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felser
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Posts posted by felser
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I went for "Song...' just ahead of 'Cape...', but both belong in any jazz collection. Why would you get 'Sense of Humor' and the best of's ahead of these! And after you get these two, go back and get the other 60's dates. Sell off some of your other CD's, and the three Silver's you already have, to pay for them if need be. You own none of his classic albums, and vow to only buy one of them this year, and call yourself a jazz fan? Kids these days....
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I like Billy Harper's ECM date - Capra Grey.
Don't forget their Monk recording, 'Pastel Corners'.
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RE: The date in the first post -- this is a (IMHO) fantastic grey-market release, quasi-legit at best.
Those two (and they are different) '68 Blakey dates with Billy Harper -- are REALLY fantastic.
Many of you will cringe to hear this said, but these are seriously my two favorite Blakey Dates on record.
They are really good. Harper plays his butt off on "Angel Eyes", the whole group smokes throughout. That was from the period when Blakey couldn't get a record deal, and I'm awfully glad someone taped these dates. If you are into the Jazz Messengers (and I have more recordings by them than by anybody, even Miles and Trane), these are essential dates. I can't imagine someone picking them up and being sorry. The other Messengers recordings that fit into the same category (grey market but great) is the Live at Bubba's stuff with the Watson/Marsalis version of the Messengers.
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hello everybody, new here...
just searching, can't find it, yet...
so is there a "Blue Note Rare Grooves Series" threat yet?
JB
Only if you believe "W" !
Welcome
Take your choice!
http://www.organissimo.org/forum/index.php...te=rare+grooves
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Nice to see Ron and Alan again and meet Chalupa (Kirby) and the band. Organissimo played a nice first set and then caught fire in the second set. Highlights for me were all from the second set, and I will need help from the faithful on the titles of the first two: The song which M.Brecker/Metheny/Elvin did, the Bill Heid piece, "Tenderly", and "Jimmy Smith Goes to Washington". The last one was a fitting tribute to Smith, and to Philly, the B-3 capitol of the world, the city that brought you three monster of the instrument: Jimmy Smith, Charles Earland, Joey DeFrancesco, and others (like Trudy Pitts, Shirley Scott, etc.). Jim especially was on fire on some of these second set gems. His solo on "Jimmy Smith..." was jaw-dropping. The whole group burned when they were at their best. Wonderful evening.
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Thank you for the responses.
We are no longer accepting jazz artists for review and/or consideration.
Wow. Just like Blue Note.
Whatya mean? They have Norah Jones, Suzanne Vega, and all your other favorite jazz artists!
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Yes!
Guy
Agreed. Made my list of 10 best Blue Notes ever, and she was vital to it's greatness. She also adds much to Joe Henderson - The Elements, and of the sessions she led I recommend 'A Monastic Trio', "Ptah The El Dauoud', 'Journey in Satchidananda', and to a lesser extent 'Transfiguration'. 'Huntington Ashran Monastery' is nice, but will set you back $30 or more for the CD, and you will get the idea from the other sets noted here. I don't particularly like her orchestrated sets, much prefer her smaller group works. In addition to her vision and composing, she was an excellent PLAYER on both piano and harp. I haven't heard 'Translinear Light' yet, it also sounds like a good one.
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I like the Byrd/Gryce Jazz Workshop series on Lone Hill. Also, the Definitive packaging of the Chet Baker material makes a whole lot more sense than what EMI has done with it. EMI has not served us well recently on how they stretch that Baker Pacific Jazz material into as many CD's as they possible can, 20 minutes of music plus alternate versions. I will admit that the sound quality on the recent EMI Baker issues was stunning compared with what has been out there in the past. Proper does an amazing job in putting out intelligent sets - so many of them are the ultimate word in a given period for a given artist.
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This one is a travesty. How rapid the descent from labor of love to outright theft ...
http://www.amazon.com/gp/product/B0009SQ4P...7381423-0515060
Disagree totally. That set is master takes only of Blue Note and Bethlehem cuts, which is totally different than any other set that's been out on Nichols, which are the complete Blue Note with alternate takes, and the single Bethlehem album.
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I'm just wondering where this reissue came from. Not a part of the LP Reproduction series, apparently (it comes in a jewel case--now when was the last time you saw an Impulse album reissue in a jewel case? The only one we've had since the digipack onslaught has been the recent A Love Supreme single, IIRC...). Did Impulse just figure that this one would make bank?
And why this one, which was a collection of outtakes (good as some of them are) when originally issued, instead of 'For Losers' or 'Things Have Got To Change'?
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Moving words:
PASSINGS: MIKE and ALICEI write this a few hours after Mike's funeral, Monday Jan 15. It was as you could imagine quite moving and quite sad. He leaves a wife, two teenage children, a sister and brother Randy, who took his greatest solo today when he spoke so honestly about Mike at the funeral. I know these guys for forty years. One of his last records was with Joe Lovano and myself in Saxophone Summit with his tune as the title track appropriately titled “Gathering of Spirits.”
As well his last official gig was with that band at Birdland in March 2004. We were particularly close in the early days. Mike took over my first loft when I moved on and stayed there ten years with the same piano and continuing the same research and practice vibe. He and I were close mainly as a consequence of our love and respect for John Coltrane’s music. But more important than the music was the message that Trane left to all of us concerning humility, humanity and honesty. Music after all is in the final analysis just sound without emotion or feeling until the artist possesses the notes so the listener, if they care to and put the effort in, feels something. To move the listener, you have to bring something to the music that is inside you. Michael had plenty inside him and through music, he found a way to let people know what he was thinking and feeling. Besides inspiring so many saxophonists to pursue this deep musical tradition that we all love and respect, he personally helped many people involved in addictive behavior to find and cure themselves. And even at the end, he realized that though he wanted his disease to stay quiet, by asking for blood donors he was helping to save others, which is exactly what has happened. This is the essence of selflessness.
As Randy said in his eulogy, the passing of Alice Coltrane within the same twenty four hour period is significant on several levels, specifically in relation to Mike because of the Coltrane connection. It was the late Trane period that we (meaning Michael, Steve Grossman, Bob Berg, Randy, myself and others) were hooked on and tried to emulate in the early days. The fact that these two passings occurred during the IAJE convention in NewYork and became common knowledge in the last few hours of the weekend was in some ways fortuitous since such a large part of the community was by circumstance together.
The last person I saw as I was leaving the hotel was Roy Haynes. His final thought to me was exactly that, meaning this is the time for the community to pull together and keep the faith. We will do our best Sergeant Haynes.
Beautiful stuff. Thanks so much for sharing this.
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Question: Do we KNOW that Lone Hill is pirating the stuff, or are we assuming it?
Two points -
1. It's my understanding that there are some countries with a 35 year copyright law.
2. Lone Hill isn't just putting out material from little, out of business labels. They're putting out material held by EMI, Sony, etc. Why wouldn't those companies go after them if there's a legality issue? And it's not artists who won't sell at all, it's Chet Baker, Count Basie, etc. And they're using cover art from the original releases in their booklets, original liner notes, etc.
Has anyone ever contacted Lone Hill to find out the basis of these releases? What do we know here, and what are we assuming?
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But bring the whole family if you can--I'm bringing mine, and so is felser (bringing his, not mine).
Actually, my daughter and her friend were able to make what they consider better arrangements and we let them off the hook (they haven't grown ears - yet), but the lovely Mrs. Felser will be with me. It'll be a date - we don't get many of those these days.
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To me, “Spanish Key” sounds like a missing link between early-1960s Coltrane and the Allman Brothers Band
Great point! Afro-Blue-->Spanish Lady-->In Memory of Elizabeth Reed (really).
I was thinking more "Whipping Post," but "Elizabeth Reed" is another good example. Duane Allman was an admirer of Coltrane.
I got into jazz in '72 by checking out 'A Love Supreme' from my college library album browser. I was drawn to do so out of curiosity because Roger McGuinn of the Byrds and Jorma Kaukonen and Jack Casady of the Jefferson Airplane had identified Trane as a major influence on their work in the 60's. Similar experimenting with listening to Ravi Shankar did not produce the same joyful results.
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To me, “Spanish Key” sounds like a missing link between early-1960s Coltrane and the Allman Brothers Band
Great point! Afro-Blue-->Spanish Lady-->In Memory of Elizabeth Reed (really).
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Did not care about the "same curve". This was after late Trane, Ornette and Ayler. Them's the curves.
Apples and oranges. I'll take this over any Ayler and almost any Ornette, and any late (post 'Transition') Trane except maybe 'Meditations', but they're very different things.
Not for me.
Understood, it's not your cup of tea. It's just very different than the guys you mentioned.
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Did not care about the "same curve". This was after late Trane, Ornette and Ayler. Them's the curves.
Apples and oranges. I'll take this over any Ayler and almost any Ornette, and any late (post 'Transition') Trane except maybe 'Meditations', but they're very different things.
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They seemed "behind the curve".
Who was ahead of them on the same curve? I ask to make sure I'm not missing anything from that period that I will want to go back and check into.
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Bought it when it came out. Never understood the reputation (considering all the stuff going on at the time). Nice record. That's all as I see it.
Musta' been wonderful for "those Californians".
Chuck, I know that was quite a period for the music. Was there anything else that sounded like that Handy group? The closest I can think of was the Chico Hamilton group with Lloyd and Szabo (and boy is THAT an underappreciated group. Why are so many of those albums OOP?), but they didn't have anything like Michael White, and weren't working in long form like the Handy group did here.
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I was surprised to find out years later that music was performed opposite of how the LP was programmed, with "If Only We Knew" having been played first.
I can understand Columbia reversing the cuts, as "Spanish Lady"' is much more immediately gripping to my ears.
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An amazing 1965 performance with the then relatively unknown group of Michael White, Jerry Hahn, Don Thompson, and Terry Clarke. Two genre-defining performances totalling over 45 minutes. Nothing quite like it had ever been widely heard before as far as I know, and the shockwaves throughout the jazz world were heard for the next ten years. Unclear to me why this groundbreaking performance seems so forgotten today and why it can't stay in print, because it was a sensation in it's day, and a seminal moment in my jazz listening experience when I was introduced to it in 1972 by a persistent mentor/salesman at Franklin Records. He said that if I didn't think it was fantastic, I could bring it back. Needless to say, I kept it. Handy made some more ground-breaking albums in similar veins for Columbia the next few years - the nightmare of 'Hard Work' was still a decade off. Hahn and White did some very adventurous work which never fit well into a given musical label (like this album didn't). Thompson and each Clarke did great work as a in a number of settings, including Thompson's participation on a great live album with Paul Desmond in the 70's.
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RIP. A great musician on her own terms. A shame that she's spent most of her career in her husband's shadow...
She really did make her own mark on the music. Those first four Impulse albums were incredible works.
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I think it's a stretch to call iTunes a ripoff.
Lon, to each his own on that call. Main point I was making is that I hope to get a CD of the album rather than a download. As far as the session, I think everyone is right. I find "Money" silly, the title track thrilling.
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exactly.
i am scared this is the future of music purchasing. a shoddy product.
i wish people would not use the itunes store to let them know what they are doing is NOT acceptable.
unfortunately i guess more people are more concerned with their itunes library than the stuff on their shelves.
So far I'm fighting the good fight, have not done i-tunes for the Shepp and Anita O'Day titles I'd really like to have.
Advice sought re: Coltrane's "Live Trane" set.
in Recommendations
Posted
I'll take '64, short on quantity but long on classic quality ('Crescent', 'A Love Supreme'). Bol should start with 'Crescent' and 'Live at Birdland'. From '65, I LOVE 'Transition', which I think is the most overlooked Trane album of all. How did it ever get left in the can for several years? (rhetoricl question, I know there was a glut of material recorded in '65 and they wanted to publically document his new phase).