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.
If anyone enjoys Milt Jackson as I do,this recording sounded beatiful last night.
"Big Bags" Milt fronting a large jazz band and playing arrangements by Tadd Dameron and Ernie Wilkins. On the Riverside label from 1962, nice CD.

Charles1dad, after going on "You tube" I placed an order for "Big Bags". In regard to the sonics, your credentials as an "audiophile" are well established.

Enjoy the music.

I was just messin' with you about the 'reviewer' thingy. None of it was serious. I am not a 'legitimate' reviewer and never claimed to be. Just all in fun.
Me, an Audiophile? Surely you jest!!! After a few exchanges with The Frogman, I find myself listening for Bass player intonation and piano left hands etc.... Can hardly concentrate on the music anymore.


BTW, my next playlist contains some real shockers!!! :)
Stay tuned.
Recent listen:

Paquito D'Rivera -- Portraits of Cuba (arranged and conducted by Carlos Franzetti)

This is the most disappointing CD I have heard in years. The Cover art is great. Shows a very young Paquito in white tails and white shoes in the middle of a crowded Pre-Castro night club. He is front and center in the classic sax players stance. Head back, looking at the ceiling, blowing!! You just know this is gonna be some good stuff. Wrong!

There is no music here. At least no Cuban or Afro-Cuban music. The musicians are professionals. They don't play out of tune or time. They just don't say anything. So I thought maybe it's just me. So I go to Amazon for other points of view.. A few cheerleaders gave it five stars. But the following review I copied because it addresses the problem.

*************A nice mellow sound for background music, but nothing with salsa to make you want to samba or such. No Latin or African influences are audible.
Published on October 23, 1999"**************

And this won the Grammy for best Latin Jazz record in 1997! hahahahahha That shows how much a Grammy is worth. I think that arranger is the problem! I know it's not Paquito!! Just like old Siegfried and Wolfgang on 'Soul to Jazz'. And Bill Potts on 'The Jazz Soul of Porgy and Bess'. They always wanna make it mo' better.

This is a lousy example of truth in advertising! The cover art and the pictures inside say one thing, the music is all together different. What was Paquito thinking! He didn't even use Latin musicians.

Defender La Musica
Antes de que sea Demasiado Tarde!!

Today's Playlist:

Dorothy Donegan -- Dorothy Romps (a piano retrospective 1953-1979)

Frogman, check out this left hand playing!
She lives up to the name on the CD. She Romps!! She does it all, Boogie-Woogie, Stride, Blues and Bop. The booklet that came with the CD is excellent reading.
She was quite an independent woman / player, which didn't set well with the Jazz old guard. She being a woman and all.
George Shearing refused to share a billing with her. Oscar Peterson would, only if she used his trio. But interestingly, both Ellington and Basie INVITED her to play with them. I guess class does always tell. Did I mention she plays boogie-woogie? I love it.

Hampton Hawes -- Hampton Hawes Trio Vol. 1

with / Red Mitchell on bass, Chuck Thompson on drums
Very fine piano playing. Hawes is supposed to be a West Coast guy, in the coast wars. A coolster? I think he is just a fabulous piano player.

His music is intricate, but accessible, the ideal situation in Jazz. His playing is a joy to listen to and follow. OJC recording so you know it's good.

Lena Horne -- Being Myself

Lena was 81 when this was recorded. Her voice shows her age in any objective, technical evaluation. But, in an emotional sense, she is right on target.
All the tunes are standards. If you want her at her best, get her much younger. But if you can visualize her, or know anything about her, this is just fine.

I read a story about her once. She was at a Military base performing during World War ll. The audience consisted of Black G.I.s and German prisoners of war. Of course, due to the prevailing 'conditions', the Germans were seated up front. Lena promptly left the stage, walked back to the first row of Black soldiers, and began to sing! With the uber alles boys at her back.
In the 1940's that took guts. Esp for a woman. A black woman. In show business. Where her livelihood, depended on the whims of others.

This is her last recording. It's important to me, because she was
Such a beauty! Such a talent!! And a Great and Brave American! I am glad she did this CD. Glad it's on Blue Note. And I'm glad to have it.

She looks 35 on the CD cover!


While Paquito wasn't "Afro Cuban", it was still music that had a Cuban flair, and I'm thinking about ordering it.

Dorothy Donegan's "Boogie Woogie" was historic and interesting as well.

Say "Lena Horne", and I think "Stormy Weather"; yes she was very beautiful. Sunday must be a good day for nostalgia, because I've enjoyed this trip down memory lane.

Enjoy the music.

"A Night In Tunisia", from the LP, "The Cooker" by Lee Morgan, has to be the most fantastic version of that jam ever. It features Lee Morgan on trumpet; Pepper Adams, Baritone sax; Bobby Timmons, piano; Paul Chambers, bass; and Philly Joe Jones, drums.

Pepper Adams is to the baritone sax what Lee Morgan is to the trumpet; the best ever, according to aficionados. Pepper blew on this jam like there would be no tomorrow, and he had to get every last note in that he was going to ever blow, on this jam.

Although it was headed by Lee Morgan, everybody gave Pepper the floor cause "He wanna blow now". Even Gabriel and the angels had to stop and listen. "Blow your horn, Blow your horn", that's what Gabriel said. "I can't wait to get some more Pepper Adams and Lee Morgan", that's what Orpheus said.

Enjoy the music.
Rok, thanks for the Andrew Davis link. No, I had not seen this, and he does a great job of dissecting (in a good sense) Berg's "Lulu". It is always interesting to hear how a composer may have first conceived the music on the piano before orchestrating it as it is more commonly known; while it may lack the complexity of the orchestral colors, there is a wonderful directness about it.

Great call with Dorothy Donegan. What a pianist! Speaking of directness in music, lack of pretense, personality, whatever one wants to call it, she had it. There was something really infectious in her playing; a good dose of show(wo)manship, but also a sense of sincerity. Check out how she ends the tune at 2:16. Gotta love it!

Re: Paquito D'Rivera's 'Portraits of Cuba', I can't believe I'm saying this but I agree with Rok2id's opinion of the record. PDR is one of my favorite musician's of all time, been an avid fan for over 3 decades and own over 90% of his catalog which is quite extensive. D'Rivera's one of those artists that's always exploring new directions and music styles, I love that in any musician. The problem with trying so many different types of projects (as opposed to just staying within a comfort zone) is that sometimes what looks good on paper doesn't quite pan out. 'Portraits of Cuba' was meant to be an homage to Miles's 'Sketches of Spain' but fell far short and somewhat flat. Although it won awards and praise I certainly wouldn't reccommend it to a 1st-timer. The only tune that's memorable (as a novelty) is the theme from 'I Love Lucy'. There's so many great PDR records to choose from. If there's any interest in some recommendations lemme know!
Rok, music with me is never isolated, I always associate the music with what was going on in my life, and everything I would see at the time that music was popular. "Boogie Woogie" was popular when I was a child, and I can even visualize the Packard and Hudson automobiles that have long ceased to be manufactured, in the driveways.

While checking Dorothy on "You tube", I discovered she played a lot more than just Boogie Woogie. She was one incredible pianist who never aged in regard to her ability to play the piano; she remained ever young, as demonstrated by this video.


While I don't recall Dorothy in the past, I will most certainly add her to my collection in the present.

Enjoy the music.
"If there's any interest in some recommendations lemme know!"

Well, that is the purpose and point of the thread. What are your recommendations?
OK, here goes:

Reunion - One of the best Latin Jazz records ever! The reunion is between him and his bandmate from the great Cuban band, Irakere, Arturo Sandoval. D'Rivera had defected years prior to this but Sandoval had just made the leap. It's a difficult concept to understand for us born to freedom, but there's an exuberance in the playing that I attribute to these 2 brothers finally having their dream come true!

This exuberance can also be heard In PDR's 1st 2 records, 'Blowin' & 'Mariel'. Truly outstanding statements but I'm not sure if they were ever released on CD.

Dizzy Gillespie was fronting his all-star UNO (United Nations Orchestra) Big Band when he passed away. PDR was a member of the orchestra and decided to keep the band alive after Dizzy's death. They recorded 2 live records; 'A Night in Englewood' & 'Live At MCG' - Great stuff!

PDR's 1st strictly straightahead Jazz record is also one of his best; 'Who's Smoking!?', is a killa set featuring trumpet great Claudio Roditi and James Moody.

'40 Years Of Cuban Jam Sessions' is another favorite. Interesting in that while it's PDR's record, he sits out a number of the tunes, it takes a special kind of confidence and generosity to just allow yr bandmates to shine. Featuring the legendary Cachao and, here's another freedom tale, drum god Horacio 'El Negro' Hernandez had just arrived in Miami the day before the session after having defected in Europe. PDR knew he had just arrived and needed the work, of course never forgetting El Negro's monsta chops!

'Live At The Blue Note' is another great, great record. He's probably recorded close to a dozen live records which is amazing in that they all sound so different due to the different line-ups and configurations of the bands. This band is basically the Caribbean Jazz Project (ANOTHER great band he was a founding member of!) minus Dave Samuels & Andy Narell.

I've gone way long but I'd be remiss if I left out just a coupla more! 'The Jazz Chamber Trio' is my favorite of his Chesky releases (But the others are great also!)

'Funk Tango' is another favorite.

'Tango Jazz - Live at Lincoln Center' is beautiful.

'Benny Goodman Revisited' has some fantastic moments.

Paquito D'Rivera is a musicologist extraordinaire. Totally fluent in Jazz, traditional latin music from all over the world, classical, chamber, big band, you name it. Amongst his staggering amount of awards was the Medal of Arts presented to him by President Bush at the White House, he's the epitome of a successful Jazz artist. And yet, for all his genius, for all his accomplishments, I don't think he's recognized for being one of the greatest players that's ever lived, but that's a discussion best had at another time.

"Rok, music with me is never isolated, I always associate the music with what was going on in my life"

I once said on this site, audiogon, that "music was history". I meant exactly what you just stated, but everyone thought I meant music was finished or passe. That day, I just didn't have the energy to try and explain.

What the hell are Packards and Hudsons? :)

Ref: Paquito D'Rivera

Its seems as if 'Portrait of Cuba' is my only CD with Paquito as leader. I do have him with Claudio Roditi on a CD entitled 'Milestones'

Of the ones Chazro recommended, I think I'll try 'Who's Smoking' and 'A Night In Englewood'.

I wanted REUNION, but it does not seem to be on CD.

This guy was in all types of music. From Classical Orchestras, to the Cuban Army Band. I am sure this background influenced his approach to Jazz. He recorded a Jazz Chamber thingy also.

Today's Playlist:

Jon Hendricks -- Freddie Freeloader
Jon Hendricks -- Boppin' at the Blue Note
In a sense, these two CDs are TEST discs. You can use them to test if you like Jazz or not. Don't like these, then you don't like Jazz. Could save you a lot of time and money.

Nothing to figure out. Just sit back and enjoy! STARDUST and FAS' lIVIN' BLUES are standouts. I like the Boppin' slighly better than the FREELOADER. With lines like 'take it easy greasy, you got a long way to slide' what's not to like!! Al Grey on board! Too many others to list.

Duke Ellington -- Black, Brown and Beige
With Mahalia Jackson. One the Duke's masterpieces. Jackson sings of course. You may have heard, she could sing.

Les McCann & Eddie Harris -- Swiss Movement
One of the all time great Jazz records. I went thru two LPs, and now have two CDs. 'Compared to what', gets all the hype, but I am partial to 'You Got It In Your Soulness'. I remember where I was the first time I heard the LP. Ain't got it? Git it!

Jackie McLean -- Bluesnik
with Freddie Hubbard-trumpet, Kenny Drew-piano, Doug Watkins-bass, Pete La Roca-drums.
I never knew Jackie was this accessible. But I guess the blues is for everyone! Every tune a blues number.
The liner notes writer, Ira Giter, said Jazz without the Blues is like a body minus it's spine. I would go further and say, Jazz without the Blues is like a body without a Skeleton! Just a shapless blob.

Wynton Marsalis & Eric Clapton -- Play The Blues
A wonderful CD. I don't listen as much as I marvel at the playing. This is how ARRANGING for Jazz band is done!! Some folks like to dis Wynton, but this guy knows his business. Professionals at work! Ain't got it? Git it!


****This guy was in all types of music. From Classical Orchestras, to the Cuban Army Band. I am sure this background influenced his approach to Jazz. **** - Rok2id re PDR


Paquito's first and most important influence was the music of his native Cuba; not to mention the influence of the culture of that country in general. He came to jazz from that direction, as opposed to the many players who were jazz players first, and later discovered Latin music and incorporated it into their repertoires. There will be a clearly identifiable flavor in the playing of musicians depending on what their primary influence was. It is a little like the accents of the spoken word of people of various nationalities; a person for whom Spanish was their first language will, more than likely, speak English (even if perfect English) with a Spanish accent.

Not only do I agree with Chazro about Paquito being a great player, but I would also point out that he is a very accomplished composer in various genres including chamber music. I bring up the above in order to possibly explain why he is not generally considered one of the greatest; not as a criticism. While I agree about the exuberance that Paquito demonstrates on his first records, this exuberance is more than anything, a reflection of simply who he is; he is a very exuberant individual in general. This exuberance, and the influence of his Latin music background in general are things that are often pointed out by die-hard jazz players as qualities that are questionable. IN GENERAL, Latin players play jazz with a unique, and readily identifiable, swing feel. There is a bit of a "ball rolling down the stairs" feel; they play much more on the front side of the beat than American jazz players who generally play with a more laid back (back of the beat). Please remember that these are generalities and certainly don't apply to all players and all circumstances. Conversely, jazz players generally bring their own unique approach to Latin music; I have been in playing situations where great jazz players had trouble sounding convincing with the unique syncopations of Latin music.

When we talk about who "the best" are, we are setting an extremely high bar. Players like Paquito, Wynton, Eddie Daniels, and others who are extremely competent in a variety of styles and genres deserve their well-earned respect, but it takes something really special to be in "the best" category; IMO.

With a combination like Jon Hendricks, Al Jarreau, George Benson, and Bobby McFerrin doing Miles Davis's music, what's there not to like. It's on order.

Less McCann "Swiss movement" is also on order.

As you know by now, I'm not a "traditionalist", consequently I can live without Wynton; but that's just me.

Chazro, I enjoyed your write up, but the music didn't grab me; and I had to stop and ask "Why not"? Paquito didn't grab for the same reason Wynton doesn't grab me; both are too "stereotypical". I've listened to jazz all of my life, and as soon as someone plays the same phrases I've heard so many times before, I'm gone. Miles realized that a long time ago, which is why he kept re-inventing himself.

Enjoy the music.
I truly appreciate the thoughtful responses about PDR as they've honestly provided food for thought. I've never thought about the comparison between PDR and Wynton Marsalis. While I understand the basis of the comparison, I'd say that a primary difference between the 2 is PDR plays with passion and fire, words I've never heard associated with Marsalis. I'd add that while there are those that feel WM's style to be a little too cool for school (at the Jazzsites I visit just the mention of WM brings out some fierce haters!). I've never subscribed to that train of thought, while not being a big fan of his work, I do own a few of his records. Like I said, after giving it some thought, I'd have to agree the comparison is valid EXCEPT for for those 2 little words; passion & fire. I'm off to my Latin Jazz chatroom with a new subject line comparing PDR with WM, thx for input!

I have a question. I don't know if it's legit, or just my imagination. But if I hear a trumpet playing Mexican Music, just a note or two, I can tell immediately that's it's Mexican music. Not because I recognize the music, but just by the sound / tone of the trumpet. I think this might be true of some other genres as well.

Does this make any sense? If it does, what is the musical explanation for this. Talk about it.

It is definitely NOT your imagination. Mariachi trumpet players have some very distinctive characteristics s in their playing; in fact, there is a "Mariachi school" of trumpet playing. This style is studied by those players just as the classical and jazz styles are; although, in fairness, there is arguably less complexity (if not subtlety) in that style.

The most distinctive aspect of this style is the use of very fast, but very wide, vibrato; much wider than than used by most jazz or classical players. There is also a very unique and "punchy" way of articulating notes. Articulation is the way that the note is started, usually by the use of the tongue. Mariachi trumpet usually "hits" the note with the tongue in a more aggressive way than in jazz; and certainly more than in classical, where a greater level of finesse in articulation is appropriate. Notice that I said "appropriate"; this lesser level of finesse is not necessarily a deficiency on the part of the players' technique, and is used to fit the style. Interestingly, studies have been done (and this has relevance to audio) that show that recorded players' tones (any instrument) are very difficult to distinguish from each other if you remove the initial attack of the note (articulation/"leading edge" in audio).

More subtle points are preference for a brighter/brassier tone than in other styles, and a tendency to play on the high side of the pitch. Just as with rhythm where some players play on the front or back side of the beat, some players play a little on the sharp side of perfect intonation as opposed to on the low side of the pitch (many jazz players). In jazz, playing on the low side of the pitch can highlight a "bluesy" sound. In Mariachi, playing on the high side of pitch gives the sound extra brilliance. These can be subtle deviations from perfect intonation and not necessarily identified as being out of tune.

Viva Zapata!

Thanks for the prompt and informative reply on the Mariachi trumpet question.

Paquito Vindicated!!! This guy can blow / bop with the best. I listened to 'Milstones' with Claudio Roditi, Paquito and Kenny Barron Great record. I guess it depends what you are playing and where and with whom. This set is live at the bluenote.

I get LULU today. Can't wait to see and hear Miss Julia.

It's interesting concerning the backlash some have towards Wynton.It seems a badge of hipness and inter circle creditability to dis him. Too mainstream, unoriginal, lacks soul, passion, and on and on it goes.I'd love the opportunity to get any of these "hipper" musicians on the stage with him and attempt to outplay or "expose him", good luck. Just seems like typical envy and petty jealousy ("hey he gets to much undeserved praise"). Reminds me of how some people react to Tiger Woods or Michael Jordan. They're so talented and gifted that people just find reasons not to like them.

It someone doesn't like Wynton's style that a matter of taste (and that's fine) butvto say he can't play or not to acknowledge his obvious talent is just nutty.The man can flat out play the trumpet.

Charles1dad, no one ever said Wynton couldn't play the trumpet, he just can't make music. I wouldn't disagree with someone who said he was the worlds best "trumpet player", that's different than making music. Whatever it takes, he aint got it.

He could be the most incredible "sideman" that ever lived, but by consensus of the "aficionados", his music is too "stereotypical".

Enjoy the music.
Fellow Jazz Lovers:

Wynton has become the 'goto' guy in Jazz for the non-Jazz world. Need a guest on a talk show to talk about Jazz? Who you gonna call? Who gets the coverted gig at Lincoln Center? He is the face of Jazz in this country, actually the world. Don't like it, or agree, too bad.

Some feel he is not the BEST Jazz / trumpet player or indeed not even the best in his family. That does not matter. What he has, is the appropriate / required SKILL SET to represent the art form. He has it all. The education, personality, speaking ability and abouve all he KNOWS the music and it's HISTORY. And, like you said, he can play! He is a modern day Louis in that respect.

Now some players resent all this. There are not many perks in Jazz, and Wynton seems to get them all. I understand this, even if I don't agree with their attitude. The fans, are as you said. Hippness and possessors of some insight the rest of us po souls don't have, is their motivation. I understand them also.

I respect him more than any other player. He is in the arena, doing all he can to grow the music and keep it alive and relevant in today's music world. Hard to do with all the noise, static and easy undeserved money out there.

And lastly. He looks like a Jazz player! Talk about Cool and hip? That's Wynton. We need more like him!


BTW, O-10, I get Ray and Milt today. Will Report.
Well said regarding Wynton.
O-10.Look, I respect your stance, we'll just respectfully disagree, he can play and also make music in my opinion.I sincerely appreciate all the contributions to this thread.We are all lovers of jazz but with individual viewpoints (as it should be).Rok and I just happen to see Wynton in the same light.

To change topics, does anyone here listen to Shirley Scott? Last night I played three CDs of her and it was pure communication taking place. Man, can she play that B3 organ wow! She swings as good as anybody regardless of the instrument.What a musician she is.
I think you'll like Ray and Milt "Soul Brothers/Meeting", pure blues beauty. Ray's chords are just so right (that's what I always Ioved about Barry Harris accompanying also).
Charles1dad, although we don't agree on Wynton, this has been the best jazz thread ever, and I appreciate everyone's contributions, even the very few that I disagreed with.

I've expanded my collection with some boss jazz. Shirley Scott is an organist that I like very much, and I'm glad you reminded me of that fact.
Charles1dad, I have been listening to Shirley Scott with Lockjaw Davis, on a " Cookbook'' compilation. Great playing from everyone. Jerome Richardson adds a lot of great flute playing.

I think I have the original recordings somewhere???
I agree with all the positive comments about the Ray Charles / Milt Jackson recording. Very good. No filler.

I also pulled out the Lee Morgan CD, 'The Cooker'. Agree with O-10's review. But, I would have given a special shout out to Bobby Timmons and the rhythm section. They almost stole the show.

I only have Shirley Scott on one CD. That's with her husband Stanley Turrentine. CD entitled Hustlin'. I have a lot more of her on LP. She was gifted.

But since you mentioned the B-3, I will have to inflict a Jimmmy Smith 'review' on you people.


I really like Jimmy Smith paired with Kenny Burrell.When I think about it, Kenny was good with practically anyone he played with.
Overlook the flash, and "Wow factor", and see which ones belong in "the best" category due to strong sense of thematic development, musical logic, and ability to let you follow the tune at all times. It's clear to me. What do you think?



Been very busy lately, but wanted to chime in on the trumpet talk, being a horn player. I concur with everything Frogman says about the mariachi style, and I grew up hearing a ton of it. Interestingly, they also often use a tuba in the bass, with the same "punchy" style of articulation, as Frogman put it. Kind of hilarious, really, but fun.

I also get very tired of folks who try to claim Wynton is somehow "not musical." These type of comments are almost never backed up with a genuine argument, and smack of anti-intellectualism to me. A very similar victim of this in the classical world is the great pianist Alfred Brendel. I strongly object to the attitude that someone who is very smart and educated and a great teacher can't possibly have any soul as well. His education didn't get him to where he is at the top of the jazz world, though of course his intelligence helped greatly - it was his playing and yes, his soul. One simply couldn't develop the incredible musical versatility he possesses without soul.

For some disclosure - I have met and spent some time with him, actually outside of the music world, interestingly enough - I never got to play with or for him, though we talked music. It was a long time ago now, and he probably wouldn't remember me, but I spent enough time with him then to realize that he is a very passionate, soulful individual. And a heck of a basketball player, at least at that time, which was slightly more than twenty years ago now.

I 'assume' you think the Freddie and Clifford playing was better. I might agree, on this one instance, but I am sure they could all play it many, many ways. that is one of, if not THE, essential component of Jazz. Improvisation.

The classical piece was great. I have Wynton with the great soprano, Kathleen Battle, on 'Baroque Duet'. I also have him doing Trumpet Concertos by Haydn, Hummel and L. Mozart. Great playing.

As I have said before, he is more than just another Jazz player. He is a multifaceted Musician. At home in any genre. He can play Cherokee anyway you want it. Or he wants it.

I really appreciate your comments and insights concerning Wynton.It must have been so much fun spending time with him.I hope you do get a chance to play with him one day.
Thanks for those clips, I enjoyed them.I liked Clifford Brown's version the most.Wynton was just beautiful playing the Carnival of Venice.

What moves us is purely personal and unique, it's impossible to expect unanimous agreement on what musicians we like and don't like.The point is jazz is a extraordinary form of art and I'm just happy there are others here who love it as much as I do.
Charles1dad, "What moves us is purely personal and unique, it's impossible to expect unanimous agreement on what musicians we like and don't like.The point is jazz is a extraordinary form of art and I'm just happy there are others here who love it as much as I do."

You have expressed my sentiments precisely, and your love of this music has taken me back to artists I've forgotten. Shirley Scott's warm, and soulful organ takes me back to a time that I listened to "live" organ more than I listened to recorded organ. Now I realize the highest of the high end, can not even come close to a live organ. I was telling someone how I recall a friends sound on organ as being so much better than what I heard on my LP's or CD's, and he said it was because I heard it live. Since I had heard sax, trumpet, vocal, and even piano live; and when I compared them to my recorded versions of the same tunes, there wasn't that same vast difference that occurred with the organ. Now I realize that the organ covers such a wide range of frequencies and dynamics, that a recording can't even come close; but in the case of my friend, that only partially explains it.

Thanks to you and others who have posted, my love for this music is even better the second time around.

Enjoy the music.

I was just listening to the CD, 'UGETSU', Art Blakey and the Messengers live at birdland. This is the 'review' everyone has been clamoring for me to write, and surely awaits with bated breath.

Outstanding Cover photo. But the club seems to be very small. However, any and everyone who is, or, has ever been anyone, has played there.

So, my question is, how does a group make money, playing in a place that small. Then I started thinking about who makes or made money in Jazz. And how much, i.e. how high a standard a living? Say, from the golden era of bluenote to the present.

Based on your personal experience and knowledge, can you speak to this? Of course in a gerneral sense.


Rok, musicians' wages? Yikes! That's gonna take some time; lot's to say. Will be back.
I have a piano at home and my wife and I love to hear it played.I attend local jazz clubs regularly and have done so for many years. I have no delusion that home audio equals the live experience. What I've discovered though is certain types of components get me pleasingly close and deeply emotionally involved. So I'm very happy listening often when at home.

It's a genuine pleasure to be able to hear the performances of great musicians in your home system when ever you desire. Here's an example, last night I'm really enjoying listening to Harold Land and thought, he plays the same instrument as Dexter Gordon and Johnny Griffin. They're more or less from the same era and all three at some point have played the same standards and ballads, Yet it's very easy to tell one from the other.Each has their own sound and approach.Each could play "Lush Life" or "It Never Entered my Mind" and they would sound readily different and all three would be beautiful.

Charles1dad, All of the artists you mentioned are well represented in my collection.

Harold Land is special to me because he appears on one of my favorite LP's. Clifford Brown & Max Roach; this features Harold, tenor sax; Richie Powell, piano, and George Morrow, bass. My favorite cut on that LP is Delilah, and here she is..


Here is Lands end.


Enjoy the music.
This weekend's playlist:

Eddie 'cleanhead' Vinson & Cannonball Adderley -- Cleanhead & Cannonball
Cleanhead sings, Cannonball Quintet plays. It just, does not work. This probably looked good on paper. They both do their respective things well enough, it's just not a good pairing. The Quintet just does not have the proper sound and instrumentation to back a blues shouter.
This would have been better with a Carmen McRae or a Nancy Wilson type singer, or Basie backing Vinson. On the track 'Audrey', Cleanhead tries to be a crooner. A total disaster!! You're a Shouter, not a Crooner!! (full metal jacket) Ain't got it? You don't need it.

Count Basie (w/ Joe Turner & Eddie 'cleanhead' Vinson) -- Kansas City Shout
After the disappointment above, I moved down the shelf to Basie. He has Cleanhead and Joe Turner. Both guys sing great. Turner is showing his age, but that don't matter!! Great selection of tunes. Some of the same tunes as on the cannonball CD. As you audiophile folks say, 'Night and Day' !!

As an added bonus, you get to hear the Basie Band, The Basie Quartet and the Basie Trio. Great playing. Basie gets to stretch out on piano. Wow!!

Favorite blues line? "woke up this morning, got me a jug, and laid back down". hahahahahahaha It's called the blues! (With all due respect to you clapton and canned heat fans). I love this stuff. Ain't got it? You know the drill!, Git it!!!

Art Blakey's Jazz messengers -- Ugetsu
The messengers live at Birdland. Way above average for the Blakey group. Hubbard, Shorter and Curtis Fuller (trombone) on the horns. Good atmosphere. Art played the entire set without taking a solo. I think that's good. Those guys should concern themselves with keeping time. I feel that most drum solos just disrupt the flow of the music. Recommended.

Roy Hargrove -- Roy Hargrove's Crisol : Habana
This is what is called a GEM!! Roy Hargrove and his quintet in Cuba. WOW! This is well played, well written music by a semi-large group of professionals.. 10 members. The percussion playing is awesome!!
A lot of big time guys on board. Chucho Valdez, David Sanchez, Horacio Hernandez, John Benitez, Russell Malone and others. No one person dominates. Everyone gets their time. Even Chucho is under control, at least until the last tune. He wrote it, called Mambo for Roy. Great stuff.

Horace Silver -- The Hardbop Grandpop
Not BlueNote. But Impulse is close enough. This could easily have been recorded in the 50's. Silver has not lost his touch.
Roditi, Michael Brecker, Steve Turre,. Ronnie Cuber, Ron Carter and Lewis Nash on board. My worst fears were not realized, they all meshed and played beautifully. Recorded 1996. I guess we can call it Late Silver.

I hope someone finds some of these to their liking.

Thanks O-10,
I read long ago an interview with Max Roach where he`s discussing his band of the 1950s.He said they preferred Land to Sonny Rollins at that time.Many jazz fans likely found that surprising as Land is by far the lesser known of those two.Land would be my choice also.
Charles1dad, when you're a true jazz aficionado, as you are; you're guided by your "inner ear" and not by public opinion, consequently you will often prefer the lesser known artist.

Enjoy the music.
Excellent comments re Harold Land; with which I completely agree. He was a great tenor player and while not as widely known by the public as some of the tenor stars, no question about how his peers felt about him. I heard him play live in 1982 in a small club in a small town in the mid-West (I was on tour and there were so many small towns that I don't remember which one it was). What I do remember (and this goes to Rok's question re how jazz musicians make money) is thinking and wondering what a great player like that was doing playing in such a small club, practically in the middle of nowhere. How much could that club be possibly paying him?

The comparison to Sonny is an interesting one, and one that is a study on just what it is, exactly, that makes a great player. As with most things, it's all about context. There is no question, IMO, that Sonny is the more important player in the overall scheme of the history of the music. He was (is) a true innovator with a distinctive sound and approach, and an incredibly powerful musical personality. When one listens to his recordings there is no doubt that he is the overwhelming driving force. It is almost as if the rhythm section plays around HIS time feel; not the other way around, as is usually the case. That was one of the reasons that his piano-less performances were so successful. Harold Land was a more subtle player with a certain elegance in his improvisations who did not demand that he be the "center of attention"; this made him a much better ensemble player and a better complement to Clifford's playing.
And BTW, interesting that those comments should come from Max Roach, a drummer. I would imagine that because of what I described above, Sonny's rhythmic forcefulness did not suit a drummer's traditional role in an ensemble.
Thanks Frogman,
Max said just what you described, Harold was just a better fit.Max expressed much respect for Sonny's talent and stature, he simply preferred the playing of Land. The fate of a wonderful saxophonist like Land playing in small town venues to earn money is stark contrast to Wynton Marsalis. This I think explains the envy and resentment some feel towards him (why does he get all the breaks and the big bucks? ).Ironically it's precisely someone like Wynton who helps to revive and promote the recognition of the Harold Lands of jazz past and present . Otherwise these types of timeless artists would completely be lost in obscurity.
Well said, Charles1dad. BTW, and this is simply a statement of fact and not a criticism, but Wynton's salary from Jazz At Lincoln Center alone is $1 million+

Dr. Dre grossed $110. million pretax. Does that mean he's 110 times better musician than Wynton Marsalis who only made a measly 1 million or so?