2. music
  3. 1361722327

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
orpheus10 OP
8,668 posts
 

Lee Morgan, is one of the greatest "modern jazz" trumpet players ever in history. This is the consensus I've gotten after a lifetime of talking to other jazz aficionados. He was chosen when I picked Clifford Brown. I'll give you two of the many reasons why Lee Morgan has been chosen by consensus of many jazz aficionados: "A Night in Tunisia" and "Since I Fell For You".

http://www.youtube.com/watch?v=99U3Omgh8z8

Lenny Welch's "Since I Fell for You," reached number 4 on U.S. Billboard Hot 100 in 1963. That certainly ranks his version as one of the best. Lee Morgan's trumpet sings this song even better than Lenny Welch.

http://www.youtube.com/watch?v=iSeZ3rzxarU
jazzcourier
205 posts
 
Jazz musicians thrive on public acceptance,they need an audience,they need feedback,they need to test their mettle-constantly.Even the most anti-social,introverted musicians feel this way.One of the most private musicians i ever knew was Warne Marsh,a gifted (beyond words) saxophonist and an improvisor on par with the best.He was a man of few words,but when he did you know it was something of value and a life lesson.I asked him once what part the audience and listener played in his art and i was shocked by his reply..."It is everything to me.The listener is fifty percent of my world" We need to bethere as listeners,as an audience.For Art to suceed it has have it's audience.The value of discourse can't be discounted,and Art must have it's critics and it's public.
Jazz,like boxing,runs the peril of being dominated by lightweights.Where are the heavyweights?
rok2id's avatar
rok2id
7,859 posts
 
Orpheus10:

I listened to both 'The Cooker' and 'Candy'. Both were excellent. The most amazing thing is that Morgan was only 19 when he recorded both.

On Candy, I agree with 'since I fell for you'. I also liked 'C.T.A.' The notes say this is his only recording with a Quartet.

On The Cooker, I liked 'night in Tunisia' and 'New-Ma 8:11'.
This was his 5th recording for Blue Note, and still not 20 years of age. WOW! Pepper Adams and Bobby Timmons were standouts on this CD also.

The notes say Miles and Gillespie were the only trumpet players ranked above him when he recorded these LPs. Still not 20.

Cheers
frogman
7,472 posts
 
A very insightful post; and I agree completely. This is one of two very common misconceptions about musicians held by many music lovers. This quote by Louis Armstromg addresses this point and shows that he cares deeply about what the audience thinks, and also touches upon the second misconception:

"If I don't practice for a day, I know it. If I don't practice for two days, the critics know it. And if I don't practice for three days, the audience knows it"
- Louis Armstrong

The second common misconception is the idea that jazz musicians don't practice relentlessly; that their art is just the result of inspiration and innate talent. Clearly, there needs to be a great deal of innate talent. But, the greats were incredibly dedicated to the rudiments of playing their instrument and for years spent countless hours "woodsheding". Bird, by his own admission, spent one period of four years practicing 8-11 hours a day (!!!).
frogman
7,472 posts
 
A little humor, and the subject of jam sessions. Hysterical!

http://m.youtube.com/watch?v=1Zn-P0ZH3_M
More to discover