I would still suggest studio sessions. Of course a good number of those live recordings, at least those officially issued, are actually over-dubbed studio sessions or otherwise doctored (Massey Hall as an example) I myself, enjoy live recordings from any period. I was referrring to what I would recommendas an introduction to a listener who was completely unfamiliar with an artist. I cannot think of a live session from the 1950s by any artist that I would recommend over a studio session as an introduction to the artist. Not Massey Hall, not Duke at Newport, not Clifford with Blakey at Birdland, none of them.
Well, I cannot imagine a better introduction to Art Blakey's Jazz Messengers than their live sets at Birdland or Café Bohemia.
Great lineup. As far as I remember the only all-female jazz recording I have listened to so far (and have on my shelf) is Les Diaboliques trio, comprised of Scottish vocalist Maggie Nicols, Swiss pianist Irene Schweizer and French bassist Joëlle Léandre, so if this new group keep on working I'll have a perfect opportunity to double my statistics. It's actually a bit surprising, because there are quite a few all-female rock bands I dig, e.g. Fanny, the Slits, the Raincoats or Sleater-Kinney, not to mention many more that I am aware of. And what are your all-female group stats in jazz, my fellow members?
Here's one ECM for you. I'm finishing my Estonian journey with Kristjan Randalu - Absence, featuring Ben Monder and Markku Ounaskari.
Brad Mehldau, "Finding Gabriel" One of more than a few great CD's I got for my joint birthday/Father's Day weekend! Definitely not a Mehldau album in his traditional mold (solo, trio), and not even really a successor to his other less conventional side projects ("Largo," "Taming the Dragon," etc.), but a deep, sonically rich musical experiment with lots of interesting colors, rhythms, and wordless vocals. I can almost always do without spoken word in otherwise instrumental music, but it's not too distracting or prevalent in this case. Mehldau is just one of those guys -- I pick up what he's putting down.
Nice cover undoubtedly expressive, but in my opinion the content of this album is one of the worst live recordings by Bob Dylan. The live albums released as The Bootleg Series are often better than this live album. Before The Flood with The Band released two years before is much more brilliant.
Wow, I think "Hard Rain" may be my single favorite live Dylan album, with "Before the Flood" possibly being my least favorite (though "Dylan and the Dead" probably beats it in the end). I hope the '76 RTR eventually gets the same in-depth treatment as '75 now has.
Yeah, Hard Rain might not be my favorite live Dylan but at least two of the performances on Hard Rain -- "Idiot Wind" and "You're a Big Girl Now" -- are my favorite, go-to version of those songs. The playing is out of tune, Dylan's lead guitar solo work is, well, quirky at best, but those performance are among the most impassioned of Dylan's career and define those songs for me. I don't return to a lot of Dylan live albums at all, basically the Manchester Free Trade Hall '66 electric set and those two Hard Rain pieces.
How did you like your Estonian jazz purchases? My wife's family is Estonian. I've only dipped my toes in some of the music from the country. Shameful that I don't know any jazz from there! I'll have to investigate these artists you mention.
I'm very satisfied. Reigo Ahven Trio and Ivo Lille Group were completely new to me, but I certainly don't regret buying their CD's. Before that I didn't knew much about Estonian jazz scene, except Randalu, Vassiljev and few others, who have been collaborating in different projects with Latvian musicians. I'm glad I can expand my knowledge.
There is always the exception of course. But I never had anyone ask me for an introduction to Blakey. I get asked many similar questions, having been a radio host for almost 50 years. With Blakey, I tend to base recommendations on the sidemen.
With regards the Keith Jarrett introduction, I love the sound of Forest Flower (Charles Lloyd) so will start from there & see how it goes. Thanks for all the advice. It actually led me to a Tony Williams recording I wasn't aware of (Of Course Of Course), which I will check out online tonight before taking the plunge.
Last Friday in the late afternoon after the work finally relaxed I purchased on my local record shop two following albums; the first one is out of print:
I've always loved this theme by the unforgettable Michel Legrand. Very enjoying this rendition by Stan Kenton:
Some Mainstream Jazz for a change Featuring Illinois Jaquet (ts) / Harry Edison (tp) / Gerry Wiggins (organ) / Courtis Counce (b) / Al Bartee (dr) / Irving Ashby (g) / Carl Perkins (p) Recording date: November 03, 1955
one more featuring: Cat Anderson (tp) / Ray Nance (Cornet) / Lawrence Brown (tb) / Buster Cooper (tb) / Harold Ashby (ts) / Paul Gonsalves (ts) / Russel Procope (as & cl) / Jimmy Jones (p) / Richard Davis (b) / Gus Johnson (dr) recorded March 8, 1965 New York
.... and with the late John Williams (p) Recording dates: A1 & A2: July 30, 1953 A3 & B1 - B2: November 09, 1953
Wes Montgomery - Smokin` At The Half Note (Verve/Analogue Productions CVRJ-8633 SA) Accompanied by the Wynton Kelly Trio. This is the hybrid SACD. The title says it all...
Have been catching Fabian Almazan for years as Terrence Blanchard's keyboard player. The guy very talented. While browsing "Pitchfork" this weekend i was surprised (as i dont look to them for jazz reviews) to see they reviewed his new record (which just dropped Friday). Played it on Tidal this weekend, great record! Fabian Almazan: This Land Abounds With Life Album Review | Pitchfork
NP This Is Tal Farlow, recorded February 17 and 18, 1958 at WOR Sound Studio in NYC. The 1997 CD reissue has nine previously unreleased bonus tracks. “Of all the current jazz guitarists, Tal is the one I most like to hear. There are several with a great deal of facility and others with less facility but more ideas. Tal has both. He does the best chord work of anyone I’ve heard.” -Jimmy Raney Tal Farlow - guitar Eddie Costa - piano Bill Takas or Knobby Totah - bass Jimmy Campbell - drums Verve CD
