Jazz for aficionados

***** working class also refers to those who are unemployed and can't find a job*****

That's true when the unemployment is a temporary situation.  These folks have been 'unemployed' for generations!!   Some have never known of anyone having a job.   Never!!

I wonder how many folks crossing the southern border have found work while these folks 'can't find a job'.   Millions would be my guess.

Cheers

***** "If you can't find a job, just be a good little boy and lay down and starve". It ain't going to happen dude.*****

Which brings us to the Police.  They are well trained and equipped to deal with folks that refuse to "lay down and starve".

Cheers

Rok, the only kid I had at that time was me, and I sent him to the best lounges in Detroit, St. Louis, Chicago, and Atlanta.

I had a good job and didn't save a nickel, plus that, I wish I could do it all over again.

***** I had a good job and didn't save a nickel, plus that, I wish I could do it all over again.*****

Your Honor, the people rest.

Cheers

Not meaning to put too fine a point of the (non)issue, it should be noted that this is certainly not the first time that two entirely different tunes by two different composers have had the same title. With that in mind, I fail to see what is contentious about these two different tunes sharing the name “Moanin”. I do completely agree that Bobby Timmons’ “Moanin” is the more important and admired of the two; although, obviously there are two “Moanins”. Timmons’ “Moanin” is a true Jazz standard and a Jazz composition of the highest order for specific and demonstrable reasons. For anyone interested:

First, from a historical viewpoint, it was one of the tunes that helped usher in the “funky-Jazz” style that took off during the late ‘50s. The recently mentioned Horace Silver was another big part of that movement and one will notice certain similarities between this tune and many of Silver’s tunes. Bobby Timmons’ TUNE is actually a far more sophisticated and “complete” composition than Mingus’. It has a great and immediately recognizable melody; and very evocative, as O-10 has often pointed out. It is in classic 32 measure, AABA form. The vast majority of Jazz standards follow this form. In the spirit of what Evelyn Glennie spoke of in Schubert’s great clip, when one listens, really LISTENS all this becomes easy to hear and no formal training is necessary. AABA form and Timmons’ “Moanin”:

One hears Timmons’ great melody for 8 measures (A), then it is repeated for another 8 measures (A). Then one hears the “bridge”, a different but related melody for 8 measures (B). Then finally, one hears the first melody again for 8 measures (A). AABA for a total of 32 measures. During the improvisations this form is followed.

As exciting as Mingus’ “Moanin” is, it really is just a bass ostinato (repeated musical line) played by the baritone saxophone and with horn parts which serve as background for the extended improvisations by various soloists. Part of Mingus’ genius was using otherwise simple musical ideas in ways that would create a tremendous amount of excitement and tension/release. Others of his compositions followed a more traditional formula as used by Timmons.

Here you go, pjw; as requested:

https://youtu.be/hWOfb2gFMlo

Note that in this version of Mingus’ “Moanin” as posted by you, the “tune” (the baritone ostinato) begins on page two following Cuber’s improvised solo. On the original with Pepper, the “tune” starts right away with the repeated baritone line (no improvised solo until later):

https://youtu.be/QfSTtQd5Wew