_forumlogo.png.a607ef20a6e0c299ab2aa6443aa1f32e.png)
Joe
-
Posts
4,637 -
Joined
-
Last visited
-
Donations
0.00 USD
Content Type
Profiles
Forums
Events
Blogs
Posts posted by Joe
-
-
I would have liked to have been at the infamous HARD DRIVIN' JAZZ session, just to see if it was as tense as Cecil Taylor described in Spellman's FOUR LIVES.
-
-
- Lee Konitz, TENORLEE
- John Benson Brooks, FOLK JAZZ U.S.A., with Zoot Sims on alto and Al Cohn on (rhyming) baritone
- Charles Gayle, JAZZ SOLO PIANO and TIME ZONES
- Yusef Lateef, keyboards throughout on NOCTURNES
- Joe Chambers, keyboards on DOUBLE EXPOSURE
- Lee Konitz, TENORLEE
-
There was also a 70s vinyl reissue, that whole Bethlehem reissue thing, but iirc it ws one of the later/last ones in the series and didn't get too much of a run.
They also retitled the session IDOL OF THE FLIES for that re-release... I actually once saw a copy at a local Half-Price Books.
-
Maxi Kim: ONE BREAK, A THOUSAND BLOWS!
What's this one about?
Art school, Japan, continental post-modernism, sex and name-dropping.
Full disclosure: the author and I attended the same graduate writing program and have many friends and colleagues in common -- many of them referenced / fictionalized in this book.
-
Maxi Kim: ONE BREAK, A THOUSAND BLOWS!
-
Evans does appear on JAZZ IN THE SPACE AGE, playing alongside Paul Bley... terrible title, fascinating LP.
-
A Hipgnosis design, BTW.
And, according to Wikipedia (anyway)... "The models photographed were actually Genesis P Orridge - of Throbbing Gristle - and girlfriend Cosey Fanni Tutti."
-
A fine idea...
1) Enrico Rava / Lee Konitz, L'AGE MUR (Philology) -- worth it for the playing of both principals, which is up and often above what one would expect... but the Italian rhythm section (Rosario Bonaccorso on bass, and Massimo Manzi on drums) here is equally wonderful, pushing / pulling / stretching at will, and with subtle inventiveness.
2) Frank Lowe, EXOTIC HEARTBREAK (Black Saint) -- I've been singing the praises of this record for years. A brilliant statement on "the jazz life", if you know what I mean. With Butch Morris, the fabulous Amina Claudine Myers, the late Wilber Morris and one Tim Pleasant on drums.
3) Jerome Harris, RENDEZVOUS (Stereophile) -- very OOP (AFAIK), but worth tracking down. Here, Harris plays acoustic bass guitar (as opposed to string bass), with support from Marty Ehrlich, Art Baron, Steve Nelson and Billy Drummond; also a great showcase for Harris the composer (a pleasant surprise if all you know is his work with Rollins).
4) Shorty Baker & Doc Cheatham, SHORTY & DOC (Prestige Swingville / OJC) -- Baker being one of the classic Ellingtonians, of course, and here's a rare opportunity to hear him stretch out and show off those qualities that made such an impression on a young Mile Davis.
5) George Garzone / Jeff Palmer / Richard Poole, OPPOSITE VOLTAGE (Music Artists Co.) -- a organ / tenor / drums combo playing in almost entirely "free" style.
6) Jay Hoggard, IN THE SPIRIT (Muse) -- for all intents and purposes, a tribute to Eric Dolphy, but one that avoids being obvious / derivative. With James Newton, Dwight Andrews, Mark Helias and Ed Blackwell. Bonus: a fine reading of Anthony Davis' "Andrew", dedicated to Andrew Hill (IIRC)
7) Ralph Pena, MASTER OF THE BASS (VSOP) -- vintage informal recordings, featuring the former Giuffre associate in duets and trios with Pete Jolly, Joe Albany and Herb Geller.
8) Susie Ibarra, RADIANCE (Hopscotch) -- Charles Burnham lights it up; killer version of Hendrix's "Up From The Skies".
9) James Carter / Cyrus Chestnut / Ali Jackson / Reginald Veal, GOLD SOUNDS (Brown Brothers) -- A "Pavement Songbook"? Should be just a novelty record, shouldn't work, but it isn't, and it does...
10) Gerry Hemingway, THE WHIMBLER (Clean Feed) -- Herb Robertson; get to know him...
-
The Krivda CD's will be available in Januari/Februari. I got this from the Jazzsessions.com owner.
-
Funny... was listening to Krivda's work earlier today on a date issued as LEE'S KEYS, PLEASE (and attributed to the "Cadence All-Stars"... recommended, BTW) and wondered about the status of those Inner City records. Excited to see that they might be available again.
-
IIRC, Dorham also wrote semi-regularly for DOWNBEAT in his latter years. Record reviews, mostly, but I believe he also penned an autobiographical sketch for the magazine as well. I for one would love to have all that material collected.
-
"Blues Eleganté" by Kenny Dorham and The Jazz Prophets, from their eponymous 1956 ABC / Paramount session.
Because it is just so very, very decidedly hip.
-
Look for a Bradford/Stevens double in Feb/March. Working on the package right now. Tapes were transferred a couple months ago.
The thread that keeps on giving... been looking forward to the reappearance of this material for quite some time.
-
Thanks Chuck. This is wonderful news indeed... nice to see James Newton's name on a new release as well.
-
By John McWhorter / CITY JOURNAL
[snippet]
Will Marion Cook is a name to reckon with in the history of black American music. “His great genius will always be a guiding star to those of us who remain,” black violinist Clarence Cameron White wrote on hearing of Cook’s death. Trumpeter Arthur Briggs called Cook “the greatest real musician ever.” Duke Ellington and Eubie Blake praised him as a mentor.
[/snippet]
-
Yes, a label very worthy of your support. By all means, snag the Jimmy Lyons box set while its still available.
-
And... if you can cram almost the entire album credits in your 'do... that's impressive styling...
-
Alright, its past time I compiled one of these... would the keeper of the schedule please pencil me in for the next available slot?
Thanks,
JM
-
Was Gertrude Braxton's mother?
MG
A) Stein was definitely "a mother".
B) She's about as nurturing as a wire monkey momma.
C) She may have mothered us all.
-
Seems to me so much of what we consider art (insert your own definition here) "happens" somewhere between regularity and surprise.
As to what counts as either... well, my own experience has taught me that both shift over time. Just as perceptions do, and as those perceiving live, grow, change, and, one trusts, gain wisdom.
In other words, if one does not find enough regularity / order in a particular instance of cultural production, one is likely to consider it formless, or amateurish, or "bad". But the presence of too much regularity / order often leads one to conclude that the thing encountered is boring, more of the same, lacking in excitement, etc.
Or, as Gertrude Stein once said (then wrote):
There is singularly nothing that makes a difference a difference in beginning and in the middle and in ending except that each generation has something different at which they are all looking. By this I mean so simply that anybody knows it that composition is the difference which makes each and all of them then different from other generations and this is what makes everything different otherwise they are all alike and everybody knows it because everybody says it.It is very likely that nearly every one has been very nearly certain that something that is interesting is interesting them. Can they and do they. It is very interesting that nothing inside in them, that is when you consider the very long history of how every one ever acted or has felt, it is very interesting that nothing inside in them in all of them makes it connectedly different. By this I mean this. The only thing that is different from one time to another is what is seen and what is seen depends upon how everybody is doing everything. This makes the thing we are looking at very different and this makes what those who describe it make of it, it makes a composition, it confuses, it shows, it is, it looks, it likes it as it is, and this makes what is seen as it is seen. Nothing changes from generation to generation except the thing seen and that makes a composition. Lord Grey remarked that when the generals before the war talked about the war they talked about it as a nineteenth century war although to be fought with twentieth century weapons. That is because war is a thing that decides how it is to be when it is to be done. It is prepared and to that degree it is like all academies it is not a thing made by being made it is a thing prepared. Writing and painting and all that, is like that, for those who occupy themselves with it and don’t make it as it is made. Now the few who make it as it is made, and it is to be remarked that the most decided of them usually are prepared just as the world around
them is preparing, do it in this way and so I if you do not mind I will tell you how it happens. Naturally one does not know how it happened until it is well over beginning happening.
(from Composition As Explanation, 1926)
-
Just this afternoon I listened to Charles Dodge's EARTH'S MAGNETIC FIELD -- an old Nonesuch commission -- for the first time in over a decade. Still intriguing, and oddly moving.
-
The Omnitone store also has a selection of these still available for purchase.
http://www.omnitone.com/store/label-blacksaint.htm
-
String Trio of New York!
Seconded. Big fan of all versions of this group... I may even prefer to edition with Charles Burnham in the violin chair, which, alas, did not record for BS / SN. (Their two Stash discs = superb.) But the Regina Carter edition did, and BLUES... is a fine effort.
Somewhat related: John Lindberg's DIMENSION 5; subtract Emery (g) but add Hugh Ragin, Marty Ehrlich and Thurman Barker.
musicians playing an ENTIRE session NOT on their primary instrument
in Miscellaneous Music
Posted
According to AMG, Jaki Byard plays tenor sax throughout on Herb Pomeroy's LIFE IS A MANY SPLENDORED GIG... can anyone here confirm?