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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
orpheus10 OP
8,668 posts
 

"Rasta Man Vibrations" and "Natty Dread" were my first two reggae albums, that led me to other artists; it was a real blast. I even went to "Mo Bay"; that's what the islanders call "Montego Bay". It's the second largest city in Jamaica.

Believe it or not, Jamaicans are more into jazz than reggae; that's for the tourists. On the radio, you will hear jazz so hip, that you'll think you're in New York; that was a welcome relief because reggae is best in small doses; you don't want to OD.

"Natty Dread" gives you a feel for the island, and how most Jamaicans live. Let's hear a couple of songs from that album;


      https://www.youtube.com/watch?v=KIM-tkNBK-0&list=PLEMVZmX54bvdRnDAOo4ofi4XP48b6SdOF


Enjoy the music.


     





acman3
4,337 posts
 


https://www.youtube.com/watch?v=OlfblmgOaYE
frogman
7,562 posts
 
Discussion about music is not about "winning"; facts speak for themselves. Moreover, music is not subjective; our reaction to it is (sometimes). For anyone interested in some facts:

The comment that Bird, as great as he was, was not "capable of playing anything that Trane could" was made primarily in reference to Trane’s more advanced improvisational concepts; not about ability to play "all the notes on a saxophone" or who could play faster. However, it is also not true that Bird could play all the notes on the saxophone; certainly not the way that Trane could. Trane expanded the range of the saxophone by making use of the "altissimo" register; the range of notes outside (higher) the normal range of the instrument. He also used "multi phonics"; playing more than one note at a time by making use of natural occurring harmonics. I have not heard nor read reference to a single recorded example of Bird playing in the altissimo register or of using multiphonics; just two examples. This did not make Trane a "better" jazz player. It did make him a more advanced (better) instrumentalist with a more advanced harmonic concept. Which of the two was a better jazz player? THAT is subjective.
alexatpos
1,249 posts
 
We are jumping from theme to theme...anyway, more jazz from Jamaica
I posted him before, maybe not in this line up.
Excellent guitar player, Ernest Ranglin with Monty Alexander and  famous rythm section of  Sly and Robbie...'Jamaican legends live'....

https://youtu.be/H0tpI4Y4W7I?list=PLD0ACE18A281C028B
frogman
7,562 posts
 
Who’s jumping? 😉

When I made reference to Trane’s language in comparison to Bird’s I was not referring to where he had taken that language by the time of "A Love Supreme". By then, his music was fairly modal with fairly simple chord changes which created a less restrictive backdrop for his hugely emotional musical outpourings. To contrast the two languages, a better comparison to Bird’s language would be something like this:

https://m.youtube.com/watch?v=30FTr6G53VU

Possibly the most difficult hard bop composition to improvise over with its VERY fast changing harmonic progression. While still within a very structured harmonic framework, these harmonic changes are not only very fast changing, their relationship to each other was very non-traditional (at the time) presenting the improviser with new and unusual challenges. For anyone interested in learning a bit more about this, or simply putting it all in a better context:

https://en.m.wikipedia.org/wiki/Coltrane_changes

Nice Monty clip, btw.

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