I find it puzzling that Ed Bickert would play the Tele for so long and not really like it. I do like his sound on the guitar but why not buy something that pleases you more? I have a ‘67 Telecaster that was modified by the guy I bought it from in 1975. He removed the neck pickup and replaced it with a humbucker. He intentionally hooked them up out of phase which I eventually had corrected. I like the Tele sound so I rarely play the humbucker by itself but I do play the pickups together sometimes. I still have the OG single coil but since the body had to have a bigger hole cut out for the humbucker I have been reluctant to go back to the original set up.
Playing this one again - so good. Miles influenced of course as I they intended but also I realise it's very reminiscent of Nucleus - Charlotte O'Keeffe playing both trumpet & flugelhorn here.
NP: Andrew Hill - But Not Farewell (CD, Blue Note, 1991) Andrew Hill (p), Greg Osby (as, ss), Robin Eubanks (tb), Lonnie Plaxico (b), Cecil Brooks III (d) Four tracks with the full band, followed by a short Hill/Osby duet, followed by two Hill solo tracks. Most of Hill's work after his 60s Blue Note stint somewhat overlooked at times, but I thoroughly enjoy all of his 80s Soul Note and 90s Blue Notes (as well as bunch of other stuff). This one is not exception.
Fair enough. If I would have to choose between late career Andrew Hill sax players, I'd pick Marty Ehrlich over Greg Osby. I am glad that I don't have to choose, though!
Paul Sullivan, formerly pianist for the Paul Winter Consort, moved to Maine after going solo and is still recording and preforming some great jazz; mellow moods for mellow days... combining jazz and ambient sounds of Maine (reminds me of Marian McPartland's tuneful upbeat piano jazz). Eggemoggin Reach Wave Tag https://www.youtube.com/watch?v=O6Na9O6_FLM&list=OLAK5uy_lKsHNRcywSCph3isaVDSR0RPO89SEAWVU&index=6 Farewell to Maine...if I'm ever away from Maine, this makes me homesick fast. https://www.youtube.com/watch?v=Wgu7-0CQMO4&list=OLAK5uy_lKsHNRcywSCph3isaVDSR0RPO89SEAWVU&index=9
Thelonious Monk on Japanese TV, May 23, 1963 The Classic Quartet on YT: https://youtube.com/playlist?list=OLAK5uy_lqmZHcJ2n-FJwYTx4-_IHyf_SstO-VO3c @davidpoole
Lost and Found ~ BUENA VISTA SOCIAL CLUB (World Circuit) CD Track list 1. Bruca Maniguá (Ibrahim Ferrer) Live 2. Macusa (Eliades Ochoa & Compay Segundo) 3. Tiene Sabor (Omara Portuondo) 4. Bodas de Oro (Rubén González & Jesús Ramos) 5. Black Chicken 37 (Orlando 'Cachaíto' López & Angá Díaz) 6. Habanera (Manuel Mirabal) 7. Como Fue (Ibrahim Ferrer) Live 8. Guajira en F (Jesús Ramos) 9. Quiéreme Mucho (Eliades Ochoa) 10. Pedacito de Papel (Eliades Ochoa) 11. Mamí Me Gusto (Ibrahim Ferrer) Live 12. Lágrimas Negras (Omara Portuondo) 13. Como Siento Yo Live 14. Rubén Sings! (Rubén González) Mastered by Bernie Grundman & Tom Leader and issued in lamentated gatefold cardboard sleeve with booklet. The studio tracks were recorded for World Circuit at the Egrem studio in Havana during the rich and prolific period of creativity that followed the recording of the original BUENA VISTA SOCIAL CLUB album and stretched into the early 2000s. The live recordings are from the same fertile period. This compilation of tracks may look like a ragbag collection but there are more than enough little nuggets included to make it worthwhile!
I actually like Osby's playing. I have several of his CDs and have seen him live quite a few times. He always brought a killer band with him. There was a time when he posted a lot of live recordings on his website as free downloads. I have 6 full (?) concerts from there (from European tours 1997-2000). I haven't listened to one in a while though. I don't think I'd buy anything new from him after those Berklee allegations though...
Ugh, I didn’t know about that until now. If I had, I would have passed on buying the new Tyshawn Sorey album that Osby guests on.
2-LP set of recordings from 1945-49, most for Ben Pollack's Jewell label. (Drummer/bandleader Pollack was an early employer of players like Benny Goodman & Glenn Miller.) Arrangers include George Handy, Ed Finckel & Johnny Richards and there are soloists like Hal McKusick, Ray Linn & Dodo Marmarosa. Smooth vocals are provided by Ginnie Powell (Raeburn's wife) & David Allyn. Reissue producer: Bob Porter. Executive producer: Steve Backer. Transfers & mastering: Rudy Van Gelder. The red label revives happy memories of a 2-LP Charlie Parker set in the same series which I bought in the 70s when I was first seriously exploring jazz.
Do you guys like Lonnie Liston Smith? I of course became aware of him because he plays on some of On The Corner and joined Miles' live band for a time. This far I picked up Cosmic Funk and Live! Relaxing, trippy and etheral.
If you enjoy vintage Pharoah Sanders, be sure to get this one. As a member of Pharoah's band, Lonnie made this one in that very style. It is not his funk style, but right out of Pharoah's sound
S L E E P E R - KEITH JARRET (ECM) 2CD Double Bass – Palle Danielsson / Drums, Percussion – Jon Christensen Piano, Percussion – Keith Jarrett / Tenor & Soprano Saxophone, Flute, Percussion – Jan Garbarek Recorded live April 16, 1979 at Nakano Sun Plaza, Tokyo - Mixed 2012 at Rainbow Studio Plying time - 106 minutes. Issued with 20 page booklet in slipcase. A real treat, full of surprising pieces and sounding extra fresh too.
I too find it hard to believe that he seriously disliked the Tele that he used for so long. Especially as I am the owner of more guitars than I could ever need and like to rotate the playing of them, liking specific qualities of one or another. But looking at Bickert's biographic information it seems he pretty much stayed in his home town with his wife and kids and made a living from both studio and live gigs, and not just jazz gigs: At the beginning of his career, Bickert played hollow-bodied electric guitars, including a Gibson ES-175. Bickert can be heard playing this instrument on Phil Nimmons' 1963 Verve album Nimmons 'n' Nine. Bickert said of the ES-175 "I guess I chose that guitar because guys like Jim Hall and Joe Pass were playing one. I played that for many years. But because of all the studio work I was doing, I needed the versatility of a solid body guitar so I got the Telecaster. It did take a while to get used to it for jazz playing." As a family man making a living playing many genres the Telecaster was a good choice--and was a more robust instrument to cart about time after time than an ES-175 or other big box jazz guitar. I think he found the Tele advantageous, explored how to achieve a jazz sound and stuck with the guitar. Today there is a Facebook group called "Jazz Telecaster" in which guitarists all around the world discuss jazz on Telecasters and post videos. A wide variety of Teles are involved with many different pickups (Charlie Christian models are favorites) and body types (semi hollow, chambered, solid) etc.
