“A set of this clear quality needs no further verbal underscoring. Your time is better spent listening to it. Very well recorded.” -Nat Hentoff Red Norvo - vibes Tal Farlow - guitar Red Mitchell - bass American Jazz Classics CD
I also really like Memories of Barber Mack and In Search of the Lost Riddim (the latter brings in some Senegalese musicians to great effect). L.
Thanks for the tip on this. Yet another wonderful record that somehow slipped blow my radar all these years. Enjoying it immensely right now on Spotify. L.
Ever since I was 18, I have bought used records (and way back, cutouts). Of course, I also bought new stuff, but my tendency was to put my priority on out-of-print material first. Plus, it was cheaper. Back then, jazz was at its very lowest popularity in its entire history, and most jazz catalogs were out-of-print (at least in the USA, Europe was better). I still have a strong memory of when there was not one single Lester Young album in print. Most of the Blue Note catalog was gone, and even most of the Impulse catalog was in the cutout bins. So I got very accustomed to records with all the ticks of the used world. My records are not virgin. After 1969, jazz came back and the frenzy of reissued LPs became a flood
Billy Bang Sextet featuring Frank Lowe-Sweet Space Excellent live date at NYU from '79 with some great players in addition to the aforementioned Bang and Lowe. Alto Saxophone – Luther Thomas Bass – Wilbur Morris* Cornet – Butch Morris Drums – Steve McCall Piano – Curtis Clark Tenor Saxophone – Frank Lowe Violin, Arranged By, Producer – Billy Bang
Here is the "twin" record minus Giuffre - have your LP too as Konitz fan & collector IAI 37.38.45 Improviosing Artists Inc. Ⓒ & Ⓟ 1977
"popularity" of jazz is a little vague and can be evaluated in many ways. My general view is that its lowest popularity amongany particular audience was during the middle 1960's. Despite this, I recognize that this was the same time that one jazz musician, Stan Getz, became a true multimillionaire and bought a classic mansion, and when Louis Armstrong had the #1 song on the pop charts. It was also a time when many of the greatest creators of jazz were still active. It was also a time when great creative movements in jazz (e.g. Coltrane) were flourishing. But overall, the jazz record business and the live jazz venue business was dying fast. The festivals were also dying. Many jazz musicians, when they could record, were pushed to pop tunes or pop arrangements. Most supported themselves through day jobs or session work not playing jazz My view is that the jazz fusion thing (obviously Miles) brought a new audience and that many people drawn to that music became curious and started exploring much of the contemporary and historical recordings and musicians of jazz. Reissuing jazz records became a serious business and many jazz musicians of all styles started getting work playing jazz, not pop or studio session work. Many legends came back to recording and performing (example: Benny Carter). New labels started everywhere, new venues started booking jazz. I could go on, but my point is - despite the good things that were happening - the 1960's were the lowest point for jazz popularity. You could argue that it was never popular, or at least was not popular after 1945 or so. But I try to onsider jazz popularity relative to its own history and audience. It wasn't the most popular form of music in the 1950's either (or probably any decade, for that matter), but the jazz record business and jazz venues were thriving in the 1950's.
Even though I believe he was born August 4 (and that is my birthday as well) Louis always celebrated his birthday on July 4 so I'm spinning this good ole good 'un. Louis Armstrong "Ambassador Satch"
Charles Mingus - Tijuana Moods (RCA Victor 5188827) One Mingus leads to another. I listened to a few of his albums last evening and I`m starting the day with this, one of my favorite.
It's yet another winner in the new Tone Poet series. The Blue Note 80th anniversary series is also giving us opportunities for LP reissues. It is a great time to be a jazz fan!
Miles Davis - Bags Groove (Prestige/Analogue Productions CPRJ-7109 SA) Amazing "groove" indeed. Miles with the MJQ rhythm section + a few friends (Monk, Silver and Rollins). This is the AP SACD from a few years back, remastered by Kevin Gray.
I'm not all that crazy about the way Prestige re-packaged all the 10" stuff for the 12" era -- here mixing material from the 1954 10" Miles Davis with Sonny Rollins and the later in the year Miles Davis All-Stars Vol 1 , recorded with a completely different line up. To me it makes for odd-ball sort of albums (like, if you want to hear the rest of the stuff from the sessions that produced "Bag's Groove" you need to go to the 12" Miles Davis and the Modern Jazz Giants) But that Miles Davis with Sonny Rollins stuff is right up there with my all-time favorite, and most-often-returned-to Davis music, though in a way I almost think of it as much as a Rollins date, introducing, as it does, many of his most famous composition. And Horace Silver's great on that too, especially his playing on "But Not for Me."
On the turntable, new arrival "Wahoo - Duke Pearson" on Blue Note. Music Matters reissue remastered by Ron Rambach and Kevin Gray. Duke Pearson - piano Donald Byrd - trumpet (all tracks except #3) James Spaulding - alto saxophone, flute (all tracks except #3) Joe Henderson - tenor saxophone (all tracks except #3) Bob Cranshaw - bass Mickey Roker - drums "Amanda" - 9:26 "Bedouin" - 9:30 "Farewell Machelle" - 2:48 "Wahoo" - 7:19 "ESP (Extrasensory Perception)" - 7:50 "Fly Little Bird Fly" (Donald Byrd) - 6:11
In Italy we have three public holidays: 25th of April - The Liberation from the Nazifascism and the end of the Second World War for Italy, not the rest of Europe (8th of May) 1st of May - Labor Day 2nd of June - Republic Holiday. Until May 1946 Italy was a Kingdom. The other festivities are religious.
NP Duke Pearson’s Dedication! This was originally intended as a Willie Wilson album. Wilson is sometimes called the "forgotton trombonist" because he only recorded this album, and then died in 1963. The album was never released under Wilson's name. Recorded on August 2, 1961 at Bell Sound Studios in New York City, it has also been released as three different Freddie Hubbard albums - Groovy! (Fontana), No. 5 (Trio), and Minor Mishap (Black Lion). Duke Pearson - piano Freddie Hubbard - trumpet Willie Wilson - trombone Pepper Adams - baritone saxophone Thomas Howard - bass Lex Humphries - drums OJC/Prestige CD