William Parker - Migration of Silence Into and Out of the Tone World · Volumes 1-10 Now playing CD 4: Cheops Kyoko Kitamura: voice Matt Moran: vibes Ben Stapp: tuba Kayla Milmine-Abbott: soprano sax Rachel Housle: drums William Parker: bass, bass duduk & fujara overtone flute on “If We Play Soft Enough” 1. Entire Universe - 13:36 2. Cheops - 13:51 3. The Map Is Precise - 08:03 4. If We Play Soft Enough - 22:17 5. Harriott - 12:51
Clifford Brown and Max Roach - At Basin Street Man, I just love what Mr. Brown does with a horn! Everything he plays just makes me happy. Of course, Mr. Roach is still the master of the toms. And with the quintet's front line rounded out with the great Sonny Rollins in an especially melodic and creative mood, this album is yet another Brown&Roach fiesta of hard boppin, swingin' ecstasy.
Baron von Tollbooth: Was your family the inventor of the tollbooth? New York State just eliminated nearly all of their tollbooths. All those people have lost their jobs. This is not progress. The electronic readers on highways now keep permanent data on all travel by people in cars, whether you have a transponder or not. Soon, these readers will be in other locations beside major highways. They probably already are located in many urban centers, especially near certain facilities. The data will be processed and interpreted. There are so many ways that this information will be used, not all of it good. Perhaps for a fee, my wife can get information on my travels to record stores. ("Why did you go to Boston when I was visiting my mother?" Best answer: "I wanted to buy you some of your favorite chocolates, here!")
I forgot about that CD. My info was based on Timner's discography, often considered definitive, which did come out after the CD (but he did not list every CD issue). Timner indicates that Strayhorn also played (along with Duke) on CD1, tracks 14 & 15 and CD2 Track 11 and replaced Duke on CD2 Tracks 2 & 4. Timner could be wrong, but that is rare. The 2CD includes everything listed in Timner's book. Maybe there is new information, but Strayhorn often joined the band. I do get somewhat obsessed with Duke's discography. I see the liner notes of a French issue of this material that they said Strayhorn's name was used to avoid a conflict with his Columbia contract, but this LP (by its catalog number) definitely came in 1965 (between two known 1965 releases) long after his affiliation with Columbia, and after his Reprise period had ended. Still, there may have been a decision to use Strayhorn as the leader to avoid risking his negotiations with other labels at that time. To me, the more interesting aspect of the story is the struggle that Duke had in gaining support from record companies. This is why his band had to jump from label to label. When he was with a label, they often did not give his records publicity and sales suffered. The lives of jazz musicians, even at Duke's level, were a struggle. Armstrong had similar experiences.
Yeah, I was going to say. Swing was huge when I was in jr. high or high school. Now I'm almost wondering if big band stuff is due another resurgence. I've talked to a few other jazz head friends recently who have mentioned how they were starting to explore big band albums after (for now) exhausting later periods.
In a way it's actually. . . satisfying. We all have struggles. I used to look at Armstrong and Ellington as . . . demi-gods, blessed and magical beings. I still am in complete awe of their creative talent and determination, but it's also nice to know that like me, and you, they had struggles. We're all so much the same, and all so connected by experience and our natures.
This certainly starts quietly. Sounded like a stuck groove. Thanks for the tip on this album @Lonson I picked up a copy over the weekend and am enjoying now. NP: George Russell - The African Game
If you have a smartphone this is already happening most everywhere you go unless its turned off. There's a lot of reporting on this but here is one article from the nytimes: Intelligence Analysts Use U.S. Smartphone Location Data Without Warrants, Memo Says
Although there were some mixed blessings about this entire situation, it still gives me pause... Ellington left Columbia not because he wanted more money or more control, but because nobody at Columbia seemed to give a damn. He alluded to this story in his memoir (Music Is My Mistress) on page 244, when he told of how he had to coax Mingus back into the studio by telling Mingus that United Artists was treating Mingus with respect and that Duke would still be with Columbia if he had the same. In the last half of 1962, before Sinatra offered Ellington total control, Ellington free-lanced. But the companies (UA and Impulse) only wanted small group sessions (maybe they wouldn't pay scale for the band), so Duke recorded with Mingus, Coltrane and Hawkins. That was a benefit. But at the same time, it is astounding to me that Impulse did not offer Duke an exclusive contract with full benefits for his complete orchestra before Sinatra made his offer. There might have been many Impulse records. Perhaps that could have happened if Sinatra had not called Duke to give him an offer that most companies would not. Sinatra believed that artists should own their master tapes, so everyone at Reprise would own their recordings. But when the Warner Corporation took over Reprise, Sinatra's handshake agreement was moot, and Ellington's role as an A&R man (recording artists of his choice) was over. The Hollywood moguls were likely responsible for pushing Ellington to record pop music novelties in 1964 and 1965 before they parted ways. Ironically, Sinatra suffered the same fate. Though he founded the company, he ended up having to record material that he despised and often ridiculed (That's Life, Strangers in the Night and others). Once Sinatra lost control, his days of top quality concept albums were pretty much over. This happened to the other artists that Sinatra brought to Reprise as well, when Warner took over. Either they recorded novelty pop as directed or they had to leave. Some stayed, some quit the label.
Oliver Nelson/ King Curtis/ Jimmy Forrest - Soul Battle Oliver Nelson, King Curtis & Jimmy Forrest, tenor sax; Gene Casey, piano; George Duvivier, bass; Roy Haynes, drums.
There was a time when nobody had to choose whether to lay low and try to live "under the radar", as they hadn't invented radar yet. Was the Homestead Act of 1862 ever overturned? Of course, it did nothing to help the poor, because they had no means to build a dwelling and operate a farm for 5 years.
When that album and the first Duo album were released, I wanted to play them for everyone to introduce NHOP on bass. One time, when a friend and I were very buzzed, I put it on for my friend. We were both astounded (me included). We couldn't believe NHOP could play that fast. I got up from the floor to play side 2, when I discovered that we had played it at 45RPM.
It’s unclear what may be on it besides his leader dates and co-leader dates with Kenny Dorham. The Mosaic Images Instagram page said March but we’ll see. There is more discussion here, The Mosaic thread: news and opinions See also Joe Henderson Blue Note 1963-1966
Thanks for the info. Whatever they put out would be welcome. Apart from Page One that received the AP SACD treatment, his next four albums on Blue Note desperately need to be remastered as the RVGs are worst than the McMaster IMHO. They can also dig into his sideman`s output which was tremendous at that time. We`re spoiled. First is the Louis Armstrong box, then a Joe Henderson`s. Can`t wait.
On January 27, 1966, Joe Henderson recorded “Mode for Joe “which remains one of the greatest achievements of his career with Lee Morgan, Curtis Fuller, Bobby Hutchison, Cedar Walton, Ron Carter and Joe Chambers performing six killer originals. Read Miles took three of Francis Wolf’s shots of Joe from the contact sheets and pitch them together to create the iconic cover design. His mock up with a note to the art house has survived. — Text and photo courtesy of Mosaic Images.
R.I.P. Lawrence Ferlinghetti. In his bookstore of San Francisco I bought Conversations In Jazz: The Ralph J. Gleason Interviews. Really amazing place and very nice book. The trip in August 2019 was unforgettable. Fortunately we might take it before pandemic.
SFJazz Collective Inaugral Season Live 2004, disc 1 Original Compositions and Works of Ornette Coleman
I just went on the mosaic website and it is not announced (Yet?) Limited Edition Jazz Collections BTW, I am listening this presently Always a favorite of mine.
