I love the sound of a Wurli 200a -- probably What'd I Say was an earlier Wurli, I assume -- but in terms of playing touch and feel and dynamic range and physical sturdiness, the Rhodes -- and I had I think a Fender era Rhodes IIRC -- was worlds better. But it didn't have that reedy, funky Wurli sound.
I had one of those old Wurlis til it was stolen from my home in the late 'eighties. My favorite part of it was the "growl" you could get out of the lower octaves if yoyo struck the notes just right. Neat instruments. . . but as you note not that sturdy.
Louis Sclavis & the Bernard Struber Jazztet – Le Phare (Enja Records) — Soprano Saxophone, Clarinet, Bass Clarinet – Louis Sclavis; Guitar – Bernard Struber; Bass – Jérémy Lirola; Clarinet, Alto Saxophone – Denis Tempo; Drums – Eric Echampard; Flute, Clarinet, Alto Saxophone – Raymond Halbeisen; Percussion – Latif Chaarani; Piano – Benjamin Moussay; Soprano Saxophone, Alto Saxophone – Roby Glod; Tenor Saxophone – Philippe Aubry; Trombone – Jean-Claude Eglin; Trumpet, Flugelhorn – Jean-Luc Cappozzo, Serge Haessler; Tuba – François Thuillier.
Lee Morgan - The Procrastinator (Blue Note) Music Matters 45 RPM Pressing Another solid album from Morgan that was held in the vaults for too long. Fifty years ago the Beatles gave us Sgt. Peppers. Lee Morgan gave us The Procrastinator. I know which one I'm more likely to play these days.
Seems like you’re getting closer to being semantically satisfied with the words used to express the original sentiment, taking your edits into consideration, how about: “it’s interesting how the terms one uses to describe music to which they feel a less than positive, yet still respectful, reaction may be the same terms used by another as terms of endearment”? Of course, while I personally find that interesting, I realize that some may just find it a matter of fact.
Today I broke out two of my favorite jazz guitar cds, both by Marcos Amorim: "Marcos Amorim Trio" "Sea of Tranquility" Marcos is a very interesting player, certainly not a carbon-copy jazz guitarist.
I think we're getting bogged down in language. Maybe I'm just not expressing myself well. All I'm trying to explain is that to my mind that those musical characteristics I'm describing are neither negative nor positive, they're not terms of endearment, nor terms of disparagement. They're just descriptions, like calling music fast or slow in tempo, or tonal or atonal or something. You characterized me as using the terms about atmospheric music or a certain kind of groove music to "negatively describe music." But I wasn't suggesting that there was something negative about the music. I don't really think or feel that way about music. I believe whatever the musicians did is good. If they achieved want they wanted to achieve and if it touched people, it's good music made by good musicians. Those particular characteristics aren't often interesting or moving to me -- note: often, not never, I have no "nevers" or absolutes when it comes to music -- it's not the typical thing I find myself gravitating to or getting excited about, and so it is with me and Weather Report, I don't find myself wanting to listening to most of the group's output with any regularity for pleasure. Or, to quote Austin Powers, "That sort of thing ain't my bag, baby." But saying that is a description of me and my tastes and preferences, not of the music.
That cover really caught my eye. An album cover with buildings... nothing new. But there's something special on those colours. What can I say, it's an important part of the magic of an album for me. So based on that I searched and found out that's a promo CD with just 2 tracks from the album. Lonson, is that correct? I was having a try - must say it's a very pleasant sound - and don't know why but this one came to mind, so automatically changed to: Chick Corea - Tones For Joan's Bones That's a great, and a bit forgotten, record by Chick. Taking into account that its from 1966 I must say that I'm not pleased with the sound of the piano. Guess Chick was just a young cat by then, so recording expenses were kept to a minimum. Nevertheless his playing is great, the compositions exciting and Joe Chambers drumming always challenging. I'll try to understand tomorrow how did I start with a Swedish band and changed to Joan's Bones
No, the cd I have, with this cover, is a full length cd. More than anything else this reminds me of the bands that Keith Jarrett had when he was recording for Atlantic and his early work on Impulse, especially like the Burton-Jarrett album (same instrumentation but without vibes) and "Treasure Island" on Impulse--this Swedish quartet sounds a lot like theJarrett-Sam Brown quartet of that time. As for the Corea album. . . it has always seemed a budget release and came out I think first on Vortex, and Atlantic sub-label. . . I don't know the history but it's never sounded great, but it does have excellent music.
I think the back story makes it more interesting. She's a daughter of Ethiopian aristocracy and gave it up to be an Orthodox nun. She was educated in Europe and trained in classical violin. She took up piano in the convent and didn't release her first album until she was 40.
Yeah, I read that, I know the back story. The music though is rather monotonous. And to be honest. . . I taught myself some piano when I was in college and . . . this sounds a lot like what I played then and can play now. . . which is perhaps why I'm a bit down on it. It's not sophisticated two-handed piano playing. It's a lot of right hand noodling against a pedal point left hand or a simple modal progression. It's interesting. . . for about twenty minutes. . . and then not so much. I bet her violin playing was more attention grabbing. I lived in Ethiopia from '66 to '68, my ages 11 to 13 and I wish I could hear some traditional Ethiopian music in this playing. . . but I don't really recognize any.
This next album was on its way to becoming my white whale of the record bins, but rather than letting it lead me somehow to my personal demise... I decided I’d just order it off discogs!!! Just finished the first side, glad I did take the chance and order it, it’s a very clean sounding copy thus far. I really like the first track, by Woody Shaw, but where my bread really starts to get buttery is on the Hutcherson tunes. Bobby Hutcherson - Cirrus (there are only 2 US listings on discogs for this album, I don’t see any difference between them, so I’m guessing this is the original and only pressing of this?) EDIT: Oh, and earlier, I broke into a new SHM-CD, something outside of my wheelhouse so to speak. I liked it, but I’m still trying to figure out how exactly I feel about it, I suppose, as they say.. it’s complicated. Julie London - Swing Me an Old Song (SHM-CD, UCCU-3200, stereo)
Perhaps a touch hyperbolic, substitute Charlie Parker for Paul Desmond and I'd agree. Fine player though he was, his legacy is more on the lines of Johnny Hodges, a beautiful sound but it's his employer who gets the longer write up in the history books. Like you said, not too many game changers.
Well that's a tasty two course meal you got there sir. Let me suggest this one as a desert. Your palate is just ready for:
The kids have been occupying the living room and I’m stuck in the kitchen with the evenings mundane tasks, so why not liven things up a bit by streaming (through the kitchen Sonos) an album that I have on CD but haven’t played in ages: Thom Yorke - The Eraser
Return to Forever is one of my all timers, but I’ve never heard the Stan Getz. It’s amazing, though, no matter how large a music collection gets, there is always more good stuff out there waiting to be discovered. Hmm, the Thom Yorke is over and Captain Marvel is available to stream, so why not. Stan Getz - Captain Marvel
Desmond was the first alto player to come up after Parker that showed the world that you were not required to sound like Parker. That was pretty significant for his times. When Brubeck expanded the international audience for jazz in the 1950's (he did do that), it was Paul Desmond's sound that really was the "secret" draw. Nearly everyone went for Paul's sound.
Chervokas I think it is a language thing. I really enjoy your posts and I think I speak for Dzhason too . I realized long ago when you write it is absolutely from the heart and sort of unfiltered but with great respect. Others who might not know you might misinterpret some of what you say as negative in a personal way but I think most of us here on this thread understand you. I for one find the debates to be supremely useful in understanding jazz.
I am stuck in that boat re organs . Is ‘into something’ the starting point then. I feel I am missing out
Big John Patton is the man who really got me excited about organ. "Along Came John" or "The Way I Feel" or "Let it Roll" are good places to seek conversion. I love Larry Young too. . . but Big John gives you the grease as well.
This show is from Miles Septet in October 1970 at the Fillmore West. I am still warming up to this, there is so much interplay between Miles and Gary Bartz and there are sublime moments. I'm being a little choice here, but I think the bottom end is lacking on the recording, which is why I'm working on it (just tweaked the sub). But the show does get continuously better. Overall the recording is not bad at all. I've taken to Bitches Brew Live, recorded a little over a year earlier, quite a lot.
