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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
frogman
7,441 posts
 
Orpheus10, there are exceptions to every rule; as I am sure you would agree. Actually, Art Pepper was one, he seldom practiced. But, as a rule, jazz musicans practice, or practiced, a great deal. If your jazz musician friend is able to do what you describe, I am certain that at some point he put in the hours.

Thanks for the Bobby McFerrin links. Great stuff.
rok2id's avatar
rok2id
7,859 posts
 
I tried to stop doing my 'reviews', but the public outcry was so great, that I was forced to continue. So, by popular demand, todays listen.

'The Quintet' -- Jazz At Massey Hall

The Quintet consisted of: Charlie Parker, Dizzy Gillespie, Bud Powell, Charles Mingus and Max Roach. Therefore, the only comment to be made, is on the sound quality.

The concert was recorded by Gillespie and Roach on their personal tape recorder, so the sound is uneven. No hiss or noise, just not a professional job. Some players seem to fade in and out. Except Dizzy of course. After all, it was his tape machine. This is the concert where Bird played the plastic toy sax. Didn't seem to matter.

One of the highlights was when Bird referred to Dizzy as his 'worthy constituent' during the intro to 'salt peanuts'. There seemed to be bad blood between the two, which they expressed during their solos.

Took place in Toronto. May 1953. Same night as the Marciano / Walcott Championship fight. Affected the attendance.

A must have for any serious 'Real Jazz' fan.

Cheers
learsfool
1,215 posts
 
Hi Orpheus - I will second Frogman and say that your friend MUST have put in very serious hours. Also, the process of jazz musicians who haven't played together before but who sound like they have is not so mystifying as it may seem. Each jazz standard is usually performed in the same few keys, and with the same basic chord changes. What the discussions were about that were unintelligible to you were making sure everyone knew the tunes, what keys they were going to be played in, and anything that might not be standard, such as a different chord change than normal, for instance. Jazz musicians have what they call a "Fake Book" that has standard keys and chord changes for literally hundreds of standard tunes. They will often review such a book before a gig, especially when they are new to the group they will be performing with. Frogman will definitely have much more knowledge of that sort of thing than I, so please chime in on this if you wish. As an orchestral French horn player, the only jazz I have ever played is in a big band, where the parts were of course written out, or on a pops show where again, the orchestra parts are written out.
charles1dad's avatar
charles1dad
10,250 posts
 
This is one of the more interesting and informative threads on audiogon in a while.Orpheus, your friend very well have been an exception. The jazz musicians I've known put considerable hours into practice, serious practice.
Regards,
pnmeyer
38 posts
 
I would agree that most Jazz musicians are serious practitioners. As a horn player, I can speak from experience that you cannot develop the chops needed to play without practicing-talent only gets you so far. Recall the story of Sonny Rollins, who took a three year hiatus from performing to practice 10 plus hours a day on the Williamsburg bridge (apparently he practiced there so he would not disturb his landlady) because he was unhappy with his playing. Extreme example but many other Jazz players had rigorous practice routines. Art Farmer and John Coltrane come to mind.
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