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
Won’t have time until Sunday to offer some thoughts on West Coast/East Coas Jazz, but will then. Yes, O-10, I’d like to read your (and anyone else’s) thoughts on this also.
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No time to write, but a little time to cut and paste.  This subject has come up previously.  This is from two old posts of mine:
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Orpheus10, as you point out West Coast Jazz is difficult to define. But, it does have some general defining characteristics. It can be differentiated from East Coast Jazz and other styles by the fact that West Coast players tended to play with a "cooler" approach; generally speaking, with a lighter and softer tone. There was an emphasis on the composition and arrangements as opposed to the improvisation; and sometimes classical music compositional techniques such as fugues were part of the mix. The fact that there was great demand for arrangers in Hollywood surely helped some of these stay employed.

I already mentioned one of my favorite recordings in this style (the Previn/ Shorty Rogers). I mentioned that one because it is lesser known, as well as being a favorite. I am sure you already now some of these, but a few other favorites are:

Miles Davis "Birth Of The Cool". The title says it all. What can be said about this recording that hasn't already be said. Other than to note that this session is really considered a Gil Evans session; which further highlights the clout that the arranger had.

Dave Brubeck "Time Out". Good example of the use of classical techniques.

Paul Demond/ Gerry Mulligan "Two Of A Mind"

Zoot Sims "Quartets"

"Shelly Manne And His Men Play Peter Gunn" Henry Mancini arranger

"Art Pepper + Eleven" 

Vince Guaraldi "Charlie Brown Suite" No kidding, one of my favorites 
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****Why were all the East Coast guys black and all the West Coast guys white?****

While it is true that most practicioners of "West Coast Jazz" were white, not "all" were; Buddy Collette, Benny Carter, Chico Hamilton and Red Callender, to name a few, were black.

****So, if I were a second rate horn player where would I go to earn fame and fortune? I could go to LA where Jazz had no history or establishment****

The idea that only second rate players were found in LA is absolutely not true and very unfair to the many great players who hailed from LA and were part of a movement in jazz that reflected a different stylistic aesthetic from that of the East Coast and not a reflection of lesser quality.  Additionally, it is not true that in LA jazz had no history or establishment.  There had always been a vibrant Jazz scene in LA with traditional jazz playing a very prominent role.  Even your fave Jelly Roll lived in LA for many years.

LA was, in fact, were many great musicians went to "gain fortune".  Many of the great LA jazz players were also very successful session players in the LA movie studios recording for the countless movie scores being produced.  Unfortunately, that scene was racially segregated during the 40s and 50s, but players/arrangers like Benny Carter were able to change that situation for themselves and all that followed.  There is an interesting connection between the existence of the Hollywood scene and the West Coast Jazz style.  In keeping with, and perhaps as a result of, the demands of the movie industry for very well crafted and extended compositions for their movie scores, the West Coast Jazz style highlights the compositional elements of the music much more than the East Coast (hard)bop style which is typically that of a simple pass through the melody followed by improvised solos.  The West Coast style features more intricate compositions with elements of Classical counterpoint and it was the first time that the very demanding concept of a jazz ensemble without a chordal instrument (piano, organ, guitar) was implemented; all this with a typically softer ("cool") instrumental tone approach as opposed to the harder edged East Coast style.  Does this make it jazz that is less "real" and the other more real?  Since when do the French decide what is real jazz? 😊