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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
rok2id's avatar
rok2id
7,859 posts
 
**** As I said before your points go to the issue of popularity; what does that prove?*****

To most artist, 'popularity' is EVERTHING! It's priceless. It means success. Financial security. It also 'proves' the artist is connecting with the intended audience.

Popularity is the whole point of being an Artist.

People just have to accept the fact, that the unwashed masses, decide the fate and fortune, of all Artists. :)

Cheers
frogman
7,476 posts
 
We can debate the issue of the meaning of popularity ad nauseum, and I could point out that you could not be more mistaken re the motivation of true artists being popularity since to most true artists popularity, even when sought and achieved, is secondary to the simple need to perform their craft; no matter what. However, as concerns this discussion the point that you, perhaps conveniently, continue to ignore is that jazz WAS the popular music at one time and is no longer for many reasons already discussed, that in no way does that mean that great jazz is no longer being played; quite the contrary.

Your feelings about popularity as concerns the artist really don't come as a surprise. For some insight into your mindset about this, I would bring up, again, the subject of the great Phil Woods. When first discussed, and after my accolades of his playing you were, at best, unimpressed with his playing and your most positive comment about him was "He's fat". Months later, as you read more and more about him and became more and more aware of the countless recordings he was on and how he was held in the very highest esteem by top players, all of a sudden he seemed to move closer to the top of your list (so to speak). I would suggest that his great stature was there to be heard and did not need the support of anything else aside from your ears.

Let us know what you think of the players I recommended.
frogman
7,476 posts
 
Acman3, thanks for the Joe Sullivan links. Nice! New to me. Very harmonically interesting writing; he has a unique voice harmonically. I particularly liked Lofsky's guitar playing.

Here's a band composed of some of the best young NY jazz cats.

http://m.youtube.com/watch?v=IZ_BjtbP_Lk
learsfool
1,215 posts
 
Rok, I must agree 100% with Frogman - your comments in your latest post are way off base. Laughable, even. Are you trying to troll us? Seriously?!
frogman
7,476 posts
 
Here's one of the most interesting and forward-looking young saxophone players around and making some very interesting music; and an amazing instrumentalist.

http://m.youtube.com/watch?v=NKgvNKHCBdM

And here he is, along with Joshua Redman, as soloist "ringers" in a band comprised of HIGH SCHOOL (!) players. First of all, check out the expressions on the faces of the kids (!) in the saxophone section as they listen to McCaslin and Redman solo; check out that kid on bass playing his ass off. If that doesn't bode well for the future of jazz, I don't know what does.

http://m.youtube.com/watch?v=Gvy4xbWJmp8

McCaslin's playing (even if a little too long) is an absolutely amazing display of ideas and virtuosity. Redman also plays very well and more melodically, and seems to have a look of worry as McCaslin plays, as if saying: "I have to follow THAT?" But, it's the kids that really impress. Yes, contrary to popular cliche, they can learn a lot in school. Don't worry folks, jazz is alive and well.
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