These have been long overdue, so let’s get right to them.
Although I’ve been listening to a lot of different stuff lately, mainly because of having bought a lot of new stuff, there really aren’t any recordings that have been getting steady, consistent play, but Cross Country Tour by Ahmad Jamal comes closest. I just love what he does with his trademark bright chord voicings. Songs like Poinciana and Surrey with the Fringe on Top stick in your mind for hours after hearing Jamal play them. His Billy Boy is reminiscent of Red Garland’s on Milestones, but again, brighter. He does things with Broadway and My Funny Valentine that are just amazing. A great work that is hard to get away from.
My greatest surprise after Jamal has been the Modern Jazz Quartet’s Complete Last Concert. Like many of my “discoveries”, I just can’t believe how long I went before I found them. The vibes with rhythm section had me seriously out looking to purchase a vibraphone. God Rest Ye Merry Gentlemen (they call it “England’s Carol”) is simply phenomenal.
And finally, Mingus, Ah Um. When I don’t know what I want to listen to, this gets pulled down and put into the CD player more often than anything else I own. Just an amazing work and it runs for more than seventy minutes. Great stuff.
Moving off the Yoity Tot list and onto the B-list are Motion by Lee Konitz, Time for Tyner by McCoy Tyner, and The Sidewinder by Lee Morgan. Of course, it goes without saying, there is nothing wrong with any of those great works. They are all three, tremendous recordings. They just aren’t high on my play list right now. What would be the next three to move to the B-list, I have no idea. It was hard enough relegating these three. I’ll worry about that when I find my next Yoity Tot candidate.
Showing posts with label Lee Morgan. Show all posts
Showing posts with label Lee Morgan. Show all posts
Saturday, April 25, 2009
Sunday, May 18, 2008
First Listing
Here are my first listings on the Yoity Tot CD List. If you want to find out more about what I think about these CD's than just the brief comments I have below, I suggest you visit my profile on Amazon and browse through my reviews there. Or, of course, you can always drop me a comment or e-mail asking for some exposition, and I'll be happy to provide you with some.
Jazz In Silhouette is, without a doubt, my most frequently listened to CD. Since the very day I bought it, it has always been in close range and when I don't know what else to listen to, this is one that I can turn to and be happy I did. It's a wonder I haven't bought more Sun Ra CD's since, but I'm sure I will soon.
Saxophone Colossus was in the rotation at my poker game last night, and everyone enjoyed it when it came on, including me. One of my guests even knew some of the "Mack the Knife" lyrics and rattled them off reasonably in time when "Moritat" was playing.
Afro-Cuban is a recent acquisition that impressed me right out of the box. It just has so much going for it, without being an overly "ethnic" flavored CD. Just great jazz.
The Billy Taylor Trio's self titled work is one of those overlooked, often forgotten CD's, for some reason, but I just never grow tired of it. The song selection is really good, having a mix of familiar and not so familiar works, but the sound is just really satisfying. Another reliable CD that I pull off the shelf with a good bit of regularity.
Somethin' Else by Cannonball Adderley features Miles Davis and another great selection of songs. This is a nice CD to have for when you are in the mood for Miles Davis but don't want to put on Kind of Blue because you are in an upbeat mood. It really sizzles.
Kind of Blue is arguably the greatest jazz recording of all time. There are some I listen to more, but it's hard to say anything is better than this CD. It really turned me back toward the heart of jazz. Bluesy, passionate, "listen so you won't be disappointed later" kind of music that you feel inside.
The Cole Porter Songbook sung by Ella Fitzgerald was a turning point in vocal jazz because it brought together one of the era's greatest (if not THE greatest) female vocalists with probably the quintessential American song writer of the last century. There are few people who can listen to a Cole Porter song and not feel some reverie and respect for his work, and when Ella sings with the high quality orchestras assembled by Norman Granz (and others), the result is nothing short of jazz history.
Portrait in Jazz by Bill Evans is probably not his best work, but it has a selection of songs on it that I really like. "Witchcraft" and "Someday My Prince Will Come" stay with you a long time after you listen to Bill snap them to attention and make them swing. (Plus he's got Scott LaFaro and Paul Motian behind him, what became the model of jazz trios for years to come.)
And finally (for now), Have a Little Faith by Bill Frisell gets in for some amazing guitar work that doesn't sound like guitar, plus his wonderful takes on Bob Dylan ("Just Like A Woman"), Madonna ("Live to Tell") and Aaron Copland ("Billy the Kid").
Oh crap, and I almost forgot, The Sidewinder by Lee Morgan. Pick me up, spin me around, and play me some blue notes! Yet another CD I can put on anytime and never be disappointed or second guess my selection.
Jazz In Silhouette is, without a doubt, my most frequently listened to CD. Since the very day I bought it, it has always been in close range and when I don't know what else to listen to, this is one that I can turn to and be happy I did. It's a wonder I haven't bought more Sun Ra CD's since, but I'm sure I will soon.
Saxophone Colossus was in the rotation at my poker game last night, and everyone enjoyed it when it came on, including me. One of my guests even knew some of the "Mack the Knife" lyrics and rattled them off reasonably in time when "Moritat" was playing.
Afro-Cuban is a recent acquisition that impressed me right out of the box. It just has so much going for it, without being an overly "ethnic" flavored CD. Just great jazz.
The Billy Taylor Trio's self titled work is one of those overlooked, often forgotten CD's, for some reason, but I just never grow tired of it. The song selection is really good, having a mix of familiar and not so familiar works, but the sound is just really satisfying. Another reliable CD that I pull off the shelf with a good bit of regularity.
Somethin' Else by Cannonball Adderley features Miles Davis and another great selection of songs. This is a nice CD to have for when you are in the mood for Miles Davis but don't want to put on Kind of Blue because you are in an upbeat mood. It really sizzles.
Kind of Blue is arguably the greatest jazz recording of all time. There are some I listen to more, but it's hard to say anything is better than this CD. It really turned me back toward the heart of jazz. Bluesy, passionate, "listen so you won't be disappointed later" kind of music that you feel inside.
The Cole Porter Songbook sung by Ella Fitzgerald was a turning point in vocal jazz because it brought together one of the era's greatest (if not THE greatest) female vocalists with probably the quintessential American song writer of the last century. There are few people who can listen to a Cole Porter song and not feel some reverie and respect for his work, and when Ella sings with the high quality orchestras assembled by Norman Granz (and others), the result is nothing short of jazz history.
Portrait in Jazz by Bill Evans is probably not his best work, but it has a selection of songs on it that I really like. "Witchcraft" and "Someday My Prince Will Come" stay with you a long time after you listen to Bill snap them to attention and make them swing. (Plus he's got Scott LaFaro and Paul Motian behind him, what became the model of jazz trios for years to come.)
And finally (for now), Have a Little Faith by Bill Frisell gets in for some amazing guitar work that doesn't sound like guitar, plus his wonderful takes on Bob Dylan ("Just Like A Woman"), Madonna ("Live to Tell") and Aaron Copland ("Billy the Kid").
Oh crap, and I almost forgot, The Sidewinder by Lee Morgan. Pick me up, spin me around, and play me some blue notes! Yet another CD I can put on anytime and never be disappointed or second guess my selection.
Monday, March 17, 2008
The Sidewinder: Deeper...deeeeeper...deeeeeeeeeper...
Wasn't sure what I was in the mood for music-wise last night, but having left Miles Davis in the car and sort of feeling trumpety, I put on some Lee Morgan. Since The Sidewinder also appears in the Real Book, I listened as I watched the music for a bit, then I just listened. I made up my mind to try and play the song before going to bed.
It's not easy. The song looks pretty simple, but it's deceptively difficult, at least at the start. Just playing the melody line, it doesn't even sound like the song. I couldn't get it going at all. I think part of the difficulty lies in it not being a standard blues riff, in that the brain wants you to go I-IV-V-I, but there is no IV (per se) to lead you there. I wonder if that isn't what makes the song so genius, so classic, so timeless, and all the superlatives that are attached to it as one of the greatest jazz songs of all time.
Listening to it in the car this morning, I sense that the song really cannot be played by solo piano. I mean, of course it can be played, but I don't think I have the chops to keep that bass line going at the right tempo through those eighth note runs. The piano solo portion is out of the question in any event. Maybe I'll have better luck on my second try tonight. Maybe, like Coltrane's Giant Steps, I'll have to abandon it for now.
It's not easy. The song looks pretty simple, but it's deceptively difficult, at least at the start. Just playing the melody line, it doesn't even sound like the song. I couldn't get it going at all. I think part of the difficulty lies in it not being a standard blues riff, in that the brain wants you to go I-IV-V-I, but there is no IV (per se) to lead you there. I wonder if that isn't what makes the song so genius, so classic, so timeless, and all the superlatives that are attached to it as one of the greatest jazz songs of all time.
Listening to it in the car this morning, I sense that the song really cannot be played by solo piano. I mean, of course it can be played, but I don't think I have the chops to keep that bass line going at the right tempo through those eighth note runs. The piano solo portion is out of the question in any event. Maybe I'll have better luck on my second try tonight. Maybe, like Coltrane's Giant Steps, I'll have to abandon it for now.
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