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king ubu

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Posts posted by king ubu

  1. Happy Birthday Couw

    in Miscellaneous - Non-Political

    Posted

    Hope you get a good portion of Freedom Fries, today  :w

    And, just for your birthday Couw... to go with those Freedom Fries... I even got you ALL the ingredients to make your very own Hello Kitty™ brand Mayonnaise!!! (Don’t all Europeans put that Mayo glop on their fries??) Here ya go!!!

    (And as with many presents: "Some Assembly Required"... as in, you'll have to put these together yourself with Photoshop. :g )

    20020806_econa_mayonnaise.jpg PLUS hello%20kitty.jpg

    This had me laughing out loud Rooster!

    ubu :lol:

  7. *** Cecil Taylor ***

    in Artists

    Posted

    the book you mention was issued in English in 1975

    excellent writer BTW, that Jost

    I thought so, but wasn't sure where I heard that, thanks, couw!

    Excellent writer, indeed! He succeeds to express verbally several things about music (and I guess talking/writing about free jazz is even more difficult than about rather traditional forms of jazz) which I have never seen that clearly explained before. The Taylor chapter being a case in point for that.

    ubu

  8. Least Favorite Mosaic

    in Mosaic and other box sets...

    Posted

    I bought none which disappointed me so far.

    I love the Shank, and agree very much with wesbed's comments (though I'm as far from texas as you can get...) :tup

    I had similar feelings as have been expressed with the Jones/Lewis, however, as I did not know any of the music contained therein before, the quality of discs 1-3 blew me enough to put this on my favorite Mosaic list. Mike, that Basle disc's a stunner, no? I LOVE it! Joe Henderson really breakes loose on the first track!

    I like the Giuffre very much. The trio sides, the second of the Capitol LPs... so much great music there!

    I would, however, not get the Freshmen or the Hackett sets... I guess I really don't need these.

    ubu

  11. French film sountrack

    in Recommendations

    Posted

    brownie, this sounds interesting, to say the least!

    Do you happen to have a list of all these "Bandes originales" releases Universal France produced recently? They started the series maybe two years ago, yes? I have not picked up any of the discs, but seen them from time to time, and they include soundtracks to many great (and dearly beloved) movies.

    ubu

  13. Funny Rat

    in Recommendations

    Posted · Edited by king ubu

    Some nice finds, all used CDs (39 swiss franks alltogether, around 25-30 US$):

    Anthony Ortega, On Evidence (http://www.allmusic.com/cg/amg.dll?p=amg&u...l=Ajs5gtq6zzu44)

    I listened to the first two minutes of Warm Canto and knew I got to have it.

    Never heard Ortega before. How's his HatOLOGIES?

    Charles Gayle, More Live (http://www.allmusic.com/cg/amg.dll?p=amg&u...l=Awjfpxqlgldke)

    I only have his FMP Touchin' on Trane, and that's one of the best post Coltrane energy records I ever heard!

    I got two more discs, one which might be interesting you guys, but I forgot what it was (another clear sign I'm buying too much in too little time... :w ).

    I had no chance to listen to either of them, but I will report back. (As I will re. the Gräwe and Gumpert discs...)

    ubu

  16. *** Cecil Taylor ***

    in Artists

    Posted

    I just read the Taylor chapter in Ekkehard Jost's book "Free Jazz" (from 1972 originally, it has been reissued in german last year, I think; I don't know if it has been out in english, too), and he makes some very interesting points about Taylor.

    Obviously he knows the story only until the late sixties (when he wrote the book), but that already makes for a very interesting read.

    He looks at the concepts of Taylor's music, speaks of his "energy" thing that replaces what "swing" used to be in jazz before him, talks about the drummers and Taylor's problems with them - and this IS a problem, in my opinion, too: Dennis Charles is just too stiff, too metronomic. Sunny Murray really made a huge change! (and as I just re-listened to that short free improvised trio track with Neidlinger/Higgins from one of the Candid dates, I think playing free Higgins was very good, too, while on O.P. he is similarly awkward as Charles, just playing in another style, of course).

    Don't get me wrong, however! There are many things I like about the early Taylor records, and I think up to the Nefertiti I got all of it (with the exeption of the Newport Verve mini-LP which I still have to get).

    Jost makes a thorough analysis of the title track of Unit Structures and correlates it with Taylor's construction scheme (he did replace the theme-solos-theme scheme with some more complex concepts, he used three termini to talk about it, the first one being some sort of a prologue, the others called "Area", and "Plain"). What Jost writes seems highly plausible to me, and very very interesting, too. Good help in trying to understand the structural side of Cecil's music, which you often do not get right from the start. The music is so complex you need more than one listen, and knowing Taylor a little bit sure helps, too.

    ubu

  17. Archie Shepp

    in Artists

    Posted

    Here is a nice review of the Dixon/Shepp disc:

    http://www.jazzweekly.com/reviews/bdixon_savoy.htm

    They do NOT appear together, by the way, in case this was misunderstood. First side is Bill Dixon (with Ken McIntyre, George Barrow, Howard Johnson a.o.), second side is Archie Shepp (with Don Cherry or Ted Curson). The CD has some good liners, too.

    Then I did a casual in the background listen again to the Attica Blues Big Band live 2CD set, and this one is BAAD! It really blew me! Alright, some of the vocals are not really necessary, but there's much fine work, much groove, maybe Shepp's most fully successful mix of Great Black Music. Funky, groovy, soulful, free vibes... a real winner! Nice Cal Massey tunes, a good take on one of Randy Weston's most famous compositions (Hi-Fly), good solos from the likes of Eddie Preston, Charles Greenlee, Shepp himself. Then Avery Sharpe (often on electric bass) and Clifford Jarvis make a great rhythm team, Art Mathews on piano is cool, too...

    Here comes the AMG review:

    From the outset, Archie Shepp's terminally misunderstood Attica Blues on Impulse during the 1970s was an attempt by the saxophonist and composer to bring together the various kinds of African American musics under one heading and have them all express the conscience of the day. His ensemble featured singers, string players, horns, drums, guitars, etc. The sounds were a Gordian knot of jazz, free music, R&B, soul, groove, and even funk. In 1979 Shepp was given the opportunity to realize the project with an ensemble of his choosing at the Palais des Glaces in Paris (New York was already courting Wimpton Marsalis). Shepp chose 30 musicians and director/conductor Ray Copeland. Among the throng were saxophonists Marion Brown, John Purcell, Patience Higgins, and John Ware. Malachi Thompson led a five-trumpet section, and Steve Turre led the trombones, a young Brandon Ross played guitar, Avery Sharpe was one of two bassists, Clifford Jarvis held down the drum chair, Shepp played all his horns and piano — though Art Matthews was the primary pianist on the gig. There were four vocalists and a string section. None of this would mean anything, of course, if the music weren't bad to the bone. From the opening moments of the "Attica Blues Theme, Pt. One" it becomes obvious that, with its drop-dead funky bass line and wailing soul vocals that create the mood, this will be a celebratory evening of education, protest, and groove. From here, Shepp moves the band into "Steam," with the funk and anger already present. But this track is far more laid-back in its big band arrangement than it was on the Shepp's Inner City version of some years before. It features a gorgeous vocal by Joe Lee Wilson, who has the chops of Sammy Davis Jr. and the depth of Big Joe Turner. And here is where Attica Blues truly begins, as "Steam" reaches its swinging nadir, and Shepp begins to fold in works by other composer such as Cal Massey ("Quiet Dawn"), Randy Weston ("Hi-Fly"), and Dave Burrell ("Crucificado") in with his own works, and the varying elements of free jazz and Latin music begin to make their presences felt on the R&B and swing accents that Attica Blues opens up for the magical treatise it is. Shepp's own playing is fell of depth and passion, though he leaves his fire music at home, preferring to work inside traditions and allow the music's freedom to dictate its own expression in places rather than as a whole. The history lesson moves on well into the second set with Frank Foster's "Simone" and Ramsey Lewis' gospel-tinged "Skippin," before coming out on the other end with a majestic resurgence of "Attica Blues" to bring it in. This is big band arranging and execution at its best; Shepp and Coleman make it all sound so easy, though charts are anything, but when you're fusing together so many different kinds of music. This is the high point of the latter part of Shepp's career, and it's a cultural crime that it's not available on an American label and sold as a work that belongs next to Mingus' Ah Um, Miles' Bitches Brew, Ornette's Science Fiction, and other notable works by the masters. — Thom Jurek

    (It's five stars, by the way, as if you didn't guess that after reading...)

    Grab this baby when you get a chance!

    ubu

  19. BLINDFOLD TEST #4 - DISCUSSION

    in Blindfold Test

    Posted

    I would be surprised if I was to learn that James Brown had recorded with Louis Bellson's orchestra, and with Oliver Nelson arranging.  Anybody (besides Jim, of course) know if that ever happened?

    Have a gander at this site and scroll down.

    now this record would be a cool one to have!

    ubu

    It is. ;)

    OH HELL! SOMEONE SEND ME SOME $$$ AND I'LL GONNA PICK UP ALMOST EVERY ALBUM FROM YOU F#?&ING BLINDFOLD TEST!

    I'm heading directly for bankruptcy!

    ubu :angry:;)

  25. BLINDFOLD TEST #4 - DISCUSSION

    in Blindfold Test

    Posted

    Thanks Mike! Appreciated.

    I only could identify Silver, but none of the sidemen. I don't have any of the Silveto albums (though I sure would like to hear Eddie who with Horace!). Ralph Moore I have heard, but not enough to recognise him. And I do indeed hope the man on trumpet is NOT Woody Shaw! The sound would just not be at all like him, in my opinion (though it's been some time since I last listened to any record with Woody).

    ubu

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