Yes, correct on all counts. BTW, loved that Culshaw book, Decca's recordings from that time really do hold up very well!
Solid supplier. Parcels take a while but who cares at their prices? I bought my copy of Glamoured from they and dozens more besides. Any issues new copy shipped immediately no returns necessary so you get a back up too. Only issues, no pre-orders and prices vary in differing EU countries and U.K. even though they all ship from one location. (Glamoured can be had for £15 U.K., top that!) so just check each country (I usually use Germany) and use Chrome with translate on, easy peasy.
I have seen "Glamoured" mentioned a few tomes recently...I'm assuming maybe more people have gotten it now. No doubt probably one of the lesser sellers overall, but I still find a good bit of this record quite enjoyable. It's not without it's flaws, but the sound is very nice and when it's good, it truly is. And what a surprise to have gotten this one AAA. I wonder if Joe would have released this one if it was not possible to do it that way.
So I have heard that the TP series is doing well for Blue Note, is that correct? Are they getting the sell-thru they were expecting/hoping for, or are they exceeding Was's expectation, which he could use to show the success to the Blue Note/EMI or whoever that this idea was a good one? I am guessing so, but was curious how this program is doing.
I would guess that Joe just really likes the album, as do I. He has certainly looked at worthy albums that have flown under the radar. The Joe Henderson State Of The Tenor albums were recorded digitally, and he is still having them released.
We know it far exceeded their early expectations. I would imagine the series continues to do well, but how well is just about anyone's guess.
I'm assuming that the list of albums was also done in collaboration with Don Was? Joe doesn't have anything to do with the BN80 series, but Don Was was okay with releasing Robert Glasper's Canvas on 2LPs, a set that is sonically far superior than the CD.
they weren't afraid of double LP sets for the 80th series, were they. also: Brian Blade - Brian Blade Fellowship Lee Konitz – Alone Together Lonnie Smith - Live At Club Mozambique John Scofield - Hand Jive
Sorry for the cross post (MM thread & here) and also off-topic for this thread, but I know there are a few Austinites on this thread and wanted to share. I heard a really great jazz band called Jazz Daddies here in Austin Saturday evening. It was totally unexpected too! I decided to take the fam out for BBQ and here they were playing from the BN catalog and are all super-talented musicians. So great to see live music happening again! I left a nice tip to support them. Chatted a little about Music Matters and Tone Poet between songs. I hope musicians can survive, reemerge and rebound!
Happy 87th birthday to legendary jazz saxophonist and composer, Wayne Shorter — born August 25, 1933. One of my absolute favourites — I’ve posted this before, but I’d love to see a Tone Poet reissue. The line-up on this session is insane! Wayne Shorter (tenor saxophone), Freddie Hubbard (trumpet, flugelhorn), Grachan Moncur III (trombone), James Spaulding (alto saxophone), Herbie Hancock (piano), Ron Carter (bass), Joe Chambers (drums) and Alan Shorter (flugelhorn) . . . 1966/1994 Blue Note – 29100 Blue Note Connoisseur Series – Wally/Capitol
Happy Birthday indeed! One of my all time fav's! Awesome post and that lineup is off the chart! Will be pulling out one his classics for a sweet zone listen this evening...
Have no fear about “Passing Ships”...I expect this to be a record that takes quite a few people by surprise who might have missed out on it originally. Or didn’t bite in the digital domain for whatever reason. This ‘69 session is a who’s who of players who are at the top of their game. Woody Shaw and Dizzy Reece are on fire—Shaw always delivers of course but how he pushes Reece here is truly remarkable. I think Reece in ways delivers beyond expectations more so than Shaw. I believe this was one of Lenny White’s first ever recordings and while he plays like he’s got something to prove, he does not overplay...not for a minute. I think this record has some of Ron Carter’s greatest bass playing ever. Really creative lines. Joe Farrell slays on whatever reed he touches. Don’t even get me started on Julian Priester who isn’t discussed enough when kicking around lists of great jazz trombonists, but he corks off an excellent solo or two here. But none of that would matter if the players didn’t have such superb material to work with, and in this case it’s both engaging compositions and excellent arrangements. Hill had so many shelved sessions—this one is amongst the heaviest.
Happy 87th birthday Wayne Shorter! This one is my favorite Wayne Shorter album when the others aren’t my favorite Wayne Shorter albums There’s so much to enjoy, so much to take in, and so much to admire in this post-bop gem that it may take some effort and dedication before this one sinks in. Still, the investment of time will pay off. ’Schizophrenia’ was recorded in March ’67 after the recording of Shorter's quartet date ‘Adam’s Apple,’ and in-between ‘Miles Smiles’ and ’Sorcerer’ in terms of his work with the Miles Davis. But it was not released right away, held until May ’69 after Miles had embraced electricity with ‘Files de Kilimanjaro.' While I wasn’t old enough (nor properly potty trained) to know the jazz landscape back then, I’d venture a guess that changing times and commercial pressures might have made the release of a new Wayne Shorter acoustic jazz record a bit less of an event than it might have been only a couple of years prior. It seems even today that this record is rarely mentioned in the same breath as some of Wayne’s “biggies” like ’Speak No Evil’ or ‘Juju.’ So I suppose I’m on a bit of a crusade to open more ears up to this record. The expanded lineup and perhaps the title may make one wary that leans into outwardness. Still, it goes down easier than the edgier ’The All Seeing Eye,’ and at no point does it completely abandon melody. That said, it does embrace more abstract approaches to timing, tonal centers, chord changes, and structures than his early Blue Notes, and this record certainly makes the moniker “adventurous hard-bop” a severe understatement. This is most apparent to my ears when listening to the ballads, which are mesmerizing and push the boundaries of modality in ways that flip all my switches to the on position—this is a record that I want to play again right away whenever I spin it. It’s both deep and accessible. This album also has a massive sound: joining Shorter on the frontline are James Spaulding (alto sax/flute) and Curtis Fuller (trombone), which is a lot of brass muscle. Add Wayne’s Miles bandmates Herbie Hancock, Ron Carter, plus drummer Joe Chambers, and you’ve got a formidable group. Great LP!
Joining @Sydster I found this 70’s UK pressing at a local store late last year, recorded in 1967 but released two years later . . . 1969/1977 (UK) Blue Note – BNS 40026
Blue Note has announced the revised 2020 schedule. http://www.bluenote.com/revised-tone-poet-2020-release-schedule/
I have this as a Liberty pressing, but I can't seem to get into the music on this one, a bit too far out for me. Been contemplating letting it go as I have too many albums I already enjoy and don't quite have the time to "bring myself along" on this album. I think that is also true for "Speak Like a Child", also a Liberty pressing but can't seem to loc into it musically either.