Listening to Miles/Ascenseur pour l’Échafaud. Beautiful. Any fans of this one? And what’s the film like?
I'm a fan! Both of the "reverbed" and the "dry" versions of all tracks. Contrary to what seems to be the popular opinion the film has never really done much for me, but then I am FAR from a film buff and don't watch a lot of movies.
Another fan of that Miles soundtrack and agree, with or without the reverb. When I first discovered it I played it to death and then I discovered the longer version and repeated the experience although there are a lot of short bits. NP Jackie McLean and Dexter Gordon Montmartre Summit 1973 (SteepleChase) teo cd set. the rest of the band s Kenny Drew, NHØP and drummer Alex Riel. I almost sold this off five or six years ago but kind F glad I didn't as I'm enjoying this a lot today. For those who didn't know, Dexter was an early influence on Jackie Mac so it's kind of fun hearing them together in a live situation.
I love the Prestige titles from Trane, especially the ones with Red Garland. They may not be all fire and brimstone but solid by my measuring stick.
Kenny Dorham: Afro-Cuban (Classic Records) Original cover below. Don't think I've every seen it. What an awesome set of players on this album! Personnel Kenny Dorham – trumpet J. J. Johnson – trombone (tracks 1-4 and 9) Hank Mobley – tenor saxophone Cecil Payne – baritone saxophone Horace Silver – piano Percy Heath (tracks 5-8), Oscar Pettiford (tracks 1-4 and 9) – bass Art Blakey – drums Carlos "Patato" Valdes – conga (tracks 1-4 and 9) Richie Goldberg – cowbell (tracks 1-4 and 9)
This was a finding. Wasn't aware of this album before reading a thread about Mainstream records reissues. The sound of the trio is super clean and simple. It's so basic that I know it's an album I can play for years. Not saying that these versions are better than the originals. I mean, is it possible to do better than Chick Corea, Coltrane, Miles did with Windows, Naima, Pinocchio ? Freddie Hubbard's original Red Clay is amazing. But the version here... You have to play it. Jack Wilkins focus on the core felling of those tracks. When playing these versions you recall the original lines and you're thankful he doesn't take them anywhere else. Simple, basic, beautiful. This is timeless jazz.
Need to check this out. For my money the version of Red Clay On Tempest At The Colosseum is it. 14 plus minutes of some serious playing!
One of the things I love about jazz is the depth of exploration available. I'm confident that I'll still be buying and/or hearing jazz new to me until I shuffle off this mortal coil. There is so much beyond the really well known artists. All it takes is an open mind and ear. WP Chris Hillman & Herb Pederson Live At the Palms. Board tape a friend recorded from a performance I saw about ten years ago. NP Sergio Mendes Trio Introducing Wanda de Sah on vocals - Brasil'65 (Capitol) rainbow rimmed stereo lp The first recording of that Brazilian institution. That was over 50 years ago! That makes a guy feel a little ancient. Wanda's voice is incredible though which makes it all better.
Horace Parlan - Up and Down Now playing the Classic Records Bernie Grundman cut. This is just my first spin, but it might already be my favorite Parlan leader date. I wonder why Music Matters didn’t issue this one.
I more or less agree with that. Far East Suite is also up there. This release is probably the first Ellington album I really found on my own that I really loved. My father turned me on to most Ellington (and Basie for that matter) that I know today.
For me the more processing and popular techniques are used in a recording, the more dated it becomes. For example, set up an acoustic trio or quartet with good mics in a not overly dead nor live room, put as little as possible in the signal chain nor go nuts with panning, and the recording might always sound fresh. Well, at least as long as people can go hear acoustic trios and quartets play live. But add in heavy panning (including dual mono and making drummers and pianists sound like they have a 12 foot reach), exaggerated timbres or equalization, compressors/limiters/noise gates, effects (especially pitch altering like chorus or autotune), reverb, and the like and the recording becomes more anchored to its time. And on the musician side, synthesizers, electric keyboards or drums, guitar effect chains, etc., can really put a time stamp on a recording. I suppose using an instrument unusually popular at the time--like 70s jazz flute--can do so as well. That's why I think Coltrane's Atlantic albums sound more "60s" than his Impulse! releases. Also why I think CTIs sound very 70s and Telarcs very 80s/early 90s.
Anyway, now playing, Kenny Barron Trio's Book of Intuition. (As a random aside regarding the cover--the photo of which is from Amazon's site--it looks like they're watching someone try to parallel park, with expressions that go from hopeful, to critical, to amused).
We saw Hillman & Pederson with Tony Rice here in the 90s. It was a taping for a TV show out at the now-defunct Opryland theme park. Also went to a Texas Tornados taping there.