Jazz Gems

[Zeeba Neighba]

^


Zeeba, you have outdone yourself. This post with all the setlist links is a real resource.

Thanks! Yeah unfortunately it's more a list of the artists themselves as most of the individual artists don't have their pieces entered on the links. Still, just perusing that artist list makes me long for another era.

 

[Zeeba Neighba]

#18) Wes Montgomery & The Wynton Kelly Trio - Smokin' At The Half Note (1965)

I really loved the idea of my initial thoughts about this thread - connecting jazz albums by similar themes and artists, but my efforts/attention span wasn't currently sustained/passionate enough about following through clearly indicated by the lack of posts over the past 3 months. Still, we need a jazz thread here if only to remind us of the great past albums that are out there that deserve a listen (or re-listen). With that in mind, I'd like to post periodic listens of mine. My "excursion" posts might not be as frequent as they should but (despite a few other goals of mine going on) definitely gonna throw a periodic post this way to keep the spirit alive.

So broke this one out again today - guitar jazz definitely takes a different approach/attitude to listen (as does, say, listening to piano trios or electric organ jazz) as so much jazz is horn/sax based. For anyone who can get into the cool, subdued feel of guitar jazz of the 50s-60s , Smokin' At the Half Note is essential stuff (of course if you're already a fan of this type of jazz, you already own this and revisit it often). Jazz guitarist Pat Matheny (according to allmusic) holds this up as the "greatest jazz guitar album every made" and one can see the influence of Montgomery on future guitarists like Matheny and George Benson. Recorded over two nights (interestingly months apart), Montgomery's take on familiar jazz standards is so fresh. His fluid runs are technically deft of course, but feel so deceptively easy and chill. It helps that his rhythm section is fantastic too - Kelly's trio was Miles' section of the late 50s/early 60s. Great album just to play while relaxing and sipping a drink.

 

[Zeeba Neighba]

#19) Horace Silver - Song For My Father (1965)

Might as well get some classics out there, right? Excited to play this one today. I never tire of this album. I'm sure I've said this before, but I find this album to be a wonderfully accessible album, and would definitely put it on a list of great introductory albums to jazz. Yes, this is partially due to the breezy nature of the title piece, a dedication to the man on the album cover (yes, Silver's father); of course, the piano opening is iconic forming the basis (as most here know) for Steely Dan's "Rikki Don't Lose That Number". But the whole album is great and the horns are a big part of this with tenor Joe Henderson and trumpeter (the lesser known) Carmel Jones sounding great together. "The Natives Are Restless Tonight" and "Que Pasa" are both outstanding pieces, and Henderson's "The Kicker" is quite the blower for the tenorman. Keeping it all together is Silver's steady piano - a great hard bop pianist that dwelt in the means between the extremes of dense (Bud Powell, Art Tatum) and spacious (Monk, Jamal).
Quote from bassist Christian McBride:

"Horace Silver's music has always represented what jazz musicians preach but don't necessarily practice, and that's simplicity," McBride said. "It sticks to the memory; it's very singable. It gets in your blood easily; you can comprehend it easily. It's very rooted, very soulful."

Fun fact I never heard before about Silver: he started out as a tenor sax player in Connecticut clubs. Also didn't know he was discovered there by Stan Getz. Silver switched to piano in the 1950s when he moved to New York

 

[Zeeba Neighba]

#20) The Buddy Rich Big Band - Mercy, Mercy (1968)

Cannonball Adderley's Mercy Mercy Mercy! Live at "The Club" has gotten (rightfully so) a lot of love here lately (and will eventually along with several Cannonball albums make this thread). Adderley's album always gets me thinking of this ball of fire from two years later, really only because they share the same title tracks (with very different arrangements). One could also say they're both live albums from the late 60s though that's not entirely true (Cannonball's album, if you didn't know, was recorded in a studio setting with tables set up and people invited in to simulate a club-like setting).

On to Rich's album: I've always been struck that for Buddy Rich's reputation as "the greatest drummer ever" as well as his tremendous live performances, Rich was not always served best by the album era. Granted Rich's reputation was developed during the big band era (Artie Shaw, Tommy Dorsey) and with small groups in the 1950s (a great set of the era is The Argo, Emarcy and Verve Small Group Sessions) but many of the albums from 1955-65 are spotty; furthermore it's almost impossible to capture how incredible Rich was on many of these studio albums. Then in the late 60s he decided to go the Vegas route and assembled a "big band" achieving popularity and a career resurgence. Mercy, Mercy is probably the best of his big band recordings, this one live at Caesar's Palace. While Rich's frenetic, powerful drumming is on nice display here, really this is just a great big band album filled with energy and excitement. The horn section sounds great...whaaaat? Is that Art Pepper there? Yes it is! (see "Chelsea Bridge") Though the best solo if by Don Menza on "Channel 1 Suite". My understanding (though I've never done a full Rich survey) is a lot of Rich's albums aren't available currently (even from this fruitful big band period). Such a shame as this album shows he was not only a great drummer but a helluva band leader.

 

[Zeeba Neighba]

#21) Charlie Christian - Genius of the Electric Guitar

Wow, three posts in the past two days to the previously-dusty Jazz Excursion thread. We're hopping! So many great guitarists developed in the hard boppin' 1950s/60s and beyond that I really enjoy including Wes Montgomery, Grant Green, Jim Hall. Every jazz guitarist from Kenny Burrell to Pat Matheny owes a debt of gratitude to those early jazz guitar pioneers who showed the guitar had a place in jazz music and were able to wow listeners despite being limited to brief solos on a 3 minute small group or big band record. Eddie Lang, Freddie Green and especially Charlie Christian deserve to still be heard. For Christian to have left such a mark on the instrument despite leaving this earth (from TB) at age 23 (!) is incredible. Several comps out there but I still love Columbia Jazz Masterpieces old collection from 1987 which showcases his work with Benny Goodman. "Rose Room" is here (Christian's playing on that number was the one that impressed Goodman a ton when John Hammond introduced the two). No bad tracks. A personal favorite is "I Found a New Baby" - great solo! Christian would only record over 2-3 years but would leave quit a mark on future hard bop guitarists.

 

[Zeeba Neighba]

#22) Chick Corea - Now He Sings, Now He Sobs (1968)

An esteemed piano trio album that shows Corea at his best - fast, energetic, fluid playing by the pianist (in a trio format) that's experimental yet quite experimental for the avant garde jazz at the time (now Chorea's fluid, quick paced noodlings sound on par with current pianists like Jason Moran but in 1968 they must have been quite bold). CD/streaming releases add 8 tracks/28 more minutes of music but definitely worth it especially for the only non-originals, a breezy take on Monk's "Pannonica" and some nice twists on the old standard "My One and Only Love". Though I have neither made nor read such a list, my guess is that this would make most top 10 all-time piano trio album lists (but if you enjoy piano trios, you certainly know that and own it already).

 

[Zeeba Neighba]

#23) Ella Fitzgerald - Ella at Zardi's (1956, released 2017)

For fans of jazz vocals (like myself), Ella is the bomb with several releases that belong on an excursion through jazz. Though her Songbooks are straightforward renderings (though still incredible) of standards, most are quite essential stuff. Her albums with Louis Armstrong show two jazz greats with a great vocal chemistry. And don't forget her wonderful first "swingin'" Christmas album. But to get the really "jazzy" Ella, the vocalist who can really cook and can scat (and ad lib forgotten lyrics) with the best of 'em, one needs to check out her live albums. Typically her live Rome album (where she bops through indelible versions of "Lady Is A Tramp" and "How High the Moon" is held up as the pinnacle of live Ella. Here though is a recently-released contender, and

 

[Unsomnambulist]

#23) Ella Fitzgerald - Ella at Zardi's (1956, released 2017)

For fans of jazz vocals (like myself), Ella is the bomb with several releases that belong on an excursion through jazz. Though her Songbooks are straightforward renderings (though still incredible) of standards, most are quite essential stuff. Her albums with Louis Armstrong show two jazz greats with a great vocal chemistry. And don't forget her wonderful first "swingin'" Christmas album. But to get the really "jazzy" Ella, the vocalist who can really cook and can scat (and ad lib forgotten lyrics) with the best of 'em, one needs to check out her live albums. Typically her live Rome album (where she bops through indelible versions of "Lady Is A Tramp" and "How High the Moon" is held up as the pinnacle of live Ella. Here though is a recently-released contender, and

And?

Are you testing to see if anybody is reading your posts, again?

 

[Zeeba Neighba]

And?

Are you testing to see if anybody is reading your posts, again?

Oh pfui! Here I typed out a really nice review then before I posted, the site signed me out. I though I had blocked off and copied the whole post just in case that should happen but clearly only got part of it

Have to edit, add on in a bit

 

[Zeeba Neighba]

#24) The Original Mambo Kings: An Introduction to Afro-Cubop

Was in New Orleans this weekend for Jazz Fest and, listening to artists as well known nationally as Ellis Marsallis as well as groups known only locally playing traditional New Orleans jazz, I realized that, man, do I miss jazz. Haven't broken out the genre in awhile (not for any particular reason) but recently got some all-time greats on vinyl and this, combined with the festival, has put me in a jazzy kind of way.

So back to this thread which never should go dead. I think in the past I've tried to spend time balancing out posts by age and subgenre but maybe I'll just post great albums that I'm digging; who cares if two albums of the same year or artist come up close together. Also the reviews need to be shorted.

So: re: this wonderful compilation which may not even be in print anymore (but similar comps are out there). Although listed as an anthology, we are primarily dealing with pieces by the great Cuban bandleader Machito (there's perhaps 3-4 other pieces including the awesome "Manteca Suite" by Dizzy Gillespie). Again at the Fest, a Latin piece came up and I was discussing with my daughter the Latin influences on jazz including Machito in the 1940s. His band set up shop in NYC and soon became the darling of the young boppers like Gillespie and Charlie Parker (also heard on this album). Afrocubano jazz/Cubop was born and boy does it cook! Just a great listen.

Wiki notes that Machito explored modal harmony far earlier than Miles Davis and Gil Evans on "Tanga" (on this recording).
Also the 17+ minute "Afro-Cuban Jazz Suite" written by Chico O'Farrill was one of the earliest large-scale jazz compositional works (along, I suppose with some of Ellington's early stuff.

 

[Zeeba Neighba]

25) Bix Beiderbecke - Vol. 1: Singin' The Blues

Though several great comps/anthologies of Bix have come out since this 1990 release, it's hard to shake the habit and love I have of these old Columbia Jazz Masterpieces that introduced me to old jazz (ya feel me, right Sam?).

Davenport, IA cornetist Bix Beiderbecke's all-too-short career (he died of alcohol-related illness at 28) included stints in many bands and eventually the Paul Whiteman orchestra. His best works were recorded in 1927, and this comp includes many of them (most here with C-melody saxophonist Frank Trumbauer.

Although the era's history now almost a century later is (rightfully) weighed towards Louis Armstrong, one should never overlook Bix's recordings (however limited). He had a wonderful tone that impressed even Armstrong. Bix was self-taught and really had a sound like no other of the era. While Armstrong had powerful solos improving on chord structures, Bix improvised along melody lines, much more linear, like reed players of the era. Just a sweet sound even today, cooler and lighter which had a great influence especially in Europe (Miles Davis even was apparently fascinated with Bix which makes sense when you hear his ventures into cool jazz).

"Singin' the Blues" is Bix's best know piece and essential listening but I'm gonna post one of my favorite pieces of Bix (and of the era), "Riverboat Shuffle" which has a great solo and soaring finish

 

[Zeeba Neighba]

#26) Lester Young - Lester Young with the Oscar Peterson Trio (1952, released in 1954)

The 50s were not kind to tenor saxophonist Lester Young whose turbulant 1940s in the military (where he was caught with marijuana and courtmartialed) was followed by bitterness, alcoholism, and depression. His relationship with producer Norman Granz however led to tours with Jazz at the Philharmonic and a prolific recording schedule. Pres still has the silky smooth delivery (like buttah) that he did when he was with Basie in the 1930s, but is able to stretch out with longer pieces. When introducing someone to jazz, one can make mistakes in choosing recommendations that are too experimental, too dissonant but alternately too old when recording technology didn't do the music justice. This album would definitely be one that I would introduce someone to the genre with - filled with standards true but beautiful stuff that really swings but won't overwhelm

A side note: any post commenting on the skill and professionalism involving Oscar Peterson's group as the backing group (as on many Verve recordings) would get redundant after awhile, but a shout-out here to the wonderful guitar solos of Barney Kessel (the album incorrectly lists this as a trio)

 

[Zeeba Neighba]

#27) Chico Hamilton - Gongs East! (1959, recorded 1958)

At 500 albums, the original Jazz Excursion covered a lot of ground, but surely didn't cover it all. New to me since the original thread in 2012, Chico Hamilton's Gong East! (interesting title and cover) has a real mellow, cool vibe very different from the hard bop of the time. Drummer Hamilton spent time in such varied outfits as Lester Young (hey, we just played him), Count Basie and Gerry Mulligan, but he went into some different directions from those artists - post-bop, avant garde, even fusion. Here's an early band of Hamilton intriguing for the use of the cello (Nathan Gershman). Also this album contains some of the earliest recordings of Eric Dolphy here playing alto sax, flute and bass clarinet ever so ephemerally (Dolphy's first solo album in his short career would be released 1960). The vibe on many of these tracks here is Eastern and the flute and cello fit in beautifully. Dreamlike, mellow, chill, beautiful stuff here.

 

[Zeeba Neighba]

#28) Sonny Rollins - Newk's Time (released 1959, recorded 1957)

My last jazz post today, I promise

Rollins is one of my favorite tenors along with Dexter Gordon, Stan Getz, and Coleman Hawkins - definitely a go to listen for me. As supreme as Trane is, I pull out Sonny's discs a lot more, and, as revolutionary as his development of the sax trio was, sometimes ya just gotta play a great old hard bop session that's a real blower. Newk's Time, if I recall correctly, wasn't on the original Excursion. Not sure if Rollins' more daring albums filled up his slots (not that there was a given maximum but I did try for balance), but l really enjoy this one. Really ya can't go wrong with Sonny Rollins. Some may argue that he wasn't as transcendent as Coltrane was or that he his a peak in style and never kept evolving (and I could argue against both these takes), but he always put out enjoyable, consistent material. Here in a quartet, Rollins has one original ("Blues for Philly Joe"), one Miles cover (the opening "Tune Up") and as series of standards. Some interesting choices like "Surrey with the Fringe on Top" from Oklahoma (which Miles would also do with 'Trane on Steamin') and "Wonderful, Wonderful" (yes, the Johnny Mathis tune).

 

[Zeeba Neighba]

#29) John Coltrane - My Favorite Things (1960)

Can't go thirty albums without having one from 'Trane, right? Miles and Coltrane each had the most albums in the last Excursion; gotta start somewhere so I'll begin unabashedly with my fave (an album I was very excited to get on vinyl for my birthday). Often Coltrane fans when ranking their albums of his downplay this one. I can only guess why - a) no Coltrane originals, b) not experimental enough, c) too popular. Who cares!? Trust me, the music, while accessible, is quite daring. In addition, Coltrane single handed, with one album revived the soprano sax (given to him by Miles btw) to an instrument that is still heard by saxophonists in jazz today (aside from Steve Lacy in the 50s, few had used it since Sydney Bechet 20+ years early). And while filled with standards - all great ones - Coltrane brings such a nice take on them. In addition to the popular title piece, this one has Gershwin's "Summertime" and "But Not For Me" as well as a song the love of which I've professed here "Every Time We Say Goodbye (by Cole Porter). Just a perfect album and one of the most accessible, experimental albums one will hear in jazz.

 

[Zeeba Neighba]

#30) Cal Tjader - Soul Sauce (1960)

Another one, I believe, that was not on the last series. I love the vibes in jazz, more so than many, and Tjader's use of the instrument in his style of breezy Latin jazz is wonderful. At times, this style can get too mellow, and I can see why some listeners scoff at such music as easy listening/elevator music. Soul Sauce however has a nice mix of slow, moody pieces and vibrant Latin dance numbers. It's an album that places you on the beach with a pina colada in your hand just...wasting time

 

[Zeeba Neighba]

No reason this thread can't be about random jazz thoughts in general, right? Feel free to post - here's one for me

Was in New Orleans, as I have stated, for Jazz Fest. Though many people, including myself go there for acts like Jack White and Steve Miller, I still like to make sure to always go to one of the festival's two jazz "tents", large covered areas which can contain 200 people in a smaller tent to, I dunno, 1000 people. So, Sunday decided to check out Ellis Marsalis as I've never seen him. He was in the larger jazz tent - I've never seen so many people in the tent. All the seats were taken, people standing all in the back. They actually stopped people from coming in.

As I looked around at all those faces - I dunno, well over 1000 people - I wondered about them. Hey it was 2 pm in 85 degree weather. Certainly some were coming just to sit down in a sheltered are (the big stages are outside with no cover). Certainly Ellis, a long time jazz teacher at University of New Orleans, a NOLA son, and the father of a jazz family has a big local draw too.

Still, as I looked out on the crowd, I wondered: could all these people be jazz fans. The crowd definitely slanted older and we were in New Orleans, but it was a lot of people, and I gotta say, I don't know one person (outside of this group) who listens to jazz, enjoys it, or knows anything about the genre. Where they hiding?

When I was in residency I had a friend in NYC who loved jazz and we would bounce albums off each other all the time. "Ya gotta check this one out". I do wish sometimes I knew someone personally that enjoyed jazz. I miss that sounding board, that rapport.

Which, I suppose, is why I'm posting here

 

[Zeeba Neighba]

#31) The Modern Jazz Quartet - Lonely Woman (1962)

Sticking with vibes today, let's move on to Milt Jackson and The Modern Jazz Quartet. Several MJQ albums made the last series including 4 in a row from their mid-50s heydey. This one was not one of the, say, five MJQ albums I highlighted then, but since then a few people here have commented that this was their favorite MJQ album. And indeed, it is their only studio album that allmusic gives 5 stars (not sure I agree with that considering how great Fontessa and Django are but whatever). But given these things, thought I'd spotlight it today.

Pianist John Lewis may have seen square with his love of Back and his tuxedos at concerts, but he actually sponsored/supported the career of one of jazz's boldest innovators, Ornette Coleman. Here Lewis and the MJQ highligh Coleman with a version of "Lonely Woman". I'm not sure why this album would rate 5 stars and others 4 or 4-1/2 on a site like allmusic. It's a nice, solid set - but that's what you get with the MJQ, strong consistent material. The vibe of the group (in addition to the vibes ) is an intelligent, cool jazz feel - no horn/sax solos. Sometimes, I'm very much in the mood for that (like today). Other times, ya wanna hear a soloist soar.

 

[Ojai Sam]

@Zeeba Neighba, you have taken this series to a whole new level.

I will be back with some comments but thank you for jazzing up our week.

 

[Ojai Sam]

To keep the flow rolling, I have added a jazzy post to our series on Document Records. Check it out here.