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What jazz are you listening to right now?
- Thread starter rousseau
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Tharmas
Veteran Member
Here's something new my son-in-law turned me onto (at least it was new to me). It's Duke Ellington stepping away from his big band and recording a jazz trio with Charles Mingus (bass) and Max Roach (drums). Wikipedia calls it "post bop". The album (1962) is called Money Jungle:
Title song ("Money Jungle)
The jazz standard "Caravan":
Title song ("Money Jungle)
The jazz standard "Caravan":
Another comment on this one. I'd found it on the wall at the record shop, meaning they singled it out to put in front of buyers. They priced it at 30 CDN, which I don't see much of for used jazz unless it's a rare pressing.
Anyway, it really is a gorgeous album. A bunch of musicians with mastery over their instruments in a casual jam session. I'm starting to gravitate to these earlier players, the music's more fun. I've also been on Cannonball Adderley who carried on the tradition.
A few interesting pick-ups from this past week:
Billie Holiday - Swing Brother Swing
Billie Holiday singing swing tunes from early in her career, departing from her usual mournful style. This is another record that'll get passed over because modern listeners don't know who talented she was. It was originally priced at 20, and later reduced to 10.
Count Basie - Standing Ovation
I don't know much about this one yet, but it sounds nice.
I also bought seven discs from Document Records (the 10 dollar records were buy 2 get 1 free). The above two were also ten dollars. This is a label whose mission statement is to release pre-war recordings.
And miraculously I found volume two of Ahmad Jamal at the Pershing:
Billie Holiday - Swing Brother Swing
Billie Holiday singing swing tunes from early in her career, departing from her usual mournful style. This is another record that'll get passed over because modern listeners don't know who talented she was. It was originally priced at 20, and later reduced to 10.
Count Basie - Standing Ovation
I don't know much about this one yet, but it sounds nice.
I also bought seven discs from Document Records (the 10 dollar records were buy 2 get 1 free). The above two were also ten dollars. This is a label whose mission statement is to release pre-war recordings.
And miraculously I found volume two of Ahmad Jamal at the Pershing:
Tharmas
Veteran Member
So you got me revisiting Bud Powell and I do think you’re correct. I too hear some Thelonious in there, with a frosting of Art Tatum.
Of course, Monk mentored Powell and introduced him to the Be-Bop style along with various musicians. In fact, Monk wrote his number “In Walked Bud” as a tribute to Powell, a fact which I just learned a few years ago when I was expanding my Monk collection.
Personally I love Monk’s simplicity of style and minimalist melodic lines, a sort of Eric Satie of the jazz world.
Underground was my third jazz album, after Kind of Blue and Stan Getz (Girl from Ipanema album)
Of course, Monk mentored Powell and introduced him to the Be-Bop style along with various musicians. In fact, Monk wrote his number “In Walked Bud” as a tribute to Powell, a fact which I just learned a few years ago when I was expanding my Monk collection.
Personally I love Monk’s simplicity of style and minimalist melodic lines, a sort of Eric Satie of the jazz world.
Underground was my third jazz album, after Kind of Blue and Stan Getz (Girl from Ipanema album)
I own 'Monk's Dream' and 'Criss Cross' by Monk. It's been a while since I played them, but IIRC they both fall under the records I can appreciate, but rarely want to listen to category. His music was interesting, but it just doesn't give me the feel I'm looking for.
Lately I'm getting the same from a lot of modernists. They seem to be focused on technical proficiency and being interesting, rather than communicating a feeling.
With Bill Evans and Cannonball Adderley I feel the emotion, some of the other guys, not as much.
ideologyhunter
Contributor
Shelly Manne & His Men at the Black Hawk, Vol 1-5 (Original Jazz Classics)
I've given these discs a play as I drove in the past month. When I have a multi-disc set, it often sits on the shelf and seems like too much to listen to. These discs are all strong performances, recorded by one of Shelly's best groups during a three day stand at San Francisco's Black Hawk Club in the fall of 1959. This is one tight band: Shelly on drums, Monty Budwig on bass, Victor Feldman on piano, Joe Gordon on trumpet, and Richie Kamuca on tenor. As you'd expect, the pianist and the horn men get the lead roles on each tune, and all three are exemplary, playing with control and passion, and soloing brilliantly. The band's songbook is a mix of ballads and cookers. If you dread the thought of hearing one more version of Summertime, try the version that opens Vol 1. It's a showcase for Joe Gordon, and it will tell you that, if he hadn't died four years later in a house fire, he'd be a well-known name in jazz. (He recorded one lp as leader, Lookin' Good!, and it's one to search for.)
Volumes 1 through 4 came out in '60, and Vol. 5, containing all-new selections from the original gigs, didn't come out until 1991, by which point the only surviving band member was Monty Budwig (and he died the following year.) Unexpectedly, I found Vol. 5 to be the most captivating disc in the set. Lots of Kamuca and Gordon on the main themes, and two spotlight selections for Feldman, who stands out on this volume more than on 1-4. This is a band that let the soloists build major statements; no one plays a conventional couple of bars and pulls back for the next man. A few more highlights: Our Delight and Blue Daniel, from Vol.1; What's New and the 20-minute Vamp's Blues on Vol. 2; Black Hawk Blues on Vol. 3; Just Squeeze Me on Vol. 4; and all six cuts on Vol. 5 (How Deep Are the Roots/This Is Always/Wonder Why/Eclipse of Spain/Pullin' Strings/A Gem from Tiffany.)
Mainstream jazz, as good as it gets. Available as separate volumes.
I've given these discs a play as I drove in the past month. When I have a multi-disc set, it often sits on the shelf and seems like too much to listen to. These discs are all strong performances, recorded by one of Shelly's best groups during a three day stand at San Francisco's Black Hawk Club in the fall of 1959. This is one tight band: Shelly on drums, Monty Budwig on bass, Victor Feldman on piano, Joe Gordon on trumpet, and Richie Kamuca on tenor. As you'd expect, the pianist and the horn men get the lead roles on each tune, and all three are exemplary, playing with control and passion, and soloing brilliantly. The band's songbook is a mix of ballads and cookers. If you dread the thought of hearing one more version of Summertime, try the version that opens Vol 1. It's a showcase for Joe Gordon, and it will tell you that, if he hadn't died four years later in a house fire, he'd be a well-known name in jazz. (He recorded one lp as leader, Lookin' Good!, and it's one to search for.)
Volumes 1 through 4 came out in '60, and Vol. 5, containing all-new selections from the original gigs, didn't come out until 1991, by which point the only surviving band member was Monty Budwig (and he died the following year.) Unexpectedly, I found Vol. 5 to be the most captivating disc in the set. Lots of Kamuca and Gordon on the main themes, and two spotlight selections for Feldman, who stands out on this volume more than on 1-4. This is a band that let the soloists build major statements; no one plays a conventional couple of bars and pulls back for the next man. A few more highlights: Our Delight and Blue Daniel, from Vol.1; What's New and the 20-minute Vamp's Blues on Vol. 2; Black Hawk Blues on Vol. 3; Just Squeeze Me on Vol. 4; and all six cuts on Vol. 5 (How Deep Are the Roots/This Is Always/Wonder Why/Eclipse of Spain/Pullin' Strings/A Gem from Tiffany.)
Mainstream jazz, as good as it gets. Available as separate volumes.
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Janice Rael
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YO. this one has me like
I visited our record shop on the West end today. Their jazz section only has two rows, and I almost always manage to find very good records at a low price. I picked up these three for 30 CDN today, about the same cost as a middle of the road Davis record. The shop has been around longer than any of the others, and the owner's experience shows.
I also managed to pick this one up on Monday:
The Genius of Bud Powell
It was a good deal for a two disc set, but the selections are more Tatum than Monk. I'm still waiting to run into a live record of his.
The Genius of Bud Powell
It was a good deal for a two disc set, but the selections are more Tatum than Monk. I'm still waiting to run into a live record of his.
Not listening, but looking. At this original pressing of an early Miles Davis record in mint condition:
Only 1300 US (and they're being generous with shipping). The strange thing about records like this is that people actually buy them. Clearly the modern era has created a sizable void for many of us to fill.
Only 1300 US (and they're being generous with shipping). The strange thing about records like this is that people actually buy them. Clearly the modern era has created a sizable void for many of us to fill.
ideologyhunter
Contributor
Arnett Cobb, Party Time
This 2-disc set on Fresh Sound contains 3 of Cobb's albums from '59/'60: Party Time and its two follow-ups, More Party Time and Movin' Right Along. Cobb was a Texas tenor. If you know Illinois Jacquet's or Eddie Lockjaw Davis' style, you'll recognize them in Cobb. This is loud, brawny playing, with lots of bray and bellow. There are sultry ballads in here, and a lot of uptempo numbers. To know if Cobb is for you, seek out the YouTube cuts of Fast Ride (uptempo) and Blues in the Closet (growling, sultry.) Sound Fresh collections are always well-mastered and are bargains as well.
On these three dates, Cobb used three pianists: Ray Bryant, Tommy Flanagan, and Bobby Timmons, and all three are strong supports for the tenor man. Art Taylor drums on all three albums, so you know the beat will be there. Like Gene Ammons, Cobb liked the conga, so he brought a conga player in on all three dates. 21 tracks in all, and no duds. It's hard to pick out favorites; this is simply Cobb and his cohorts creating big slabs of soul-infused party jazz.
This 2-disc set on Fresh Sound contains 3 of Cobb's albums from '59/'60: Party Time and its two follow-ups, More Party Time and Movin' Right Along. Cobb was a Texas tenor. If you know Illinois Jacquet's or Eddie Lockjaw Davis' style, you'll recognize them in Cobb. This is loud, brawny playing, with lots of bray and bellow. There are sultry ballads in here, and a lot of uptempo numbers. To know if Cobb is for you, seek out the YouTube cuts of Fast Ride (uptempo) and Blues in the Closet (growling, sultry.) Sound Fresh collections are always well-mastered and are bargains as well.
On these three dates, Cobb used three pianists: Ray Bryant, Tommy Flanagan, and Bobby Timmons, and all three are strong supports for the tenor man. Art Taylor drums on all three albums, so you know the beat will be there. Like Gene Ammons, Cobb liked the conga, so he brought a conga player in on all three dates. 21 tracks in all, and no duds. It's hard to pick out favorites; this is simply Cobb and his cohorts creating big slabs of soul-infused party jazz.
Stan Getz 'Yesterdays' Live at Carnegie Hall and Birdland
Diz 'n' Bird in Concert (Carnegie Halll)
Side A of the Getz record is a poor recording, but Side B at Birdland sounds pretty good. The Gillespie/Parker record is a pretty cool one.
And here's one I almost bought, but didn't.
Too expensive for what it was.
Diz 'n' Bird in Concert (Carnegie Halll)
Side A of the Getz record is a poor recording, but Side B at Birdland sounds pretty good. The Gillespie/Parker record is a pretty cool one.
And here's one I almost bought, but didn't.
Too expensive for what it was.
Tharmas
Veteran Member
Someone I’d never heard of but just came across is the pianist Charles Bell, who only recorded a small handful of albums in the early sixties with his “Contemporary Jazz Quartet.” I really like him.
Here is one of his own compositions, “Django,” with Bill Smith playing guitar:
And here is a cover of “Take Five” done a couple of years later:
He lived until 2012 but virtually dropped out of sight after releasing two or three albums in the early sixties.
Here is one of his own compositions, “Django,” with Bill Smith playing guitar:
And here is a cover of “Take Five” done a couple of years later:
He lived until 2012 but virtually dropped out of sight after releasing two or three albums in the early sixties.
Dabbling in Stanley Cowell's catalogue, and am listening to this one today:
Definitely sounds like late 70s jazz. I'm undecided whether the 180 gram repress will be on my Christmas list. I also just purchased his first record Blues for the Viet Cong.
The more I listen to Cowell the more I believe he'd be a much bigger name if his career didn't happen after the inception of the rock era.
Definitely sounds like late 70s jazz. I'm undecided whether the 180 gram repress will be on my Christmas list. I also just purchased his first record Blues for the Viet Cong.
The more I listen to Cowell the more I believe he'd be a much bigger name if his career didn't happen after the inception of the rock era.
Tharmas
Veteran Member
You could say that of a lot of jazz musicians.