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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
astewart8944
499 posts
 
Went to the Village Vanguard earlier this week and heard Javon Jackson quartet. Stayed for both sets. They were very cohesive. Javon Jackson (tenor sax) Jeremy Manasia (piano) David Williams (double bass) McClenty Hunter (drums). Easily worth the ticket. Every player worth their salt. Of particular note: the drummer--he is young, he is fast, he is creative. Interestingly, Al Foster (drums--played with Miles Davis and many others--in his 70s now) was in the house and sitting very close to the drum kit. He seemed to be having a good time taking in the show and watching the young drummer work. Also, David Williams has played, it seems, with everybody of note and that dude can make his bass talk--doesn't matter where his fingers are on that fingerboard--he is money.
frogman
7,562 posts
 
Isn't that place amazing?!  The vibe as you go down those steps and when you see those photos on the walls of all the greats that played in that room over the years is almost overwhelming.  Btw, I saw Al Foster play there several times in the 80's with Dexter Gordon during Dexter's "comeback" period.  Probably the greatest jazz club still in existence.  Thanks for sharing
orpheus10 OP
8,668 posts
 

Ghosthouse, I was listening to "Something Else" by Cannonball Adderley, released on Blue Note Records in 1958. Also on the session is trumpeter Miles Davis in one of his handful of recording dates for Blue Note.

Cannonball Adderley – alto saxophone
Miles Davis – trumpet
Hank Jones – piano
Sam Jones – bass
Art Blakey – drums


                  https://www.youtube.com/watch?v=mLPW93VIVgs


This is the complete album, and I would like to know your honest opinion of this album, as well as all the rest of the aficionados out there?

orpheus10 OP
8,668 posts
 

"Somethin Else" has been one of my favorite albums since it came out. I would like to point out one small detail that's easily overlooked; that's the fact that "Something" on that album is spelled "Somethin" minus the "G"; but however you spell it, it still sounds good.

The music ranges from beautiful ballads to the hardest of "hard-bop", and all the musicians are in fine form. The tunes are: "Autumn Leaves", "Love for Sale", "Somethin Else", "One for Daddy-O" and "Dancing In The Dark"; don't forget to give me your review and rating of this album.




Enjoy this music.
frogman
7,562 posts
 
O-10 makes some be very good points that one could say really go without saying.  When listening to music one doesn't have to please anyone but ourselves.  We sometimes "grow into" a genre and jazz being an evolving art form we sometimes have to grow into the different periods of the music.  Sometimes it takes time and more exposure to "get it".  And all that goes to a personal choice which is probably heavily influenced by our respective personalities and the place that each of us has for music in our lives; the relationship.  Some listeners approach the experience with an open mind to all the possibilities and with the firm knowledge that what there is to "get" is not always understood right away as the backdrop.  Or, is the backdrop that the scale is always firmly tipped to the side of what we currently like?  Iow, do we demand that challenging music always prove itself to us right away?  Or, are we comfortable with the idea that sometimes we have to prove ourselves to it as listeners?  It is, after all, the musician who is the artist.  Just some ruminations on what I find is a very rich subject.

Ghosthouse, I must say that I am surprised that you found so little to like in "Pilgrimage".  "undifferentiated mass of noodling"?  Wow!  Structure and blowing that is admittedly much more abstract than in things like "Three Quartets", but still very rich in those regards.  In fact, widely considered Brecker's best writing and most inspired blowing.  You do well to want to come back to it at some point later on and I have a strong feeling that you will come to appreciate it.  After all, in keeping with O-10's comment about "strong concensus", there aren't that many records that receive such strong positive concensus as that one.  

This was Brecker's first solo record; might put some things in context and in some ways my favorite of his solo recordings.  Great lineup too:

https://m.youtube.com/watch?list=PLloUaOFZpOhcaevThkk-rW70srfO6LwYI&params=OAFIAVgC&v=sm-CSR...

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