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Stereojack
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Posts posted by Stereojack
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The dark maroon Savoy pressings are from the 1960's. Original label would be blood red.
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A fine recording - glad to see it get some recognition.
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Some of my favorites:
Woodlore (1955) http://www.allmusic.com/album/woodlore-r150529
Sugan (1957) http://www.allmusic.com/album/sugan-r157526
Musique Du Bois (1974) http://www.allmusic.com/album/musique-du-bois-r150509
Quartet Live, 1 & 2 (1978) http://www.allmusic.com/album/phil-woods-quartet-live-vol-1-r150519
http://www.allmusic.com/album/musique-du-bois-r150509
The vinyl releases of the last two were on Clean Cuts, but the second seems to have only made it to CD on MFSL.
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I may not be on the same page as some of you - I loved the Phil Hartman collection. The man was a genius!
I'd highly recommend the Best of Christopher Walken. He wasn't a regular cast member, but he appeared often enough that they had some great stuff to choose from.
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I believe the rights to all of the Artists House recordings reverted to the artists. Since Desmond is deceased, perhaps whoever is handling his affairs has no interest in getting onto the CD business. Without checking, I believe that this material comes from the same sessions that produced the A&M live album and a live CD on Telarc.
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But assuming one would go after that Dance Band discography to complete the info on other swinging big bands that may have been omitted elsewhere, does this mean one would have to thumb through pages and pages of saccharine listings by Sammy Kaye, Russ Morgan, Kay Kyser, Wayne King and all the rest as well?
Yes, but the focus of the book is not on jazz. I find it especially helpful in sorting out the studio bands that recorded for ARC, Grey Gull, and the like. I'm going to have to look into the revised version.
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One may disagree about Mr Rust's emphasis on the artists and bands he selected for inclusion, especially concerning his omission of certain swing-era bands. It is quite obvious he was very much a "20s jazz man" in that apparently any band that had so much as a snippet of "hot solos" on its records warranted inclusion whereas he was quite a bit more selective in his swing-era inclusions. But nobody's perfect, tastes differ and he DID pave the way for others to follow.
Rust addressed this issue with the release of his excellent 2-volume "American Dance Band Discography" about 30 years ago. Sadly, the book is long out of print, and desperately in need up a revision.
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The man was a pioneer. I don't know if a day goes by that I don't consult his books.
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What they all said - my sentiments exactly!
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ok, heres something: what about the 'featuring Stanley Turrentine' bit? since when do blue note records do "featuring...and one player.........===now i know some joe hendersons, right, have the mult.names listed then /"etc"...but featuring stanley turrentine seams kind of odd. it prob was totally liberty, since i guess stanleys the other one on the lp that his a 'name', i guess, bennie maupin was still kind of an unknown...but still, its not really cool, it puts ST in an uncomfortable position
Apparently Horace was "between" tenor players, so Stanley was brought in as a guest for this session. Since Stanley was already an emerging star, it makes sense that he would have gotten featured billing.
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Disc: 1
1. INTRO BY RONNIE SCOTT TO: INVENTIVITY 16.28
2. OLEO: 14.39
3. MEAN TO ME: 16.50
4. SPLIT KICK: 13.02
Disc: 2
1. FRIENDS' BLUES: 19.57
2. JUST FRIENDS: 19.56
3. STELLA BY STARLIGHT: 17.24
4. LES TOMKINS interviews TUBBY HAYES & SAL NISTICO: 18.13
CD Description
This first release in CANDID's new COLLECTORS SERIES is a previously unreleased double CD featuring the British tenor giant Tubby Hayes, caught here in scintillating form Live at the Ronnie Scott club, London in 1964. Sitting in with the maestro were visiting Americans Cat Anderson (in town with the Duke Ellington Orchestra) and tenor man Sal Nistico of the Woody Herman band together with the then rising young bass star Albert Stinson. Also on hand were the Swede Rolf Ericson (also with the Duke) and ace Scottish trumpeter Jimmy Deuchar - leader of the Quintet in Disc Two and a regular soulmate of Tubby's over the years. The double set is topped off with interview of Tubby and Sal conducted by producer Les Tomkins.
Can anyone comment on these two?
I do realise the Scott is off-topic here, but they're both on Candid and from Les Tompkins archives (or so they say) hence I though I'd ask about it here as well.
I've got the Tubby. It consists of several long jams, and the sound is good. The tracks with Sal Nistico are excellent, and it's interesting to hear Cat Anderson in this context. The "interview" at the end of disc two is casual, to say the least, but it's nice to hear Tubby and Sal's conversational voices. Recommended.
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I remember seeing Jeremy and the Satyrs open for Albert King in 1968. Their album was a disappointment, but live they totally kicked ass! The guitarist/singer who dominated the Reprise album was gone, and, with the exception of a couple of vocals by Sally Waring, they were an instrumental unit.
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The man had golden ears.
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marcello - who are the other ladies in those pics? is the pianist marian mcpartland?
Marian McPartland (piano)
Mary Osborne (guitar)
Dottie Dodgion (drums)
There was a record (recorded live, I think) by this group in the late 70's. These pictures were probably taken at the concert.
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Love the contours of the, uh, car!
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Allen, we've parted ways on opinions in the past, but I'm with you here. Loved Roy's playing in the 50's & 60's, but since the 70's he's way over the top, at least to my ears.
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would you say, this is gernerally a low-fi recording. i know its a ''''reissue''''' and i mean that in the loosest sense of the term, but anyways im listenin to my mint copy of it, and it still sounds pretty lowfi. heyyyyyyyyyyyyyy, the back cover, clearly says: remastering by rudy van gelder...hmm..............i know he didnt record these...but i wonder how he transfered the tapes
Many of these sides were cut in the 1940's. The sound is typical for the era. Actually, I think Rudy's mastering is relatively good.
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Edwards was inconsistent - "Experiment in Terror" and "Days of Wine and Roses" are top notch. Some of the later comedies are forgettable.
We should always be thankful that he gave Henry Mancini the opportunity to write so much great music!
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I saw Beefheart & the Magic Band three times in the early 1970's. To this day I maintain that these shows were among the greatest music I've heard during my life.
RIP, Captain.
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I've got the Venus original of this - it's hard to go wrong with Cedar!
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Johnny Hodges & Lawrence Welk
Buddy Tate & Dollar Brand (Abdullah Ibrahim)
Stan Kenton & Tex Ritter
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A true giant. I feel lucky I got to see him many times, and even had a chance to interview him on the air.
Blow on, Moody!
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The Brubeck was shown in the UK last night.
Quite enjoyable, though too many celebrities (Clint, Jamie Cullum, Sting) and family members drooping over the piano in awestruck wonder at the genius. A bit hammy in that respect. But worth watching.
These were a bit of a drawback for me, but the good far outweighed the bad, and there was planty of vintage footage, even an interview with Paul Desmond!
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Speaking of the new Flamboyan disc, does anyone have a definitive answer to the disconect between the Jan. 15, 1963 date listed on the back and Blumenthal's reference in the notes to a June recording date? My instinct says the earlier date makes more sense, because "Una Mas" appears here under the title of "My Injun from Brazil." If this gig was in the summer, several months after "Una Mas" was recorded, then it would be more logical for Dorham to have been using "Una Mas" as the title by then.
In anycase, anybody know the correct details?
The liner notes were written and submitted several years ago, before checking a calendar proved that the date is actually in January. Blumenthal told me that the date on the copy he was provided was handwritten, and was unclear whether it said Jan or Jun. It was later nailed down, but the notes were not revised. Knowing that the date was in January, we now know that this is the earliest Joe Henderson we have on record.
bird-n-Wardell
in Artists
Posted
The manager (owner?) of Christy's was named Eddie Curran. He recorded a number of sessions at the club. The Bird/Wardell date was first issued on Charlie Parker Records in the early 1960's. Curran also recorded several other jam sessions, some of which were slated to be released on the Zim label sometime in the 1980's, but Zim records ceased operation and never issued them. I believe the recordings were made on paper-backed tape.
I agree that, considering the circumstances, the sound on this session is quite adequate.