I absolutely love Tommy on so many other folks albums, where he is always a real highlight, and then was slightly disappointed with his own album as a leader.
He's got a new album out on Kris Davis' Pyroclastic label, Cave of the Winds. I've only been through part of it so far, but what I've heard of it so far sounded pretty good.
Well Zaentz did something that few moguls did. He wanted entire catalogs to become available at low prices, including countless titles that he knew would never sell enough for other companies to bother releasing or reissuing. And he still believed in pursuing some quality while making the recordings widely available at low prices. His interest in jazz and black music was not purely for profit. He used profits from film production to fund the widespread reissue of jazz, which was not very profitable. Creedence Clearwater sales helped a little, but they were only a very small part of the approach he took to support jazz releases. Just one small example: he wanted the Specialty catalog of classic black gospel to be widely available (for the first time) in quality editions, despite very small sales. And he put significant resources into publicity and promotion for these ressues of rare gospel, despite knowing that sales would be small. He wanted the music to be out there. No one else has done this at all, outside of a small number of bootlegs. Zaentz' estate went to his foundation to improve education and opportunities for minority poor. I do not believe that the current hidden investors in the international private equity investment firms that control the majority of recordings are doing any such work, or even give a damn about getting the music out there.
Just ordered a few things from Japan and finally got a mostly clean copy of this 1980 repress. Man, is Africa just a ridiculously awesome track or what?
When you first look at this, it may strike a chord and remind you of your own situation, or even your own fantasy. At least a hint. But then, when you see the tone-arm, you might immediately know that this is Bizarro World, where everything is the opposite of reality. The Hero will never enjoy peace of mind, and he will never get a chance to "play it again".
I know. When I saw your country twice, I realized that you speak English very fluently and certainly the TV shows and series available in English since long time are a great support in that sense. In Italy it has been happening since much less years only for movies and series. Unfortunately CNN International, BBC World News, CNBC etc...don't have any subtitles. Perhaps Euronews makes available the subtitles, but I'm not sure. Two lovely trips where I visited Amsterdam twice, Maastricht, Utrecht and Groningen once. I also saw Kroller Museum nearby Ede and Terschelling explored by a rented bike.
Peter Brötzmann and Heather Leigh - Sparrow Nights Peter Brötzmann - Bb, bass & contralto clarinets, alto, tenor & bass saxophones Heather Leigh - pedal steel guitar Previous discussion of Peter Brötzmann got me curious about his recent releases since I haven't really kept up with his work beyond the 1980s. A blog I follow gave this album some high praise so I'm in the midst of listening to it and I don't think I've heard Brötzmann in such a subtle format. So far I hear Leigh providing a minimalist, hypotonic underscore for Brötzmann to do what he's known for-- extended techniques, harsh timbre, lyrical voicing. This album has a real dreamlike quality to it and is turning out to be a very pleasant experience.
Pacific Jazz GXF 3130 - Art Pepper [retitled Japan edition] "Art Pepper On Pacific" - Engineer: Richard Bock
I've heard a fair amount of Shipp, but only a fraction of what he's done at the same time; don't recall ever seeing this, let alone hearing it.
Thanks for the review; I've seen this release on-line and wondered about PB with pedal steel (not that I'd thought that he'd gone C&W or anything...).
Recommended. You could randomise the track order, start listening and it wouldn't make much of a difference in my opinion (I mean that favourably too). I can see why Brötzmann took a liking to Heather Leigh, she's a very strong support for him to explore his ideas without feeling like a secondary inclusion. I'm keen to check out their other recordings together.
While I've got quite a few things by him (I'm especially fond of the ones w/ PB and a drummer), it's a small portion of his discography; I haven't heard her at all.
Ian Carr With Nucleus and their stupendous Labyrinth album. We find Kenny Wheeler in sparkling form. When wasn't he in sparkling form? This is a classic.
I like that "I've heard a fair amount of Shipp, but only a fraction of what he's done at the same time." He's another one who has recorded too much for me to keep up. I first heard Shipp through his playing with David S. Ware around the time that Points was released, but apparently Points wasn't Shipp's first recording as a leader -- he did a duo album with Rob Brown in the late '80s for Cadence magazine's label. I was a Cadence subscriber for a long while, but I have no awareness of that first one.
I was fond of reading Cadence when I could find it; haven't seen one locally in 20 plus years (I do know that the format changed some years ago, and there are no more monthly pubs), but the point being that the review section, being large (which I liked) took time to get through.
An interesting compilation from the Cool Jazz Era with 4 different groups Prestige 7013 / OJC reissue OJC 1726 - "Coneption" rec. 1949 to 1951 - Engineer (remastering): Phil De Lance
Now its Ian Carr again with Snakehips Etcetera. Oh boy this is a Jazz funk workout that really gets those vibes going. You can't keep still to this one.
Pulverize the Sound - s/t Peter Evans - trumpet Tim Dahl - electric bass Mike Pride - drums, percussion, glockenspiel, whistle I never fully got around to exploring this trio but the lineup had me intrigued. I'm a big fan of Tim Dahl and his creative use of pedals for the electric bass. He is both a pitched and percussive player and does a pretty flawless job intertwining Peter Evans and Mike Pride throughout. It really pays to see how these guys interact with each other live (even if it's through an internet video), so I linked a great set they did in 2013.
Steve Lehman Octet Travail, Transformation, and Flow Lehmans foray into Spectral Harmony, (grossly simplified def’n; the physics of the sound - ie decay - are the focus of the writing and instruments get assigned related tones based on frequency relationships NOT scale intervals) ,never feels like I am in a math class at high school , probably because the rhythm section of Tyshawn Sorey and Drew Gress create such compelling backdrops that all the soloists seem constantly inspired and it just draws you in. Thats not to say the unusual aspects of Lehmans approach aren’t worth focusing on , its just that in the end it’s compelling enough that you dont need a PHD to really enjoy it.
This was mentioned. . . so I sought it out. "Johnny Hartman Sittin' in with the Andrew Hill Trio" VGM LP