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

@audio-b-dog 

I believe Django damaged his fingers in a fire. 

Richie Havens was playing in an open tuning.  Don’t know which one, offhand. As the open strings in that tuning produced a major triad, he was able to play major triads up and down the neck by barreing. . Playing minor triads is not nearly as easy, although completely do-able with a bit of practice. I don’t know whether Havens never learned or whether it was a musical preference but at times he would cover songs that included minor triads (as originally written) and play them with all major triads. BTW, his extended Woodstock performance of "Freedom" was made up on the spot, because the next scheduled act was not ready to go on and the festival organizers asked him to play more after his set was finished. Turned out to be one of the highlights!  

Ry Cooder has used open tunings a lot and not just for slide. He’s often played rhythm parts in open D. He also occasionally used a 6 string bass to play rhythm parts!  Open tunings can be a lot of fun. BTW, Dylan wrote/played most if not all the songs on Blood On the Tracks in open D. 

I will reconstitute the list I sent you via PM here, once I get back from walking the dog. 

@audio-b-dog 

This covers a wide range. A few aren’t solely acoustic but all clearly draw from acoustic genres. 

Instrumental:

Strength in Numbers: Telluride Sessions

Douglas, Meyer, Barenberg: Skip, Hop and Wobble 

Daryl Anger, Mike Marshall: Woodshop

Tony Rice Unit: Devlin

Chris Thile: Not All Who Wander Are Lost

Celtic "plus": 

Solas: The Words that Remain 

Mick McCauley and Winifred Horan: Serenade (Horan is a very accomplished, Classically trained violinist/fiddler) 

Bluegrass "plus":

Newgrass Revival: Hold to a Dream

Sarah Jarosz: Sarah Jarosz

Peter Rowan, Tony Rice: Quartet

Stray Birds: Magic Fire 

Steel Wheels: Live at Goose Creek 

Old Timey + Jazz 

Lindsay Lou and the Flatbellys: Ionia 

Folk "plus" : 

Birds of Chicago : Live from Space

 Aoife ’O Donovan: In the Magic Hour (really uncategorizable -- strong Classical influence)

Bluegrass + Jamband:

Railroad Earth: Last of the Outlaws (check out the suite-like middle portion)  

My categories are loose. There may be much here you don’t like. Taste is so subjective. But start with the first group and also check out Edgar Meyer and Mark ’O Connor discographies for more Classically inclined genre mash-ups. Check out Bela Fleck for Jazzier forays. Jerry Douglas solo recordings go in various stylistic  directions. Jazz is by no means a constant factor but does show up here and there. 

Perhaps you will find one or two titles that draw you into deeper explorations.

Thanks to our fellow jazz thread regulars for indulging us, here. 

No thanks needed. It is interesting and kept the thread alive...

I thank you  because i learned a lot...

I am silent as many others but we read the posts ...

Thanks to our fellow jazz thread regulars for indulging us, here. 

@stuartk, mahgister, curiousjim, tyray

@stuartk Thank you for the list. I will dig into it. 

@everybody else

This three minute recording of Coleman Hawkins playing Body and Soul, according to the Jazz series, is supposed to be the first time a jazz soloist has established a melody and then left it behind and created a remarkably beautiful improv. Previous jazz masters would always return to the melody.

https://www.google.com/search?q=coleman+hawkins+body+and+soul+1939+youtube&rlz=1C1CHBF_enUS945US945&oq=coleman&gs_lcrp=EgZjaHJvbWUqCAgAEEUYJxg7MggIABBFGCcYOzINCAEQLhjHARjRAxiABDIMCAIQLhgKGLEDGIAEMg0IAxAuGK8BGMcBGIAEMgcIBBAAGIAEMgcIBRAAGIAEMgcIBhAAGIAEMgcIBxAAGIAEMgcICBAAGIAEMgcICRAAGI8C0gEKMTI1MThqMGoxNagCCLACAfEFiv39GTJNXdM&sourceid=chrome&ie=UTF-8#fpstate=ive&vld=cid:5e28de6f,vid:zUFg6HvljDE,st:0

Coleman Hawkins must have influenced Coltrane on his improvisation on "Favorite Things," my favorite Coltrane piece. I do not understand the intricacies of music, but this sounds to me that it requires more virtuosity than "Love Supreme," but not as much soul. This is my favorite period in jazz:

https://www.google.com/search?q=john+coltrane+my+favorite+things+youtube&rlz=1C1CHBF_enUS945US945&oq=&gs_lcrp=EgZjaHJvbWUqCQgDECMYJxjqAjIJCAAQIxgnGOoCMgkIARAjGCcY6gIyCQgCECMYJxjqAjIJCAMQIxgnGOoCMgkIBBAjGCcY6gIyCQgFECMYJxjqAjIJCAYQIxgnGOoCMgkIBxAjGCcY6gLSAQk1MDQxajBqMTWoAgiwAgHxBU_dwMDkadxG&sourceid=chrome&ie=UTF-8#fpstate=ive&vld=cid:9cf76dde,vid:rqpriUFsMQQ,st:0