Miles' playing on the ballads on Seven Steps and Prince is just some of the most gorgeous, moving performances he ever laid down. He loved Armstrong, he loved the blues, and he pours all of that love into his take on "Basin Street Blues." And on "I Fall in Love Too Easily" and "Baby Won't You Please Come Home"? Who else plays with that kind of heart and soul? He gets me every time. It's interesting to hear a little bit of what might have been with Victor Feldman on piano, too. Miles was critical of Hank Mobley's playing, but I think his contributions fit the music on Prince perfectly. It's good to have Trane providing some contrast on a couple of tracks, but that's all the album really needed. Any more would've spoiled the mood. Btw, when I first started dating my wife, Someday My Prince Will Come is one of the albums I used to play for her. Worked like a charm.
I adore this album. It's a shame that the master tapes of the Great Pumpkin soundtrack got lost, that "Great Pumpkin Waltz" is utterly beautiful. Edit: oh, and there's a third variation of the front cover which features a late 50's/early 60's Charlie Brown with his classic yellow t-shirt.
Listening now because of NOTES. Oh yeah, this is good. I saw this guy in the early 00s. He was really good, and he was like 92 or something.
I doubt it. Snake oil! Buy the gold disc with special packaging. Not. I have Columbia/Legacy 1997, CK 65122 like you. I detect no problemo. This was mastered by Bernie Wavethatflagman at Sinister Sound. Edit: According to Discogs, remastered by Mark Wilder: American engineer based in New York City. Full time mastering engineer since the mid-1990s, also credited as reissue producer. Started as a staff engineer at Vanguard Studios (1981-84), moved to editing and mastering at PolyGram Studios (1984-87). He has been working for Columbia/Sony Music since 1987, starting at CBS Studios, New York, then at Sony Music Studios, New York City, now a senior mastering engineer at Battery Mastering Studios.
So if "Take Five" and "Moanin'" got into a fight, I'd root for Art but I wouldn't feel good about it. I've often thought that the drum work in "Take Five" portends American involvement in Vietnam. Actually, I just thought that.
It's JAZZ night. Don't fight it. Bust out that Blue Note. C'mon @Dennis0675, I need a pic of some of your sweet jazz vinyl, triple mastered on 280 gram megapicturedisc. Jazz is how Deadheads recharge. Or one of the ways. At least a couple times a year.
At some point, presumably in the early 70s, someone bought this album as a cutout for 44¢ and never opened it. ~50 years later, I bought it for $12 and am spinning it now.
So funny. It's like a mock album from a Christopher Guest movie. "Ah yes, Brinsley Schwarz--the reason I remember her is that the label wanted to change her last name. They didn't like Schwarz. They wanted Brand--Brinsley Brand. Maybe she should have listened."
You can always hear 'Trane's work as he has this characteristic bite to his sound that no other tenor player I know of ever had or has. Even when playing a ballad, his biting tone cuts through. To wit, one of my favorite 'Trane tracks ever:
Some people in this forum would consider exposing that nice dog to the Steely Dan '99 remasters as animal cruelty.
Yeah, and some people like needle drops. Some people like lemon meringue pie. Some people cross-dress. Ray Davies told me about it.
Only first press original promos over here, bro. Vg- or worse, pops and click are the biggest part of the fun.
Probably because both are transitional records for Miles, Someday still having the Kind of Blue hangover, and with Kelly, Cobb, and Chambers in the mix, and Seven Steps divided between East and West coast personnel, as Miles searched for the next step. The two Trane solos on Someday are as great as jazz gets, and in Seven Steps we hear the 17-year old Tony Williams, Ron Carter, and Herbie Hancock rhythm section for the first time with Miles. Both are excellent records with some amazing moments.
I think you and I have discussed it before, but the buildup to Trane's solo and his entrance is one of the otherworldly moments in all of music.