Jazz for aficionados

My (unsolicited) advice to all is this: Don't get to analytical. The important thing is, do you like it, or don't like it. Tell us which and why. Comment on the sound quality. Maybe we will discover new music, which is what this forum is about.

Speaking of new music:
Today I was going to add about 50 cds to my hard drive and put them in the proper rack. I thought I would need a little background music while I did this, so I put Aster Aweke, in the player. 30 seconds into the first track, I had to stop and listen. Those Cds are still waiting to be cataloged.

Aster Aweke -- Kabu

I have had this Cd for around 20 years. When I bought it I listened to a track or two and then put it in the 'try again later' shelf.

WOW! What a difference 20 years makes in a person's musical taste and maturity. This is why I never throw away CDs I don't like initially. Great voice, great songs and Outstanding recording. Translation of the vocals in the CD liner.

You ain't got it? Git It!!

In a similar vein:

Zap Mama -- Adventures In Afropea 1

This is a fun disc. Five women of African and European decent. Just the human voice. No Clutter!:) These women are having fun and it comes thru. Some of the tunes have a 'Sweet Honey In The Rock' flavor. Great Stuff!
Ain't got it? Git it, right after you git AWEKE!

O-10:
I hereby pronounce the Three Sounds 'Eight Classic Albums', outstanding music, outstanding recordindgs and an outstanding bargain!! Nat Adderly and Stanley Turrentine appear. Gene Harris is in fine form.

Cheers

I am very much looking forward to goofyfoot's monograph on Paul Bley.I would love for all of us to see a biographical and historical perspective.Musical analysis of his sytlistic evolution and of course what led to his "effortless command over the piano".Recommended recordings would be a plus.
The last time i heard effortless command over the piano was Roger Williams playing "Born Free".

Jazzcourier, you're apparently resentful about my having mentioned that I would opt to describe particular works by Paul Bley by using an aesthetic and theoretical vocabulary. This is common practice by the way in all music programs beyond grade school and it generally applies to all music that is based on the western harmonies. I use Paul Bley as an example in order to make a point but I can discuss theory and aesthetics concerning music in general despite the composer or performer and despite whether someone wants to call it jazz, post modern, or anything else. None of my statements apply to recounting Paul Bley's life within a biographical context or lecturing on the history of western music and his place in it. I'm sorry that you have a ax to grind but your claims are presumptuous at best.

I have no axe,or resentful weapons at all.I just wish you would make a SPECIFIC point that would benefit the listeners and readers.I think there are many here that would enjoy the challenge of Bley's music (a myriad of music created over 55 years) and his musical journey in the world of Jazz and improvisation.As far as i am concerned you can get all theoretical and start waving artistic aesthetics around, but frankly, you are boring us,and Paul Bley ain't boring.

Jazzcourier, so you believe that your speaking on behalf of everyone else?