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.
- ...
- 31007 posts total
**** The new ’Jazz’ musicians want to change Jazz music, until they can play it. I don’t blame them. Everyone has to eat. **** No, they don’t want to “change it until they can play it”; you simply don’t understand what it means to be a creative musician and what drives them. Do you really think that jazz musicians pushing the envelope make more money than those who play what audiences already recognize and like? Really? The opposite is true. Where do you get your data? Moreover, if you are suggesting that they “changed” it so that they could play it you would also be very mistaken. You obviously have no idea how much harder it is to play many modern jazz compositions compared to a typical and familiar blues-based composition with its comfy and predictable harmonic progressions and Chin-Chin-ka-Chin rhythms. We can disagree about stylistic differences, but that is a separate matter. Each successive era in jazz history has posed new musical challenges compared to the previous era. What is baffling is how with so much proof before you of how jazz has evolved (changed to use your word) over the years that you think that it would all of a sudden stop changing. Why would it? Does ragtime sound like Dixieland? Does swing sound like bebop? Does bebop sound like hard bop? And on and on. Oh, I get it...it is suppoised to stop changing (evolving) when it starts to move beyond what you like or understand otherwise it becomes “noise”. Got it. **** I think it was perfectly reasonable that the music of Bird and Dizzy would sound like Chinese music to Pop’s ears, Especially when you consider the music that Louis Played, and the music that proceeded Bebop. **** ++++ I think it is perfectly reasonable that the music of new Jazz musicians would sound like noise to Rok’s ears. Especially when you consider the music that Rok likes and understands and the music that preceded modern jazz. ++++ |
Re Mose Allison “Ever Since The World Ended”. Very nice clip. The first saxophone solo (alto) is indeed Arthur Blythe. The tenor solo at 2:45 is in fact Bennie Wallace. Excellent call, nsp! This record caused quite a stir when it came out: https://youtu.be/pVU101QQRa8 |
*****Do you really think that jazz musicians pushing the envelope make more money than those who play what audiences already recognize and like? Really? The opposite is true.***** My point exactly. People want to hear the good stuff. Lets go over previously covered things that I thought were settled. 1. The public decides who and what is great and good, and what is not great and good. The public, not musicians. Money talks, BS walks. Your statement demonstrates that fact. 2. Why is it that Jazz is the only genre that MUST evolve? People still love Bach, Beethoven, Mozart etc....... no matter how much noise the Stravinsky types make. No one is throwing their Classical CDs in the trash because the music is old. Why should I dump Ellington. 3. Where are the KOB, Criss Cross, Giant Steps, Mingus Ah Um, Sidewinder, Song for my Father etc..........CDs/LPs of today? The "you gotta have" albums. 4. Where is the staying power, The continuity, The consistent outstanding performance and body of work from any modern day Jazz player? It's all sort of hit and miss. Maybe I'll get lucky next time. 5. What year was the last Jazz Standard written? 6. These modern guys spend a lot of time playing, or trying to play, Trane, Parker et al. I wonder why? Cheers Btw, this all applies to Pop and Blues music as well. The quality of music in any era follows the bell curve. No getting around it. |
- 31007 posts total