Around The World In 80 Blades - a shaving journal

[80blades]

Treet 7 Days Platinum, Round 2:​

​

Gillette Rocket HD ‘Herbie’​

This was more like it – great shave from start to finish, very enjoyable, but in fact the redness and mild skin damage from my last (3 days ago) was still there and was somehow exacerbated, even though this shave felt wonderfully smooth – once again, a stellar shaver that gets along famously with this blade. And the redness and irritation abated quickly.

So, we’ve got Herbie and Ray, let’s bring in a few more honorable mentions. I know a lot of the artists I’ve highlighted here are from earlier eras (even if some are still alive and kicking) – and that’s as it should be, given the extraordinary explosion of creative and cultural energy that marked jazz’s first half-century or so… but there are current artists who merit mention here as well. I’ve covered a couple already, and I’ll add a few more now!

Widely regarded as one of the most innovative and influential keyboardists of his generation (and a personal favorite), Cory Henry started playing music at the age of two. A multi-instrumentalist, he is also known for his mastery of the Hammond organ and synthesizers, as well as the fascinating hybrid ‘Harpejji’, and for his eclectic blend of R&B, soul, jazz, gospel and funk. A longtime member of the Grammy-winning jazz fusion band Snarky Puppy – check out the extraordinary solo on ‘Lingus’ on YouTube, to see him in action – he has worked with a startling variety of artists including Bruce Springsteen, Kenny Garrett, Michael McDonald, and Dr. Dre.

Another phenomenal young player (well, younger than me anyway!), Robert Glasper blends jazz with hip-hop, R&B, neo soul and fusion. Glasper has released several albums as a leader and with his various groups: The Experiment, the Robert Glasper Trio and R+R=NOW. He has also collaborated with artists like Kendrick Lamar, Herbie Hancock, Erykah Badu, Common and Q-Tip. Highly versatile, he has won five Grammy Awards, from eleven nominations across eight categories, and also composes music for films and TV.

Joey Calderazzo was born in New Rochelle, New York, in 1965. He started playing classical piano at eight and jazz piano at 14 – and performed with saxophonists Frank Foster and Dave Liebman while still in high school. Calderazzo has recorded several albums as a leader and as a co-leader, and is known for his work with Michael Brecker, Branford Marsalis, Jack DeJohnette and Dave Holland.

The youngest artist in this series, Joey Alexander was born in indonesia in 2003. He began teaching himself to play piano by listening to classic jazz albums his father gave him when he was six years old. Four years later, after hearing him play standards on YouTube videos, Wynton Marsalis invited him to play at the Lincoln Center in New York. One critic proclaimed “If the word ‘genius’ still means anything, it applies to this prodigy. He played his own solo variations on ‘Round Midnight’ with a breathtaking precocity and mastery of several decades of piano style”…

Alexander has since released four albums as a leader, and worked with Chris Potter, Kendrick Scott and Larry Grenadier. He has been nominated for four Grammy Awards and has received praise from critics and audiences worldwide – not bad for a not-quite-20-year-old!

 

[80blades]

Treet 7 Days Platinum, Round 3:​

Phoenix Artisan Accoutrements Double Open Comb ‘Erroll’​

I was sick for a few days and didn’t shave (or post) for a bit, and had 4 days’ growth to plough through. I knew the blade would be up to the challenge, but I had to choose the razor carefully. I ended up going with Erroll because it’s open-comb and, as previously discussed, kindasorta ‘adjustable’ in that by not fully tightening the handle a bit more blade exposure can be achieved.

I started with the handle backed off by a half-turn, and this seemed to be perfect for the first pass – quick and efficient, and I found it easy to maintain low pressure and good angles for a gentle but impressively effective result. Tightening by a quarter-turn, the second pass was just as precise, and left me with a very nice, quick and pleasant two-pass DFS!

Tightening all the way for a third cleanup pass, the result was everything I could have hoped for – BBS, no blood, no irritation, barely a whisper of alum sting – just a superb, 10 out of 10 shave for this razor. I’ve really come to appreciate it, and it’s a wonderful match for this excellent blade!

Who can we add to Garner and Strayhorn?

Junior Mance was an American jazz pianist and composer who was born in Evanston, Illinois, in 1928. He started playing piano at the age of five and had his first professional gig at the age of ten, eventually playing with jazz legends Gene Ammons, Lester Young, Dizzy Gillespie, Cannonball Adderley and Dinah Washington. He was known for his bluesy and swinging style that blended stride piano and boogie-woogie with bebop and hard bop. Mance recorded his first album as a leader in 1959 and went on to lead his own trios and quartets for over five decades. He died in 2021 at the age of 92

Treasured at least as much for his mellifluous 4-octave baritone voice as for his deeply sophisticated, understated piano style, Andy Bey was born in Newark, New Jersey, in 1939. He started his career as a child prodigy, performing with Connie Francis and Louis Jordan. He formed a trio with his sisters Salome and Geraldine called Andy and the Bey Sisters, which toured Europe and recorded three albums in the 1960s. He has also worked with jazz luminaries including Stanley Clarke and Chet Baker. Bey recorded his first solo album in 1974, which was influenced by Indian music. He then returned to hard bop and soul-funk, but brings his message of meditation and contemplation to the lyrics of one of my favorite tracks from the era, the wonderful Celestial Blues from the Gary Bartz album Harlem Bush Music. Bey’s album ‘Ballads, Blues & Bey’ is also a standout.

Finally, I realized I forgot an essential figure in Brazilian jazz a few posts back! Let’s tack him on here… Sergio Mendes is a Brazilian pianist, composer, arranger and bandleader who was born in Niteroi, Rio de Janeiro, in 1941. One of the most successful and popular artists in the history of Brazilian music, he has over 55 releases and plays bossa nova heavily crossed with jazz and funk. Mendes started his career in the early 1960s, playing with Cannonball Adderley and Herbie Mann. His own group, Sergio Mendes & Brasil ’66, had several hit singles, including ‘Mas Que Nada’, ‘The Look of Love’ and Brazilian-tinged covers of ‘Fool on the Hill’ and ‘Scarborough Fair’.

Mendes continued to record and perform with different versions of his group throughout the 1970s and 1980s, incorporating elements of disco, pop and soul. In the 1990s and 2000s, he collaborated with Quincy Jones and Stevie Wonder, and contributed to soundtracks for two animated films about his homeland: 2011’s Rio and its 2014 sequel.

 

[80blades]

Treet 7 Days Platinum, Round 4:​

Gillette Tech ‘Owen’​

I think I’ll keep my father’s name for this one even though we have Earl Hines and Red Garland in the mix. I still bought it thinking of him, and having little rituals and associations is a nice way to keep him in my thoughts.

This was a great shave! I feel like I have unlocked the secret with this razor, which has given me a bit of trouble in the past. It is one of those that greatly benefits from a light touch… I mean, probably all razors do, but some are more forgiving and some… less so.

It’s not a matter of ‘aggression’ necessarily – while this early (“pre-war”) Tech is less mild than some later iterations (like my little Featherweight ‘Horace’), it’s still relatively mild compared to what most afficionados would consider aggressive. I’ve just found that this one can give me some irritation if I am not mindfully gentle with it.

Thankfully, today I managed that and the results were very satisfying indeed! I’m liking the blade a lot as well, and will likely give it at least one more kick at the can before moving on. Happy shaving is a wonderful thing!

Meanwhile, I thought I would add a few more artists that remind me of my father in various ways…

Canadian Don Thompson’s virtuosity is matched by his versatility: he plays piano, double bass and vibraphone, all at a world-class level. Born in Powell River, British Columbia in 1940 – exactly one week before my father! – he is self-taught on all instruments. He has been active as a performer, recording artist, producer, session musician, and music educator for more than 50 years, working with Paul Desmond, Jim Hall, George Shearing, and Mel Tormé, among many others – not to mention fellow Canadian luminaries Moe Koffman, Rob McConnell, Ed Bickert and Lenny Breau!

A decade older, Claude Bolling was a French pianist, composer, arranger, and occasional actor. He was born in Cannes, France in 1930 and was a child prodigy, playing jazz professionally at the age of 14; he would go on to work with legends like Lionel Hampton, Roy Eldridge, and Kenny Clarke. Influenced by Duke Ellington, he also wrote music for over one hundred films, and created a series of crossover works that combined jazz and classical music. It was one of these, Suite for Cello & Jazz Piano Trio (with cellist Yo Yo Ma), that caught my teenage ear when my parents gave it to me, recognizing my developing interest in jazz. I am listening to it right now, with fond memories!

A longtime resident of my own adopted home here in Berlin, Walter Norris was born in Little Rock, Arkansas in 1931. He started playing professionally at the age of 14 and worked with with Lionel Hampton, Roy Eldridge, and Kenny Clarke. He played on Ornette Coleman’s groundbreaking first album, ‘Something Else!’, and worked with Joe Henderson and Charles Mingus. He later claimed that his fear of the latter’s terrifying temper was a key reason for his move to Berlin in 1977; regardless, he quickly became something of a father figure to the whole jazz scene here. I heard him here not long before he passed away, playing a solo set which included an absolutely astonishing rendition of the standard ‘All the Things You Are’ which I will not soon forget!

 

[80blades]

Treet 7 Days Platinum, Round 5:​

Ming Shi 2000S ‘Randy’​

Another fine shave for this affordable razor from China (a close copy of a Merkur Futur, in fairness) and this excellent blade from Pakistan.

I started on 5 (of 6) for the first pass, and dialed down progressively for the second and third, and the result was a very comfortable, nearly-but-not-quite-BBS shave, with no blood and zero irritation or alum sting. Nice!

So far, we’ve met Randy Weston and Abdullah Ibrahim, let’s add a couple more honorable mentions.

First up, another somewhat-obscure-but-brilliant-nonetheless iconoclast, Hasaan Ibn Ali! Born in Philadelphia (again!), and influenced by Elmo Hope who we met a few posts ago, Ibn Ali only released one album under his own name – The Max Roach Trio Featuring the Legendary Hasaan – which was released in 1965 by Atlantic Records. The album consisted of seven tracks, all written by Ibn Ali, and showcased his complex and adventurous approach as well as his rapid and intense playing. Another album, Metaphysics: The Lost Atlantic Album, was recorded in the same year but remained unreleased until 2021. Ibn Ali’s recordings reveal him as one of the most innovative and original jazz pianists of his era, who pushed the boundaries of bebop and anticipated later developments in free and avant-garde jazz.

Walter Bishop Jr. (also known as Ibrahim ibn Ismail after conversion to Islam, though he appears not to have used the name professionally) was born in New York City in 1927. He was influenced by bebop pioneers Art Blakey, Charlie Parker, and Miles Davis, with whom he played and recorded in the 1950s. He also led his own trio and quartet in the 1960s and 1970s, exploring modal and free jazz styles. Bishop was versatile and prolific, contributing to the development of bebop, hard bop, and post-bop genres, and his ‘behind the beat’ rhythmic style was widely copied.

One more, but this time I’m going to let his marvelous name speak for itself: Cyrus Chestnut. Just let that sink in for a minute. You’re welcome! Oh, yeah, and of course he’s a great pianist. In case there was any doubt.

(These writeups are, I confess, getting a bit repetitive, and at this point most of the artists I’m highlighting are in what one might call the second tier of jazz piano greatness, so to speak. Not to take anything away from them, we are still talking about musicians of great virtuosity and sophistication, and for what it’s worth I would definitely put myself considerably further down the list… However, the reality is that there are only so many artists that have had the immense impact of, say, Jelly Roll, Duke, Monk, Bud, Oscar, Herbie or Bill Evans. But I am drawn to the underdog, and hopefully this odd little journey is still of some interest to someone!)

 

[thombrogan]

hopefully this odd little journey is still of some interest to someone

I look forward to your every shave for both the blade’s behavior and even moreso for the musical history lesson.

 

[80blades]

Treet 7 Days Platinum, Round 6:​

Fatip il Storto Piccolo ‘McCoy’​

Another great showing for this fine blade! The razor, smooth and precise as always, seemed to get along superbly with the Treet and delivered a supremely enjoyable experience and a clean BBS result. The blade is still delivering, so it’s tempting to tarry a little longer… Maybe one more round to make it 7 shaves (though it’s been longer than 7 Days)!

While we’re waiting, let’s meet a few more pianists, shall we?

Hampton Hawes was a fixture on the Los Angeles scene in the 1950s, bringing his own interpretations to the dominant Bud Powell style and working with Charles Mingus, Dexter Gordon and Art Pepper, among others. Hawes was influenced in childhood by gospel music and spirituals, as well as pianists as varied as Earl Hines and Nat ‘King’ Cole, but he said his biggest influence was saxophonist Charlie Parker, with whom he had played in his early career and maintained a friendship. He struggled with addiction and was eventually arrested and spent time in prison, eventually being pardoned by president Kennedy. His memoir ‘Raise Up Off Me’ is considered a classic of jazz literature.

Known principally for his outstanding contributions to the jazz songbook, Tadd Dameron was influenced by George Gerswhin and Duke Ellington. Also a pianist and bandleader, his orchestra included giants like Fats Navarro, Dexter Gordon, Sonny Rollins and Clifford Brown. Dameron was at the forefront of developments in jazz, sometimes anticipating trends that would not develop fully for several years. Like Hawes, he was incarcerated for drug-related offenses, and like Hawes he died at age 48 – but he is remembered as the “definitive arranger/composer of the bop era” (Scott Yanow) as well as its “romanticist” (Dexter Gordon).

Finally, Lonnie Liston Smith Jr. played with jazz Pharoah Sanders, Roland Kirk and Art Blakey, but later shifted away from mainstream jazz towards soul, funk, fusion and smoth and acid jazz – notably with his band Lonnie Liston Smith and the Cosmic Echoes, and as an occasional member of Marvin Gaye’s backing band. Though he may have lost some of the respect of serious jazz afficionados in the process, he has stayed true to his explorer’s spirit, explaining that “I was trying to expand the consciousness of humanity”. Ok then!

 

[80blades]

A few typos in that last one! Since I missed the edit window...

* jazz icons
** Pharaoh Sanders
*** smooth jazz
**** aficionados

 

[80blades]

Nope. I was right the first time. It's Pharoah Sanders. Spell correct led me astray!

 

[80blades]

Treet 7 Days Platinum, Round 7:​

Gillette Featherweight Tech ‘Horace’…​

7 shaves in, the blade is finally starting to feel a bit duller. Horace is a mild shaver, and the first pass was quite excellent, but I could feel the blade working a bit harder across and against the grain and it left a few weepers here and there… Still a very enjoyable shave and a good result, but there’s not a lot to be gained by pushing through when it starts to feel like this – diminishing returns and all that. Time to move on.

To add a few names and stories to the party, let’s take a little trip! We’ve already been to Brazil, today we’re going to Cuba!
Like Brazil, Cuba has a rich and complex musical tradition, and combines jazz with Afro-Cuban rhythms and flavor, with a particular focus on percussion. New Orleans musicians began to incorporate elements of Cuban habanera and rumba into their compositions in the 1920s; in the 1940s, Cuban musicians such as Mario Bauzá and Machito introduced the clave, a rhythmic pattern that became the foundation of Afro-Cuban jazz. Since then, various styles and subgenres have emerged, including son, mambo, rhumba, cha-cha-cha, salsa, Latin fusion and timba. Let’s meet a few of the most important and popular figures:

Born in Guantánamo in 1915, Lilí Martínez was a pianist, arranger and composer who specialized in the son montuno style. He started playing music in local bands at age 17, joined Arsenio Rodríguez’s conjunto in 1945 and later formed Conjunto Chappottín with Félix Chappottín and Miguelito Cuní. His compositions and style incorporated traditional genres from eastern Cuba, such as nengón, changüí and kiribá, as well as classical and jazz influences.

Ruben Gonzales was born in 1919 in Santa Clara, learned to play piano at the Conservatory of Cienfuegos and later studied medicine, but dropped out and moved to Havana in the 1940s. Along with Martínez, Julio Gutiérrez, Pedro ‘Peruchín’ Jústiz and his disciple Bebo Valdez, he is considered one of the pioneers of modern Cuban piano playing. After fading from view somewhat and working as a tailor, he was rediscovered in the 1990s by Ry Cooder, who invited him to join the Buena Vista Social Club project, allowing him to record again and tour internationally until his death in 2003 at the age of 84. I was lucky enough to see him with BVSC in 2001, in an open-air theatre on a mountaintop in Athens – a night to remember!

Bebo Valdez was born in 1918 in Quivicán, near Havana. He began his musical career as a pianist and arranger in the 1940s, developing his own style that became known as Batanga. He was the director of the Tropicana Club orchestra and led his own big band, Sabor de Cuba. He took part in and made some of the earliest recordings of ‘descarga’ sessions (Cuban jam sessions). In 1960, after the Cuban Revolution, Bebo left his family and his country and settled in Sweden, where he worked as a piano bar player and was largely forgotten by the public until 1994, when he recorded a comeback album called Bebo Rides Again. Like Gonzales, he enjoyed a late resurgence of his career, recording several new albums and winning multiple Grammy Awards. He died in 2013 at the age of 94.

Bebo’s son Chucho Valdez started playing piano at age three and joined his father’s band at age sixteen, quickly establishing himself as a prominent pianist and arranger. In 1967, he was a founding member of the Orquesta Cubana de Música Moderna, an all-star big band that performed different styles of Cuban music. In 1973, he founded Irakere, a groundbreaking ensemble that fused Afro-Cuban jazz, rock, funk and classical music. Irakere became one of the most successful and influential bands in Cuba and abroad, winning several Grammy Awards and touring the world. Chucho also pursued a solo career, recording albums for Blue Note Records and collaborating with artists such as Herbie Hancock, Dizzy Gillespie, Wynton Marsalis and Paquito D’Rivera. His son Chuchito is *also* a pianist and bandleader! Cuban jazz, it would seem, is a family affair.

Gonzalo Rubalcaba was born in 1963 in Havana, Cuba, into a musical family. His father, Guillermo Rubalcaba, was a pianist and composer (family again!) who played with Enrique Jorrín, the creator of cha-cha-cha. His grandfather, Jacobo Rubalcaba, was also a composer of danzones. Gonzalo started playing piano at age three and drums at age eight, playing in various bands and orchestras, such as Orquesta Aragón and Grupo Proyecto. In 1985, he was ‘discovered’ by Dizzy Gillespie, who invited him to play at the Havana Jazz Festival. He then began to attract international attention as one of the most innovative and virtuosic pianists of contemporary Afro-Cuban jazz. He recorded several albums for Blue Note Records and other labels, showcasing his eclectic and original style; he also collaborated with Charlie Haden, Chick Corea, Ron Carter, Al Di Meola and Richard Galliano. He has won four Grammy Awards and two Latin Grammy Awards for his recordings.

 

[80blades]

Blade #44: Treet Falcon carbon steel (Pakistan)​

Round 1: KCG ‘Nat’​

Absolutely top shave, nothing to complain about! I know I said last time that this razor is hard to get excited about, but a shave like this one is absolutely worth celebrating, so maybe I need to revisit that proclamation!

I wasn’t sure what to expect from the Falcon, as it’s another carbon steel blade from Treet and the first one was… *fine* and all, but I don’t think I had one shave with it that was this good. Either the KCG suits it particularly well, or it’s just a better blade! Top marks, in any case. Smooth and sharp, a pleasure from start to finish.

Speaking of smooth, and given that the eponymous Nat ‘King’ Cole tended to walk the smoother side of the street (honorable mention Teddy Wilson is perhaps a bit peppier, but still easy on the ears) let’s visit a couple of other players with a similar vibe.

Born in Brooklyn, Don Grolnick began his musical life on accordion but later switched to piano. His interest in jazz began as a child when his father took him to a Count Basie concert, and soon after they also saw Erroll Garner perform at Carnegie Hall. Grolnick worked as a pianist and composer with pop artists such as Linda Ronstadt, Roberta Flack, Carly Simon, Bette Midler, as well as jazz and fusion musicians Gato Barbieri, Billy Cobham, Michael Brecker, Mike Mainieri, Eddie Gomez, Steve Gadd, Peter Erskine and David Sanborn. He also had a 25-year run as pianist and musical director for James Taylor, producing several of his albums.

Victor Feldman was an English multi-instrumentalist who played vibraphone and percussion as well as piano. He began performing professionally during childhood, eventually earning acclaim in the UK. Feldman emigrated to the United States in the mid-1950s, where he continued working in jazz – playing with Benny Goodman, Cannonball Adderley and even Miles Davis, on the latter’s ‘Seven Steps to Heaven’ album (Feldman composed the title track!). He was also a session musician with a variety of pop artists, including Steely Dan, Frank Zappa, Joni Mitchell and Tom Waits.

From a musical family, Dave Grusin has composed many scores for feature films and television, in addition to jazz collaborations with Sarah Vaughan, Carmen McRae, Gerry Mulligan and Lee Ritenour. He has won numerous awards for his soundtrack and record work, including an Oscar and 10 Grammys. One of the latter was for his soundtrack to the Fabulous Baker Boys, including a wonderful arrangement of “Makin’ Whoopee” – which I played for years in a circus show, where it was sung by a contortionist during her act.

I know, it sounds like a bit of a stretch … but it’s a true story!

 

[thombrogan]

Thank you for a pun only groan ups could enjoy!

 

[slimshavy]

Blade #44: Treet Falcon carbon steel (Pakistan)​

Round 1: KCG ‘Nat’​

Absolutely top shave, nothing to complain about! I know I said last time that this razor is hard to get excited about, but a shave like this one is absolutely worth celebrating, so maybe I need to revisit that proclamation!

I wasn’t sure what to expect from the Falcon, as it’s another carbon steel blade from Treet and the first one was… *fine* and all, but I don’t think I had one shave with it that was this good. Either the KCG suits it particularly well, or it’s just a better blade! Top marks, in any case. Smooth and sharp, a pleasure from start to finish.

Speaking of smooth, and given that the eponymous Nat ‘King’ Cole tended to walk the smoother side of the street (honorable mention Teddy Wilson is perhaps a bit peppier, but still easy on the ears) let’s visit a couple of other players with a similar vibe.

Born in Brooklyn, Don Grolnick began his musical life on accordion but later switched to piano. His interest in jazz began as a child when his father took him to a Count Basie concert, and soon after they also saw Erroll Garner perform at Carnegie Hall. Grolnick worked as a pianist and composer with pop artists such as Linda Ronstadt, Roberta Flack, Carly Simon, Bette Midler, as well as jazz and fusion musicians Gato Barbieri, Billy Cobham, Michael Brecker, Mike Mainieri, Eddie Gomez, Steve Gadd, Peter Erskine and David Sanborn. He also had a 25-year run as pianist and musical director for James Taylor, producing several of his albums.

Victor Feldman was an English multi-instrumentalist who played vibraphone and percussion as well as piano. He began performing professionally during childhood, eventually earning acclaim in the UK. Feldman emigrated to the United States in the mid-1950s, where he continued working in jazz – playing with Benny Goodman, Cannonball Adderley and even Miles Davis, on the latter’s ‘Seven Steps to Heaven’ album (Feldman composed the title track!). He was also a session musician with a variety of pop artists, including Steely Dan, Frank Zappa, Joni Mitchell and Tom Waits.

From a musical family, Dave Grusin has composed many scores for feature films and television, in addition to jazz collaborations with Sarah Vaughan, Carmen McRae, Gerry Mulligan and Lee Ritenour. He has won numerous awards for his soundtrack and record work, including an Oscar and 10 Grammys. One of the latter was for his soundtrack to the Fabulous Baker Boys, including a wonderful arrangement of “Makin’ Whoopee” – which I played for years in a circus show, where it was sung by a contortionist during her act.

I know, it sounds like a bit of a stretch … but it’s a true story!

The Falcon is definitely a step (or two) up from the "black beauty" blade in quality.

 

[80blades]

The Falcon is definitely a step (or two) up from the "black beauty" blade in quality.

Ooof, I just read a review of the Black Beauty. Sounds a lot like my experience with the Tatra Carbon Steel - different manufacturer, but that was the one and only time when I simply hated a blade and, if it were the only one available for some strange apocalyptic reason, would definitely just give up and grow a beard. Even though I love shaving. I didn't love it with that blade. The Falcon is not, so far, anywhere close to that bad, though it's also not likely to make my all-star list (foreshadowing of the next round? Wait and see!...)

 

[slimshavy]

Ooof, I just read a review of the Black Beauty. Sounds a lot like my experience with the Tatra Carbon Steel - different manufacturer, but that was the one and only time when I simply hated a blade and, if it were the only one available for some strange apocalyptic reason, would definitely just give up and grow a beard. Even though I love shaving. I didn't love it with that blade. The Falcon is not, so far, anywhere close to that bad, though it's also not likely to make my all-star list (foreshadowing of the next round? Wait and see!...)

No, you used the black beauty (it’s just called that but it's not its name) and it’s much better than the Tatra carbon (or the Leon or the Tiger).

 

[80blades]

Aha, so the Black Beauty is this one, which I called Treet Carbon?

Around The World In 80 Blades - a shaving journal

Aww, that's nice to hear! I do sometimes wonder if my rather meandering musings are of interest to anyone, but even if it's only a few I'm happy to know somebody gets something from them! Of course, as someone who works in fairly niche genres of music I'm used to that dynamic. That said, it's...

www.badgerandblade.com

(Which would make sense, as it's black... I'm slow, but I get there eventually!)

It was OK, not amazing, but definitely miles better than the Tatra as you say (I have one each of the Leon and Tiger CS blades here, so that's something to not look forward to). I also feel like the Falcon is a bit better again, but as always it's very subjective and many factors are at play.

 

[slimshavy]

Aha, so the Black Beauty is this one, which I called Treet Carbon?

Around The World In 80 Blades - a shaving journal

Aww, that's nice to hear! I do sometimes wonder if my rather meandering musings are of interest to anyone, but even if it's only a few I'm happy to know somebody gets something from them! Of course, as someone who works in fairly niche genres of music I'm used to that dynamic. That said, it's...

www.badgerandblade.com

(Which would make sense, as it's black... I'm slow, but I get there eventually!)

It was OK, not amazing, but definitely miles better than the Tatra as you say (I have one each of the Leon and Tiger CS blades here, so that's something to not look forward to). I also feel like the Falcon is a bit better again, but as always it's very subjective and many factors are at play.

That's it! Yes, I went through all the carbon Treets methodically in multiple razors and they sorted themselves neatly into ones capable of giving three good shaves or more and those only good for two shaves or fewer. Falcon was indeed in the former group and the "black beauty" in the latter.

 

[80blades]

That's it! Yes, I went through all the carbon Treets methodically in multiple razors and they sorted themselves neatly into ones capable of giving three good shaves or more and those only good for two shaves or fewer. Falcon was indeed in the former group and the "black beauty" in the latter.

Well I'll push the Falcon a bit further then and see how it fares. I managed 4 shaves with the 'black beauty' but the last one took some time for sure. I'm a bit less methodical in my approach - hey, I'm an artist, there's always going to be some impulsive/intuitive randomness in my approach, even though I come from a family full of scientists and fully appreciate more rigorous systems - but I'm still trying to mix things up enough to get a bit of a sense of what each blade (and razor) is about.
And, you know, ramble on about jazz pianists.

 

[slimshavy]

Well I'll push the Falcon a bit further then and see how it fares. I managed 4 shaves with the 'black beauty' but the last one took some time for sure. I'm a bit less methodical in my approach - hey, I'm an artist, there's always going to be some impulsive/intuitive randomness in my approach, even though I come from a family full of scientists and fully appreciate more rigorous systems - but I'm still trying to mix things up enough to get a bit of a sense of what each blade (and razor) is about.
And, you know, ramble on about jazz pianists.

I’m enjoying your posts!

 

[80blades]

Blade #44: Treet Falcon, Round 2:​

Gillette Aristocrat 1948 ‘Duke’​

Pretty good shave all around. Despite being a bit fiddly with shims and such, I still find the Aristocrat an enjoyable experience. The Falcon felt pretty tuggy on the first pass, but we got through the weeds eventually and without any terrible discomfort. Subsequent passes were better, and the result was an irritation-free not-quite-BBS, which is certainly more than acceptable.

On to the other business at hand: more honorable mentions for the Aristocrat! On the menu today: two more Dukes and another George!

Duke Pearson was a pianist, composer, arranger, and producer who played a big part in shaping the direction of Blue Note Records in the 1960s. Born in 1932, he started his career playing with Art Farmer and Benny Golson, and subsequently as a member of the Donald Byrd-Pepper Adams Quintet. He also toured with Nancy Wilson, and recorded several albums as a bandleader for Blue Note and Atlantic Records.

Known for his elegant and sophisticated piano style, which blended hard bop, soul jazz, and Latin influences, Pearson’s compositions (including ‘Jeannine’, ‘Idle Moments’, ‘You Know I Care’, and ‘Sweet Honey Bee’) and arrangements were performed by Grant Green, Lee Morgan, and many others. He also produced albums for numerous Blue Note artists, including Stanley Turrentine. He was diagnosed with multiple sclerosis in the 1970s, and passed away in 1980.

Duke Jordan (1922-2006) rose to fame as a member of Charlie Parker’s quintet in 1947-48. He played on some of Parker’s most influential recordings, such as ”Dewey Square’, ‘Bongo Bop’, ‘Bird of Paradise’, and ‘Embraceable You’. He also composed ‘Jordu’, popularized by Clifford Brown and now an oft-played standard. He had a long solo career and recorded extensively, mostly in trio format, for the SteepleChase label after moving to Copenhagen in 1978.

Jordan’s style combined bebop elements with lyrical melodies and subtle harmonies. He was an influence on many other pianists, including Tommy Flanagan and Hank Jones.

Finally, the one and only George Gershwin! Known primarily as one of the most influential and popular composers of the 20th century, Gershwin wrote for Broadway musicals and Hollywood films – but he was also an accomplished and sophisticated pianist, and some of his more serious works are considered virtuoso showpieces. His music blended myriad genres and styles with his unique melodic and rhythmic flair.

Gershwin was born in Brooklyn, New York, to Russian Jewish immigrants. He began his career as a plugger for a music publisher, but soon started writing his own songs, including his first hit ‘Swanee’ in 1919, sung by Al Jolson and with lyrics by Irving Caesar. Gershwin then wrote several successful musical comedies for Broadway, with lyrics by his brother and closest collaborator, Ira. These include ‘Lady Be Good’ (1924), ‘Oh Kay!’ (1926), and ‘Funny Face’ (1927), and songs such as ‘Fascinating Rhythm’, ‘Someone to Watch Over Me’, and ‘S’wonderful’ – all still played frequently today, alongside countless other Gershwin classics.

However, his most important composition from a jazz perspective is arguably ‘I Got Rhythm’ – its harmonic structure is the basis of so-called ‘rhythm changes’, a song form on which many jazz ‘heads’ are based, forming one of the essential foundations of bebop.

Gershwin also composed innovative orchestral works that fused classical and jazz elements, such as ‘Rhapsody in Blue’, ‘Concerto in F’, ‘An American in Paris’, and ‘Cuban Overture’. A late masterpiece, ‘Porgy and Bess’ was a folk opera based on a novel by DuBose Heyward, and included the unforgettable and timeless songs ‘I Loves You Porgy’ and ‘Summertime’.

Astonishingly, he accomplished all this in a tragically short lifetime, dying of a brain tumor in 1937 at the age of 38!

 

[80blades]

Blade #44: Treet Falcon, Round 3:​

Gillette Rocket Parat / Aristocrat Jr ‘Count’​

This shave was quite similar to the last time out, though the Count is a somewhat gentler creature than ‘Duke’ and the shave was a bit milder, smoother… and not quite as close. But the blade still tugs a bit and I’m not sure I’ll continue with it – not that it’s bad, and I like that it never seems to leave me with any irritation at all, but it’s just not great, and it’s hard to feel like it’s going to get any better…

So, let’s look at a few more pianist/arranger/bandleaders!

Born in 1894 in Kansas City, Missouri, Bennie Moten started his own band in 1922, which became one of the most popular and influential orchestras in the Midwest in the 1920s and early 1930s. He recorded for various labels, such as OKeh, Victor and Bluebird, and helped to develop the riffing style and the Kansas City swing sound that would later inspire Count Basie and others. His compositions included ‘South’, ‘Kansas City Shuffle’, ‘Toby’ and ‘Moten Swing’. He died in 1935 from complications after a tonsillectomy.

Born in 1911, Stan Kenton led an innovative and influential jazz orchestra for almost four decades. At the peak of their popularity, Kenton’s band broke attendance records across America and were the first to present a concert at the Hollywood Bowl. Experimenting with various styles of jazz, including swing, West Coast, Latin and orchestral jazz, he also commissioned and promoted the works of modern composers and arrangers, including Pete Rugolo, Robert Graettinger, Johnny Richards and Bill Holman.

Kenton was a businessman, unapologetically commercial, and had several pop hits from the early 1940s into the 1960s, such as ‘Artistry in Rhythm’, ‘Intermission Riff’ and ‘The Peanut Vendor’. He also faced controversy at times and there were questions around his racial views – in a period when jazz was becoming more racially integrated, his bands were almost exclusively composed of white musicians. Still, he employed a long list of jazz greats, from Art Pepper and Stan Getz through Kai Winding and Maynard Ferguson, and made significant contributions, including moving the big band from the dance hall to the concert hall.

Kenton was also a pioneer in the field of jazz education, creating the Stan Kenton Jazz Camp in 1959 at Indiana University. He mentored thousands of high school and college musicians and influenced many jazz educators. He died in Los Angeles in 1979 at the age of 67.

Born in Toronto in 1912, and regarded as one of the greatest arrangers in jazz history, Gil Evans developed a distinctive style of orchestration that used instruments such as French horns, tubas and flutes to create rich and complex textures and harmonies. Evans is best known for his acclaimed collaborations with Miles Davis, which began with the Birth of the Cool sessions in 1949-50 and continued with the albums Miles Ahead (1957), Porgy and Bess (1958) and the groundbreaking Sketches of Spain (1960). These albums showcased Evans’ ability to create atmospheric and impressionistic orchestrations that complemented Davis’ lyrical trumpet playing.

Evans also worked with other artists including Lee Konitz, Jaco Pastorius, Astrud Gilberto and Johnny Mathis, as well as profoundly influencing several generations of arrangers and composers. He also returned to the stage later in his career, performing on piano and electronic instruments to complement the innovative combinations which were the hallmark of his sound.