result, but not in any preconceived way. Being unrelated is in my opinion not only true oftentimes but also irrelevant.

@mahgister  I appreciate you!

619 pages of aficionados’ jazz about jazz recordings with a pleasant overlap with psychological and physical links that exhibit between performers and their audience....👍

Please, carry on....I just fell in the door, and it’s easy to continue to call it a day....

Or night....*L* Or just over ’n out.... )

( No, I haven't read it all....)

Chet Baker's album, Chet, was recommended to me as truly stunning by a few members of this forum, and I wholeheartedly agree. I don't have anything close to the depth of jazz knowledge that many of you have, but I love this album and it's now part of my regular rotation. Thanks for all the new recommendations!  

@jafant 

Im thinking my days of buying of physical media might be over. I only bought one CD this year and only listened to it maybe twice.  I have close to two thousand CD’s and about triple that ripped on a NAS.  We have Qobuz and Amazon HD, so I can listen to most anything I want and if the album isn’t on either service, then I’ll buy a copy.

And Happy Happy-Merry Merry to you and yours.

curiousjim,

I understand.  Let me know if you want to part with some of those CDs.

Season's Greetings!