I'm friends on Facebook with a fair number of musicians so I asked a few reed players and got this from one of them: An instrument's transposition is usually identified by the concert note that sounds when that instrument plays a written C. For tenor this is Bb, and for alto it's Eb. However here he's referring to the concert note that sounds when the usual note names used to describe the instruments' transpositions are played on the respective instruments, i.e. a written Bb played on tenor sounds as a concert Ab and a written Eb played on alto sounds as a concert Gb. Flute and oboe (also on the record) are in C. That's my take.
'Helps to bring out the cello-like qualities in his voice, reflecting his youthful studies with the instrument.' /s
Thanks for the BYG link; while I've long enjoyed the BYG recordings from that summer, I don't recall ever seeing the entire program before, and I certainly didn't understand that so many 'rock' bands (other than Allen/Gong) were also in the mix; interesting to see that Ame Son were considered a "pop band."
Of course probably a lot of the spiritual jazz you like -- I must say I've never been entirely sure what "spiritual jazz" consists of -- was probably influenced by Indian classical music (certainly John Coltrane and Alice Coltrane were), even if a lot of the jazz musicians maybe didn't steep themselves in the formal rules of raga and tala. Ravi Shankar was a giant, not just of raga or of the sitar but also one of the father's of "world music," a guy who tirelessly promoted and explained Indian classical music around the world, and work extensively will all kind of musicians from other cultures. One interesting album of his World Pacific days from a couple of years after this is Improvisations, which has a raga, a piece of film music he wrote, and collaborations with western jazz musicians like Gary Peacock and Bud Shank. He also toured a ton. I feel fortunate to have seen him a bunch of times in the '80s, both solo (though obviously with his group) and with the great saraod player Ali Akbar Khan. A giant.
And he was a very nice man. I met him in Swaziland, in my own boarding school barracks "cubicle" when he came to visit my roommate, Faizula Ghul, who was his cousin. I only knew him from Sgt. Pepper, but he was a strong presence and a kind and interesting grownup to meet.
I`m like you, I`m still sorting everything out as I`d like to get my list to 25 or 30 titles. Definitely the two Mingus, some Waldron`s, all the Shepp`s and a few others like Joe Henderson, Art Farmer and Charles Tolliver. 100 titles is s long list…..
Grachan Moncur III - Some Other Stuff (Blue Note CDP-7243-8-32092-2-4) Beautiful Friday morning over Montréal. Blues skies and temperature will rise to a summer like 70 degrees later today. No snow left on the ground. Starting the day with Grachan Moncur`s best album. The participation of Wayne Shorter, Herbie Hancock, Tony Williams and Cecil McBee is vital to this music.
Moncur III got me to thinking about trombonist Charles Greenlea, heard here with Shepp and the great if under-heralded Beaver Harris.
ILLUMINATION! - ELVIN JONES & JIMMY GARRISON SEXTET + DEAR JOHN C. - ELVIN JONES (Impulse!) CD 2-on-1 series Illumination! - recorded August 8, 1963 with Alto Saxophone & English Horn – Sonny Simmons / Baritone Saxophone – Charles Davis / Bass – Jimmy Garrison / Clarinet & Flute – Prince Lasha / Drums – Elvin Jones / Piano – McCoy Tyner Dear John C. - recorded February 1965 with Alto Saxophone – Charlie Mariano / Bass – Richard Davis / Drums – Elvin Jones / Piano – Hank Jones & Roland Hanna I have been missing out on these two solid Impulse! titles for far too long so it was good to be able to pick both of them up in this back to back format. https://www.kompaktkiste.de/cover/_abc/_0/0600753346983cd00_1140x1000.jpg
Currently spinning "The Lost Sessions". Some good stuff and some not so good stuff. I'm still trying to figure what was up with Philly Joe Jones on the track "The Elder Speaks" from the Tadd Dameron session. He seems completely lost at times when he's normally a metronome.
Listening to Coleman Hawkins with the Red Garland Trio, recorded on August 12, 1959. This was the first album released on Prestige’s Swingville label. Coleman Hawkins – tenor saxophone Red Garland – piano Doug Watkins – bass Charles "Specs" Wright – drums Swingville/OJC CD
Morning wonderful record i have wanted a physical copy of for years. Finally caved when it was reissued recently and on ESP-DISK in theory the original New York Label. Discogs tells a very convoluted story of label catalog rights changing hands but implies its back at New York whatever that means. At any rate I assumed it would not be great sound but despite the vinyl being badly scuffed there are no ticks or pops and the sound is beautiful without digital veiling to my ears. If there is a digital step or two it is cut to vinyl very well. The cover art looks like a cut and paste job. Anyone have original vinyl and able to comment on that?
Lee Morgan - The Last Session. Nice version of Capra Black and maybe the first recording of it (Billy Harper plays sax here.) Three side long pieces - similar in style to Live At The Lighthouse. The direction he was taking was interesting -- Predominately acoustic like the style of Strata East rather than the electric funk of Donald Byrd or the CTI Freddie Hubbard albums.
I do have an old vinyl of it, and while I can get it out later to verify, the cover looks the same to me; I'd always figured that the image of Boykins was probably cropped out from another photo and put against a new background. I also thought that it was a very nice record from the first time that I played it; Vass and Waters were both new names to me then. I'd known of Boykins for some time when I picked it up a year or two after release, via Ra.
