I do have a spread sheet of what I plan on listening to, and it will undoubtedly evolve as I move along, with both additions and subtractions made as I go. So far, I'm just coloring in the cells containing the items I've already listened to and reviewed in this thread. Is there a way to upload/update/share spreadsheets here? If not, I could certainly just build a standard list with these entries.
I've just been doing google sheets: Edited out.
Last edited by RoundTheBend on 08/11/2019 14:12; edited 1 time in total
Sidney Bechet - The Legendary Sidney Bechet
Recording Date: 1932 - 1941
Release Date: 1981
Style or Subgenre: New Orleans Jazz
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I learned the name Sidney Bechet completely by accident. My wife and I enjoyed the British mystery series, in which a good-natured Vicar, who smokes, drinks and fornicates, also helps the local detective inspector solve murders. The character was also a big jazz fan, with a particularly strong affinity for Sidney Bechet.
Loving jazz and loving the show, you'd think I would have headed directly off to investigate. But I didn't for two reasons: 1. Early/Dixieland isn't my favorite subgenre, and 2. Sidney was mentioned as a clarinetist, and that is an instrument my ears had never really warmed up to.
Well, it turns out Mr. Bechet is far more than just a clarinetist, being proficient on an amazingly wide array of instruments, as well as being a dynamic band leader.
In any case, his stature in early jazz was far too big for me to pass up as part of my journey here, and it turns out I'm glad I didn't. This is joyful and very expressive music. No matter what he's playing, Mr. Bechet does it with great joy de vivre, and when he's not playing, he's leading other talented soloists and backup musicians. Sidney is actually considered the first prominent soloist in Jazz, beating the great Mr. Armstrong in that regard by less than a year.
The album starts off with Sidney's version of "Maple Leaf Rag," which sounds, well, reckless, kind of like a musical truck going downhill with no brakes. It is a testament to the skill and dexterity of these musicians, that they never miss a corner. It's a little frightening, but in an exhilarating way... or is it exhilarating in a frightening way? Who cares; either way, it's fun. After that, it's the less reckless but maybe even more lively, entertaining, and unique "I've Found a New Baby." The album also includes some fine blues and vocals.
This collection has excellent sound quality for the era and really brings out clarity in the highs and midrange usually absent from recordings of the era, and the music really benefits as a result. This album also contains one particularly significant recording historically speaking. "Sheik of Araby" is the first known example of overdubbing, with Bechet playing clarinet, sax, piano, bass and drums.
Roy Eldridge – After You’ve Gone
Recording Date: 1936 - 1946
Release Date: 1991
Style or Subgenre: Swing
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Roy Eldridge holds an interesting place in the history of Jazz. Although he was a fine leader with many great recordings to his name, he never captured the stature of a Louis Armstrong or a Jelly Roll Morton. That said, he does remain well known as a great soloist on the trumpet. While Louis was no middling instrumentalist, Roy took trumpet virtuosity to new heights. He is often cited as the essential link between Louis Armstrong and Dizzy Gillespie, and listening to this music it’s easy to see why. The influence of Dixieland/early jazz is vaguely present, but this music has clearly moved beyond, into Swing territory.
Even more interesting to me, is the clear evolution into a richer chromatic palette in note selection. One of the things that sets jazz apart is its use of notes not generally employed in the scales and tonality of more traditional or conventional forms. What makes great jazz great is that these notes are used not in some random way or just to toss in variety for variety’s sake, but rather that there is some method to the madness and the odd notes are tactically placed to create and effect in the brain of the listener. Roy demonstrates this capability to a greater degree than his predecessors, especially in his soloing.
While I have thoroughly enjoyed all the entries reviewed so far, this is the first one that really hits me in my sweet spot. This is a bit surprising since swing is also not my favorite jazz subgenre, but Roy deploys big band swing with an ensemble mentality, especially when it comes to the tightness of the group and the approach to soloing. As alluded to earlier, this is an elevated level of virtuosity, and yes, I do like virtuosity. Roy is able to bring out the fireworks though, without sacrificing feel, so no reason to cast him out as a mere shredder. His tone is as bright and brassy as a trumpet gets, and he spends a lot of time in the high register. What’s more, while previous entries have distributed solos fairly evenly through the group, Roy gets the lions share of the soloing time himself here. As such, if you’re not accustomed to lots of bright brass in the fore, this may not be your cup of tea. Personally, I love every bit of it. I will add though, that he is able to throw down an occasional ballad and make it both bright and beautiful, without abandoning his brass way out front approach.
This collection includes a few vocal pieces with more than competent voices delivering and they are also a fun listen, but it’s the instrumentals that really shine. The three examples below provide a good cross section of Roy’s oeuvre. The Eldridge original, “Minor Jive” retains the New Orleans influence, mixes in blue notes, and delivers it through both catchy melody and hot soloing, all presented with both precision and flair. The Hoagy Carmichael standard “Stardust” shows how effectively he can take it down a notch while being a virtuoso badass at the same time. Lastly, “Fish Market” starts as a gently swinging but lively piece that manages to wring every possible bit of feeling out of every note over it’s three and a quarter minutes while building to a thrilling climax.
This is excellent! Will be checking in from time to time as this is largely a new world to me. Other than some major tracks, some forays into Folkways recordings, and a once or twice yearly afternoon spent at a local record store with a lot of 78s, I never really delved into it. The recording quality's never bothered me, coming from someone who fully loves glitch and being aware of the medium. The structures, intentions, approaches to playing, etc. definitely make it more of a sometimes thing than an everyday thing for me. But I enjoy that many of the bands that I've heard tend to incorporate local folk music into the mix, e.g. creole for Louisiana, old time/fiddle for Texas, etc., which is something that kind of homogenizes after the '40s.
Surprises me that you never warmed up to clarinet. More frequently, it seems like people fall head over heels for its woody sonority and have difficulty finding players outside of Dolphy (at this point I think I only know about a dozen dedicated players, with most playing coming from general reeds players). I don't think I even knew Bechet played clarinet, but knew him because he was the first to use the soprano outside of an orchestra/band setting, and really the only one until the avant-garde picked it up again with Lacy, Parker, Coltrane. Anyways, thank you
This is excellent! Will be checking in from time to time as this is largely a new world to me. Other than some major tracks, some forays into Folkways recordings, and a once or twice yearly afternoon spent at a local record store with a lot of 78s, I never really delved into it. The recording quality's never bothered me, coming from someone who fully loves glitch and being aware of the medium. The structures, intentions, approaches to playing, etc. definitely make it more of a sometimes thing than an everyday thing for me. But I enjoy that many of the bands that I've heard tend to incorporate local folk music into the mix, e.g. creole for Louisiana, old time/fiddle for Texas, etc., which is something that kind of homogenizes after the '40s.
Surprises me that you never warmed up to clarinet. More frequently, it seems like people fall head over heels for its woody sonority and have difficulty finding players outside of Dolphy (at this point I think I only know about a dozen dedicated players, with most playing coming from general reeds players). I don't think I even knew Bechet played clarinet, but knew him because he was the first to use the soprano outside of an orchestra/band setting, and really the only one until the avant-garde picked it up again with Lacy, Parker, Coltrane. Anyways, thank you
Benny Goodman – The Famous Carnegie Hall Jazz Concert of 1938
Recording Date: 1938
Release Date: 1950
Style or Subgenre: Swing
After overcoming my relative lack of appreciation for both swing and clarinet with Sidney Bechet, I was looking forward to checking out this recording for the first time. Of course, in 1938, there were no LPs, so selling recordings of the evening's music wasn't a possibility. The glorious thing is that the concert was still recorded, and the recordings sat in the Columbia Records vault until 1950 when they were released on LP.
The stature of this event is compounded by a couple of factors. It is widely considered to be the definitive statement of the big band/swing era. It was particularly noteworthy in that it was the first time this crazy jazz thing was allowed to invade Carnegie Hall, up until then purely a classical venue and while this may not seem such a big deal, it caused quite a stir back in the day. The concert ended up being a huge success, beyond what even it's most ardent supporters could have dreamed, despite the disgust expressed by the old heads.
As for me, I didn't take to it as much as I had hoped. Of course, little could live up to the hype: big name, historical significance, popularity, seminal album, etc. What I encountered was music that was no doubt lively, and certainly technically excellent both in structure and precision in delivery. So, we've got great jazz, upbeat music brimming with technical qualities... and it somehow ended up being my least favorite in this journey so far. Which is not to say I didn't enjoy it, and the second and third listens were better than the first, but I'm still more likely to reach for Armstrong, Bechet, or Eldridge first. Some numbers were truly spectacular, but overall most of it seemed very deliberately measured and I just missed the sense of free spirit I got from some of the earlier recordings. Curious, since I generally gravitate to technical and precise music; relatively speaking, this just seemed to lack, I'll say "personality" compared to a Jelly Roll Morton or a King Oliver.
In any case, I still recommend this to anybody exploring early jazz, and especially anyone with an affinity for swing. I suspect (actually hope) I'm in the minority here and that more listening on my part will reveal more personality in the music.
Due to it's historical significance, and the importance of the sequencing of the tunes over nearly two hours, I've linked the full concert here. I will add though, that the most raucous, and my more favorite numbers, come late in the show. If you're not in it for the long haul, I recommend leaping forward to the 1:38: mark to catch the wild 12 minute ride of "Sing Sing Sing (With a Swing)" which rolls through many moods and encapsulates the best of what the group had to offer, including some of the most unrestrained jamming of the set juxtaposed among the more measured moments.
Charlie Parker – The Complete “Birth of the Bebop”
Recording Date: 1940 – 1943
Release Date: 1991
Style or Subgenre: Bop
The transition from Swing to Bop is often debated between being revolutionary or merely evolutionary. I tend to think of it as revolutionary, not only in the structure and presentation of the music itself, but in the very attitude behind it. Swing was largely conservative music with a big band following a leader, all playing within a fairly well defined structure, and ultimately producing music in traditional melodic and harmonic structures which, most importantly, was danceable. Conversely, the musicians who brought us Bop sought to be free of restrictive structures, to not worry about tempo being danceable, and were far less concerned with commercial appeal than individual expression.
The resulting musical revolution came in swiftly. Suddenly, all kinds of odd chord changes, often eschewing traditional tonality, came at us, and came at us at a rapid fire pace. This was “musician’s music” as it required tremendous virtuosity as well as amazing mental dexterity to pull off. The big band was replaced by the small ensemble with a far greater emphasis on soloing, improvisation, and most of all, individual expression. These were the “shredders” of their day, but they retained a keen sense of structure and impact, especially in the application of melodic and harmonic strategy and tactics, so they were more than just mindless speedsters; the best of them were the ultimate combination of artist and acrobat.
You can hear the aforementioned Roy Eldridge starting to lean this way, especially with regard to playing notes outside the traditional scale associated with the dominant key, but when it comes to bringing Bebop to fruition, the discussion really starts with Charlie Parker. While a number of musicians like Monk and Gillespie were also breaking through the old paradigm, ‘The Bird’ was the central figure making it happen. When it comes to the evolution of jazz, he is easily the biggest name between Armstrong and Davis, and rightfully so. This disc is so very opposite of the immediately previously reviewed Benny Goodman of just a couple years prior.
This disc is as much a historical document as it is a listening experience. It chronicles Parker’s early evolution before gaining full fame and recognition, as he was paying his dues to bring forth his evolution in jazz. On many of the cuts, the sound quality is even rougher than those older recordings from the 20s and 30s. Indeed, some of them were never intended for public release, but just happened to get caught because someone flipped a switch when some playing was taking place. Some of the cuts are themselves incomplete fragments that just cut off without warning. Nevertheless, if you can overlook the sound quality and occasionally unexpected and jarring ends, this is still both a fun listen and a keen piece of insight into the evolution of a great American art form.
This disc is also interesting as Parker, primarily an altoist, is also heard on tenor.
Charlie Christian – The Genius of the Electric Guitar
Recording Date: 1939 – 1941
Release Date: 1987
Style or Subgenre: Swing, Bop
Dizzy Gillespie and Charlie Christian – After Hours Recording Date: [/b] 1941
Release Date: 1959
Style or Subgenre: Bop, Swing
I love guitar. I love jazz. I love jazz guitar. In my jazz journey, it was only natural that I’d try to trace the use of my favorite instrument back to its roots in the genre. Charlie Christian wasn’t the first to play guitar in jazz, nor was he the first to amplify a guitar to be able to hang with the naturally louder instruments, but he was darn close… and everything else he did is what made him the first big name in jazz guitar and the one jazz historians think of when it comes to setting the course for that instrument in the genre.
In the beginning, guitar was used in jazz purely as a rhythm instrument, strumming chords for the wind instruments to solo over. Christian demonstrated that a guitar could be a melody instrument in its own right and, when amplified, could actually hang with those trumpets and saxes. But even that couldn’t have come to fruition if he hadn’t also proved he could improvise and solo with the best of ‘em. He was the perfect combination of compositional/musical prowess, technical virtuosity, and sound engineer. Such was his ability as an all around musician as opposed to a mere guitarist, that he was given the opportunity to show his chops by none other than relative jazz conservative Benny Goodman.
Sadly Christian, who lived a hard life, died in 1942 from tuberculosis at age 25. He spent most of his all too brief musical life with Goodman and most recordings of him are playing with Benny’s big band. There are many compilations of his work again, mostly with Goodman. If you’re looking for a guitar album, any of these compilations will be disappointing. Christians solos are short and his accompaniment is barely if at all audible most of the time. The best of these is ‘The Genius of Electric Guitar’ (which comes in multiple versions, including a comprehensive 4 disc set full of outtakes). Charlies wonderfully constructed solo in ‘Rose Room’ is easily the finest early example of jazz guitar and shows up well on this disc.
If you’re looking for a more guitar oriented set, and one that truly shows Christian’s mastery of his instrument and bebop, look for ‘After Hours’, his set with Dizzy Gillespie and a young Thelonious Monk. Charlie gets more spotlight and his clean, expressive lines are more audible. While 'Rose Room' gives us an intro to Christian, this set is where he really gets to take off. The disc’s opener, ‘Swing to Bop,’ shows a mature musician with complete command of his instrument and his music and, despite being right at the beginning of this form of expression, still stands favorably alongside any of todays great guitar solos. It is truly a wonder to behold, regardless of age.
Of course, Dizzy nails it as well. Hearing the two of them together is also quite special
James P. Johnson - The Original James P. Johnson Recording Date: 1942 – 1945
Release Date: 1996
Style or Subgenre: Early Jazz, Ragtime
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After listening to the records that show the evolution of early jazz to bebop, this is a bit of a throwback, which makes sense as James P. Johnson is of the same era as Jelly Roll Morton, even if this material was recorded later. What we have here is mostly stride piano leaning in the jazz direction as would have been expected a decade or two previous. It's the sort of thing that, had it been recorded in the late 20s rather than the early 40s would have been cutting edge. As it is, it's more retro,which is not to say it's not worthwhile; it's just nothing new. That said, Mr. Johnson does have his own style and flavor, as he puts a lot of touch and feel into his stride/ragtime solos. It's a nice addition to stand alongside the likes of Jelly Roll and add a little variety to that era/style.
Sweet Lorraine is a fine stride ballad, Daintiness Rag is a great example of straight up ragtime, and I personally found Snowy Morning Blues to be particularly entertaining.
Duke Ellington – The Duke Elington Carnegie Hall Concerts, January 1943
Recording Date: 1942
Release Date: 1977
Style or Subgenre: Big Band
Lets get the bad out of the way right from the get-go; the sound quality of this two-disc set is near abysmal.
Now for the counter; it really doesn't matter given the quality, uniqueness, and historical significance of the music contained within. There is two solid hours of masterful big band from the maser of the big band himself. While there is the usual mix of excellent swing you would expect from Ellington, what's far more significant is that this concert contains the first, and only end-to-end recording of the full Black, Brown, and Beige suite, Ellington's most ambitions and epic works.
Ellington wrote Black, Brown, and Beige as a massive, sweeping jazz symphony (the work is in three movements, each with multiple themes of their own) chronicling the black experience in America, which it does with astonishing breadth and coherence, despite reaching out and grabbing so many themes, styles, and moods. It brings together protest, power, and hope. Yes, three quarters of a century before Kamasi Washinton's "The Epic," Ellington put out this unparalleled masterpiece. It wasn't the first such exposition by a black artist, but it was the first of this magnitude and the first to be brought forth by someone with the clout to actually pull it off.
It is jazz in style, but classical in scope, matching the length of some of the longer of history's greatest symphonies. It musically represents everything from the arrival of early slaves to the then current answer of the call to arms in support of the country that had made them slaves in the first place.
As you might expect, the work received rather mixed reviews at this premier. Jazz wasn't supposed to be this long and certainly not this heavy. Nor was a jazz composer supposed to be able to write anything of such broad scope... let alone a black artist. Many went in with the preconceived notion that this was going to be too great a stretch for Ellington, and not surprisingly declared that notion confirmed afterward. Many simply called it pretentious (probably code for thinking Ellington an uppity negro). But a few wise souls were able to see the coherence, indeed the brilliance, of the work. Nevertheless, it was only performed in abridged versions thereafter with a few recordings of the neutered versions showing up from time to time. It wasn't until a few years after Ellington's death, that this original and only full version recording was released in 1977. It is now generally considered to be an essential element of any serious jazz aficionado's collection. While it isn't really jazz in the sense many of us think of as jazz, I still heartily concur.
Had I not started this diary, I'm not sure when, if ever, I would have discovered this piece and this recording. So even if nobody else gets anything out of this thread, I'm already enriched for having started it in the first place.
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