Jazz Beat (Part 37)

I've seen them there. I figure that if there are more tapes to hear, they'd more likely be released by Stefan Winter, who has released a ton of live Motian already. Eicher is more focused on moving forward. That's the reason for the slow dripping of archive releases from ECM.

I can also recommend the quintet releases including Lovano and Frisell which preceded that first trio record (at least as far as recording dates go):

 

Well, we were never NOT good They're all pieces of the same puzzle, and as such, are equally important. My only problem with jazz is that there are just too many damn pieces

 

Oh good. Glad to hear it. I was just feeling like you weren't valuing Hank's playing, one of my favorites of that style of playing that for me includes Tommy Flanagan and Red Garland as far as the old guard goes. I love the pianists who do push the edges but I feel that some people don't appreciate what these quieter, more conservative "sounding" pianists are doing right in fromt of their face (or ears). I went to a Geoff Keezer solo concert once at a college and he talked for about fifteen minutes on the skills that Hank Jones applied to a song from the album Steal Away that he did with Charlie Haden. I forget the song and all the details he spoke of but Hank did some kind of chord substitutionor something along that lines that Geoff and other "scholars" of the piano had a hard time dissecting. So I think there are subtle things that maybe only a pianist or music theorist might recognize but that doesn't make their skills less valuable to the history of jazz piano.

There was a time when these kinds of pianists did not impress me as much as they do now but I'm sure I'm not the only person who comes around to these kinds of things at an older age. I have had the same experience with Paul Desmond and Jim Hall, together or separate whereas now I love the albums they did together and I'm starting to add more Jim Hall to my collection. I still love jazz pushes the boundaries but I've grown to love the subtle things, much like life in general.

Continuing my Red Garland run.....

WP Red Garland - Red Alone (Moodsville/Prestige) green/silver mono label, RVG in the deadwax.

NP Red Garland- Soul Junction (Prestige) black&yellow label, Japanese pressing from the 1980s.

 

Fats Waller Complete Vol. 12: 1940 (King Jazz)

 

Out of print, but worth the extra effort to find this 3 disc addendum to his well-known Live on A&M:

 

I do have the first volume on Horizon/A&M and I like it a lot. Is the above cd only?

 

The above was a 3 disc addendum released by Artist Share a couple of years ago. It contains additional recordings done during the same club gig as Live, and is at least as good as the original album, if not better. YES, ONLY CD, plus of disc with all the music already "ripped".

http://artistshare.com/v4/

http://www.jimhallmusic.com/

There are a couple of other "funded" Hall projects worth investigating also.

 

Sun Ra - Disco 3000: Complete Milan Concert 1978

 

T

thsnks for the suggestions-they have been duly noted...

 

That trio was one of my all-time favorite bands. Saw 'em at the Vanguard a few times. And, in fact, listening to this one now:

 

Without knowing how far along you are in the Motian discography, I'll just say that these 3 (relatively) inexpensive boxed sets get you a ton of great albums in three swell foops:



http://www.allmusic.com/album/the-c...ngs-on-black-saint-and-soul-note-mw0002086080



http://www.allmusic.com/album/on-broadway-vol-1-mw0000204494
http://www.allmusic.com/album/on-broadway-vol-2-jmt-mw0000572210
http://www.allmusic.com/album/on-broadway-vol-3-mw0000382762
http://www.allmusic.com/album/on-broadway-vol-4-or-the-paradox-of-continuity-mw0000574469
http://www.allmusic.com/album/on-broadway-vol-5-mw0000822556



http://www.allmusic.com/album/old-new-masters-mw0002492112

 

Keith Jarrett - Eyes Of The Heart

 

Sweet. I have none of his works as leader, just as a side guy, so these are great recommendations. I was thinking of getting that deer inn live set with the hdtracks 20% off today (along with the new underground orchestra and that 39 steps, as the latter seems as good a place as any to start with that guitar player)...

Edit: I found that ecm set for $30 shipped, which seemed a reasonable fee for six discs, so I hit it-thx again.

 

Glad to help!

All of those are great starting places (YES on the Deer Head Inn)!. As far as Abercrombie goes, there are too many to name, but I highly recommend these 2:

 

Chet Baker - The Touch Of Your Lips

 

Yeah, as I said earlier I picked this up yesterday but have only played it once so far.

Odd album - Redman disappears for much of it and Jarrett ends up playing on his own at the end of the Encore. Can't hear much of Haden or Motian either for that matter at times.

 

Yeah that was kinda odd but I have to say I REALLY dig this album... especially "Eyes Of The Heart - Part 2". That is such a beautiful tune!

 

All this talk of pianists, Motian and Jarrett's American Quartet leads to this:

http://www.*******.com/uploads/posts/2013-03/1362665738_3456169152_ed5e539e96_o.jpg

The trio augmented by Dewey and Geri.

 

Can't disagree with many aspects of this summary (not least of which the hideousness of the 32 Jazz cover art! ). Still, I would point out that being a jazz trumpeter in the era when Woody was making the stuff for Muse was, shall we say, not a very lucrative gig. That may have been the absolute nadir period for jazz commercially. I think Shaw's choices during that period often were based on the desire to scrape up enough cash to eat and feed his family. Personally I can't really fault him for that - more "traditional" those dates may be but they are still, to my ears, chock full of great playing, making the most of a less than ideal situation all around, and I feel my collection is richer for including all of them - Woody on a middling day, IMHO, cut just about any trumpeter I can think of.

 

I agree, but I still command you you throw all those albums into the furnace

 

My sense is that rather than holding back due to inhibitions or whatever, it was simply fundamental to Jones' nature to hold something in reserve. How that plays with different listeners will of course vary, but I think it's part and parcel of his style/personality, since I can't say I have ever heard a recording of Hank Jones where I said "Damn, he's really cutting loose there...."

 

Yo meh, catch up on the thread before posting

 

I agree, sonically not one of RVG's better recordings but damn, the musicians were on fire.