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
I will offer more thoughts on definitions and timelines when I have more time, but just want to make and stress an important point which is why some of the analogies presented don’t hold up. Nothing (!) that Kisor plays in that solo has anything (!) to do with “better training”, “speed”, etc. Notice how much space he uses. No flashiness or gratuitous speed. No super high playing. Instead, what makes his solo interesting is creativity (!) built upon a deep knowledge and understanding of what came before him with a vision to take it somewhere new. Sustains interest for the listener with ideas, creativity and great feeling of swing; the essence of good Jazz. And, he does it all with a harmonic concept that goes beyond what many of the greats (“old”...sorry) discussed here did. Great player and a great example of the evolution of the language of a Jazz. His concept is “new”, the tune is “old”.
***** Of say the top twenty there is one player , the German Julia Fisher , that all you can say is , that is Bach , that is Mozart , that is Brahms etc.*****

You can also say that is a Stone Fox!   Frau Fisher, that is.

Cheers

It must have been in the 80’s when I was really making the rounds in all the jazz clubs in the St. Louis area that featured live jazz; I mean the groups that were called "house bands". Ahmad Jamal started as the "house band" for The Pershing on the South Side of Chicago.

Many of our famous jazz musicians started by playing in an "unknown house band". Some of those musicians (St. Louis house bands) would probably have become famous if all those clubs had remained open, but when the economy for "the lower middle class" took a ride to the bottom, those clubs could no longer stay open, all are now closed.

I recall one club band that was especially unique; they featured a jazz musician who played the African Kalimba. I have never heard anything like it before or since, and this is the best example I could find after searching, maybe you can find something better?


https://www.youtube.com/watch?v=VPc59Y7KHqg



My point is, had this band developed and recorded, I would have at least one of their albums in my collection.

You grow corn in corn fields, wheat in wheat fields, and you grow the best jazz musicians in jazz clubs.



  ***** played the African Kalimba. I have never heard anything like it before or since, *****

The Frogman's first law is in effect.


***** Concierto De Aran*****

Nice enough, but what does it have to do with Jazz?

Cheers