Page 32 of 147 FirstFirst ... 222829303132333435364282132 ... LastLast
Results 776 to 800 of 3671

Thread: JAZZ Discussion

  1. #776
    Member wideopenears's Avatar
    Join Date
    Nov 2012
    Location
    SF Bay Area
    Posts
    976
    I think it's Victor scatting on the original recording, I've got it somewhere......He's got MS, If I recall, and can't walk, but I saw him a few years back and he was killin' it with Larry Coryell. One of the greatly under-rated players, IMO.

  2. #777
    Member No Pride's Avatar
    Join Date
    Nov 2012
    Location
    Chicago, IL, USA
    Posts
    137
    Intense piano trio! Sure would've liked to have been there for this set!


  3. #778
    Member
    Join Date
    Nov 2012
    Location
    Alexandria, VA
    Posts
    3
    For those of you who, like me, enjoy the tasty sounds of the Fender Rhodes, Marc Cary's Rhodes Ahead Volume 2, which was just released, is well worth checking out. Here's a little gem:


  4. #779
    Boo! walt's Avatar
    Join Date
    Nov 2012
    Location
    Oakland Gardens NY
    Posts
    5,626
    Quote Originally Posted by Father Tiresias View Post
    For those of you who, like me, enjoy the tasty sounds of the Fender Rhodes, Marc Cary's Rhodes Ahead Volume 2, which was just released, is well worth checking out. Here's a little gem:

    Good stuff. Thanks for posting it.
    "please do not understand me too quickly"-andre gide

  5. #780
    Boo! walt's Avatar
    Join Date
    Nov 2012
    Location
    Oakland Gardens NY
    Posts
    5,626
    Never saw this clip before.Abdullah Ibrahim Band from 1968.

    Abdullah Ibrahim(Dollar Brand)-piano
    John Tchicai-alto sax
    Gato Barbieri-tenor sax
    Barre Phillips-bass
    Makaya Ntshoko-drums

    Outstanding!

    "please do not understand me too quickly"-andre gide

  6. #781
    Member wideopenears's Avatar
    Join Date
    Nov 2012
    Location
    SF Bay Area
    Posts
    976
    Oh man, Walt, that is just killin'. Thanks!

  7. #782
    That's Mr. to you, Sir!! Trane's Avatar
    Join Date
    Mar 2004
    Location
    in a cosmic jazzy-groove around Brussels
    Posts
    6,091
    Quote Originally Posted by walt View Post
    Never saw this clip before.Abdullah Ibrahim Band from 1968.

    Abdullah Ibrahim(Dollar Brand)-piano
    John Tchicai-alto sax
    Gato Barbieri-tenor sax
    Barre Phillips-bass
    Makaya Ntshoko-drums

    Outstanding!



    surlecul.gif
    my music collection increased tenfolds when I switched from drug-addicts to complete nutcases.

  8. #783
    Boo! walt's Avatar
    Join Date
    Nov 2012
    Location
    Oakland Gardens NY
    Posts
    5,626
    RIP Ornette Coleman



    *The tune is Trouble In The East.
    Last edited by walt; 06-13-2015 at 10:59 AM.
    "please do not understand me too quickly"-andre gide

  9. #784
    Member wideopenears's Avatar
    Join Date
    Nov 2012
    Location
    SF Bay Area
    Posts
    976
    Such sad and unexpected news, though I suppose I should have expected it.
    Joe Lovano wrote a bit on FB about his time with Ornette...it was quite a beautiful read.

  10. #785
    Member Jay.Dee's Avatar
    Join Date
    Nov 2012
    Location
    Barcelona
    Posts
    402
    Sad news about Ornette's passing came when I was revelling in the recently released Complete Live at Village Gate 1962 box, recorded by Sonny Rollins Quartet with Don Cherry, Billy Higgins and Bob Cranshaw. Coleman's influence is easily palpable here and it is not just the presence of Don and Billy. Three edited numbers appeared originally on Our Man in Paris LP, but here the material is spread on six CDs and it is a real bonanza for those interested in the period when Sonny tried his hand at the New Thing.



    This is Rollins with Don Cherry playing some fine jazz during Rollins' free-jazz period of growth--one of his first recordings after his self-imposed "retirement" from music. His tone and fiery notes are the real thing here, and Cherry's playing meshes (for the most part) with Rollins' approach. To my ears Cherry sounds a bit hesitant at times even though he and Rollins had been jamming together informally previous to this long engagement at the Gate. Drummer Billy Higgins is a good choice for this music with his (and Cherry's) Coleman connection, with the rhythm section (with long time bassist Bob Cranshaw) fully involved with what Rollins and Cherry are doing out front--listen how Higgins and Cranshaw lay down an almost constant solid foundation all the while propelling the music forward. Without a piano the emphasis is on the horns, giving Rollins (especially) and Cherry room to expand on many of these long versions of some well known tunes. This music is from a ten night stand at the Village Vanguard in '62.

    There's multiple recordings of "Oleo" from different nights but not much else is repeated, with several tracks labelled "Untitled". And many tracks are long with a lot of Rollins/Cherry blowing--including a 32+minute "Untitled Original", a 22 minute "Tempus Fugit", four readings of Rollins' "Oleo" (one is 36+minutes in length) which Rollins fans will be familiar with in a different style. "Dearly Beloved" is about 10 minutes longer than the original LP version, and (I believe) "Alexander's Ragtime Band" and "Home Sweet Home" are the only performances of those tunes. Plus (again I believe), the 15+ minute "Solitude" (from the "Way Out West" album and a personal favorite) and "Love Walked In" (included here with "Doxy" in a medley) have been rarely recorded by Rollins. But again, fans of the "Way Out West" version of "Solitude" will be in for some surprises.

    Just prior to this recording Rollins had broken up his band with Jim Hall to explore other areas in jazz. He heard what Coltrane, Mingus, and Coleman were doing and he wanted to expand his horizons in jazz. Rollins wanted more harmonic freedom because it was another step in his development in expressing his feelings in jazz. His band with Hall wasn't enough for him to express the new sounds he wanted to explore. But if you really listen you can hear that whatever phrase he plays had a deep (mostly) logical chord sequence to it. Rollins is playing with and without chord changes and the music is constantly morphing into something else entirely. The shifting tempos give the music an edge, especially during those solos when Rollins seems to be playing something not quite connected with the rhythm section. Occasionally you'll hear snippets of other tunes and other vaguely familiar melodies that pop up between Rollins and Cherry's solos, proving that they were thinking about the music in real time and not just getting up and blowing for the sake of pure improvisation. Powell's "Tempus Fugit" is quoted (sort of) in the song, but the rest of the tune isn't related to Powell's composition.

    But for those unfamiliar with this period in Rollins' development, this isn't "Saxophone Colossus" (as an example off the top of my head), or any of his other more straight ahead albums you may have heard. This is Rollins exploring the outer reaches of jazz, expressing himself in fiery note clusters or long phrases, with Cherry on cornet playing over and through his tenor lines, or leaving room between the notes to create space. The tunes are taken apart and put back together in new ways, but this isn't avant garde/free jazz/"out there"/whatever you want to call it, that leaves you without some kind of musical foundation. But fans of more outside jazz will find more here than will Rollins fans used to more straight ahead playing. So be prepared for a rapid take-off and an interesting flight.

    The best of this music is exciting and immediate even after all these years. But if you're unfamiliar with this type of jazz (especially by Rollins) you may find yourself scratching your head at times. But this is a chance to hear a titan of the saxophone pushing his music into new directions before our very ears. How often do we get to hear that? Why it's taken so long for all this music to be finally issued in one set is a mystery. But this is a fine set of Rollins exploring both his horn and jazz--I always felt Rollins sounded best in a live format--you may feel differently. And while he moved on from this music, it's a fascinating look at a master musician exploring music and taking his own path. If you're a Rollins fan this is worth adding to your Rollins' shelf of music--especially in light of all the "new" music and the unedited songs now heard in complete form. There's an album under Rollins' name, "Our Man In Jazz", that's a good sample of what this box sets sounds like with tracks from this gig. Check that out if you're not sure about making the jump (and investment) to this box set.

    http://www.amazon.com/review/R2K81MIPFAHGZG/

    A few years earlier the Solar Records, a European grey-area jazz label behind the Village Gate box, released equally compelling 3CD set Live in Europe 1959 recorded by Sonny Rollins Trio right before his extended hiatus.



    On this this set of live trio recordings from March 1959, the perfectionist virtuoso Sonny Rollins is at a crossroads, established as a star after his 50s albums, such as Saxophone Colossus, but just about to make his famous three-year withdrawal to a solitary life of practice on the Williamsburg Bridge. On bass is the excellent Henry Grimes, while Pete La Roca, Joe Harris and Kenny Clarke share the drumming. The same tunes inevitably recur, but Rollins' improvisations are so wilfully intuitive that they're always different.

    St Thomas gets the full treatment of sweet-and-sour, mid-range ponderings and thunderous swinging, while he sounds as tremulous as a clarinet on Stay As Sweet As You Are and surprisingly Ornette Colmanesque on Oleo. The long-unavailable material from a final, pre-sabbatical Aix-en-Provence gig, with Clarke on drums, is an explosively swaggering, time-bending shoulder-charge through Woody'n'You, But Not for Me and a lyrical then roaring Lady Bird.

    http://www.theguardian.com/music/201...-europe-review

    It is all top-notch stuff, which makes me wonder why mainly bootlegers dare tackle live vaults from the classic jazz period. And how long shall we be waiting for the first issue of Ornette's Crisis on CD?

  11. #786
    Boo! walt's Avatar
    Join Date
    Nov 2012
    Location
    Oakland Gardens NY
    Posts
    5,626
    Quote Originally Posted by Jay.Dee View Post




    . And how long shall we be waiting for the first issue of Ornette's Crisis on CD?
    Indeed.A question i and others have pondered for years.The only unauthorized/bootleg jazz cds i own at this point are Crisis and Paris Concert,both by Ornette.My only excuse is i love them both and will happily, cheerfully,destroy them when authorized editions are released.
    "please do not understand me too quickly"-andre gide

  12. #787
    Member Jay.Dee's Avatar
    Join Date
    Nov 2012
    Location
    Barcelona
    Posts
    402
    Quote Originally Posted by walt View Post
    The only unauthorized/bootleg jazz cds i own at this point are Crisis and Paris Concert, both by Ornette. My only excuse is i love them both and will happily, cheerfully,destroy them when authorized editions are released.
    As far as I know Paris Concert was an odd pairing of two unrelated performances and these days is pretty hard to come by.

    I have only the 1971 quartet portion on the more recent CD release titled "Live in Paris 1971", with corrected(?) track titles ("Second Fiction" -> "Street Woman" and "Fantasy 77" -> "Rock the Clock"), and it is a phenomenal material indeed.



    The remaining 1966 trio material got more recently (and reasonably) bundled with a 1965 trio performance, also from Paris, on another unauthorized edition nicked "Paris Concerts 1965-66". I have not heard it though.
    Last edited by Jay.Dee; 06-14-2015 at 08:04 AM.

  13. #788
    Boo! walt's Avatar
    Join Date
    Nov 2012
    Location
    Oakland Gardens NY
    Posts
    5,626
    Quote Originally Posted by Jay.Dee View Post

    I have only the 1971 quartet portion on the more recent CD release titled "Live in Paris 1971", with corrected(?) track titles ("Second Fiction" -> "Street Woman" and "Fantasy 77" -> "Rock the Clock"), and it is a phenomenal material indeed.



    c
    That's the one i have-a 2cd set originally on Japanese Trio.I agree, fantastic stuff.
    "please do not understand me too quickly"-andre gide

  14. #789
    I have a couple of Blue Note albums by this guy. It's a shame he left us so soon.


  15. #790
    Member Jay.Dee's Avatar
    Join Date
    Nov 2012
    Location
    Barcelona
    Posts
    402
    Quote Originally Posted by walt View Post
    I"m hip deep in the Jimmy Giuffre 3 and 4 1965 concerts cds.I like the quartet session somewhat more than the trio date, but both are great listens.I also prefer Giuffre on clarinet to his tenor sax,he plays about the same amount of both reeds on both discs.

    Sound is top notch,copious and informative cd booklet notes..first class all the way.Good stuff.

    I have recently bought this release too, and these are good dates indeed. More New Thing-ish than the famous trio recordings with Paul Bley and Steve Swallow a few years earlier, but absorbing in their own way. The thick and well-researched booklet is another treat, although it is pretty sad to learn how misunderstood and neglected Giuffre's avantgarde music was at that time. He had no recording contract then and even these two concerts were performed on a radio's commission, with barely no audience present.

    In the liner notes there is an interesting comment from Paul Bley on their European tour in 1961:

    When Jimmy took the trio to Europe, its innovations weren't appreciated right off the bat. [...] This was in 1961. There was no avant-garde in Europe - no audience, no players, anything. By 1965, Europe - Germany in particular - was full of free players, but in the meantime, Jimmy found himself musically triumphant, but out of work [in his own country].

    [...] Giuffre's curse was to always be ahead of his time. The two most important figures in the early days of avant-garde jazz were both composers and reed players: Ornette Coleman and Jimmy Giuffre.
    I could not resist and spun two German dates from that tour, most recently released together by HutHat on double CD as "Emphasis & Flight 1961". What a beautifully crafted music this band played! A unique mixture of modern academy and forward-looking jazz, abstract and tuneful in equal measure.


  16. #791
    Boo! walt's Avatar
    Join Date
    Nov 2012
    Location
    Oakland Gardens NY
    Posts
    5,626
    Quote Originally Posted by Jay.Dee View Post



    I could not resist and spun two German dates from that tour, most recently released together by HutHat on double CD as "Emphasis & Flight 1961". What a beautifully crafted music this band played! A unique mixture of modern academy and forward-looking jazz, abstract and tuneful in equal measure.


    Great stuff.I was lucky to find a new copy of this a couple of years ago at a reasonable price.It's a tough find these days.It would nice if Hatology could reissue it.
    "please do not understand me too quickly"-andre gide

  17. #792
    Member Jay.Dee's Avatar
    Join Date
    Nov 2012
    Location
    Barcelona
    Posts
    402
    Quote Originally Posted by walt View Post
    Great stuff.I was lucky to find a new copy of this a couple of years ago at a reasonable price.It's a tough find these days.It would nice if Hatology could reissue it.
    I had been looking forward a reissue of this material for some time and grabbed it immediately when HatHut finally re-released it in 2003. Now it may take some time to find an affordable copy, especially that it is not the label's reissue shortlist.

    The good news is that this great label is finally back from a long hiatus and they are starting to (re)issue new and old material. Personally I am excited most about the long overdue reissue of Braxton Quartet's Willisau 1991 date, which is supposed to materialize in one of the upcoming release batches.
    Last edited by Jay.Dee; 06-15-2015 at 04:51 PM.

  18. #793
    Subterranean Tapir Hobo Chang Ba's Avatar
    Join Date
    Nov 2012
    Location
    Frownland
    Posts
    2,395
    Quote Originally Posted by Jay.Dee View Post
    I had been looking forward a reissue of this material for some time and grabbed it immediately when HatHut finally re-released it in 2003. Now it may take some time to find an affordable copy, especially that it is not the label's reissue shortlist.

    The good news is that this great label is finally back from a long hiatus and they are starting to (re)issue new and old material. Personally I am excited most about the long overdue reissue of Braxton Quartet's Willisau 1991 date, which is supposed to materialize in one of the upcoming release batches.
    Those braxton reissues are high on my list as well. Just got the Santa Cruz quartet date (93)...only the first set, but it's pretty magical, in particular part 2.

    I'm probably most excited for the Dortmund reissue though.
    Please don't ask questions, just use google.

    Never let good music get in the way of making a profit.

    I'm only here to reglaze my bathtub.

  19. #794
    Progga mogrooves's Avatar
    Join Date
    Jul 2003
    Location
    The Past
    Posts
    1,900
    Now, if only Leo would reissue those mid-80s 4tet sides.


    NP: Tony Malaby's Novela
    Hell, they ain't even old-timey ! - Homer Stokes

  20. #795
    Boo! walt's Avatar
    Join Date
    Nov 2012
    Location
    Oakland Gardens NY
    Posts
    5,626
    With Jef Gilson's death i despair of ever hearing/seeing those mid 70's records on the Palm label.To wit:

    Khan Jamal-Give The Vibes Some
    Bakaida E.J. Carroll-Orange Fish Tears
    Byard Lancaster-Us
    Frank Lowe-The Other Side

    etc...
    "please do not understand me too quickly"-andre gide

  21. #796
    Member Jay.Dee's Avatar
    Join Date
    Nov 2012
    Location
    Barcelona
    Posts
    402
    Quote Originally Posted by Hobo Chang Ba View Post
    Those braxton reissues are high on my list as well. Just got the Santa Cruz quartet date (93)...only the first set, but it's pretty magical, in particular part 2.

    I'm probably most excited for the Dortmund reissue though.
    Quote Originally Posted by mogrooves View Post
    Now, if only Leo would reissue those mid-80s 4tet sides.
    Santa Cruz '93 quartet is rightly at the top of Braxton favourite and most sought after recordings. I grew tired of waiting for its re-release and paid 40 euros for a second-hand copy last year. Now seeing it split into two separate discs I can see I have not overpaid too much. I am going to wait patiently for the Willisau '91 though.

    I have the early 00s re-edition of Dortmund '76 and it is an amusing live set, especially in the final part. It is full of quirky melodies, delicate tones and surprising twists, which make the compositions sound less formal and more exuberant. Maybe it is not the most lightweight Braxton material I have ever heard, this distinction goes to the Standards Qt live tapes from 2003 (Leo), but certainly one of his most approachable ones.

    Out of the UK '85 quartet tour documented by Leo Records, I have (and heard) only Coventry, but I do not return to it too frequently. AFAIK it was the beginning of this particular lineup and it feels. The music is more formal and constrained, interesting but cold. I find later recordings of this quartet, like the aforementioned Santa Cruz or Willisau much more exciting, with some great interplay between Braxton, Crispell, Dresser and Hemingway.

    It seems to me that some of Braxton's ideas require prolonged gestation with right musicians to really take off. For instance I have never really warmed up to the early phase of Ghost Trance Music in the 90s; the widely acclaimed tapes of his ninetet's week-long residency at Yoshi '97 (Leo) leave me cold. However another GTM material, recorded almost decade later during Iridium '06 four night run (Firehouse 12), is IMO uniformly excellent.

    On a side note, I heartily recommend Steve Day's "Song of the Fly" (Leo), a modern (and already obscure) progressive gem of the highest calibre. Although the music is closer to, say, latter day Talk Talk or David Sylvian, one track includes a sample from... Braxton's Yoshi's session. It should not surprise as Steve is his big fan and also the author of the liner-notes on several Braxton's releases.

    http://www.leorecords.com/?m=select&id=CD_LR_600
    Last edited by Jay.Dee; 06-20-2015 at 07:58 AM.

  22. #797
    Member Morpheus's Avatar
    Join Date
    May 2013
    Location
    Long Island, NY
    Posts
    103
    Willisau, whenever it shows up, is also going to be split into two separate two disc sets, one for the live set and one for the studio.

  23. #798
    Member Jerjo's Avatar
    Join Date
    Nov 2012
    Location
    small town in ND
    Posts
    6,432
    Was on a Blue Oyster Cult binge this afternoon. Just opened an IPA, started supper, and put on Cannonball Adderley's Somethin' Else. Jebus, this is just the most perfect thing ever.
    I don't like country music, but I don't mean to denigrate those who do. And for the people who like country music, denigrate means 'put down.'- Bob Newhart

  24. #799
    Quote Originally Posted by Jerjo View Post
    Was on a Blue Oyster Cult binge this afternoon. Just opened an IPA, started supper, and put on Cannonball Adderley's Somethin' Else. Jebus, this is just the most perfect thing ever.
    A couple other Cannonball albums you might want to give a listen to are Know What I Mean w/ Bill Evans, and Things Are Getting Better w/ Milt Jackson.

    I've been on a Blue Note kick lately:

    Grant Green-Green Street; Matador; Born To Be Blue
    Duke Pearson-Wahoo w/ Joe Henderson, James Spaulding, Donald Byrd
    Lee Morgan-The Procrastinator; Leeway
    Paul Chambers Quintet w/ Clifford Jordan and Donald Byrd
    Art Blakey-Ugetsu; Drums Around The Corner
    Horace Parlan-Up & Down w/ Booker Ervin, Grant Green
    Joe Henderson-In N Out w/ Kenny Dorham, McCoy, and Elvin
    Thelonious Monk-Genius Of Modern Music 1 & 2
    Art Pepper-Modern Art
    Don Cherry-Symphony For Improvisers
    Freddie Redd-Shades Of Redd w/ Jackie Mclean
    Freddie Hubbard-Breaking Point

  25. #800
    Moderator Poisoned Youth's Avatar
    Join Date
    Feb 2002
    Location
    Nothern Virginia, USA
    Posts
    3,022
    Quote Originally Posted by Jerjo View Post
    Was on a Blue Oyster Cult binge this afternoon. Just opened an IPA, started supper, and put on Cannonball Adderley's Somethin' Else. Jebus, this is just the most perfect thing ever.
    Oh yeah, a superb date.

    It's a different animal, but Cannonball went on to record some pretty awesome albums more in the kosmigroov vein. Two of my favorites:



    WANTED: Sig-worthy quote.

Bookmarks

Posting Permissions

  • You may not post new threads
  • You may not post replies
  • You may not post attachments
  • You may not edit your posts
  •