That's a great point! I was noticing exactly what you mention with the tempo/meter on Footprints earlier when I was listening, I was considering mentioning it but I had already blabbered on about enough other stuff I decided against it . For sure, in some spots, like usually around the "turnaround" section in the progression, they bust into an outright 4/4 half-time feel swing for a bar or so (e.g. somewhere just before the 2:00, Miles' 2nd solo chorus, and at 2:15, Miles' 3rd solo chorus) and then go back into the 6/8 (or 12/8, if you choose) feel. Then on Miles' 4th chorus (around 2:20 or so) it sounds like Tony Williams switches over to double time 4/4 feel while Ron keeps his same 6/8 pulse going, creating a cool 3 against 4 poly-rhythm. Love that stuff! I forgot which track it is, but there is a track on one of Herbie's albums, I think maybe "The Egg" from Empyrean Isles where they're doing a similar sort of thing with shifting the accents in their pulses around like that. I'm sure they probably do that sort of thing a lot. I'm going to have to break out Adam's Apple later to refresh myself on that version.
During the last number in the encore when both bands were all out, they were doing a pairing up thing (sax and harmonica, guitar and banjo, Victor Wooten and John Patitucci, Future Man and Dave Weckl) and trading fours. I think the basses pairing up was my favorite, Victor and John have different approaches and it was cool to see them go at it. They had the look of joy on their faces similar to what I see on my kids' faces when they go into a bounce house or something.
Really enjoying this lp from the always on point Intakt Records. Peacock and Crispell are especially in a zone many don't get to.
I have both the 2000 DSD lp facsimile release and the Blu-Spec CD2 and they are the same mastering. The Blu-Spec CD2 do not have much information on them about mastering, sometimes they reproduce the inserts of one release and use the mastering of another. The date on the OBI is the best clue, and the only Sony release of this session that year was the SME.
I've spent nearly the entire afternoon listening to Miles Smiles, so I have to put on this one now: Wayne Shorter - Adam's Apple (Music Matters 45)
Yes today I got to stay home and tinker with the stereo. . . took my Decware preamp out and put my Decware ZBIT (XLR to single-ended transformer with volume control) in the system as I got in a new set of XLR cables to try. . . and I decided to listen to my Decware Taboo Mk IV headphone amp driving my speakers instead of my Decware Torii Mk III amp. Long story short. . . no matter how I configure this system with these components the sound is great and I had a nice day of listening and futzing about with my equipment.
It's a different feel to it. Back then in the 80s/90s when Sacramento had an active jazz scene the local bands played Footprints a lot so it was fun hearing different bands take on that classic tune. WP Horace Silver - Blowin' The Blues Away (Blue Note) 47 W63rd dg mono NP Charlie Parker - The Genius Of Charlie Parker (Savoy) silver on red dg mono
After Adam's Apple I went out to this shop in the next town over to take a look at which Dick's Picks (live Grateful Dead recordings, for anyone who may not know what Dick's Picks are) they had in stock. They ended up also having Wake of the Flood and In the Dark on MFSL vinyl, so now I'm listening to: Grateful Dead - Wake of the Flood (MFSL 33.3)
This is my favorite of their studio albums. I actually heard the Dead via "Live/Dead" a few years before hand but this was the one that got me really interested in their work and caused me to go out and see them shortly afterwards. A great LP! I'm taking a detour from jazz to listen to Beaux Arts Trio performing Haydn. Lovely and its simplicity of recording is giving me a good idea how my system is sounding right now after a few changes.
That's awesome! Several weeks ago after I picked up Blues for Allah and started my latest GD adventure, I listened to a good portion of Wake and wasn't terribly into it. Despite that initial impression, I decided to go ahead and get it today anyway (the live versions of the Wake tunes I always like, I guess). I'm glad I did because it is really exceptional. I know live recordings are generally regarded as the ultimate way to experience the GD but there is always something that feels just right about putting on their studio albums.
This album was an event too, their first on their own label, which was a special thing for any band. And the original was pressed on heavy vinyl and sounded distinctly better than a lot of contemporaneous releases. I'm glad you're enjoying it.
I'm following your lead with my Music Matters 45 RPM Pressing of the album. This was my first album I bought by Shorter followed quickly by Speak No Evil. I've always liked that snaky rhythm of the title cut that is a product of the drumming and Herbie's rhythmic jabs. Joe Chambers is so good on this album. He's one of my favorite drummers from Blue Note's "stable" of regulars. He had the swing and groove of drummers like Billy Higgins with something extra that worked well in arhythmic ways. These little off sounding strokes that add tension. I forgot about Wayne. Great playing and as usual great compositions. Chief Crazy Horse is another favorite of mine. It's always a treat when a local band plays some Shorter so one can hear this music live which is what its all about imo.
On to Shorter's Speak No Evil, another Music Matters 45 RPM Pressing reissue. I wish they had done Schizophrenia. I thought someone did but I must have dreamed it.
Hmm, I think the first Shorter album I ever got was Juju. Some of my friends in college had a quartet and they played "Deluge", which was one of my favorite tunes they played, and I got Juju because of that. I didn't really get any more Shorter for quite a while after that, for some reason, mostly because I was a college student and couldn't really afford to buy music that frequently (actually, I think I may have only gotten a CD-R of Juju off of one of those guys).
It's funny, when I put Adams Apple away there was JuJu staring at me and I thought, I think JuJu was either first or second. It doesn't matter, we get there just the same. SNE is sounding great tonight. The title track and of course Infant Eyes are two favorites. Tbh his music has become so dense these days that it's a tough listen for me. I like his early days. Myabe it's my slower synapses but I still enjoy these early albums a lot. Edit: the extra horn is a nice progression and Freddie shows as usual his versatility and Herbie is at his ethereal best on Infant Eyes.
Duke Ellington and His Orchestra – Treasury Broadcast No.19 [18Aug45 on Vol.10 of The Treasury Shows] (Storyville Records—D.E.T.S.) Personnel: Shelton Hemphill, Rex Stewart, Taft Jordan, Cat Anderson(t); Ray Nance(t,vn,v); Lawrence Brown, Joe Nanton, Claude Jones(tb); Jimmy Hamilton(cl,ts); Otto Hardwicke(cl,as); Johnny Hodges(as); Al Sears(ts); Harry Carney(cl,as,bar); Duke Ellington, Billy Strayhorn(p); Fred Guy(g); Junior Raglin(sb); Sonny Greer(d,ch); Marie Ellington, Al Hibbler, Joya Sherrill, Kay Davis(v). The broadcast includes excerpts from Black, Brown and Beige: Work Song, The Blues, West Indian Dance, Come Sunday, Light plus Subtle Slough, I Ain't Got Nothin' But The Blues, Riff Staccato, Bugle Breaks, Kissing Bug, Suddenly It Jumped, Warm Valley, Blue Skies. All prime material was played on this date. Live broadcast from Radio City Studio 6B, NYC.
Miles Davis In Europe (Blu-Spec CD) Looking forward to hearing a little more from the Seven Steps band.
Duke Ellington and His Orchestra – Broadcast from the 400 Restaurant, NYC (CBS) [5/4/45 on Vol.10 of The Treasury Shows] (Storyville Records—D.E.T.S.) Personnel: Rex Stewart, ct; Cat Anderson, Shelton Hemphill, Taft Jordan, t; Ray Nance, t, vn; Lawrence Brown, Joe Nanton, tb; Claude Jones, vtb; Jimmy Hamilton, cl, ts; Johnny Hodges, as; Otto Hardwick, as, cl; Al Sears, ts; Harry Carney, bs, cl, bcl; Duke Ellington, p; Fred Guy, g; Junior Raglin, b; Sonny Greer, d; Al Hibbler, Joya Sherrill, Kay Davis,Al Hibbler, Ray Nance, voc. Titles include: Riff Staccato, I'm Beginning To See The Light, I Ain't Got Nothin' But The Blues, I Miss Your Kiss. (The bonus material on CD 2.)
