Oh well, we all can’t like the same things. Kirk was a talented musician, but I’ve just never really appreciated him on the same level as you and others have.
True that’s what keeps things interesting. I started to play sax myself as an adult and I think it changed my ideas about things drastically. I’m less harsh as a critic and more appreciative of good, solid, expressive musicianship. I used to think Rahsaan was kind of a gimmicky guy with all the horns etc. He was a little schticky at times, but it got people’s attention. Behind it was a great woodwinds player.
I certainly enjoyed The Inflated Tear more this time around than in the past. Of course, I never disputed his musicianship, so there’s no reason to argue that point with me as I’m quite aware of what he was doing and how well he did it. It’s just that his ideas don’t always register with me as being very good. One of my biggest problems with his music, outside of his own playing, was how I believed he hogged the spotlight and didn’t let his band have many opportunities to improvise and when they did, it seemed like they weren’t able to fully flesh out their ideas because he was just so ready to jump in or, worse, cut them off completely. A part of being a good musician, and leader in Kirk’s case, is knowing when to take a backseat and let the musicians you choose to play in your band take the music in a direction that you, otherwise, wouldn’t have thought about it going in. With Kirk, the music has always felt one-sided to me, which I suppose is another reason as to why I don’t enjoy his music that much.
I think this was one of his biggest weaknesses. I didn’t mean to argue the point. Just to explain myself, as in having a conversation. Social Media is an imperfect communication tool.
All this talk of RRK made me pull out one of my very favorites: "Natural Black Inventions: Root Strata." Warner Japan 24 bit cd. Kirk is a musician I'll never tire of. One of the few real geniuses. Very few had such a broad yet detailed knowledge of African-American music and contributed so much. What a man.
No. I think 'Timeless' was his first. Gateway is actually the name of the trio with Holland & DeJohnette. Most of the compositions on the album are by Holland. They made several other albums over the years since.
Looks like the MFSL release of Porgy and Bess will be released soon (hopefully on the heels of Miles Smiles): Miles Davis - Porgy and Bess (Strictly Limited to 3,000, Numbered Hybrid SACD)
I have high hopes for this one. They did such a great job with Sketches of Spain, I expect similar magic here.
Same here. So far, I have nothing negative to say about any of MFSL’s Miles releases yet. The only ones I haven’t head are On the Corner and Miles in the Sky. Hope to rectify this tomorrow.
Miles Davis: ’Four’ & More (MFSL hybrid SACD) Throw some water on Miles, George, Herbie, Ron, and Tony. They’re on fire!
I particularly like his '60s work, too. Rip, Rig & Panic; Now Please Don't You Cry, Beautiful Edit; We Free Kings; The Inflated Tear; I Talk with the Spirits, a great flute album. A Meeting of the Times with Al Hibbler is fun, but otherwise I've had trouble really getting into his '70s records. I haven't heard 'em all, though, so there's still hope for me.
Monday Miles . . . 1957/2013 Columbia – CL 1041, Columbia – 88765413861. Miles Davis – The Original Mono Recordings – Reissue of the original mono version cat.#: CL 1041 (KPG@CA).
Kai Winding’s New Jazz Group/Krazy Kat’s - 12/14/1945 Session (from Mosaic’s Savoy Bebop Sessions) Shorty Rogers - trumpet; Kai Winding - trombone; Stan Getz - tenor sax; Shorty Allen - piano; Iggy Shevack - bass; Shelly Manne - drums
Out of laziness , I grabbed this box a few years ago and I am perfectly content with the music on the albums that are included. I think they "represent" very well. At this point, I don't think I'll seek (or need) more Rahsaan. Though I've been dead wrong before about music matters like this. From a review on Rate Your Music describing what the set includes: "Great collection Contains Rahsaan's Mercury output from 1961-1965: We Free Kings Domino Reeds and Deeds Rip, Rig and Panic I Talk With the Spirits Slightly Latin Copenhagen Concert (upped to 2 full CDs from the 1963 vinyl release) plus singles, alternate takes, a performance at the Newport Jazz festival, and some Quincy Jones dates that only feature Kirk as a sideman"
Indeed. I’ve heard all of the material from this period before, but it’s really been a long time since I’ve listened to any of the more off-the-beaten-track recordings like Live-Evil, Dark Magus, Agharta, and the compilations like Big Fun and Get Up With It, etc.
I used to have that but no matter what I played it on the recording sounded bright. Was one of the first SACDs I bought.
Nice set here, Hard Driving Jazz, also released under the title "Stereo Drive", but since mine is a mono pressing... Later reissued as "Coltrane Time", an early example of the cash grab. The original has some guy named "Blue Train" on tenor, guess he found himself contractually a few years later.
It is a bit trebly, and the bass and midrange are perhaps too recessed. Whether this is a feature of the SACD or the original recording, I can't say but it doesn't get in the way of my enjoyment.
Fantastic music and fantastic players, and this used to be where I "lived" with RRK. But when Dorn got his hands on him at Atlantic and encouraged him to be fully himself artistically (which with Kirk meant with his whole being) the music and the presentation really changed, and I really LOVE that transformation. I can't be without the music after the Mercury/Limelight years.
