The second album from Stan Getz, and this time he's with Joao Gilberto. I enjoyed the first offering and this was even better, because there were vocals (even if they were in Portugese). There's not much to say about the album other than the fact it was a welcome relief after the dross that was James Brown.
The more I listen to jazz, the more I begin to love it. Of course, there are some albums that I just don't 'get' (I'm thinking of 'A Kind of Blue here'), but there are others (Time Out and the current one being reviewed) which make sense straight away. What stands The Black Saint apart from the ones I've listened to thus far is the sheer variety of the pieces, and the way Mingus manages to pull them all together. Want a section that sounds like it was written for a film noir score? Yep! Want some dude going crazy with a trumpet whilst the drummer ramps up the beat? Of course! Feel like a little spanish guitar just for kicks? You betcha! Whilst some jazz albums can feel a little predictable (ironically), this had me on the edge of my eardrums.
Rating: 8.5/10
Favourite Track: Track B - Duet Solo Dancers
I had another pleasant surprise with this album, and it was party from start to finish. I have no idea who Stan Getz is, but feel as though I've heard of Charlie Byrd before, though I can't think why. The title of the album is actually misleading, the songs are neither jazz nor samba, but instead Bossa Nova.
Overall: 7/10
Favourite Track: Samba de Uma Nota So
According to the information contained in the book, this album is 68 minutes long, however, because most of the tracks repeat themselves I decided to skip half the album. My research of Bill Evans led me to discover that he was the pianist on 'A Kind of Blue', which made me concerned I'd not like the album. However, I actually enjoyed this album. It's considered a jazz classic and I can understand why, it also allowed me to 'nearly' finish 'The Pickwick Papers'
The front cover is terrible, and sadly the dog is long dead. Going into this I'd never heard of Jimmy Smith, and the album art does nothing to suggest what kind of music he might perform. To put it simply, the album was smooth. It mainly consisted of lots and lots of Hammond Organ, hi-hats and bass scales. That's not to say I didn't like it, in fact I rather enjoyed it. I just think it was a little linear for my taste.
Overall: 6/10
Favourite Track: When I Grow Too Old To Dream
Next Album: Muddy Waters - Muddy Waters At Newport
I've not logged into this blog for nearly four years, so it's difficult to remember how I felt about Time Out when I first listened to it. However, the fact I bought it suggests I enjoyed it quite a lot. Therefore, I won't review the album again, and instead I'll go straight into the 1960s with Joan Baez.
Second time around for Miles Davis, and the album which is generally regarded as the best of his career. Not by me though. I once owned A Kind of Blue, but I took it back to the man behind the counter. I have never understood its appeal (obviously my slight jazzphobia is partly to blame). I make no attempt to suggest it's not as good as critical/public opinion says it is; it's just not for me. I think there's a few more records to come from Miles so hopefully I'll appreciate those more. Otherwise I'll just have to suffer.
Overall: 6/10
Favourite Track: So What
Next Album: Marty Robbins- Gunfighter Ballads and Trail Songs
Coming soon after Lady In Satin, I was expecting Ella to bare a strong similarity to Billie Holiday. I was both right and wrong. Whilst they're both female, jazzy and great, Ella has the better voice and songs. This album, which would be perfect for a Sunday, was a delight. Now, I'd heard of George Gershwin already; assuming this album would be about him alone, but I wasn't aware his brother (Ira) wrote the lyrics for a lot of G.Gershwin's compositions. And it was the lyrics I particularly enjoyed on this record. Of course, they were your typical Tin Pan Alley couplets, but they managed to be both original, catchy and memorable. This should take nothing away from Ella Fitzgerald's vocal performance, however, which is beautiful throughout.
Overall: 8/10
Favourite Track: Someone To Watch Over Me
Next Album: Ray Charles- The Genius of Ray Charles
Reading the reviews of this album, it's been said that Billie Holiday's voice was torn to shreds by the time she recorded these dozen songs; but because I've not heard much of her before, I don't really have anything to compare her with. Still, she does unfortunately, sound a little like Macy Gray on this album. Fortunately, she gets over this by providing an emotional depth to the songs (a couple of which appear on the two Sinatra albums I've already listened to). The fragility of her voice is somewhat complimented by the context of the songs; for forty minutes Holiday mourned tragedy, love lost and generally felt a little blue- which is fair enough, being a heroin junkie and all (she's like a female Renton). It's a shame she wasn't at her peak when this album was recorded, because it'd make what is a fine album even better. Eleanora Fagan, I'm glad I heard you and you're far better than Macy Gray!
It seems, even in different disguises, jazz was very popular in the 50s. This particular album contains 'afro cuban jazz' apparently. If that's true, then I'm not a fan of the aforementioned genre. This was the first record I particularly struggled to get through, and I've not really got anything positive to say about it other than compliment mad rhythms that were going on. For some reason, the brass section reminded me of generic gameshow music.
In my collection I have two Miles Davis albums (Sketches of Spain and Bitches Brew). The former I'm rather fond of, but the latter less so. I was apprehensive about hearing this album because I half expected it to be full of thirteen minute jazz noodling. Fortunately, all of the songs are in radio-friendly lengths. It took seven years for these tracks to see the light of day, though I'm not sure why? For some reason (apart from Jamie Cullum) all jazz musicians seem to be rather cool, and Mr. Davis is no exception to the rule. The only flaw with the album is that the songs did sound remarkably similar to these untrained musical ears, but they were good nonetheless.
Louis 'Sabu' Martinez is one of those 'world music' musicians who's likey to have appeared on Later... with Jools Holland had he not died in 1979. He'll have probably have had to make do with one song, whilst Sting gets three. Whatever song they choose, I just hope it isn't 'Asabache' because any track with a bloody long percussion solo isn't worth listening to (e.g. Cream- 'Toad'). The albums had its highlights (the guitar work was particularly nifty at times), but they were outweighed by the erm...lowlights. Call me uncultured, but I just wanted something more western.
Overall: 3/10
Favourite Track: Rhapsodia Del Maravilloso
Q: What do Andy Hinchcliffe and Thelonious Monk have in common?
A: Brilliant Corners.
For many Jazz fans, The Lonliest Monk is a genius. A brilliant, innovative, original genius. This album is generally regarded as his best work, so it'll be fair to assume it's fantastic, yes? Well, for some, but not for me. Whilst I appreciate the talents of Monk and refuse to criticise the man, I struggled to agree with the democratic opinion. It was just too slow-paced to fully register, I guess. Still, it wasn't all bad- it has helped me relax after a particularly stressful day at work.
Aside from Count Dracula, and his animated likeness 'Duckula', Atomic Basie is the the most famous Count, and the jazziest. He's also much friendlier than Dracula. This album is my favourite of the current crop of pure-jazz records I seem to be listening to at the moment (c.f. Duke Ellington, Louis Prima) because it's more melodic; plus, I love anything with a bassline that runs up and down scales (if that makes any sense?) The songs reminded me a little of the Batman theme, if I'm honest, so it was quite remarkable to observe that Neal Hefti Arrangements (to give the man his full title) wrote the theme for the caped-crusader.
Almost a year to the day before Paul met John, Sir Duke Ellington almost caused a riot at the Newport Jazz Festival. It's all here on this recording (except the exerts from Woolton), and whilst the audience certainly sound like they're enjoying it, I'm just not a big fan of live albums. If I'm not there when it happened, then I'd rather not know. I can appreciate the album, and there were some cracking songs on it, but I'd rather have witnessed it live.
Overall: 6/10
Favourite Track: Festival Junction
Next Album: Frank Sinatra- Songs For Swingin' Lovers
Even if you've never heard of Louis Prima, you've probably heard him. Years after recording this album, he became the voice of King Louie in Disney's The Jungle Book (1967) and his vocal talents can be heard on 'I Wanna Be Like You'. If you're particularly fond of that song (and who isn't?) then you probably wont be too disappointed with this album. Featuring Keely Smith on a number of songs, it's uplifting, free and definitely wild. There's a party spirit to the album; it's fun and exciting. Of course, if you played it a party these days, you'd probably get thrown out along with the record tokens you brought along with you. You wont care though, because you'll still be grinning like a loon. The cover image is a photograph of Prima taken after he'd just heard the record (probably).
I like Frank Sinatra, he pisses all over Michael Buble, or any of the other contemporary Easy Listening acts, so I was looking forward to this album. This is Sinatra's break-up record. 50 minutes of heartache and sorrow. Whatever his love (Ava Gardner) did to him, or whatever caused the split seems to have hit poor Frank pretty bad. This is the musical equivalent of getting kicked in the guts, or catching your missus at it with the man next door. Calm orchestral music (reminding me of classic Disney) peppers the record as Frankie boy croons over the top. The instruments are used sparingly, and don't detract from the vocal- which, coming from Sinatra, is warm, relaxing and genuinely incredible. I was rather surprised to hear an earlier- less upbeat- version of 'Glad To Be Unhappy' (i.e. not the one by the Mamas and Papas). It's good, although it does drag a little; I prefer Sinatra with a bit of swing. Mind you if he sang these songs to me, I'd take him back in a heartbeat. Sniff. Ava Gardner, you should never have let him go!
There's a book you may or may not have heard of called '1001 Albums You Must Hear Before You Die'. Here is my attempt to do just that. Follow my progress from Frank Sinatra to Arcade Fire as I write my thoughts and feelings about each album.
All errors in this blog are mine, and mine only (unless they're not).
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