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DrJ
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Posts posted by DrJ
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Big Wheel posted: One point I was trying to make upthread is that the main reason there's so much music these days that sounds like Eric Alexander and Scott Hamilton is that there's a culture of orthodox jazz education that itself plays favorites and puts so much emphasis on bebop.
Well you won't get any argument from me about this issue, I agree, mostly. But it's a different issue than what I was commenting on.
The one thing I do have to point out though is that Scott Hamilton most emphatically was not a product of the orthodox jazz educational system, at least based on what I know of his formative years. Plus he's hardly a dyed in the wool bebopper, right? Most of his inspiration seems to have come from the pre-bop era, and he ascended at a time when it was EXTREMELY unfashionable to cop to that. So I really don't think one can place the orthodoxy label on him.
This points out another issue, which concerns the over-generalizations people tend to make about ALL youngish players, like they've all come out of exactly the same mold. Simply not the case. In fact it may be truer to say that the OLDER generation of players fit that description better - since so many of them spent their formative years in one of a small handful of big bands and "mentoring" situations (such as working with Blakey).
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Big Al posted: 7. I don’t know why I’m surprised people are nailing this one. OH wait, I know: I was hoping to see if anyone would figure out the drummer!
Idris Muhammad?
Big Al posted: 17. If NOBODY gets this one, (mikeweil, don’t disappoint me, man!) I will feel like I’ve accomplished something in this life!I'm going to get this one DAMMIT...just tell me this for a start so I'll know if I'm heading down the right path, did I guess right about the vibes player - is it Eddie Costa?
jeffcrom posted: 1. Very hip – Monk’s arrangement of “Abide With Me” performed vocally. Don’t know why someone didn’t think of this before.I picked this up right away, but thought it was obvious enough that it wasn't much of a pick up on my part, so didn't mention it. I didn't like it too much.
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All I'm saying is that there's a big difference between sharing a Golden Shower with your wife & taking a nap in a field and having a plowhorse start pissing all over you.
Shouldn't be that hard to see, much less feel, the difference!
Then again, horses are a really beloved species, so perhaps I underestimate the affectation some have for their urine.
That's all fine and well, but the crux of the matter is that one man's wife is another man's horse.
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Is rap tomorrow's jazz?
Probably not, but it may be yesterday's country.
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Hey, I've been a parent. I know Daddy Talk when i hear it.
I have no idea what this means.
"Shh - Listen"
That's Daddy Talk.
As is "I don't wanna hear how you don't like broccoli becuase it makes your jaw lock up and your dick break out in a rash. Just sit there and shut up if you don't like it."
Well, that's more like Stressed Out Daddy Talk, but it's still Daddy Talk.
Sorry, but this has nothing to do with parental talk - not even remotely. Do you have some unresolved daddy issues or something? Sheesh. I guess I need to change my avatar pic to something else; I've been pigeonholed.
"Parental" is the kind of vibe that YOU'VE been projecting here - "Sit there and shut up you ignorant whippersnappers while I tell you how it is" is what you have basically been telling people throughout this thread. "Jazz is dead, face it," clubs are museums now, listening to Eric Alexander is like masturbating, etc etc.
Hell that's not just daddy talk, that's GRANDADDY talk.
If it was just coming across as how you feel about the situation, then it wouldn't be, but it doesn't come across that way - it comes across like a sermon. There have been all these subtle and not so subtle (The Famous Masterbation analogy) insinuations that people who feel differently are living an artificial, empty life. Whom is lecturing whom?
When I said "Shhh. Listen" I was talking about just sitting and taking on the music at face value and without all these preconceptions and baggage that people heap onto everything that touches their ears, that's all. Not "Never express an opinion."
I'm simply saying why not sit and listen to the music, from whatever era, and keep stuff in the player that speaks to you and take stuff out of the player that doesn't - without implying your own views about why you do or don't like something are more than just that - without implying there is some objective "right-thinking" view?
CERTAINLY I never said (as you put it) STOP there. Quite the contrary. I like that people knock themselves out thinking about and discussing what they like and don't like and why. I do that, I enjoy it, I get it. Would I come to an online JAZZ FORUM if I didn't? Thought this was self-evident.
It's the implication in your discussion of things here that there is an objective "right answer" about where jazz stands today, about who is the "real deal" and who is not, that gets unbelievably annoying, to me at least. I've only been "back in the fold" around here for a couple days and already I'm remembering why I stopped posting here in the first place. You can cut the "critical orthodoxy" with a friggin' machete...I can predict almost without fail after every post who is going to chime in and slap some unsuspecting person down hard whenever they try and go outside the Organissimo orthodoxy and express a fondness for an "uncool" artist. If I wanted to go to church...
You may disagree with me, but clearly what I'm saying is nowhere NEAR the same thing as saying "Sit there and shut up and listen to everything that comes your way and enjoy it with a big shit eating grin on your face and never say anything about it, even if you don't like it." That's just crap to even imply I would say that.
That's the exact OPPOSITE of what I'm saying.
I'm saying that in my experience, projecting all these personal biases onto the music to create a codified "culture of orthodox jazz criticism" contributes to people sitting there listening to a lot of music they actually don't enjoy much at all, because they are "supposed" to like it - because people "in the know" tell them it's the "stuff" and changed society and they just don't play it like this anymore and blah de blah blah. And by the same token that vibe also leads to people missing out for a long time on music they might love - like I did with Hamilton - because it just isn't what they "should" be listening to.
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OK, time to embarrass myself…
1. Intended to be annoying - and it was! No idea who it is.
2. The Beatles’ “Birthday” drum part sampled and looped, with some kooky version of “Happy Birthday” over the top. Clearly you HAD to work this in to your birthday celebration BFT Al!
3. Not sure who this is. It has the feel of a 1960s Gerald Wilson Pacific Jazz big band thing, but doesn’t grab me by the balls in any way like the best of that stuff does, seems lighter weight. Heavy on the brass – in fact are there any reeds at all? The trumpet trade offs don’t sound very inspired, rather weak in fact. One of the trumpeters uses some half-valving effects that recall Lee Morgan, but if it’s Lee Morgan he was definitely having a very off day. I wanted to grab that tambourine in the right channel right out of the hands of the person who shook it mercilessly throughout and feed it to him.
4. No idea – left no impression at all, very generic.
5. By far the most enjoyable piece for me to this point in the disc. I like the groove established right from the opening bass line, though it grew a little tiresome about midway. My first thought here was that must be Bobby Hutcherson on vibes and then marimba, since not a huge number of vibists double on marimba. But it doesn’t sound like Hutcherson’s playing exactly. Harmonically it’s nowhere near as sophisticated as what he usually does and there’s some cutesy/coy stuff near the end of the piece he does on marimba that I don’t think Hutch would ever resort to even on his worst day. Roy Ayers perhaps? Dave Pike?
6. Another one that just sounded very generic to me. I recognize the changes, this is an R&B classic I think but I’ll be damned if I can name the tune. Maybe it’s my mood – normally I love “groove jazz” but these pieces just aren’t standing out for me. Nice BIG organ sound though, I dig the organ playing here quite a bit. Not Groove Holmes, I don’t think. Don Patterson?
7. Now this is more like it! That’s Stanley Turrentine’s tenor caressing my ears from the left channel, could tell that from literally his first note. This is the first piece where I heard a real distinctive, readily identifiable “voice” on any instrument. The tune itself is again rather generic but Stanley takes it up a notch with his commitment and passion and sheer artistry. So guessing that must be Shirley Scott on organ then, and perhaps Jimmy Ponder on guitar (nice spot he has here, too) – is this on the COMMON TOUCH LP for Blue Note from 1968?
8. Again really not sure. Flute (Bobbi Humphrey?) and some very commercial sounding strings, metronomic drumming, completely static harmony (again)…a little of that is fine but track after track it’s not for me, I need some chord changes. By the time the organ comes in, which is nice for about the first 60 seconds and then gets tediously “funky”, it’s a lost cause for me. And again with the needless hand percussion – this time instead of a tambourine, it’s some kind of shaker in the right channel (or maybe they were sanding down the floors while the recording was being made).
9. I have no idea who this is but I like it. Very rockish, in fact may be a rock group dabbling in improvisational jazz rather than the other way around. But the saxophonists sound like real jazz players to me for sure, really digging in. Could be the drummer’s band, he’s really busy and up front but it works, really stokes the fires. Probably a pretty limited distribution recording, rather primitive sound. But again I liked this quite a lot, it had heart and guts, a real “we try harder” vibe. Very interested to learn who it is.
10. This is “Cielito Lindo” from the OUT OF THE STORM recording led by Ed Thigpen, the one that was issued as a Verve Elite CD a few years back – all star line up with Kenny Burrell (I would have picked out his tone instantly even if I didn’t have this CD, like Turrentine a thoroughly original and distinctive “voice” on his instrument), Herbie Hancock, Clark Terry, and Ron Carter. I really dig this one and haven’t thought about or played it in a long time – thanks for bringing this back into consciousness, Al!
11. This temporarily killed the momentum for me, kitschy/loungy stuff. Just not my thing. No idea who.
12. My first thought when this came on, I kid you not, was that it was some lost Big Country track from the 1980s, that guitar in the intro really had that sound. Unfortunately this track was almost unplayable after the intro, skipping badly, so I didn’t have a chance to listen further, but what I heard sounded damned odd. WAS it Big Country sampled and then played behind jazz???
13. This was pretty cool, I dug it. Held my interest, interesting harmonies with some resemblance to Miles’ “Milestones” in spots. No idea who the artists are here. I’ll fling out a wild guess of Rita Reys as the vocalist (and probably look like an ass in the process). Waiting with interest for the reveal on this one.
14. This is a famous bossa nova piece, and it is driving me crazy that I can’t name the song…I dug through all my bossa CDs even trying to find another version. I know that melody…arggh! Anyway I don’t know who the flautist is or what this track is from and I’m not inclined to care too much – way, way too “easy listening” for my taste. Makes Getz’ bossa stuff sound like Ayler.
15. No idea, but this sounds like Latin jazz played by non-Latin jazz players that haven’t quite got it down. The flute is very thin and “chirpy” sounding first off, whereas the best of the real Latin flute players like Johnny Pacheco had a huge, beefy sound. The piano also just does not sound authentic, and the piano solo in particular is rather stiff sounding and most unswinging.
16. Funny intro (from a movie I’m not familiar with I suppose), and then the piece, which I enjoyed a lot (what I was able to hear of it). I am certain these are swing era giants I should be able to nail cold, and I’m ashamed I couldn’t, really no idea. Unfortunately the piece also cut out in the middle and then came in and out for the remainder so I couldn’t hear most of it. I’ll be very interested to hear who this was, will seek it out for sure.
17. Another good one – we’re getting back on track! This swung like mad (though quietly), and the band was TIGHT. LOVED the vibes here – damn, who was that? Clearly not an inside/out modern player, too straight, and it doesn’t have the old school Lionel Hampton quavery sound thing going…probably someone from in between those eras? Eddie Costa? I have to know, and definitely want to check out this recording. TOO SHORT but then again always good to leave them wanting more I suppose.
18. I believe that’s Joe Henderson on tenor, has to be…but why on earth was it faded out so quickly? What a DISAPPOINTMENT, I was digging it! I couldn’t place the track or any of the other musicians based on this brief little snippet.
19. This was fun, bouncy stuff, with more going on that meets the eye on initial listen. Really enjoyed the pianist, but once again I strike out on identifying them or the other players. Not sure I need to hear it more than once, but a nice way to spend a few minutes.
20. I tried but just couldn’t even begin to get into this. No interest.
21. Back to the groove-based jazz. Nothing offensive, but nothing stood out for me either, and I don’t recognize any of the instrumental “voices.” Don’t need to hear it again.
22. I felt like my headphones might literally float off my head on gossamer wisps of cloud – or something like that. Ick. The guitar is so “wet” with reverb and the electric piano so “dry” they sound like they’re being flown in from completely different sessions.
23. “Amazing Grace,” a tune I never tire of hearing (seriously, not being ironic). My Chapman Stick-playing friend and I used to do a Stick/guitar duet version of this tune that I have to say was pretty nice…but I digress. This is a more country than jazz-oriented take on the song, and it’s enjoyable but not something I'd likely return to much. Who is it, you ask? Well again I say "Not a clue."
24. On the same track index we then get the little jokey bit (puppet and puppeteer?), followed by some keyboard stuff that sounds like the music they used to play on the old 70s game show “Match Game”!
Thanks for an evening of fun, Al! I didn’t dig a lot of this stuff but there were at least 3 or 4 nuggets I’ll be seeking out, and it was a blast getting a peek at your world.
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I included a track from this one in my BFT #72 line up:
Very fine disc, released on the Joken label (co-founded by brother Kenny Barron). Sadly I think this was Barron's last issued recording (recorded several years before his death).
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Or how James Clay was finally James Clay.
Was James Clay ever not James Clay?
Only when he was a pipe.
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Can't help feeling that Lucky would have been a great subject for a multi-label big box back in the salad days, sort of like the Jacquet box. Oh well.
gregmo
Yep, I suggested that to Mr. Cuscuna several times a few years back, but probably it just wasn't feasible for them - maybe someday. I know he's an advocate and fan of Lucky's music.
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I have very few non-black vinyl pressings. Most of the ones I have sound no different than the black vinyl records I have.
I do have a nice set of Japanese Beatles mono LP pressings from the 1980s. These pressed on a translucent red colored Aurex vinyl and I have to say the surfaces are among the quietest in my collection. Probably has nothing to do with the color, though, just high quality vinyl in general. I do have to say these LPs are just plain beautiful to look at too.
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I have a great sounding Bill Charlap trio CD on Venus, "S'Wonderful" - yes, it is.
One quibble with their sound - I do think there is some digital compression added in mastering, at least on this particular recording.
On the plus side that really brings details forward and makes things "pop" - you can even here Charlap's legs moving around and his foot in the pedals at the start of the first track.
On the down side, some of the dynamics are squashed, which can be a bit wearying on extended listening.
Again though, overall I think their CDs are very nice indeed.
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Still not enough material for a Select.
OK I give up...not!
If they wanted to get that stuff out in a Select they could clearly package it with the Atlantic stuff as well as some other hard to find Thompson...what about some of the stuff that has only been out on Fresh Sound CDs like "Lucky Is Back" (Rivoli) and "Accent on Tenor"? I could use some better issues of this material.
And again who knows - there might be a goodly amount of Savoy outtakes/vault material...we can dream.
The Savoy stuff is good enough that I think it's worth an effort by Mosaic to get it out, even if there needs to be some filling out with slightly less riveting but hard to find material.
Just my two cents, YMMV, yada yada yada...
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OK, here we go!
Disc 1
8. Pharoah (Don Pullen) – Billy Hart (1977), from the CD “Enchance” (A&M Jazz Series, no release date given for the CD). Billy Hart, drums; Oliver Lake, alto sax; Dewey Redman, tenor sax; Hannibal Marvin Peterson, trumpet; Don Pullen, piano; Dave Holland, bass.
Figured this one would polarize folks! Personally I love it - the whole damn CD is outstanding, full of forceful and exciting yet ultimately quite disciplined playing by this truly all-star ensemble. Very democratic too, with Hart quite self-effacing in the leader role. For me on this track it's Dewey Redman's juggernaut tenor solo that steals the show, but Pullen's solo isn't far behind (surprised nobody guessed his identity - it's textbook Pullen!).
Actually, I identified this song by name, composer, and album, and posted an image of this album, in the Discussion thread. It is the only song I could idenify though--even though I own the McIntosh, Fischer and Redd albums from which you picked songs.
Didn't mean to slight you - but you knew the song from prior experience as you mentioned in the discussion thread - I think you said you played it endlessly etc.
I was just saying nobody who hadn't heard the track before was able to peg Pullen's piano, which surprised me - wouldn't necessarily expect they'd be able to guess the album or track cold.
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I don't listen to "schools" or "conceptions" or "eras" or "cultural statements" - not sure what those things would even sound like - I listen to music.
The problem with so much of this discussion thus far is that it projects all kinds of things that are part of the inner psyche of the posters onto the music the musicians are playing. How much of what people are claiming is "about" the music of any era IS actually objectively about the music - rather than being about their own biases and prejudices and hindsight? I'm just asking...it is after all interesting that the folks who seem to be pushing the "jazz is dead" button strongest are those with the greatest personal stake (either having been part of the "scene" back in the day, or being a player now invested in "evolution" of the music).
Let me put it this way: Scott Hamilton (and before some wag says it, no not the figure skater, the tenor player). Yes, Scott Hamilton. Here's a guy I took years to check out because I was prepared to totally hate his guts, for many of the kinds of reasons being mentioned to cut down players like Eric Alexander. Hell I looked over my shoulder 7 or 8 times before even placing his LP on my turntable, for fear and shame that someone with better taste would "out" me.
When I finally did check him out on the BACK TO BACK LP alongside Buddy Tate, my head was turned around. He frankly outplays Tate, but importantly he's clearly not slavishly imitating players like Tate or repeating licks from the past - even though you can hear he's listened to Ben Webster and many other swing era players - certainly no more than, say, Sonny Rollins picked up a thing or two from Coleman Hawkins. In my opinion he's adding a lot of his own thing to the jazz pantheon here. He just had the misfortune of being born about 30 years too late. Here's the thing - no matter WHAT he played, he wasn't going to be starting any jazz movements or schools, because jazz as a POPULAR form of music is indeed dead and has been for decades. That doesn't mean it's artistically dead, but it does mean that the likelihood of anyone starting a "jazz revolution" is somewhere between slim and none, there just ain't enough of a critical mass folks.
But anyway - you may (and likely will) disagree about Hamilton. That's cool.
All I'm saying is, personally I'm careful about bringing my "baggage" to listening to music. What works for me is to just let that crap go. Just listen. Shhhh. Listen. Quiet your mind. Don't expect or anticipate. Just be there. Let yourself be surprised. It's fun.
That's really all there is in music in my opinion.
If it doesn't grab you, fine, move on - but not "because it sounded just like so and so" or "he clearly isn't a top tier player" or "that stuff didn't move society forward" or any of this other irrelevant BS - move on because you just didn't like it or get it.
Own your own impressions; let's not project them onto the musicians or "jazz" in general, or certainly onto me.
I certainly have got enough of my own hang ups to deal with, thank you, I don't need yours. I doubt Eric Alexander needs them either.
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Isn't this the same one called Quiet Kenny?
You are correct sir.
And I prefer the original cover.
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DrJ,
Thanks for the opportunity to hear some music that is new to me. I guess I typically listen to stuff that is different from most of the BFTs but there is always something that I really like and need to check out further. On your BFT it would be the Joe Thomas track. Your comments peak my interest more.
Thanks again for your effort.
My pleasure, lots of fun to do these things. You will definitely not regret picking up that MAINSTREAM disc on Koch Jazz, lots of fun.
I'm working my way through Big Al's BFT #73 disc today and having a blast being on the "hot seat."
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Been enjoying the Complete Bud Powell on Verve lately.
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There is not enough material for a Jackson-Thompson-Select on Savoy. There are Atlantic sessions to fill it out. Unless MC goes for a two'fer,which I doubt.
Two things:
1) There is always hope they would find some vault stuff from the Jackson/Thompson Savoy dates
2) I'd have no problem with filling out a standard 3CD Select with Atlantic stuff.
Either way - bring it on MC!
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Great news on the Jamal set! Can't wait to hear what else is in store...
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This Select is good news Hans, glad to hear it!
But I am with you - I want to see Mosaic do the Thompson/Milt Jackson Savoy stuff up right - desert island material.
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Disc 2
1. Billie’s Bounce (Charlie Parker) – Denny Zeitlin, from the LP “Tidal Wave” (Palo Alto, 1984).
The fact some folks thought this was overdubbed speaks to the monster chops of Dr. Zeitlin. I really like this reharmonization, it sounds unforced and fresh to me.
2. If (Joe Henderson) – Jim Snidero, from the CD “The Music of Joe Henderson” (Double Time Jazz, 1998). Jim Snidero, alto sax; Joe Magnarelli, trumpet; Conrad Herwig, trombone; Dave Hazeltine, piano; Dennis Irwin, bass; Kenny Washington, drums.
I remember being thrilled when this CD came out - a great idea to pay tribute to Joe Henderson the composer. "If" is my favorite track on the timeless "Unity" recording by Larry Young, which is saying something. This version doesn't quite reach the heights of that one but it's darn good. I like Snidero, an unfussy, unpretentious player. Nice tag he adds on the arrangement here. The rhythm section smokes.
3. Nardis (attributed to Miles Davis) – Ray Bryant Trio, from the CD “Today” (Emarcy, 1987). Ray Bryant, piano; Rufus Reid, bass; Freddie Waits, drums.
Bryant's series of recordings for the Emarcy label (some released in Japan only) in the 1980s and 1990s represent a high water mark in a brilliant career, and this one may be my favorite of the bunch. The dynamics in his playing here are incredible. A master.
4. Pica Pau (Toninho Horta) – Toninho Horta, from the CD “Once I Loved” (Verve Japan, 1992). Toninho Horta, guitars; Gary Peacock, bass; Billy Higgins, drums.
A really nice disc, on which the great Brazilian guitarist Horta shows a lot of versatility and hangs with very heavy company. Pat Metheny is an unabashed fan and has said so in print. You can definitely get the sense he's been influenced by Horta after hearing this track!
5. Money Is Honey (composer unknown) – Mary Ann McCall (1947), from the CD “OKeh Jazz” (Sony, 1992). Originally released on an OKeh 78. Mary Ann McCall, vocals; Howard McGhee, trumpet; Willie Smith, alto sax; Dexter Gordon, tenor sax; Jimmy Rowles, piano; Barney Kessel, guitar; Red Callendar, bass; Jackie Mills, drums. Arranger – Ralph Burns.
Just plain fun, with a sultry McCall vocal and a true MEGA-all star backing group. Dex sounds like Dex even this early, surprised nobody picked him out, and props to Kessel - who seemingly always was at his best.
6. Opus No. Zero (Toshiko Akiyoshi) – Toshiko Akiyoshi (1968), from the CD “At ‘Top Of The Gate’” (Takt Japan, 2000). Toshiko Akiyoshi, piano; Kenny Dorham, trumpet; Lew Tabackin, tenor sax; Ron Carter, bass; Mickey Roker, drums.
Back in the day this was only released in Japan and is still a pretty obscure recording for such a heavyweight line up. Impressed someone picked up Tabackin ("on a very good day" - ha ha). Carter/Roker/Akiyoshi are LOCKED in here, and always great to add to the Dorham discography, he was really playing well right up until the end.
7. Tiny’s Boogie Woogie (Tiny Grimes) – Tiny Grimes, from the LP “Some Groovy Fours” (Classic Jazz, 1974). Tiny Grimes, guitar; Lloyd Glenn, piano; Roland Lobligeois – bass; Panama Francis – drums.
Another fun one, but don't neglect to listen carefully to the masterful way Grimes builds his solo. He did at one point hang with Charlie Parker after all!
8. Music Forever (Freddie Redd) – Howard McGhee (1960), from the CD “Music From The Connection” (Norma Japan, 1996). Howard McGhee, trumpet; Tina Brooks, tenor sax; Freddie Redd (credited as “I Ching”), piano; Milt Hinton, bass; Osie Johnson, drums.
Put this one in mainly to see if people could pick out Brooks - he really blows his way through this one with his very characteristic sound. This CD won't make anyone forget about Freddie Redd's more heralded recording for Blue Note but it's a fun alternative listen.
9. Lost (Jim McNeely) – Jim McNeely, from the CD “Group Therapy” (OmniTone, 2001). Jim McNeely, piano; Tony Kadlek or Greg Gisbert, Scott Wendholt, trumpet; Tom Varner, French horn; Ed Neumeister, trombone; Dick Oatts, soprano sax, alto sax ,flute; Billy Drewes, soprano sax, alto sax, tenor sax, flute, clarinet; Scott Robinson, baritone sax, bass clarinet; Cameron Brown, bass; John Hollenbeck, drums.
Surprised few liked this - though those that did REALLY liked it. I'm in the latter camp - interesting composition, great playing, nice recording. But then McNeely is a favorite of mine.
10. I’m Getting Sentimental Over You (Washington and Bassman) – Roger Kellaway, from the CD “Live At Maybeck Recital Hall, Volume 11” (Concord, 1991).
Kellaway is in his element here and this is one of the finest of the Maybeck CDs. Masterful. I have to also say that I don't hear Kenny Barron at all in this recording, surprised people were guessing it was him.
11. Yesterdays (Harbach and Kern) – Frank Ku-umba Lacy, from the CD “Tonal Weights And Blue Fire” (Tutu, 1990). Frank Ku-umba Lacy, trombone and vocals; Frank Lacy, Sr., guitar; Fred Hopkins, bass; Michael Carvin, drums.
Boy do I love this CD. Lacy goes for it - he's not an abstract "player" but a musician and (in the best sense of the word) entertainer, jumping into all he does with commitment and passion, and without worrying overly about polish and artiface. This disc is chock full of great music and this track is a fine sampler. Don't hesitate to pick it up, one of my favorite "neglected gems."
12. Strange Love (Mike Nock) – The Fourth Way, from the LP “The Sun And Moon Have Come Together” (Harvest, 1968). Mike Nock – Fender Rhodes electric piano; Michael White, violin; Ron McClure, bass; Eddie Marshall, drums.
Ah vinyl! It allows us to enjoy great music like this that may never make it to CD. I've always dug Nock, dating back to his work with Yusef Lateef on Impulse! in the 1960s. And White is always distinctive, cool that some folks picked him out here. A really fun used LP bin find.
13. You’re Everywhere (Barron-Long) – Hal McKusick Quartet, B-side of the single “Ambrose (Just Keep Walking)” (Glory, 1959). Personnel unknown other than Hal McKusick, alto sax. Some speculation that Milt Hinton is on bass.
By far the most obscure thing here - I happened upon a copy of this 45 at Dusty Groove and at that time it wasn't even listed in Hal McKusick discographies. After I mentioned it in a post in these Forums a few years back, it got picked up in some discogs.
Here's the full story: My link
McKusick plays in a wonderfully unadorned way here and never sounded more like Paul Desmond. Again, the wonders of vinyl!
That's it! Hope everyone enjoyed it, and thanks again for the discussion and comments.
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OK, here we go!
Disc 1
1. Daddy Let Me Lay It On You (Coleman) – Georgia White (1936), from the CD “The Complete Decca Trios – Plus (1936-47)" (Decca, 1997). Originally released on a Decca 78. Georgia White, vocals; Les Paul, guitar; unknown, bass.
Thought this would be a fun, earthy one to start with. There's a little signature trill that Les plays during the intro that might have given his identity away. In the liners for this collection (which is outstanding) he's self-critical about his playing at this early stage but I think he fits right in.
If I ever have my own jazz radio show, I'm going to call it "Daddy Let Me Lay It On You."
2. Humpty Dumpty (Chick Corea) – Akio and Joe Henderson, from the CD “Humpty Dumpty”(BRC, 1991). Akio Sasajima, guitar; Joe Henderson, tenor sax; Renee Rosnes, piano; Kelly Sill, bass; Joel Spencer, drums.
Probably few have heard of guitarist Sasajima - I hadn't, but finding this one in the used bins one day for a couple bucks and seeing Henderson and Rosnes were on it, couldn't pass it up. The drummer and bassist are a bit stiff and Sasajima's no guitar genius, but I think this is a nice rendition of this great Corea blowing vehicle, and Henderson tears it up as usual. Rosnes however does sound a bit off here, I agree with that comment. I mainly included this to make sure you were all awake and could ID Henderson! Apparently this one has been reissued at some point by Enja, with a different cover than on my CD.
3. Night and Day (Cole Porter) – Luis Bonfá, from the CD “Solo In Rio 1959” (Smithsonian Folkways, 2005).
This is a really stellar recording by the composer of Manha de Carnival, done "in the field" so to speak with minimal mic'ing by Emory Cook. Most of the recording is focused on Brazilian tunes including many originals, but here he covers a jazz standard and quite well I think. Guitarists will immediately pick up on Bonfá's jaw dropping technique - he makes the impossible sound oh so easy.
4. The MVP (Tom McIntosh) – Tom McIntosh, from the CD “With Malice Toward None: The Music Of Tom McIntosh” (IPO, 2004). Tom McIntosh, trombone; Benny Golson, tenor sax; Jimmy Owens, trumpet; Stefon Harris, vibes; Bill Washer, guitar; Kenny Barron, piano; Richard Davis, bass; Ben Perowsky, drums.
Many will of course recall McIntosh was in the seminal Jazztet in the early 1960s. I was happy to see him getting his props as a composer and leader when IPO released this a few years back. I have to say I was more than a bit surprised at some of the negative comments about this one. I agree the ensemble is a bit loose, but nobody sounds "tired" to me, just relaxed. To me this is a really interesting composition, nicely played all around. I was particularly impressed with Golson's opening tenor solo from the first listen. Yes his chops have suffered a bit over the years but his thinking is still way up there - he's playing some pretty extended harmonies at several points; the sound of surprise for sure! By the way that's "Manteca" Golson's quoting at the end, because this tune was written by McIntosh as a tribute to Dizzy.
5. Time Space Motion (Bill Baron) – Bill Barron (1989), from the CD “Higher Ground” (Joken, 1993). Bill Barron, tenor sax; Eddie Henderson, trumpet; Kenny Barron, piano; Rufus Reid, bass; Ben Riley, drums.
REALLY glad some folks seemed to quite enjoy this one. Barron never got enough attention and this is a relatively obscure disc even for him, but really nice throughout. This track is a particular favorite, a classic example of how good an "inside/out" conception can be sometimes. I agree with the comments about this sounding not unlike a vintage Blue Note Andrew Hill session (high praise in my book!).
6. Toddler (Clare Fischer) – Clare Fischer (1962), from the CD “Mosaic Select 19: Pacific Jazz Piano Trios” (Mosaic Select, 2006). Originally released on the Pacific Jazz LP “First Time Out.” Clare Fischer, piano; Gary Peacock, bass; Gene Stone, drums.
Also REALLY glad this one seemed to put some smiles on some faces. Ever since picking up this great Mosaic Select I've become a huge fan of Fischer's piano playing; before that I was only familiar with his larger group arranging/leading. It's like an interesting cross between the impressionism of Bill Evans, the unusual rhythmic accents of Andrew Hill, and the distinctive harmonies of a Herbie Nichols.
7. Skylark (Hoagy Carmichael) – Rusty Dedrick (1957), from “Salute To Bunny” (DCC Jazz, 1996). Rusty Dedrick, trumpet; John LaPorta, baritone sax; Jack Keller, piano; Wendell Marshall, bass; Clem de Rosa, drums.
Put this one in the mix just to honor pure beauty of sound - Dedrick's clarion trumpet at the intro slays me every time. I do think the track peters out a bit as it goes on, never quite matching that intro, but it's still interesting and enjoyable. Great SOUNDING disc too, tube-mastered from the original tapes by Steve Hoffman - who told a story on his web Forum about Dedrick literally crying with joy when he found out DCC were going to reissue this long neglected and heartfelt recording. You can pick this one up on the Web for something like $3. Dig the cover - the graphics guy seemed to think they were selling Wonder Bread rather than great jazz!
8. Pharoah (Don Pullen) – Billy Hart (1977), from the CD “Enchance” (A&M Jazz Series, no release date given for the CD). Billy Hart, drums; Oliver Lake, alto sax; Dewey Redman, tenor sax; Hannibal Marvin Peterson, trumpet; Don Pullen, piano; Dave Holland, bass.
Figured this one would polarize folks! Personally I love it - the whole damn CD is outstanding, full of forceful and exciting yet ultimately quite disciplined playing by this truly all-star ensemble. Very democratic too, with Hart quite self-effacing in the leader role. For me on this track it's Dewey Redman's juggernaut tenor solo that steals the show, but Pullen's solo isn't far behind (surprised nobody guessed his identity - it's textbook Pullen!).
9. Blues for Baby (Joe Thomas) – Joe Thomas (1958), from the CD “Mainstream” (Koch Jazz, 1999). Original issued on an Atlantic LP. Joe Thomas, trumpet; Johnny Letman, trumpet; Dickie Wells, trombone; Buddy Tate, tenor sax; Buster Bailey, clarinet; Herbie Nichols, piano; Everett Barksdale, guitar; Bill Pemberton, bass; Jimmy Crawford, drums.
I LOVE this CD, everything about it. Great music, great sound (fine mastering by Gene Paul), and it even has the bonus of HERBIE NICHOLS on piano, thereby adding to his very slim recorded discography. Granted he's not sounding here like he did on his trios for Blue Note or Bethlehem (or even Savoy) but still plays well. The real stars though are of course Thomas, Wells, Tate, Bailey, and Barksdale - just plain tasty, relaxed blues playing here, folks. The whole disc is wonderful (with half of the tracks featuring a completely different but equally great line up of players led by the great Vic Dickenson, doing similar feeling stuff!).
10. Almost Like Being In Love (Lerner and Loewe) – Beverly Kenney (1955), from the CD “Beverly Kenny Sings For Johnny Smith” (Fresh Sound, 1989). Originally issued on a Roost LP. Beverly Kenney, vocals; Johnny Smith, guitar; Bob Pancoast, piano; Knobby Totah, bass; Moosie Alexander, drums.
VERY impressed that someone actually guessed this one correctly, pretty obscure! To me this is just sublime jazz vocal - straightforward yet elegant swinging, with a terrific arrangement and fine Smith accompaniment. Kenney deserves a wider hearing.
11. Eastern Vibrations – Hilton Ruiz, from the CD “El Camino” (Novus, 1988). Hilton Ruiz, piano; Lew Soloff, trumpet; Dick Griffin, trombone; Sam Rivers, soprano saxophone; Rodney Jones, guitar; Andy Gonzalez, bass; Steve Berrios, drums and guiro; Jerry Gonzalez, congas and percussion; Endel Dueno, timbales; Jose Alexis Diaz, percussion and congas.
OK this one just didn't seem to click with anyone. I agree Ruiz goes a bit off the deep end in his playing near the end, but I still really like the groove they hit here. Surprised nobody guessed Sam Rivers was on soprano, this is really his sound. I won't say much more as folks didn't really enjoy it, other than to give Rodney Jones some props - I think his guitar really stands out as a high point in this recording.
12. Three Silver Quarters (Elmo Hope) – Bertha Hope, from the CD “Hope Is In The Air: The Music Of Elmo Hope” (Origin, 2004). Bertha Hope, piano; Don Sickler, flugelhorn.
Can't listen to this without tearing up a little. Incredibly poignant; what must have been going through Bertha's mind? And Sickler certainly does Elmo's memory proud. Just beautiful.
Note that most of the disc features New Stories covering other Hope tunes - hard charging modern hard bop, equally excellent in its own way.
Disc 2 covered in my next post!
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I will post all the track names, personnel, and release info for BFT # 72 right here, later this evening when I'm home from work. Just wanted to make sure everyone knew I hadn't forgotten about this; I was out of town on vacation, sorry for the slight delay. More this evening!
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BFT 72 reveal will be posted LATER TODAY - once I'm home from work. Sorry for the delay but I was out of town on vacation, just back.
Never fear - all will be revealed shortly!
Eric Alexander vs Joshua Redman
in Artists
Posted · Edited by DrJ
And that is totally fine/great with me...that's exactly what I'm arguing for, in fact, and arguing AGAINST the Marsalisian orthodoxy thing. See?
Never said anything to the contrary.
This doesn't hold water for me. While it's true you haven't come out and told anyone they are "wrong," in my view when you start talking about peoples' enjoyment of certain artists as a form of masturbation - not "the real thing" - you might as well have. Are you really going to say with a straight face that folks are supposed to feel their perfectly legitimate viewpoints have been "validated" (meaning NOT "agreed with" but recognized as valid FOR THEM) by those types of comments?
Actually, I found my "crux of the matter" to be much more on point, and find yours concerns a different matter entirely than what we've been discussing here. But that's just me.