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king ubu
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Posts posted by king ubu
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cool site
ubu
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I've got a Lee Konitz MMO LP, gotta check it out again. He plays some classics and standars, if I remember right. Basin Street Blues and such stuff. But I cannot really remember. Gotta dig this LP out.
ubu
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Here comes the discography for "Intuition", the Properbox:
Disc One: OUT ON A LIMB
Emmett Carls Sextet 1945, featuring Lennie Tristano : Shorty Rogers, tp; Earl Swope, tb; Emmett Carls, ts; Lennie Tristano, p; Chubby Jackson, b; Don Lamond, d.
New York, May 1945
-1 TEA FOR TWO
-2 TEA FOR TWO (TAKE 2)
BLUE LOU
-1 THESE FOOLISH THINGS
-2 THESE FOOLISH THINGS (TAKE 2)
-1 IT’S THE TALK OF THE TOWN
-2 IT’S THE TALK OF THE TOWN (TAKE 2)
Lennie Tristano, p
Chicago, 1946
YESTERDAYS
WHAT IS THIS THING
CALLED LOVE
DON’T BLAME ME
I FOUND A NEW BABY
Lennie Tristano Trio : Lennie Tristano, p;
Billy Bauer, g; Leonard Gaskin, b.
New York, late 1946
JBB 268 I CAN’T GET STARTED
JBB 268 A NIGHT IN TUNISIA
Lennie Tristano Trio : Lennie Tristano, p;
Billy Bauer, g; Clyde Lombardi, b.
New York, October 8, 1946
HL 176-1 OUT ON A LIMB
HL 176-2 OUT ON A LIMB
HL 176-3 OUT ON A LIMB
HL 177-1 I CAN’T GET STARTED
HL 177-2 I CAN’T GET STARTED
HL 178-1 I SURRENDER DEAR
HL 178-2 I SURRENDER DEAR
HL 178-3 I SURRENDER DEAR
HL 179-1 INTERLUDE
HL 179-2 INTERLUDE
HL 179-3 INTERLUDE
HL 179-4 INTERLUDE
HL 179-5 INTERLUDE
HL 179-6 INTERLUDE
Disc Two: NEW SOUND
Lennie Tristano Trio : Lennie Tristano, p; Billy Bauer, g; Clyde Lombardi, b.
New York, October 8, 1946
UNTITLED BLUES
Lennie Tristano Trio : Lennie Tristano, p; Billy Bauer, g; Bob Leininger, b.
New York, March 23, 1947
KH 200 BLUE BOY
KH 201 ATONEMENT
KH 202-1 COOLIN’ OFF WITH ULANOV
KH 202-2 COOLIN’ OFF WITH ULANOV
Lennie Tristano, p
New York, September 23, 1947
D7VB 1649 I DON’T STAND A GHOST OF A CHANCE WITH YOU
D7VB 1650 SPONTANEOUS COMBUSTION
D7VB 1651 JUST JUDY
Lennie Tristano, p; Bily Bauer, g; John Levy, b
New York, October 23, 1947
SUPERSONIC
ON A PLANET
AIR POCKET
CELESTIA
Lennie Tristano, p; Billy Bauer, g; Arnold Fishkin, b.
New York, December 31, 1947
FREEDOM
PARALLEL
APELLATION
ABSTRACTION
PALIMPSEST
DISSONANCE
John La Porta, cl, Lennie Tristano, p; Billy Bauer, g; Arnold Fishkin, b.
New York, December 31, 1947
THROUGH THESE PORTALS
SPECULATION
NEW SOUND
RESEMBLANCE
Disc Three: CROSSCURRENTS
The Metronome All Stars : Dizzy Gillespie, Miles Davis, Fats Navarro, tp; J.J. Johnson, Kai Winding, tb; Buddy de Franco, cl; Charlie Parker, as; Charlie Ventura, ts; Ernie Caceres, bs; Lennie Tristano, p; Billy Bauer, g; Eddie Safranski, b; Shelly Manne, d; Pete Rugolo, arr; dir.
New York, January 3, 1949
D9VB 0022 VICTORY BALL
Lennie Tristano Quintet/Quartet : Lee Konitz, as; Lennie Tristano, p; Billy Bauer, g; Arnold Fishkin, b; Shelly Manne, d (-1)
New York, January 11, 1949
JRC 3 TAUTOLOGY (-1)
JRC 8 SUBCONSCIOUS LEE (-1)
JRC 10 RETROSPECTION
JRC 11-B JUDY
Lennie Tristano Sextette : Lee Konitz, as; Warne Marsh, ts; Lennie Tristano, p; Billy Bauer, g; Arnold Fishkin, b; Harold Granowsky, d.
New York, March 4, 1949
3413 WOW
3414 CROSSCURRENT
Lennie Tristano, p; Billy Bauer, g; Arnold Fishkin, b; Harold Granowsky, d.
New York, March 14, 1949
3714-1 YESTERDAYS
Lennie Tristano Sextette : Lee Konitz, as; Warne Marsh, ts; Lennie Tristano, p; Billy Bauer, g; Arnold Fishkin, b; Denzil Best, d.
New York, May 16, 1949
3784 MARIONETTE
3785 SAX OF A KIND
3786-2 INTUITION
3787 DIGRESSION
Lennie Tristano Quintet : Warne Marsh, ts; Lennie Tristano, p; Billy Bauer, g; Arnold Fishkin, b; Jeff Morton, d.
Birdland, New York, 1949
REMEMBER
PENNIES
FOOLISH THINGS
INDIANA
I’M NO GOOD WITHOUT YOU
Disc Four: LENNIE’S PENNIES
Lee Konitz, as; Warne Marsh, ts; Lennie Tristano, p; Billy Bauer, g; Joe Shulman, b; Jeff Morton, d.
Carnegie Hall, New York, December 24, 1949
SAX OF A KIND
YOU GO TO MY HEAD
Lennie Tristano, p; Peter Ind, b; Roy Haynes, d.
New York, October 30, 1951
EIKB-4138-1 JU-JU
EIKB-4139-1 PASSTIME
Lee Konitz, as; Warne Marsh, ts; Lennie Tristano, p; Peter Ind, b; Al Levitt, d.
UGPO Hall, Toronto, Canada, July 17, 1952
LENNIE’S PENNIES
317 EAST 32ND
YOU GO TO MY HEAD
APRIL
SOUND-LEE
BACK HOME
Hey, it has the complete Keynotes, all alternates with it (oct 46 and march 47 dates), the Konitz date I mentioned is there too (Jan 49), as are the dates on the Capitol CD.
Being interested in the box myself (as there seem to be at least some dates I don't have) - can anyone tell us if the dates included are generally there in their entirety?
ubu
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Good recommendations so far!
The Mosaic might not be around all that long, being no. 174 it is already surrounded by OOP sets.
The Tristano/Konitz/Marsh was my very first Mosaic, and I still (and always will) love it!
The Intuition disc mentioned by Late includes the seminal sessions which (as is said - there are others, earlier ones, I suppose) introduced totally free, abstract playing to jazz. (The Marsh album is a two tenor thing with Ted Brown, a major and virtually unknown figure - great stuff, too!)
These dates, as well as four (or are there five?) tunes made with Lee Konitz (and inlcluded on an OJCCD by Konitz) are certainly included in the Properset.
The Rhino/Atlantic CD then includes two LPs, a solo one, and one where the first side included the famous overdub sessions, and the second side had some quartet live tracks feat. Konitz, Gene Ramey and Art Taylroor - GREAT STUFF!
The Konitz/Tristano/Ramey/Taylor dates are included in their entirety (2CDs) in the Mosaic set.
The Mosaic also includes two Konitz albums, the GREAT (once again...) Konitz/Marsh album, and then at the end, Marsh's own album for Atlantic.
Other early material worth picking up and partially on the Proper, too, I think, would be the Keynote sides. There are lots of alternates, which Proper traditionally omits, however. The whole sessions came out several years ago on Mercury, and is well worth having.
chris: don't expect to find Tristano easily accesible, don't expect to love his music upon first hearing it. His playing (and that of his sidemen, too, often at least) is very cool. He's a linear, thinking player - hell, he swings like hell, too... Hard to describe!
And get used to the thought of drummers merely playing a metronome role (the Keynote sides have no drummer at all) - there was some discussion of Tristano's requirements regarding his drummers in one of the DEEP threads, recently.
Art Taylor however does not really restrict himself to the Tristano frame on those quartet live dates, and Konitz somehow gets a little bit too expressive, too, from time to time, and I consider this part of the fascination of these recordings.
Then, expect yourself becoming a Warne Marsh devotee once you discovered this great musician.
ubu
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Dan, being a little closer to the source, tell me if I should try to get in contact with somebody at TCB. I have not much time to do such things right now, but I think it would be a couple of phone calls or emails. But it would be good to have a small piece of information about what you've done so far.
ubu
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Hey, c'mon guys, gotta throw in a good word for this one!
I LOVE IT!
(and not only in small doses! Many beautiful ballads, even more blues, the dates with Emmett Berry, the big band sides, the RCA stuff on disc 4... so much good music!)
ubu
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Д.Д., thanks for the info on that russian stuff - I would have to take a deeper look to see in what I might really be interested.
About For4Ears I don't know much. I listened to some stuff in stores here, but nothing that did grab me instantly.
And holy shit, erstwhile really seems to draw one in once you came too close... I better not start right now - wait till my finances get a little bit healthier!
ubu
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Jim, thanks for the info! I got that CD (and love it!) - that was my very first Jazz In Paris disc!
brownie: I never heard of that record! Will look for it, sounds very interesting, thanks!
ubu
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Are there good translations of Bachmann? I think here language is quite one of a kind. Also she's got an austrian touch. I guess quite some is lost with translation, no?
ubu
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Sure, Bachmann...
I read Malina recently, and really loved it! You got to have enough time to read it in two or three days. A great novel!
You know "Der gute Gott von Manhattan"? Love it!
Of her short stories (hell, these are no short stories, these are "Erzählungen"...), I know only a few, but have them all at hand, in case I want to read more...
ubu
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... Gottfried Benn, Georg Trakl...
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Any readers of poems here? If so, what authors do you like?
sure!
Bachmann, Günther Eich, Ilse Aichinger, Ginsberg, Kerouac, Corso, Robert Walser, Else Lasker-Schüler, Jessenin, Rilke, any Dada poems (Ball, Arp, Huelsenbeck, Tzara, etc), Rimbaud, Baudelaire, Jandl...
ubu
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ever heard of this label?
http://www.avantart.com/longarms/longarms.htm
or:
http://www.avantart.com/music/solyd/solyd1.htm
and:
I guess in looking for rare ones these fit the category, no?
ubu
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Thanks, brownie. I'll get it! Well, I have picked up the Atlantic CD, and as there's probably no other legal release of the stuff...
Definitives however are rarely seen here (BUT they are written about in the newspaper - the sunday edition of the best swiss newspaper recently discussed the "new 10CD Billie Holiday set released by Definitive" - SUCKS! Sucks bigtime! Even moreso as almost every store has the Columbia box displayed ever since it came out!)
ubu
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how bout april 18, 1979?
ubu
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Hell, they should have done a second Johnny Coles date: imagine (or better dream...) Coles, Duke Pearson, Bob Cranshaw, Walter Perkins... HOLY SHIT!
ubu
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Hell, was there Wilen on the first BT? I should have jumped in from the beginning!
ubu
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Cool site, Lon! - but is this not the same one that was mentioned in the other Wilen thread?
And it shows what an awkward thing a discography based on album releases is (instead of using sessions as a timeline)
ubu
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Listened to "Fru'n Brew" this morning (while doing some work, no time to really sit down and listen). A beautiful record.
I love the sound of Brew, and Fruscella is very much his own man. I know some of the other trumpet players that have been discussed above and I do see a link between them and Fruscella, yet Fruscella's playing strikes me as very individual. I simply love it!
"Blue Lester" is great, and the ballad on side two plain beautiful!
Has anyone picked up the Jazz Factory (Definitive) 4CD set? How about sound quality, notes/discographical information all there?
ubu
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Yes, the Tate Modern! Hey, imagine, they've got a Schwitters room there, and a Duchamp room! These are some of my Gods...
And the building is incredible, of course. I'm a big fan of Herzog/De Meuron. Swiss quality still works, from time to time...
ubu
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In a extremely sensitive response to the collection, its creators and the location, Renzo Piano has created an ideal building for presenting modern art. From outside, the approximately 127 metre-long building, which is shielded from traffic noise by a porphyry-clad external wall, resembles a ship lying anchored alongside the busy road.
On passing through the entrance gate, one finds oneself in the calm of an English-style landscape park. To the right, nestled among groups of trees, one sees the pavilion-like museum built out of a harmonious combination of stone, white-painted steel and glass. Its projecting glass roof, with a surface area of approximately 4,500 square metres, seems to float above its four monumental parallel walls.
There exists a harmonious balance between the materials used throughout the museum. The vertical walls clad with porphyry from Argentina convey an impression of heaviness and durability. A projecting steel structure has been suspended over them horizontally like a flying carpet. It supports the glass of the transparent roof and the 900 brise-soleil that protect the interior against direct overhead sunlight.
The internal requirements associated with the Beyeler Collection's characteristics and size have been sensitively reconciled with the site's external constraints. Piano has described his task in the following words: "A museum should attempt to interpret the quality of the collection and define its relationship with the outside world. This means taking an active, but not an aggressive role."
The transparent roof, with its highly sophisticated technology, provides the whole of the interior with the natural light so desirable for viewing works of art. The use of glass for the museum's northern and southern façades creates interaction between the building and the park. Through the interconnections he has established between the interior and the exterior, Piano has created a unique synthesis of art, architecture and nature.
Inside the museum, Piano has designed absolutely tranquil rooms unmarred by the slightest technical or design detail. Their carefully conceived sequence alternately encourages standing still and motion, intensive viewing of the works and reflection on them as one walks about. Piano has created a discreetly elegant architecture that serves art totally without concealing itself.
The picture shows a view into the northern section of the museum, which was extended by 12 metres between September 1999 and September 2000. The room, which measures 30 metres by 15 metres, satisfies to the museum's need for the more flexible use of exhibition structures. The additional reserves of space created on the lower level, which can be kept dark, are particularly well suited for the installation of new media.
In the course of the museum's extension, the northern part of the park was also significantly modified, being extended to the main road. Bernard Plattner of Renzo Piano's Building Workshop has stressed that the redesign "re-establishes an optical equilibrium between the northern and southern ends of the park, with the museum standing in the optical centre."
This comes from the Fondation Beyeler Homepage. I guess you'd have to see it yourself.
ubu
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brownie, the Orsay is the one I loved most when I was in Paris (which is several years, now), and I did like the Matisse room (or are there two of them - I guess it's changed since I was there anyway) best in the Pompidou.
In Zurich, there's the Kunsthaus, which has intersting exhibtions from time to time, and quite a good collection. But as they're constantly renovating (they're in the middle of some 6 or 7 years now), the largest parts of the collection are closed. They've got an important collection of Dada art, yet they usually display only some 5 or 6 items... creeps!
Then they've got brand new Giacometti rooms, and I love his work! Beautiful stuff from his younger years, when he was associated with the surrealists, and frightening, morbid examples of his late work.
Then there's lots of Valloton - one of my favorites!
In Winterthur (closeby), there are the museums of Oskar Reinhardt, a private collector who got quite a lot of interesting paintings - one of the most famous Friedrich paintings, if memory serves right (I go there only every couple of years or even less often).
In Basel, there's the Beyeler Collection, housed in a beautiful building by Renzo Piano. They have good exhibitions usually, and the building itself is reason enough to go there.
In Berne, our small capital town, there will be a Paul Klee museum in a few years, and I guess that will be a great place, too!
ubu
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Thanks for the link (I knew it, but has been a long time since I been there).
This brings up some other favorites:
- the J.J. date with Mingus, Klook & Sabu
- his work in Dizzy's 1957 big band
- Cannonball takes charge
- Coltrane Jazz
- Sonny Red's Out of the Blue
- Gonsalves, Gettin' Together
- the two CDs with Joe Henderson
Hell, the man made lots of records!
I'm glad I have not yet got hold of his VeeJay Mosaic - a way of making sure you'll always have some more to get... (and save some pennies, at least temporarily
)ubu
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The Dizzy Reece date I would like to see reissued is the 'From In to Out' date on the French label Futura where he played with John Gilmore and Art Taylor. Missed that one when it came out. Futura has reissued a number of sessions in the past few years but not that Reece album.
This one sounds very interesting!
The point Morganized made that musicians as Reece were "extending the traditional in very unique,adventurous but subtle way" seems to be truer in regard of other than his Blue Note discs, Comin' On maybe an exception.
ubu
Miroslav Vitous - Universal syncopations (ECM)
in New Releases
Posted
Just got the disc yesterday, listened to it while doing some work yesterday night.
It hits me as an excellent album, all in all. Both observations of Mike (Corea/McLaughlin and cymbal sound of DeJohnette) are quite true to these ears, too, however this does not make the record much worse. And DeJohnette plays very well!
Garbarek IS the winner, I think, surpassing his lastly usual playing, and yes, taking chances.
I remember having read the session was done in different locations (look at the credits, they're quite strange, giving two studios, no recording dates, but only a date when the mix was done. It is hard to imagine this being true, at least in regard to the core trio! They seem very tight! Vitous & DeJohnette MUST have been in the studio together at the same time, no?
ubu