Gave it a spin this morning. Spindle hole snug ....almost no surface noise....the only caveat? Not what if call a dynamic pressing....the verdict make change when I get a chance to open the volume up some. I live in a condominium and the neighbors to my right do not appreciate loud music. This is somewhat ironic seeing that Brad Whitford's (of Aerosmith fame) mother owned and lived in that unit several years ago..... But overall I'm happy with my purchase. Of it does sound more vibrant and dynamic at a more reasonable volume level I will update accordingly. I must agree with the critics regarding the potential lost to the Jazz world as this is some pretty amazing playing for a new guy on the scene. Apparently this was the album that was meant to introduce Clifford as a leader to the Jazz world. His work afterward with Max Roach is the showcase material but considering he died in his mid 20's due to a car crash, we are lucky to have what we do......he quite possibly been one of the giants of trumpet had things gone otherwise. I'm still interested in hearing from anyone with earlier or different pressings of "memorial album" and thier takes on it...
John Patton - Oh Baby! original '65 mono Blue Note BLP 4192 (NY labels, Plastylite, VAN GELDER stampers) Got spanked at work the last few nights, need something to take my mind off it all. Paired with a Napa Valley zinfandel. Calgon, take me away!
Though he died so young, Clifford has often been considered the greatest jazz trumpeter ever, and almost always in the top 5 (if that really means anything). Now that you enjoy that recording, I suggest you try a true mono version (whether CD or vinyl). Any CD edition is better than a vinyl re-channeled stereo. But first, I would get the Emarcy recordings, which represent Clifford at his best. Clifford Brown - The EmArcy Master Takes [4 CD] - Amazon.com Music One of my best friends (now deceased) was a high school classmate of Clifford's and had a small band with Clifford. I miss his stories
I will check that out....his story and music have definitely piqued my curiosity.......I'm fairly new to the Jazz that was prominent in the 40's-60's .....I have always liked fusion jazz but nothing from the earlier era.....I'm currently obtaining albums by artists that are considered "must have" albums and this one was getting off track of that objective..but I really liked what I heard of Cliffords...
There are many great recordings to get. Offhand, I suggest you try something by Sonny Rollins from the 1950's. Prestige label or Bluenote label first, but the Contemporary label or Riverside label Rollins are also excellent. Be sure to try Monk and Bud Powell as well. The list is long
I have The Immortal Clifford Brown in a 2 LP Mercury mono box set. Appears to be from 1964. I got it 2nd hand in Oxfam for £25. Good stuff.
I had stored this as too schmaltzy (?) for my liking. Giving a play now. It's pretty good too. Featuring:- George Bohanon Michael Brecker Randy Brecker Chick Corea Russell Ferrante Chuck Findlay Dave Grusin BB King Ramsey Lewis Eric Marienthal Bob Mintzer John Patitucci Nelson Rangel Arturo Sandoval Tom Scott Ernie Watts Dave Weckl And then I look at the play list Monk, Davis, Coltrane, Corea, Silver, Mingus.... This ones staying out of storage! Funny. I had a Dave Grusin thing in the early '80s but went off him because I thought he was too smooth.
Obviously the mastertape sonics and condition of tapes 10 or 15 years later are going to play a role in the sound of any given disc. The vinyl surface is high quality and much quieter than the US vinyl. Also unlike the Japanese pop rock titles they don't add an analytical or SS edge to the sound. The basic sound is quite warm. I buy them with confidence and haven't been disappointed with Japan jazz titles from King, Toshiba or Victor. I would stick with pressings made in the 70s and early 80s though.
That album is addictive. Fleurette Africaine (African Flower) is one of the most haunting pieces ever recorded.
I can certainly vouch for that. I have forced myself away from it now but I will return soon no doubt.
Now listening to a new addition to the "Jazz in Paris" series: "Hard Bop". . . .Five tracks are the Roger Guerin led session that Blue Note reissued as part of "Benny Golson and the Philadelphians, and four tracks led by Art Farmer with Lionel Hampton sidemen. 1. Stablemates - Roger Guérin Quintet 2. Moanin' - Roger Guérin Quintet 3. Blues march - Roger Guérin Quintet 4. I remember clifford - Roger Guérin Quintet 5. Not serious - Roger Guérin Quintet 6. Serenade to sonny - Art Farmer New Jazz Stars 7. Purple shades - Art Farmer New Jazz Stars 8. Strike up the band - Art Farmer New Jazz Stars 9. La rose noire - Art Farmer New Jazz Stars Hard Bop: Art Farmer New Jazz Stars, Multi-Artistes: Amazon.fr: Musique
Plays Django: Django Reinhardt, Django Reinhardt & Ses Rythmes: Amazon.fr: Musique Newly released in the Jazz in Paris series: Django Reinhardt plays Django. 1. Oriental shuffle - Django Reinhardt et le Quintette Hot Club 2. Vendredi 13 - Django Reinhardt et le Quintette Hot Club 3. Pêche à la mouche 4. Douce ambiance 5. Nymphéas 6. Dinette 7. Swing 41 8. Diminushing 9. Rythme futur 10. Swing 39 11. Naguine 12. Manoir de mes rêves 13. Vette 14. My serenade 15. Swingtime in springtime 16. Nuits de saint-germain-des-prés 17. Nuages - Django Reinhardt & Ses Rythmes
One of the greatest jazz LPs of the 60s and all three musicians are great. Sadly it is afflicted with one of the worst engineering jobs of any major label of that era as well. The Classic Records 200G Quiex is the best salvage job vinyl pressing although a 70s era French repressing isn't terrible either. I have no idea what happened. The CD issue threw extra tracks in there because of the short length of the original LP. I couldn't tell what disc was being played in the post.
JUST WANT TO ADD: this is an excellent collection of Django in great sound. The numbers with electric guitar are especially great.
There are stories about the dispute between Mingus and Roach (likely caused by Mingus) during this session; Mingus storming out; and Duke chasing down Mingus and trying to soothe him to save the session. Duke wrote about it. It is great that Duke saved the day, and too bad that this trio did not record again. If so, Duke would have clearly revealed his talents at the keyboard in new ways.
If a person can play angry bass, that was Mingus on Money Jungle. But quite frankly it was necessary at that stage to provoke or goad Ellington into extending himself. Even on the cover picture Duke doesn't look too healthy.
I don't get that from the session. Duke was on top of the two youngsters. He didn't need goading, they needed to figure out how to play for him . . . if anyone needed to adapt or be extended in my opinion it was Charlie and Max. This is a fantastic session. The sound doesn't matter to me, I'm always drawn in. I sometimes listen to "Piano in the Foreground" in the same listening session. . . .