I did not know about this thing. I had noticed a substantial decrease of available titles or items on CD Universe with the links to Amazon USA. Unfortunately some historical Italian retailers have gone out of business for a lot of reasons, illegal downloading for instance. But it is certain that Amazon has given a strong speeding up to this fact.
They hadn't started the festival yet. I caught 2 of those before I moved to AZ.$12 lawn seats and you could bring coolers with food and booze as long as there were no glass containers.. This was 2 nights of music. First night was Ted Curson, Dizzy Gillespie and Lionel Hampton with big band. Second night was Stanley Turrentine and Oscar Peterson (solo) plus fireworks.
Alan Shorter - Orgasm Call this one a victim of unrealistic expectations. Here we have yet another less famous trumpet (or flugelhorn) playing brother of a more renowned saxman. I often like to listen to Tommy Turrentine as much as brother Stanley. I'm a huge fan of Nat Adderley although he doesn't have the renown of brother Cannonball. I could say the same thing about those Brecker boys. So when I heard the great Wayne Shorter had a brass-blowing brother, I was pretty stoked. Alas, this didn't appeal to me at the same level as Tommy or Nat. Part of that was that Shorter isn't necessarily a technical master or virtuoso player. In that regard, I think of him now along the lines of Miles, but not quite having Miles' intangibles. The other part of it was that I wasn't expecting the free jazz onslaught presented here. Nat and Tommy tend to inhabit much the same musical space as their more famous brothers, but Alan Shorter launches way out there! Now I'm not one who automatically turns away from the avant garde, and Shorter definitely presents some excellent musical ideas, but it just didn't hang together for me the way, say, Cecil Taylor does. So upon first listen, it's honestly tough to tell how much of my (relative) lack of appreciation was inherent in the music and how much was just the result of false expectations. I shall have to listen more to decide.
Just listened to the first disk in the new Hemphill box set. Really wonderful. Not pro recordings, but not bad, and amazing additions to the Hemphill canon (the recordings on disk one come from live performances of the late '70s and 1980 and feature material written for combo sizes and instrumentation related to the two horns, cello and drums Dogon AD combo). Now on to the first WSQ Black Saint album (the group's second album but I don't have the Moers one), Steppin,' which dates from around the same time.
In the 1940's and early 1950's there were numerous examples of jazz musicians doing guest appearances on other albums under a pseudonym, typically when the artist was under an exclusive contract to another label. In most cases, this was no secret, as it was often musically obvious, due to the artist's distinct sound and his frequent association with the other musicians. But, as far as I recall, this practice (use of pseudonyms as a cover) largely disappeared by the late 1950's and 1960's. Guest appearances did not die out, but virtually all of them had to be noted as authorized. My guess is that, in the earlier era, contracts did not specifically prohibit appearances under a pseudonym, and this loophole was exploited. I also guess that the record companies tried to put an end to this and prohibited such appearances, unless authorized, in newer contracts and renewals. There are also numerous cases where musicians could not get authorization to appear on other albums. All of this just stifled creativity and collaboration. Some companies, such as Blue Note, decided to create a large group of "house musicians". You might view this as a positive, but it could be just as limiting. You could not appear on a Blue Note LP if you were not a house musician. Authorizations from outside companies were hard to obtain. The worst case is when a company had an artist under exclusive contract, but would not even offer that artist recording sessions. They seemed to enjoy crushing an artist's career. Columbia Records was notorious for this practice, especially applied to singers and artists in other styles. The artists could not afford the legal fees to fight the corporations lawyers. Some of the legendary artists avoided exclusive contracts and prefered to freelance for much of their career, or sometimes just a period in their later career. Coleman Hawkins is a good example. In their later careers, Louis Armstrong and Duke Ellington chose to freelance.
Fabio Caramuru "Piano – Tom Jobim Por Fabio Caramuru" Listening again to the second disc with bassist Pedro Baldanza.
First time I've seen "WD" for was drinking. Makes sense. I've been looking for Tones for Jones Bones for a while, but passing on this compilation. Knowing there are extra tracks on the session make this appealing as a substitute. Thanks! NP: Miles Davis and the Jazz Giants (OG Prestige 50s) Now hearing side 2. I'm such a sucker for original pressings that I overlook obvious damaged vinyl and remain optimistic that somehow, magically, it'll play better than it looks (in practice, that's rare). There's something so alluring about these artifacts. Paradoxically, straining to hear through the crackle introduces a new kind of concentration and close attention to the music. I have this material elsewhere, and Qobuz, so may try a few versions. Saturday was a great haul, and I'm looking forward to sharing those finds with you all
NP: Mulligan Meets Monk (OG stereo) First listen and relieved to hear something so much cleaner. In a rarity for anyone who has heard a bunch of early Riverside recordings, this copy has a low noise floor. Blessings! Looking forward to comparing with my mono copy. Initial impression is the wide stereo sets Mulligan and Monk very far apart, like they're playing from waaay across the room. What's appealing is it sounds like I'm in that room. Better sound than I was expecting.
1955/56 vol 1 LARS GULLIN with Chet Baker (Dragon) CD Front cover painting: Detail from "Pals" by Hans Viksten (1926-87). This is a top notch 14 track compilation featuring Tracks 1-3 by Lars Gullin Quartet & Quintet Tracks 4-7 by Lars Gullin & The Chet Baker Quartet Tracks 8-11 by Lars Gullin Quartet Tracks 12-14 by Lars Gullin Octet Tracks 1 to 3 recorded at Stockholm's Concert Hall, April 25, 1955. Tracks 4 to 7 recorded in Stuttgart, October 15, 1955 (live). Tracks 8 to 11 recorded in Sundbyberg, Sweden, April 24, 1956 (studio recordings). Tracks 12 to 14 recorded in Stockholm, May 31, 1956 (studio recordings) musicians Baritone Saxophone – Lars Gullin / Lennart Jansson Bass – Bengt Carlsson / Georg Riedel / Jimmy Bond Clarinet, Alto Saxophone – Arne Domnérus Drums – Bosse Stoor / Egil Johansen / Bertil (Bert) Dahlander / Peter Littman Guitar – Rolf Berg Piano – Dick Twardzik / Gunnar Svensson / Lars Gullin / Rune Öfverman Tenor Saxophone – Bjarne Nerem / Rolf Billberg Trombone – Gordon Olsson Trumpet – Chet Baker Vocals – Catherina Valente Excellent sessions (many originally issued on Metronome & EmArcy vinyl). The CD was issued in 1992 by Dragon with 8 page booklet. The tracks were all remastered and very tasty they sound too. Bill Evans Trio at Ronnie Scott's - Bootleg SQ improved a wee bit by Resonance remastering.
Monday Miles with the First Great Quintet — recorded May 11 and October 26, 1956 . . . Two appropriately titled albums for this sweltering 39°C day 1961/2014 Analogue Productions – APRJ 7200, Prestige – 7200 The Prestige Mono Series – KPG@CA “After all, that’s what we did—came in and cooked” . . . 1957/1984 Original Jazz Classics – OJC-128, Prestige – P-7094
I saw Nick whenever he came to the Boston area. Several times at Ryles... once when he went head to head with Cecil Payne. That was a blast. He celebrated his 60th birthday there with a huge cake that he shared with the audience. I really miss seeing him.
In Canada it's the total opposite right now. We're in the middle of our first cold wave of the season with temperatures hitting -20 Celsius. Normally my wife and I would leave for two weeks in Jamaica next week. Not this year obviously.
Any info on whether or not this will be AAA? I went to their website and didn't see anything about master tapes which I assume is a bad sign...
I used to hate "rated X". But today I've played it 3 times already. What was he thinking? What were the others thinking? Oh and played "what they do" a couple of times too. That's the closest to the "Agartha" band you can hear in studio. Fast as hell this one. These "complete sessions" keep on giving. The OTC set was probably my least favorite, but as with all Miles stuff - it takes time, but once it hits you it never leaves you. PS: the Rated X version in Panthalassa... That one really makes me think that his music around that period needed someone else other than Teo.
Bill Evans & Stan Getz/ But Beautiful Bill Evans Trio/ Live in Paris 1974 Bill and Stan first tried to collaborate on an album in 1964, although neither felt satisfied with the result, so it wasn't released until 1973, after both had left Verve. I guess they felt like, as long as the record is out, why not take the opportunity to do some shows together? They played two shows together in Europe, in August 1974, at least, and the 1996 Milestone CD compiles highlights from the concerts. Helen Keane explains in the notes that Bill sits out the second track, called "Stan's Blues," in protest of Stan starting a tune that hadn't been part of their rehearsal. At a few points, you can hear that Stan resolves his solo and pauses to let someone else come in, but Bill refuses and had also signaled to his sidemen not to take a solo, so Stan starts up again. Otherwise, they are a beautiful match. By the second date, which fell on Bill's birthday, Stan warmly wishes Bill a happy birthday, and then plays an abstract "Happy Birthday" in the intro to the next tune, "You and the Night and the Music." (Helen thought that was Stan's way of apologizing.) The CD concludes with two tender ballads, "See-Saw" and "The Two Lonely People," from the Trio's opening set; Helen indicates that she chose the tunes because Bill didn't record them that often. Of course that leads to the question, what about the rest of the Trio's sets? Release the tapes! The other record is a glimpse of the Trio in a Paris club, later in the month. The piano sounds a little distant, but it's a clear and balanced stereo recording. No boominess or distortion problems. I'd guess that it's a good audience tape; perhaps Helen allowed another fan to set up mics on stage. Jazzdisco.org tells me that two sets from the date have come out on Bill Evans Trio Live In Europe, Vol. 1-2. My 2009 Gambit CD just has the second set; fittingly, since this looks like the last known recording of Bill with Marty Morell, it concludes with a rare performance of Gordon Jenkins' "Goodbye." Here's the YT playlist for Paris 1974: https://www.youtube.com/playlist?list=PL0q2VleZJVEmJI7ELH8FO9ZcfY_P7ShHa
That's about the temperature when I bring the apple cider in from the front porch. I consider most of winter to just be free cooling. That can be beneficial, with many uses. Most of us have to stay inside due to COVID anyway. When I go out in winter, it is nice to be invigorated by the chilled air. Its all free, too. Many people spend all summer (and beyond) paying big bucks for cooling, and not even come close to what is free the rest of the year. For me, the positive outlook about chilly winds is the cure for the winter blues, restlessness, and grumbles.
Bought this from the Hoffman BST forum last week. I'd say this is my favorite of the Resonance Evans albums. It was actually professionally recorded at the time in a "live setting" (i.e. people brought in to form an audience), which makes it the best of both worlds - well recorded with the musicians spurred on by the audience. I remember when I first listened to the Montreux Jazz Festival album and hoped to find more recordings of the Evans/Gomez/ Dejohnette trio...only to discover there weren't any commercially available. Fast forward and now there's four - Montreux, Some Other Time, Another Time and Live At Ronnie Scott's. The first three were all recorded within like a week of each other iirc and the fourth not long after. Great stuff. That's funny about the Evans/Getz onstage tiff.
