I guess most of you had never heard about Maneige, Maneige is a Jazz Rock group of the seventies that was quite popular (everything is relative ) in Québec. Here is what wiki has to say about them Maneige - Wikipedia I personally think it is a fabulous group with excellent musicians. I am now listening to Ni Vent...Ni Nouvelle which you can translate (No wind ... No News) you can listen to the whole album
That box is a bargain indeed, mine shipped from Amazon Spain, and the shipping cost was more than the CDs! Still, eight Lee Morgan albums for $26.00 total was too good to pass up.
Gary Bartz Quartet, Edmonton March 1996. Fifty seven minutes of “Yardbird Suite”, fantastic sound from digital FM broadcast bested by stellar play. GB deserves more props IMO, killer alto man.
I thank you. Unknown to me and I believe that in Italy there are a few music fans. In Italy, perhaps the only Canadian group enjoying brief popularity was Lighthouse featuring the drummer Skip Procop, known to have played with Michael Bloomfield and Al Kooper on the awesome The Live Adventures of Mike Bloomfield and Al Kooper.
Incredibly enough...I was there too ! With Octobre and Harmonium, they were the best Québec bands of the late 70s.
I'm appreciating two new albums this morning Grégoire Maret, Romain Collin, Bill Frisell – Americana Label: ACT – ACT 9049-2 Format: CD, Album, Stereo Country: Germany Released: 24 Apr 2020 Genre: Jazz, Folk, World, & Country Jean-Louis Matinier / Kevin Seddiki – Rivages Label: ECM Records – ECM 2617, ECM Records – 086 4800 Format: CD, Album Country: Germany Released: 29 May 2020 Genre: Jazz Style: Contemporary Jazz Both are quite relaxed but very enjoyable and well played
Semi-structured, meandering, compelling, somehow addictive viewing, about 19 minutes too long, admirable, needing a good editor.... A worthy clip.
Nice one..Phish phan! Phish have a special place in Maine (and this ain't a pun) From a story from June 24, 2019 A brief history of Phish’s 30-year relationship with Maine Phish "phans" are seen here under skywriting during the 1998 "Lemonwheel" festival at the former Loring Air Force base in this photo taken by Andy Giles, a former art professor at the University of Maine at Presque Isle. Credit: Courtesy of Andy Giles This Tuesday and Wednesday (June 2019), Phish will take the stage for two shows at the Darling’s Waterfront Pavilion — bringing the band’s total number of shows in Maine to 46 by the time the lights go down Wednesday night. Just as Maine holds a unique place in the legendary jam band’s history, Phish means a lot to many Maine residents, who have watched the band grow from humble beginnings as a ragtag New England jam band to its status today as one of the greatest live rock acts of all time. [Subscribe to our free morning newsletter and get the latest headlines in your inbox] No other rock band can boast such a long and colorful history in Maine — not even the Grateful Dead, the band that Phish most closely resembles in terms of impact. The Dead played 16 shows in Maine in the 1970s and 1980s, the most famous of which was a 1980 concert in Lewiston that drew between 25,000 and 30,000 people. The Great Went, Phish’s first festival in Limestone in 1997, drew around 70,000. A brief history of Phish’s 30-year relationship with Maine
From a favorite Jazz/Motown/R&B infused band I love, who are good friends here in Maine – safely surviving the pandemic as well as can be hoped! Love Mark's sweet guitar licks, artfully placed. All's well. True
Another great track I'd like to share, from a stunning album. Jazz overtones throughout... The king of cool, Peter Gallway. reversal Muscle and Bone
Anyone of you knows why Joe Pass (of all people) played solid body, totally "non-jazz" guitars in the early 60s? Was he looking for a different sound, or trying to look "with it" somehow? Perhaps the big hollow body guitars were old fashioned and uncool to some back then?... A case could be made that Ed Bickert in Canada was doing the same playing on the Fender Telecaster. But this one can be warm-sounding and is a very reliable axe to carry around.. Just wondering.
NP: Cannonball Adderley - Things Are Getting Better (Mono OG) This was a freebie at my local store yesterday, since the vinyl is so beat up. Still getting some listening pleasure, and planning a shootout with the stereo (Mike Reese-mastered 70s twofer version) Would love the title to be truer right now. The good news is that in our musical bubble, it can be.
In the video Pass played a Fender Jazzmaster, a guitar that it could be argued Leo Fender developed to rival the Gibson and Guild and other archtop jazz guitars so favored by most jazz guitarists. Leo felt that the solid body would I think prevent feedback issues that big hollow bodies have, be more rugged and sound as good and possibly be more versatile. There's a lot of truth imo in Fender's aims. I have a '59 Reissue of the Jazzmaster and it really DOES, in my opinion, emulate the feel of a jazz guitar, and there are great tonal options as well as a great two circuit system so that you can dial in a rhythm sound and a lead sound and effortlessly switch between them with the flick of a switch, no need to twiddle with volume and tone when you switch. I really love my Jazzmaster, it plays closer to an acoustic guitar to me than any other solid body I have. Pass may have been gifted one to play, I don't know, it may have been an affordable option to him at the time, he eventually went back to hollow body archtops. Fender didn't win the hearts and wallets of jazz players, but the guitar took off with "Surf" guitarists and some rock artists and has resurged this century among rock artists. Perhaps at this time Pass just wanted to explore different sounds and textures. . . and later seemed to settle down to the classic archtop sound--which he may have found more in line with the wishes of employers as well. A real master! I love his playing.
I'm hearing that Eddie Gale is no longer with us. Sideman dates with Cecil, Sun Ra, and Larry Young but probably best known for the two great albums he recorded for Blue Note. RIP Eddie.
Thanks for such infos. I didn't know that the Jazzmaster was such a versatile instrument. Thinking back on it now, I have read somewhere that Pass did an album back then where he covered some hits by The Rolling Stones - of course he was not alone in trying to crossover, by choice or commercial necessity - so perhaps he needed more sonic options than what an old archtop could provide in those contexts.
NP: Stanley Cowell Trio - Illusion Suite (ECM Germany) Cowell's trio includes: Bass – Stanley Clarke Drums – Jimmy Hopps Really enjoying this. Clarke on acoustic bass and Hopps' freeform drumming are not typical ECM. Cowell strums his piano at one point (I think that's the sound I'm hearing, leaning into the body of the piano, or there's an uncredited harp). The cover illustration is by Grace Williams who also did the Doug Hammond cover on Tribe which was recently reissued on Pure Pleasure with the color illustration (original LP using black and white). You can see a similar style in the face of the billiards player. The Hammond title doesn't appear to be streaming, just YouTube. Has anyone listened to the reissue to comment on sound quality of Ray Staff's mastering at Air? (Or for that matter, any of the Tribe reissues).
I don't see Ode to the Living Tree mentioned much, but I like a lot, especially the really energetic version of "Acknowledgment" and "Resolution" from A Love Supreme. With David Murray and Oliver Lake on the front line, how can you go wrong?
