Jazz Beat (Part 27)

I think it's close enough. Count me in as a fan of Baden Powell. His lps aren't easy to find. Even his CDs aren't that available so I tend to buy them when I see them. A very unique artist.

WP Go - Dexter Gordon (Music Matters reissue) 33.3 pressing

NP Art Blakey and The Jazz Messengers (Music Matters reissue) 33.3 pressing

Had to play them again this morning. They are both practically greatest hits collections by the artists.

 

Thanks for the link...ordered!

 

I have the 1973 2-LP version of this on BASF Records. I was shocked to find this in a Goodwill a few years ago! I suppose it doesn't hurt that the record company was located in this area.

 

I won't pretend to know, but I'm sure you'll enjoy it For those wondering, the reason this version of the Messengers is my favorite is because it includes a saxophonist who was in a "more evolved state" of top tier playing and composing when he first joined than most, if not all of the other versions that I know of. And it definitely shows. Not saying that none of the others didn't eventually evolve beyond this, btw (Shorter definitely grew up enough to join Miles as a result of Blakey's tutelage).

 

I like Earl Klugh, and I am not ashamed! I don't think he's a great improviser, but he's a heck of a guitar player, and he writes some lovely tunes as well. On this album, I especially like Waltz For Debbie (with Dave Grusin on Rhodes piano) and the bonus cut Shadow of Your Smile (solo guitar). Maybe it is too sweet and tuneful for some folks...

 

Released on CD in 1996, this great sounding McMaster version includes five previously unreleased bonus tracks...

• Sonny Red - alto saxophone
• Wynton Kelly - piano
• Paul Chambers (#1-6), Sam Jones (#7-13) - bass
• Roy Brooks (#1-6), Jimmy Cobb (#7-13) - drums

Recorded December 5, 1959 (#1-6) and January 23, 1960 (#7-13)

[Blue Note/Connoisseur Series 1996 CD]

 

At the end of that Moanin' video, Blakey introduces the next tune, the Benny Golson composition "I Remember Clifford," and refers to Golson as their "musical director."

 

Dexter Gordon – The Squirrel – Live at Montmartre, Copenhagen '67 (Blue Note)
— With Kenny Drew, Bo Stief, Art Taylor

 

Well, in all fairness, many have held that title. I'm sure Horace Silver did, and Lee Morgan for a while before Shorter held it. In later versions, any number of candidates exist -- either of the Marsalis brothers, Bobby Watson, etc. But yes, Golson was already an established jazzer by that point.

 

Circle: Paris-Concert

Anthony Braxton, reeds and percussion
Chick Corea, piano
Dave Holland, bass and cello
Barry Altschul, percussion

 

Wow, great stuff. Look at how young Lee Morgan is here! I'll have to get that DVD.

 

earlier I had some Miles live in 1960 with Trane, now playing is 'It's About That Time', with Wayne Shorter

 

Received a very nice surprise today. I received an email last week, looking like it was from Acoustic Sounds, thanking me for my recent order and letting me know that they could not put the payment through with the info that they had. The problem was, I hadn't recently placed an order with Acoustic Sounds. As a matter of fact, I could not remember the last time I had placed an order with Acoustic Sounds. The email asked me to call them, and so I did.

Turns out, at some time in the past, and I'm pretty sure it was at least two or three years ago, I had placed an order for Art Pepper meets The Rhythm Section from them. I had been looking for a good copy, and their 2X45 edition had been long sold out. Their 33 edition had been sold out as well, but on their website it was still available for order, saying something to the effect that it was awaiting repress. So I ordered it thinking what have I got to lose. A lot of time went by and I gave up, figuring they were never going to repress it. I ended up finding a really nice OJC copy of it on vinyl for like $5.00.

I was trying to figure out if they were trying to send me another version of it, or if it was actually a genuine AP 33 release, and was not getting anywhere with the woman I was speaking with. While she was very nice, she made it clear she had no idea, and was not going to find out either. When I asked if there was anyone else I could speak with to ask, she told me no. I was about to cancel the order when she told me there was no way it was a repress, because there were so few in stock. That was all I needed to hear. I figured they must have a found a few copies, or even one. I would take a chance for $25. I know I have seen the 45 versions going for crazy prices on Ebay, and even the 33 versions going for a lot of money, at least more than I was willing to pay.

Well, it arrived a little bit ago, and it (was) a genuine, sealed copy of AP's 33 release of Meets The Rhythm Section. It's playing right now, and really sounds good. I sure as heck didn't expect a sealed copy of this album to show up at my house from Acoustic Sounds, and certainly not for $25. I'm glad I didn't cancel my order. LOL

Art Pepper meets The Rhythm Section



Art Pepper - alto saxophone
Red Garland - piano
Paul Chambers - bass
Philly Joe Jones - drums

Allmusic review by Michael G. Nastos

By the time of this, Art Pepper's tenth recording as a leader, he was making his individual voice on the alto saxophone leave the cozy confines of his heroes Charlie Parker and Lee Konitz. Joining the Miles Davis rhythm section of pianist Red Garland, bassist Paul Chambers, and drummer Philly Joe Jones made the transformation all that more illuminating. It's a classic east meets west, cool plus hot but never lukewarm combination that provides many bright moments for the quartet during this exceptional date from that great year in music, 1957. A bit of a flip, loosened but precise interpretation of the melody on "You'd Be So Nice to Come Home To" gets the ball rolling, followed by a "Bags Groove" parallel with "Red Pepper Blues," and a delicate, atypical treatment of "Imagination." A compositional collaboration of Pepper and Chambers on the quick "Waltz Me Blues" and hard-edged, running-as-fast-as-he-can take of "Straight Life" really sets the gears whirring. Philly Joe Jones is a great bop drummer, no doubt, one of the all-time greats with Kenny Clarke and Max Roach. His crisp Latin-to-swing pace for "Tin Tin Deo" deserves notice, masterful in its creation and seamlessness. Pepper makes a typical "Star Eyes" brighter, and he goes into a lower octave tone, more like a tenor, for "Birks Works" and the bonus track "The Man I Love." It's clear he has heard his share of Stan Getz in this era. Though Art Pepper played with many a potent trio, this one inspires him to the maximum, and certainly makes for one of his most substantive recordings after his initial incarcerations, and before his second major slip into the deep abyss of drug addiction.

 

I love this album cover

 

Art Blakey's mini-break at 6:20 blows my mind every time I watch this clip. Seeing him bend the tone of his tom with his elbow is fun. The call-and-response with Lee Morgan afterwards is classic too.

 

McCoy Tyner -Mosaic Select
(Disc 3 the Cosmos & Asante sessions)

 

Very nice package.

 

(CBS France LP 84419 from 1980)

 

I listen via Spotify so the subtle intricacies may be lost but quite a rock like recording which deals with the disperate sounds very well.

Are you going to the gig?

 

I'm hoping to go to the gig, but life has many uncertainties.

Now playing:

Anthony Braxton / Tomas Fujiwara / Tom Rainey – Trio (New Haven) 2013 - CD 1 - Composition No.364a (+227, 367f, 367h) (New Braxton House)

 

Yes, and thought it had nothing on Bill O'Reilly "honoring" and introducing Herbie. Excuse me? Now THAT deserves a And please, politics aside, that is pure cognitive dissonance to me.

 

Thanks for the reminder, ordering this today!

Forgot to ask: Vinyl or CD? Not familiar with the Tizona label. Wondering what the quality is like. Thanx.

 

First spin. Caught these guys live a few months back, a very good concert.

 

Red Garland - Rediscovered Masters - 2LP Prestige P 24078



Fine compilation album made of three different sessions.

 

The Brian Blade is a gorgeous album. Somewhat on the somber and melancholic side but never dour, always lyrical and introspective in a positive way. It sounds very good too, surprising that it was recorded in several different studios by several different engineers.

It put me in the mood for this: