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
Rok, first, some context:

Every arrangement of a tune has a structure that is adhered to. Within that structure there may be room for a predetermined number of solos by specific instruments. Sometimes the arranger is very specific about what the length of the solo should be and other times the arranger gives the designated soloist free reign to improvise as long as he wants, but this is done with the understanding that the soloist will improvise as long as he has something to say and not just to be indulgent and go on forever in a way that doesn’t fit the spirit of the tune or arrangement. That is basic ensemble protocol. All this is specified in the designated soloist’s part (sheet music). When it is a brand new composition and unfamiliar to the player(s), the chord changes are written in the part and the soloist follows that chord progression as spelled out in his written part. Sometimes, as is the case here, the tune is in a basic and very familiar twelve measure blues form. Any Jazz player worth his salt can improvise over a twelve bar blues in his sleep. This is the reason that sometimes you see players looking at the music while they improvise and other times they don’t.

Not quite sure I fully understand your question: “Did Kisor blow this solo during rehearsals?“

Do you mean, was it Kysor that improvised at this point in the tune, as designated by the arrangement, during rehearsals? Yes, undoubtedly. During rehearsals, the soloist gets to blow his solo (rehearse) just as he will during the performance. Obviously, since it will be an improvised solo, it will not be “this solo”; but it will be his solo at the same point in the arrangement. This is all a necessary part of the rehearsal process. The arrangement and its performance will be most effective musically if there is no doubt or hesitation during the transitions from, as in this case, instrumental soloist to vocal statement or soloist to soloist. Unless rehearsal time is running short (happens) the soloist will get to improvise as long as he will during the performance; but, again, only as long as is musically appropriate.

In this particular arrangement Kysor was given “free reign” to play as long as he needed; again, within reason. He plays six choruses. How do I know that he was given free reign as opposed to the length of his solo being dictated by the arranger? Notice what he does at precisely 4:29. He makes a quick gesture to his right with his horn. That’s a visual cue to the band that the next chorus he plays will be his last chorus.

This performance is interesting on a few counts and relates to the issue of “new” vs “old” Jazz and your clip is actually very timely. Traditional tune performed with an obviously traditional feel; and interesting that the opening statement is played by a different trumpet player (Kenny Rampton) than the trumpet player that improvises a solo later in the tune (Kysor). Both players sound fantastic. Rampton sounds fantastic playing in the more traditional, very inflected, plunger mute style. Rampton (a younger player) has a very modern harmonic concept. He plays very “outside” the very traditional harmony of the blues form. Very interesting and at times obtuse solo that is full of surprises and never telegraphs where he is going next. He plays his solo with a very advanced harmonic vocabulary that is clearly an extension of the vocabulary of great players like Miles and Woody Shaw. Those players didn’t and couldn’t play like Rampton. Obviously, not a criticism, just that Jazz was in a different place then. The listener may or may not like Rampton’s vocabulary because it is so different (“new”) from what is familiar (“old”) but Rampton clearly has his own voice. Killer solo which is on the same level, in every way that defines the spirit of Jazz, as many of the great solos by many of the great players from the past. “New” Jazz in the context of an “Old” setting. Great stuff.

Wynton was clearly digging it. And, btw, Wynton knows all of the above and much more. Did all that knowledge get in the way of his “digging it” (Katz/😉)? I seriously doubt it.

At it's deepest level "modern jazz" is the expression of complex human emotions musically. While I adhere to "Wikipedia" for the definition of many things, I jump ship when it comes to "modern jazz"; that's because it's a departure from what originated in New Orleans, where they claim is the "birth place" of jazz.

According to me and my ears, no one contributed more to "modern jazz" than Charles "Yardbird" Parker; all you have to do is listen to jazz before and after Charles "Yardbird" Parker. He didn't just help to invent "Bee Bop" he changed things in a way that can heard, as opposed to explained.

He could even incorporate "Bop" in standard tunes like no one else; his Charlie Parker with Strings is the best example of this;


      https://www.youtube.com/watch?v=DmRkZeGFONg&list=PLqzxGGRskMsArMdq06cOawHAbO2kBWfmD




As I stated at the beginning, jazz at it's "deepest level" is the expression of complex human emotions. Before one can express these emotions, one must first have them. Never the less, that requires an incredible talent; one that doesn't often come along.

I'll give you examples of the expression of profound emotions: Bobby Timmons "Moanin" is a very clear example, he is also in the top tier of artists who have this capability.


        https://www.youtube.com/watch?v=cNjRQo-zpKA




I wrote about a close personal friend I had who was also a "Blue Note" recording artist. I will never give his name for two reasons, maybe I revealed too much personal information when I wrote about him, and last, the incredible music he was playing when he shared my apartment was never recorded; therefore I can't prove that he was much more incredible as an artist, than the music that's recorded on Blue Note.

I stated that he had no formal training. That was interpreted as musicians who don't go to "formal" school are better than musicians who do. That was a moronic interpretation; not going to a formal school is a severe handicap; it's necessary to write music in order to be successful. Musicians skipped formal school in times past because of financial limitations.


Everything that happens in this country is related in some way to everything else; those with a myopic view of things are totally unaware of this. If one is financially secure, and focused on turntable setup, they would hardly be aware of the socioeconomic condition of the "lower middle class", but whether they are aware or not, that affects the quality of jazz in this country because that's where it comes from.




The Yuko Mabuchi Trio has really captivated me as of late. Her piano playing is technically engaging while also being soulful. Plus, her 45 vinyls are sonic delights!
Thanks Frogman,  excellent and informative as always.   Where would this thread be without you.

I asked about the rehearsal solo because, as you pointed out Wynton was 'digging' it, and the sax player turned around to look at Kisor as he played, so I just wondered if that was the first time they had heard it, or if they knew what was coming.   Great explanation.

Old, New, Modern Traditional..........   I think I am lost.   I think it would useful if we synchronized eras / calendars / terms.   In other words, a few definitions and time frames would be helpful.

I suspect 'modern' Jazz started a long long time ago.    I have no idea what 'old' and 'new' means as pertains to Jazz.  I have always thought 'modern' started with the break with New Orleans and swing.

In my opinion, it's all good except for the 'soundscape' crowd, where EVERYTHING that is improvised in thrown into the JAZZ bin.

Cheers