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.
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.
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- 31554 posts total
https://scontent.fzag1-1.fna.fbcdn.net/v/t1.0-9/133808336_3803023813094889_4317009247604764229_n.jpg... The sign on photo says it all....and still you persist..... |
Freddie Hubbard: Fabulous player, Trentmemphis. One of my very favorites. Like Dexter Gordon’s solo on “Scrapple From The Apple”, Hubbard’s solo on Oliver Nelson’s “Stolen Moments” is, for me, one of the greatest Jazz solos on record. Again, a model of thematic development. He takes a simple idea and develops it and turns it inside out in a musically logical way; no mindless riffing. I think this was my first post on this thread (and at least a few times more): https://youtu.be/I777BcgQL9o Coincidentally, Hubbard was on my mind in relation to recent comments about Tina Brooks. Brooks appears on Hubbard’s first two recordings as a leader and this brought Hubbard to mind. I think that Hubbard and Brooks make a very interesting study on the subject of what it takes to be successful as a musician. This topic is one often brought up here and Tina Brooks is probably the best example of a player who did not get the recognition that he deserved on strictly artistic merit grounds. The quoted liner notes suggest that what Brooks needed was a guiding hand. Well, he did have one. The great Jackie McClean, then a star of the Blue Note roster, had taken Brooks under his wing and was aggressively promoting him to Alfred Lions. Obviously, this wasn’t enough. So, what happened? Why was Hubbard so heavily promoted and Brooks not so? I think we tend to forget that the music business, even serious music like Jazz is entertainment and a business. In the mind of promoters and producers, whether we like it or not, factors other than artistic merit come into play at least to some degree. Saleability is a big one. Brooks and Hubbard had diametrically opposed personalities; image, attitude, stage presence as well as musical attitude. Hubbard was a firebrand. He was aggressive, fiery and physically imposing; both in his playing and his stage presence. Brooks was of very small in stature (“Tina”, for “tiny”), shy and reclusive; and was known for having a “droopy” stage presence. Add to the mix the simple fact that only those at the very top level of skill and innovation (Bird, Trane, Miles, etc.) can “afford” and get away with a less than “user friendly” personality. Brooks was an excellent player, but being a tenor player he couldn’t quite compete with the reigning titans of hard bop tenor playing; Gordon, Henderson, Rollins and Coltrane. Brooks wasn’t quite on that level. He was not a “good sell” in the mind of promoters. Unfortunate, but reality nonetheless. Hubbard was 22(!) yrs old: https://youtube.com/playlist?list=OLAK5uy_mRvLY024fClrted0GvwrRlQZ6ToUdyBT4 |
- 31554 posts total