Yes, typo. I meant Potter. 🤔
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.
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@stuartk , Chris Potter is an amazing tenor saxophonist. A technical wizard who in recent times was bested in that department probably only by Michael Brecker. Amazing technician who is also very creative as a soloist. I like him very much. As you point out he “can certainly handle very slippery timing and harmonically ambiguous settings” (great comment, btw). However, I hope we can agree that not every player is great in every musical setting, even if they can “handle” each setting’s particular musical demands. When in settings established by an artist on the level of a Miles Davis, to be able to handle the demands is simply not enough. There has to be a compatible style and creative vision that causes “the whole to be greater than the sum of its parts”. Great leaders (Miles) demand that. Potter plays in a decidedly post-Coltrane style and like Brecker shows hints of a Jazz/Rock sensibility in his tone and inflections. He did play with Steely Dan for some time, after all. Personally, I think he owes quite a bit to Brecker, stylistically. He is very assertive. Some would say aggressive. While he has amazing command of the instrument, harmony and rhythm, as you point out, I don’t hear a lot of command or use of the abstract. Miles’ music during the Second Great Quintet period could be VERY abstract. Would he have been what Miles was looking for in a tenor player at that point in his career? I’m not so sure. A post-Coltrane sensibility is probably not what Miles was looking for at that point. For his later electric period? Much safer bet. I hope this explains my reasoning (just one man’s opinion). I love this: |
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