Sweet! I'm surprised it was still there. NP Charlie Haden - The Private Collection (Naim) Disc one from Charlie's 50th birthday with Ern E Watts, Alan Broadbent and Billy Higgins.
When I was in college and wanted to clear out my dorm room I would put on John Coltrane "Live in Japan." If that didn't do the trick, it was Schoenberg's "Pierrot Lunaire."
WP - Wes Montgomery - In Paris I have only played side 1 and 4 so far but all I can say is wow! How great is Johnny Griffin on Blue N Boogie? The sound on this is great, you can really feel the theater in the recoding with lots of air around the instruments. Harold Maybern is also fantastic on what I have heard. I have seen bootlegs of this from time to time in stores, glad I waited for the real thing with proper mastering for an official release.
Archie Shepp & Roswell Rudd: Live In New York Archie Shepp: Tenor Saxophone, Piano, Voice Roswell Rudd: Trombone Grachan Moncur III: Trombone Reggie Workman: Bass Andrew Cyrille: Drums Amiri Baraka: Poetry Recorded live September 23rd and 24th 2001 at The Jazz Standard (!?) and released on Verve (!?). (Oh Verve, where have you gone?) I was digging for some more contemporary Moncur to listen to and had forgotten how good this live date from the Jazz Standard was. While it's nominally a Shepp/Rudd reunion (they had not played together since Shepp's "Live In San Francisco" I believe) the 'rhythm section' of Moncur/Workman/Cyrille are paramount in making this work, and work it does. The fires may be tempered a bit since the 60's but there's still plenty of heat in this ensemble, along with plenty of maturity and mellowness. Moncur plays the dark counterpoint we loved 40 years earlier and the Workman/Cyrille team never lost touch with the ability to make this music work beautifully. Hearing the three horns, two of which are trombones, is a joy and the two slide-men never compete for space. An excellent slab of swinging post-free-bop.
The Moncur did not work so well, I immediately thought of "Live In Japan", which I teasingly suggested to my wife who, knowing the album, said Best of all? (in the Jazz idiom at least, Merzbow probably rules for room clearing ability) is this:
Excellent! For you and @Morbius how is the pressing quality on the Clark? I've read a few very negative comments on it and it turns out it was pressed at Rainbo, not much better than URP. I have yet to clean and play mine. You should definitely grab the Wes, it's excellent. The package, music and pressing are top notch. Yes it's a digital cut like all the Resonance titles, but what can we do? Rather than protest and miss the music I'll heavily support those who still do AAA titles. BTW, the Ayler is also fine. My local still has the Garcia/Wales if you need to source a copy I can hip you to the details. I may still pick it up but I'm not unhappy with the original CD release. I think they brought in 15 copies or so at the one store expecting a good demand here as well
Nice. So, "taking the dog for a walk" is the new secret code word excuse for "going to spend more money on records" eh? I tried that on the little lady after reading your post and she reminded me that we don't have a dog.
Love these two-fers. The title of this is perfect; if anyone was playing irreducible polynomials it was Elvin.
Joe Farrell - Outback (1971) Joe Farrell (tenor sax, alto sax, flute, piccolo), Chick Corea (electric piano), Buster Williams (bass), Elvin Jones (drums), Airto Moreira (percussion). (CTI)
Chick Corea - The complete "IS" sessions (recorded 1969). originally released as the LPs - "IS" (1969) and "Sundance" (1972). Chick Corea with Bennie Maupin (tenor sax), Woody Shaw (trumpet), Hubert Laws (flute, piccolo), Dave Holland (bass), Jack De Johnette (drums), Horace Arnold (drums, percussion).
Hey a man has to do what a man needs to do. You can borrow mine for April RSD if you want. I posted in the RSD thread that I am not having any issues with the pressing of the Sonny Clark like others, if you don't have the material already I say give it a try unless you really need to turn it in for credit on something else you have to have. It does seem like when Sonny digs into his solo's the recoding needle might have hit the red in the studio, not sure if it's down to the recording itself or mastering or it being a digital source. I wouldn't say it's an ear bleeder as there are dynamics here but if you know the material already and that seems like a red flag and not just the usual dry piano recording sound of the era then beware. The Wes is boss as you know, I even got my usual 20% discount on it despite it being a RSD exclusive which was nice of the owner.
Lots of groove rumble at the beginning of each side and a few clicks hear and there but the music is so good I can overlook the pressing flaws.
Insane Deal Alert!!!!!!!!!!!!!!! Folks, Acoustic Sounds is having a 50% off sale on 254 AP titles, almost all Jazz Both LP and SACD. Think about it, 2x45 Blue Notes for $25 and SACD's for $15. I just ordered 30 SACD's. The more you buy the more you save as they say. Wish I could have gotten more but RSD already put the kibosh on the "budget" and the last 3 Prestige Stereo LP's are already on their way. Anyhow......... Acoustic Sounds
And if he bites someone I can simply say: Glad to hear you got a good copy, hopefully mine is the same. I don't have the SH mastered release and am looking forward to this one. Score on that Wes! A stellar release. I can't belive that it did not garner the same interest as the previous Bill Evans releases.
I hear ya man, as I said I was stoked for this one and the music is the most important thing, which is my exact point. I'll never understand why these companies/labels can sink so much time, effort and money into the packaging, promote the effort extensively (at least for this limited market) and then save a buck or two by having it pressed at a crap plant. Sure, Pallas, RTI, QRP et al have their issues but to compromise the most important aspect of the release (the music) and to do a disservice to the artist and their legacy makes no sense whatsoever. I just don't think we should be forced to "overlook" those flaws when they can be remedied not only by the issuing label but also by the pressing plant itself. Hoping to check mine out tonight. The Albert Ayler also came out nicely, pressed at Pallas and on colored vinyl no less.
Actually it has garnered more interest - just look around... Wes Montgomery - Paris 65 (Resonance Records RSD)
