Did you miss my two-part commentary? It was only 556 pages back! For those who recall, it's just as easy to skip a long post as a short one. For those who missed it, here we go: Thoughts before the Tone Poet Release: We're running this record down this morning online. First thought: What a fantastic album cover! When @Josquin des Prez called out the Mulligan's distinguished baritone sax sound, we decided to roll up our sleeves and investigate. 1953 doesn't grab my attention for the program or sonics, but let's look under the hood just the same. Yes, @scotti, this date was apparently culled from several sessions, initially recorded live at The Haig (the famous West Coast Jazz club in Los Angeles) along with some subsequent recording sessions, chronological and proximate to The Haig date, and released across two 10" vinyl records. At some point, portions of the two 10" albums were apparently repackaged as a 12" vinyl called Lee Konitz Plays with the Gerry Mulligan Quartet (aka Konitz Meets Mulligan). It will be interesting to see what we get as the playlist. Here's what's been published, and I've attempted to piece together the respective recording dates and venues. 1. I Can't Believe That You're in Love with Me (recorded Feb. 1, 1953, at Phil Turetsky's home studio, Los Angeles) 2. Broadway (recorded Jan. 30, 1953, at an unidentified Los Angeles recording studio) 3. Almost Like Being in Love (ibid, above) 4. Sextet II (ibid, above)) 5. Lady Be Good (recorded Feb. 1, 1953, at Phil Turetsky's home studio, Los Angeles) 6. Too Marvelous for Words (recorded at The Haig nightclub, Jan. 23, 1953, Los Angels) 7. Lover Man (ibid, above) 8. I'll Remember April (ibid, above) 9. These Foolish Things (ibid, above) 10. All the Things You Are (ibid, above) I guess Side Two will comprise the January 23, 1953 date at The Haig. But we've gotten ahead of ourselves. First off, we're throwing a flag at @scotti for "burying the lead" (a journalism term). In our estimation, the lead should be that this album features the West Coast Jazz drummer homeboy Larry Bunker. We mentioned him before on the Acoustic Sounds thread, re: Bill Evans Trio '65, perhaps among others. In our estimation, any of these recent reissues with Larry Bunker on drums is an instant must-have. Okay, we just wanted to clarify these matters in anticipation of the upcoming release. In the course of this morning, this album flew from the edge of our radar screen to a ding-ding-ding, must-have! Moreover, we are delighted to have just discovered this video tribute to Larry Bunker. We'll spend the remainder of the morning running this down. Thoughts after the Tone Poet release: I intend to spend more time with the Lee Konitz Plays with the Gerry Mulligan Quartet record soon. I recall waxing enthusiastic about drummer Larry Bunker being on the date(s). It's interesting to hear what he does in this setting (not much) compared to his presence in the Bill Evans Trio, late 1963 - 1965. Bunker idolized Evans, saying in an interview that he wore out his Bill Evans records well before they met, thus being quite familiar with Evans well before he agreed on the spot to forgo his Los Angeles studio work (records, television, film) to join Evans's trio. Curious about the Lee Konitz Plays with the Gerry Mulligan Quartet affair, I stumbled down a rabbit hole. Initially intrigued by what sounds like gorgeous ribbon microphones on this record, I discovered some interesting articles about the Haig (links below), a well-established nightclub where portions of the album were recorded. In these articles, there are some photographs from the period. Indeed, the Haig was outfitted with RCA ribbon microphones. Also of interest, shortly before the Lee Konitz Plays with the Gerry Mulligan Quartet date, the Haig had recently expanded from a 10' - 18' space, adding another 20' - 18' section to the club and placing their piano in storage. I pondered that and confirmed there is no pianist on the Konitz/Mulligan record. Previously, the likes of the Dave Brubeck Trio were regulars at the Haig. So it's interesting how the venue's physicality influenced the musical program. Also, before I forget, the Haig had two giant mirrors behind the performance space: one large mirror directly behind the musicians and another set above that one at an angle to enhance the patrons' appreciation of the performance. Interesting information. I also found some studio photographs circa 1953 of the Gerry Mulligan Quartet in the studio, and sure enough, they were using RCA 44 ribbon microphones. I think that contributes to the smooth sound we are hearing. This, in contrast to Rudy Van Gelder's studio -- not to say he wasn't also still employing some ribbon mics at this time -- who was reportedly the first engineer to get his hands on the recent condenser microphones from Neumann/Telefunken from Germany. I believe I've read that RVG was up and running the game-changing Neumann/Telefunken U-47s as early as 1949, the year they were essentially available for distribution to the U.S.A. I'm convinced that Lee Konitz Meets the Gerry Mulligan Quartet was done with RCA ribbon microphones. That might be something interesting to put an ear on when enjoying this gorgeous album. When I say "smooth" sound, I mean creamy, buttery -- instead of flat frequency response (the ribbons melt off the highs and lows). Delicious! To paraphrase a recent YouTube review of this album (of which I was pretty critical -- Ha-ha), no, "it doesn't sound like a Blue Note record." Instead, it is a peerless window into a time and place now memorialized by the Hollywood film studio system, film noir, and imbued with the nostalgic fragrance of sea salt in the air. The Haig - Part One - Jazz Research The Haig - Part Two - Jazz Research
Cool read. Mulligan 'The least reliable witness he'd ever seen in court'. The ribbon mics certainly go a long way to explaining the sound - the rolled off top especially. That's the 'earlier age' sound I was referring to. It's pretty rare to hear ribbons without other mics to back them up. My late father was a big fan of British Trad Jazz - the Colyer/ Barber school - and the sound of horns into ribbons is something I associate with that music completely.
About Konitz and Mulligan I'll just say this, I'm totally in awe of anyone who can do that spontaneous counterpoint thing they do so well. I've tried it, and it was instant train wreck.
yup. I mean that basically put the baker/mulligan quartet on the map. The interweaving of their lines on the Konitz is remarkable.
I just got my copy and hope to listen to it later this evening, although it might have to wait until later tomorrow or Sunday. I have a busy cycling weekend. I am so behind on this thread. I’ve missed days of posts but it’s good to be occupied enough that I don’t have to depend on forum activity to keep my mid engaged.
Anyone have Gerry Mulligan’s The Emarcy Sextet Recordings on Mosaic. That’s a really nice set. Also from the mid-50s.
KG did an interview today and said he slightly prefers the mono of Blue Train that they just did over the stereo. Says Rudy rode the reverb levels live during Blue Train and it's more noticeable to him on the stereo vs the mono. He also said that they are pretty far ahead of schedule on the TP schedule. They have already cut the stuff going into late 2024 on the schedule. And somewhat related (but he didn't mention this about the TPs but his own release coming out for Kirsten Edkins) but says Stoughton has a 36 week lead time to get jackets printed at the moment.
Just got back from seeing CHARLES LLOYD WITH GERALD CLAYTON AND REUBEN ROGERS at SF Jazz. Holy smokes what a great show. About an hour and 45 minute show and definitely worth staying out after 12 hour shift. If the trio comes to your town, please spend the time and $ if you can and go listen! Been a long time since I've been to a jazz show and what a world of difference with such a respectful audience! You could hear a pin drop in the venue in the quiet segments. Charles played back and forth between sax and flute and then his piano bass combo filled in on and off while Charles would chill and watch. All around great night. I know he is playing four nights here but decided to go to the piano bass combo show and I'm glad I did, although I'm sure all the other nights will be just as entertaining! Best $30 I've spent for a show in a long time without having some nut yapping in the background!
$30 in SF and $75 in Denver. I'd go at either of those prices, although I think $75 is a bit much for a trio. But if I want to see this band locally, they're $160/ticket ($145 + fees). Yeah, you read that right. Sorry Charles, but I'm not paying that.
If I went to SF to save $40/ticket I would probably have to spend an extra $1000 for my wife and I in additional expenses. I don’t mind paying $75/ticket. That’s what I paid to see Chick Corea Trio both times he was here in St. Louis in recent years before he passed, including the kickoff show to his 75th Birthday Tour. I can’t think of anyone I would pay $160/ticket to see live.
I’m still a bit of a jazz neophyte. Absolutely loved Katanga. Can you guys recommend similar records? Thanks!
That’s a very curious statement. Why does it matter that it’s a trio? Should ticket prices be less for solo and more for a quartet/quintet/sextet, big-band, for example. I love Mahler, and performances of his music require many dozens of musicians, depending on the work. Symphony No.8 (“Symphony of a Thousand”) includes a massive symphony orchestra, double SATB choir, boys choir, and eight vocal soloists. What should I expect to pay for that? I guess if $30 is right for the Trio, then Mahlers 8 with maybe 150-200 performers should be $1500-2000/ticket. Did I get that right?
as much as I love vinyl, I can't justify buying a straight CD cut to a record. I guess it's possible there's some "additive" quality present courtesy of vinyl that adds a sort of perceived warmth, but in terms of actual content, you're getting absolutely nothing that isn't present on the CD. In the case of hi-res cut to vinyl, sure, I'm on board and I'm far less skeptical, but you're pretty much defeating the point of buying a record if you're just playing back CD resolution on another medium. hard pass.
It's only a CD cut to vinyl if masters prepared for CD were cut to lacquer, which is unlikely to be the case here.
If Zev's work is as good as people are stating, they should come out with some more information. $60 price point is making it a premium product and the should be 100% transparent with the customers.
I would like to hear it on Qobuz and then decide if I want a permanent copy. I have it preordered from Amazon, but that can be changed.
Welcome, glad Katanga! did it for you, and you’ll probably get lots of equally great answers to your question, but I’d agree with @Josquin des Prez with his Lee Morgan recommendation. Assuming your profile icon means we have the Dead in common, the title track of that Lee Morgan record will definitely give you some ‘73 vibes. Also, I’ve said for YEARS that the track “Native Land” on ‘Katanga!’ felt like it was going to erupt into Phish’s “Reba” jam at any moment, but I digress. Try some of these: Lee Morgan ‘The Procrastinator’ Wayne Shorter ‘The Soothsayer’ Freddie Hubbard ‘Ready for Freddie’ Finally, while it isn’t exactly like Katanga, a record you need to hear right away is Clifford Jordan ‘Glass Bead Games’ (go digital—vinyl prices got outrageous and this record is a *must*) Have fun storming the castle!
