This morning: Joe Henderson - Power to the People [Keepnews reissue]. Most electric keyboards sound dated after a while, but the electric piano still sounds timeless to me. It somehow manages to let the individuality of the player come through fully. And Hancock’s EP with Henderson’s sax is a wonderful, sensuous combo.
All the tracks on John Patton's second album, Blue John, were composed by band members - two from Patton, two from Braith, one Green and one Dixon. The album was recorded in the summer of 1963, but was not released until 1986. The 2014 SHM release has five previously unreleased bonus tracks with the same lineup. John Patton - organ Tommy Turrentine - trumpet (track 5) George Braith - soprano saxophone, stritch Grant Green - guitar Ben Dixon - drums Blue Note SHM-CD
I’m just checking this out now on YouTube. I love the Paul Plimley/Lisle Ellis duo but was not familiar with this release and I don’t really know Joe McPhee’s music too well either. First track was nice. Am looking forward to hearing the rest. Thanks for the heads-up!
Overton was renting the space for his rehearsals and I believe his living space as well in midtown Manhattan from photographer W. Eugene Smith who was well known for photographic essays he had done that were published in Life magazine. Smith had left his family and bought the midtown building where he had his studio on the floor below Overton’s, I believe. The documentary The Jazz Loft is mainly about Smith’s life but includes his arrangement with Overton and the Monk project. Excellent movie.
And I think Smith was the one who taped Monk and Overton at the piano, so we can thank him for showing that Monk was actively involved in the arrangements. I wonder where those recordings are archived.
I have this Eugene Smith photo of Monk at the loft rehearsing set as my laptop background image for a while Now playing: Nina - Little Girl Blue ('06 Fuel CD)
Listening to "Miles Davis - Blue Haze" from "The Anthology" box set on NotNow. Miles Davis - trumpet David Schildkraut - alto saxophone Horace Silver - piano Percy Heath - bass Kenny Clarke - drums Art Blakey - drums John Lewis - piano Charles Mingus - piano Max Roach - drums 1. "I'll Remember April" Don Raye, Gene de Paul, Patricia Johnston 7:55 2. "Four" Miles Davis 4:03 3. "Old Devil Moon" Burton Lane, E.Y. Harburg 3:24 4. "Smooch" Miles Davis, Charles Mingus 3:06 1. "Blue Haze" Miles Davis 6:12 2. "When Lights are Low" Benny Carter, Spencer Williams 3:29 3. "Tune Up" Miles Davis 3:56 4. "Miles Ahead" Miles Davis 4:28
The Center for Documentary Studies at Duke University is involved with the Jazz Loft project, so maybe there I guess. ::The Jazz Loft Project:: ABOUT
Listening to "Lester Swings Again - Lester Young" from "Seven Classic Albums" on Real Gone. A1 Stardust A2 I'm Confessin' A3 I Can't Give You Anything But Love A4 These Foolish Things A5 Lester Swings B1 Count Every Star B2 It All Depends On You B3 September In The Rain B4 Pete's Cafe B5 Slow Motion Blues Bass – Gene Ramey (tracks: A5; B3-B5), Joe Shulman (tracks: B1-B2), Ray Brown (tracks: A1-A4) Drums – Bill Clark (tracks: B1-B2), J.C. Heard (tracks: A1-A4), Jo Jones (tracks: A5; B3-B5) Guitar – Barney Kessel (tracks: A1-A4) Piano – John Lewis (2) (tracks: A5-B5), Oscar Peterson (tracks: A1-A4) Tenor Saxophone – Lester Young
Be forewarned about McPhee's output. It's a rabbit hole of amazing releases, spanning decades. An American treasure he is, still going strong as he nears 80.
Back to Joao Gilberto I was thinking about the lawsuit that Joao Gilberto took against EMI in 1991 when it released this CD of his classic first three albums (1958-1960). Gilberto was extremely upset with what he considered to be horrendous sound which violated his entire voice and guitar concept. It buried his voice as a minor part of the sound, it diminished his guitar, and added echo to the voice. Other instruments were enhanced. To top off all of that, the songs were jumbled from the original order in an almost random fashion. Gilberto was successful in getting the CD withdrawn early on, but the final court decision was awarded to Gilberto only shortly before his death. Though I have all of the vinyl albums on both the Brasil and USA editions, I rarely pulled them out. At the moment, I cannot access them due to my construction project. I just did an A/B of the EMI CD with the CD version by the Fresh Sounds/Blue Moon group. You might think a grey market issue would be inferior. But no, it is superior to the EMI issue. Voice and guitar balance restored, song sequence restored. It sounds so much more like Gilberto himself. Poor version: DO NOT WASTE $1 on this EMI CD (Capitol, World Pacific imprint) Far better version: I can imagine that someone might listen to the EMI CD and wonder why people thought the 1958-1960 records were so sensational. Get the real Gilberto sound, that uniquely intimate sound of voice and guitar in a new way of singing and playing. The EMI CD seems designed to make it useless background. The better version restores the album sequences and adds a bonus track. Maybe someday, there will be yet another remastered version from the master tapes, which now belong to the Gilberto estate
We have all seen this image, famous on the Bill Evans & Jim Hall album But did you know that it was taken in 1947, when Evans was in high school? Weeki Wachee Spring, Florida, 1947. Photo by Toni Frissell. Weeki Wachee was a tourist park, where you paid a fee to see mermaids. It is still operating Weeki Wachee Springs State Park That particular "mermaid", if she is still swimming, is in her mid to late 90's. web info “Weeki Wachee” was named by the Seminole Indians. It means “little spring” or “winding river.” The spring is so deep that the bottom has never been found. Each day, more than 117 million gallons of clear, fresh 74-degree water bubbles up out of subterranean caverns. Deep in the spring, the surge of the current is so strong that it can knock a scuba diver’s mask off. The basin of the spring is 100 feet wide with limestone sides and there, where the mermaids swim, 16 to 20 feet below the surface, the current runs a strong five miles an hour. It’s quite a feat for a mermaid to stay in one place in such a current. Flowing from the spring, the Weeki Wachee River winds its way 12 miles to the Gulf of Mexico. NEWTON PERRY In 1946, Newton Perry, a former U.S. Navy man who trained Navy Frogmen to swim underwater in World War II, scouted out Weeki Wachee as a good site for a new business. At the time, U.S. 19 was a small two-lane road. All the other roads were dirt; there were no gas stations, no groceries, and no movie theaters. More alligators and black bears lived in the area than humans. Sadly, the spring was full of old rusted refrigerators and abandoned cars. The junk was cleared and Newt experimented with underwater breathing hoses and invented a method of breathing underwater from a free-flowing air hose supplying oxygen from an air compressor, rather than from a tank strapped to the back. With the air hose, humans could give the appearance of thriving twenty feet underwater with no breathing apparatus. Submerged six feet below the water’s surface, an 18-seat theater was built into the limestone so viewers could look right into the natural beauty of the ancient spring. Newt scouted out pretty girls and trained them to swim with air hoses and smile at the same time. He taught them to drink Grapette, a non-carbonated beverage, eat bananas underwater and do aquatic ballets. He then put a sign out on U.S. 19 that read: WEEKI WACHEE. And on October 13, 1947, the first show at the Weeki Wachee Springs underwater theater opened. It was the same day that Kukla, Fran and Ollie first aired on that newfangled invention called television, and one day before Chuck Yeager broke the sound barrier. On that day, the mermaids performed synchronized ballet moves underwater while breathing through the air hoses hidden in the scenery. However, in those days, cars were few along U.S. 19. When the girls heard a car coming, they ran to the road in their bathing suits to beckon drivers into the parking lot, just like sirens of ancient lore lured sailors to their sides. Then they jumped into the spring to perform. In the 1950s, Weeki Wachee was one of the nation’s most popular tourist stops. The attraction received worldwide acclaim. Movies were filmed at the spring, like Mr. Peabody and the Mermaid. Sights at the park included the mermaid shows, orchid gardens, jungle cruises, and Indian encampment and a new beach. The mermaids took etiquette and ballet lessons.
I think the traditional 1947 "mermaid" was far more alluring than the modern Disney-like swimmers in today's springwater show
This is a new one. Have looked up the details Double Bass – Reginald Veal Drums – Herlin Riley Mastered By – Gavin Lurrsen* Mastered By [Assistant] – Reuben Cohen Mixed By [Assistant] – Shinnosuke Miyazawa, Vanessa Parr Percussion – Manolo Badrena Piano, Producer – Ahmad Jamal Recorded By [Assistant] – Akihiro Mishimura Recorded By, Mixed By – Todd Winmill Notes Recorded at Avatar Studios, New York City, New York, U.S.A., October 2011 Mixed at Village Recording Studios, Los Angeles, California Mastered at Lurssen Mastering, Los Angeles, California
On many Norman Granz JATP concerts there is aways a ballad medley with the stars of the show. My good friend you like ballads ok here is one for you
This seems to be the original DAWN DLP 1102 - reissued by Nippon Columbia YW-7601-CH featuring: Zoot Sims (ts) / Bob Brookmeyer (v-Tb) / John Williams (p) / Milt Hinton (b) / Gus Johnson (dr) recorded January 11 & 18, 1956 - Engineer Paul Baldwin
More on the DAWN label "Jimmy Raney Visits Paris" DAWN DLP-1120 featuring Jimmy Raney (g) / Bobby Jaspar (ts) / Roger Guerin (tp) / Maurice Vandair (p) / Jean-Marie Ingrand (b) / Jean Louis Viale (dr)