Jazz Beat (Part 29)

Got this SACD. Fantabulous. Waiting on Bitches Brew SACD MoFi coming from USA

 

Those are all terrific sets. I'm partial to this one as well:

 

NP: Ellington Complete Brunswick & Vocalion Recordings 1926-1931



Disc 1

 

Mary Halvorson Septet - Illusionary Sea

 

As well as producing their first album I saw them many times in concert. Ronald played with Ayler, Cecil Taylor, and Ornette Coleman before putting together the first version of The Decoding Society. The last time I saw him was at Johnny D's in Somerville, MA but I can't recall exactly when that was. He had a great trombonist on that night. I think his best albums as a leader were Street Priest on Moers, When Colors Play on Caravan of Dreams, and Eye on You on About Time. The Live at Sluggs' Saloon with Albert Ayler on ESP is intense.

 

Nels Cline - New Monastery

 

I like how the arrangements brought out a more abstract side of Evans' piano playing: George Russell And His Orchestra--Jazz In The Space Age

[Ernie Royal, Alan Kieger, Marky Markowitz (t), Frank Rehak, Dave Baker, Bob Brookmeyer (tb), Jimmy Buffington (french horn), Walt Levinsky, Hal McKusick (as), David Young (ts), Sol Schlinger (bs), Bill Evans, Paul Bley (p), Barry Galbraith, Howard Collins (g), Milt Hinton (b), Don Lamond, Charlie Persip (d)]



Evans and Bley featured on "The Lydiot":

 

Their playing blends the best aspects of albums like Ulmer's Black Rock, Ornette Coleman's Virgin Beauty, and Sonny Sharrock's Ask The Ages for me:

Music Revelation Ensemble--In The Name Of

[James Blood Ulmer (g), Amin Ali (elec b), Cornell W. Rochester (d), Arthur Blythe (as), Sam Rivers (ss, ts, fl), Hamiet Bluiett (bs)]



"In Time" featuring Rivers on soprano sax:

 

Hearing his work in these varied groupings makes me regret not also buying his Mosaic set when it was available: The Complete Aladdin Recordings Of Lester Young

[Young (ts) in several ensembles with Nat Cole, Red Callender, Vic Dickenson, Howard McGhee, Curtis Counce, Chico Hamilton, Roy Haynes, Gene DiNovi, Chuck Wayne, Helen Humes, and others]



"Jammin' With Lester":

 

Great work Atane, thanks for posting it.

 

should have this somewhere also as japanese Vinyl SMJ-6048 (M) ....

 

couldn`t get enough of Wilbur Ware`s fabulous bass playing....

 

LOVE that album and all the Scott/Turrentine collaborations. I know some aren't keen on organ in jazz, and can understand that, but it floats my boat just fine especially when played by someone as good as Scott.

 

No doubt the Hard Rock Cafe was just down the block...

 

Simply stunning shots. Thanks so much for sharing them, and welcome "back," hope all is well with you also.

 

Them's fightin' words, my friend! Admittedly Robby Krieger's guitar solo is the best part about that record, but I think Manzarek's sound was just perfect for it, and for the Doors' sound in general (really a big part that defined the sound).

Not much love for the organists here, jazz or pop variety, in the past few days I can see!

 

I agree, important, as a bop architect and for some of the remarkable groups he assembled and led, and as an approachable and tireless ambassador for the music in his later years especially. And yet I've never been a huge fan of Dizzy's playing. Technically stunning, but just doesn't touch or move me very often. Easy to admire, but hard for me to love, and for me it's not because he was a happy and well-adjusted guy - lots of jazz musicians who really move me appear to fall into that camp. So, who knows why; but I just know his trumpet work leaves me a bit cold, despite being technically "hot." Likely my deficiency, not his!

 

An eternally great saxophone pairing. Have yet to hear one of their collaborations I didn't enjoy, which says a lot about their chemistry, since both men made quite a few indifferent (if not outright bad) recordings on their own, mixed in among the gems.

 

Yo man, we all like what we like! As I said, L.A. Woman was really THE Doors record where they began to sound like a band for the ages. Great stuff, and it's unfortunate they didn't have a chance to develop that further.

And Dr. J, as far as organists go, you should know I have little use (or time) for roller-skating fare

 

Come on man, you got to be modernistic!

 

Nope, that's up in the "gentrified" Little Tokyo part of town. I spent the day near NYU and Little Italy, where some character still exists

 

Yep, fully aware - and just tweaking (NOT twerking!) you a bit on a relaxed Sunday AM!

I do agree LA WOMAN was far and away their greatest recording, so hey we agree once again - and sad to think what could have been but then again also would have been tough to top.

 

Gotsta take Satch in small doses. The playing is great, of course. And no trumpeter got a "purer" sound out his his horn. But the music (and the sound) is just one HUGE anachronism despite how progressive it may or may not have been. If I start to feel like I'm in a Little Rascals episode fighting Alfalfa and Spanky for Darla's affections, I have to turn it off

 

Not yet mentioned, but Diz was largely responsible for incorporating the Afro-Cuban sound into jazz and viewing it more as a "world" music. I agree that his playing rarely gets mentioned, but I think most agree that he was a far better player than Miles, and a better fit for Bird to boot.