mjzee

The Cleveland Quartet - The Complete RCA Album Collection, disc 8.

Riccardo Muti - The Complete Warner Symphonic Recordings, disc 47.

I much prefer if musicians record standards, or at least recognizable tunes, but they don't make any royalties off tunes written by someone else. They're fighting for every penny. I understand that, even if I usually don't want to listen to it.

The Cleveland Quartet - The Complete RCA Album Collection, disc 7.

I couldn’t agree more.

Release date June 6: Many of us old-timers remember George "Big G" Coleman in the late 50s and 60s performing with almost every single legendary name in that golden era of American jazz, a.o. Miles Davis. Coleman who turns 90 this year is still going strong and surrounds himself with the elite artists of younger generation including the leader of this album Brian Charette (Hammond-B3). This album can be seen as the sequel to 2018's "Groovin' With Big G" (SCCD 31857) again with Charette in charge of keeping the music flowing. "This is a mellow date, a blowing date to be sure but Charette's B-3 rarely goes the funk route and is closer to Wild Bill Davis. Coleman's tenor is as strong as ever and while not aggressive, it is still forceful." (Papathomas on SCCD 31857)

Release date June 6: For generations, the music of Richard Rodgers has been capturing listeners' ears and imaginations. The legendary composer's songs have become a part of the musical zeitgeist, many outlasting the musicals or films they were created for. It is no surprise that Denny Zeitlin chose to spotlight Rodgers and his exemplary work on the pianist's new solo recording, With a Song In My Heart: Exploring The Music of Richard Rodgers.Richard Rodgers is considered one of the finest composers of the 20th century. He mastered the challenge of integrating harmony and melody, accomplishing this in a seamlessly natural way. Rodgers' limitless ideas insured that his music remains forever fresh and never dated. It is easy to see why jazz musicians have long appreciated Rodgers' work, as it is easy to breathe new life into.Beginning in 2009, Zeitlin enjoyed a decade of annual solo concerts at Oakland's Piedmont Piano Company. By 2014, he was devoting each concert to an exploration of a single composer. Having done Wayne Shorter, Thelonious Monk, Miles Davis, Billy Strayhorn, and George Gershwin, Zeitlin set his sights on the music of Rodgers. Zeitlin had first encountered Rodgers' work as a child when he saw Oklahoma! On the stage and screen. He was immediately hooked and Rodgers' music became regular components of Zeitlin's sets from high school on. To prepare for his December 2019 performance at Piedmont Piano, Zeitlin took to the internet to remind himself of the Rodgers songs he loved and, also, discover new ones. After making his selection, he began improvising and working with the material, alert to ways he could breathe new life into these compositions while honoring their specialness. Loose arrangements of the songs emerged, often involving free improvisation, new time signatures, reharmonization, and restructuring through repetition and focus on motifs. Zeitlin's goal was to present the compositions in a fresh way that would unearth new challenges within the arrangement for improvisation. In performance, he hoped to get out of the way of the music and trust his unconscious to surprise himself with new musical solutions.With a Song In My Heart presents eleven pieces that Zeitlin reimagines in his own brilliant and expansive way. The first half of the program was recorded live at Piedmont Piano Company on December 13, 2019, while the other half was recorded at Zeitlin's Double Helix Studio at his home during sessions in November and December. Denny Zeitlin has an incredible ability to infuse new light into well-known repertory works. The pianist's reinvestigation of the music of Richard Rodgers is particularly illuminating, as the great composer's works seem to beg for thoughtful readings. With a Song In My Heart showcases the brilliance of both men, the creator and the rejuvenator.

Release date April 18: The Americana-infused influences Baltimore-based guitarist Charlie Ballantine naturally fell into during his years growing up in Indiana, blend seamlessly with his Indianapolis jazz pedigree - instilled by the residual sounds of Wes Montgomery and Freddie Hubbard in the city's air. Since moving east several years ago, the environment, the new colleagues and the energy lent an added dynamic, displayed here in Ballantine's musical connection with the acclaimed New York drummer, Dan Weiss. Bassist Quinn Sternberg, a decades-long compatriot from Indiana, rounds out the trio, adding his years on the New Orleans music scene to the mix. In the vein of fellow guitarists like John Scofield, Bill Frisell and Julian Lage, Ballantine reconciles his background in jazz with the stylistic background of his instrument the gratifying tonal and harmonic language of rock/roots with the groove, ambition and improvisational focus of a jazz musician - JAZZIZ"A Guitarist teeming with intricate grooves and maniacal precision." - JazzTimes Release date May 16: On a quest of growth and mastery as a saxophonist, composer and musician, Jordan Vanhemert found equally important his efforts to contextualize difficulties of his life experiences. Within some deeper themes, including coming of age as a Korean adoptee, he's discovered in the process, resilience, optimism and joy. Jordan's music is meant to convey empathy and solidarity to others, and this album, Jordan's fifth as a leader, effectively fulfills these simultaneous pursuits. His stellar band includes Terell Stafford, Michael Dease, Helen Sung, Rodney Whitaker, and Lewis Nash. "an emotive, adventurous and timeless spirit of jazz that's globally enjoyable." -Take Effect Magazine"Brilliance, sparkle and punctuation are the key words of this album, to which we must also add melodicism and the intelligent spontaneity of harmonic interactions." - Couleurs Jazz, Paris

Release date May 9: An Afternoon in Norway: The Kongsberg Concert is a previously unreleased recording of alto saxophone icon Art Pepper, captured live at the Kongsberg Jazz Festival in Norway in 1980, featuring pianist Milcho Leviev, bassist Tony Dumas and drummer Carl Burnett. Digipak 2 CD set with audio transferred from the original tape reels. An elaborate booklet features liner notes by acclaimed author and jazz scholar Marc Myers, plus interviews with artists who knew or were inspired by Art Pepper. Limited Edition.

Riccardo Muti - The Complete Warner Symphonic Recordings, disc 46.

A few months ago, Stereophile magazine published a piece on Andy Summers. I found this portion of the interview interesting: Summers listens to a lot of music on the ECM label, he says. "There's an oud player on ECM who is amazing, this guy called ..." He blanks on the name. Anouar Brahem, I offer. "Exactly," he says, smiling. "I have at least six of his albums. A lot of the music on ECM has been huge for me. I almost got on that label myself, but it's led by a very strange man." He means label boss and producer Manfred Eicher, with whom he had a minor kerfuffle eight or nine years ago. "I recorded a beautiful album called Triboluminescence, and I recorded it right, with all the necessary care and musicianship. Someone I knew contacted Eicher and said, 'Wouldn't you like to put out this record by Andy?' And Eicher was interested, but he essentially said, 'You must come and record it again.' My feeling was, 'Fuck off, it's already done.' He felt he had to be in charge—could be a very German thing I suppose. I don't make records with someone like that. But I would've felt at home there, I think. ECM has super musicians like [Norwegian saxophonist] Jan Garbarek, so I thought, that's where I belong. But it didn't come to pass, and I'm not crying in my milk about it." (Full article can be found here: https://www.stereophile.com/content/policed-complex-simplicity-andy-summers)

Ah, the strong opinion dilemma. We feel a certain protectiveness towards jazz; we know how few people enjoy it. We feel an extra protectiveness towards living musicians, because we know how hard it is to make a living, and a bad review or two can destroy someone's livelihood. I've held my tongue when discussing certain living musicians, especially elder statesmen, simply out of respect and not trying to harsh the vibe. On the other hand, one of the joys of listening to jazz is the analysis of the experience. This is difficult for someone like me, who hasn't had any sort of musical training or study, but who listens to a lot of music. I know what I like, even if it's hard to express. There is a desire to describe the listening experience, to compare musicians, to compare performances. I think this is universal: there are some musicians we like and some we don't. What's fascinating, and speaks to the human condition, is that we all don't like and dislike the same musicians, and I think we're puzzled by that: Why doesn't that person like what I like? Why aren't they hearing what I'm hearing? There's a desire to express and compare experiences; if they're strong experiences, we express that description strongly. That directly collides with the previous paragraph. So, what to do? I think a troll is someone who criticizes or tries to upset a particular person or group of people who post on a particular forum. The OP wasn't criticizing anyone here, he was just expressing his opinion about Lovano (and Lage). Therefore, I don't think he was trolling. Further, his opinions were based on his personal investment in the process: buying tickets and spending time at the concert. My opinion is closer to Rooster_Ties's. What Lovano plays just doesn't interest me. His tone is flat and unvigorous (which is strange considering he's a big guy, and should be able to blow harder, more distinctly), and his solos just seem to take up time. I don't enjoy his playing; that's me. But a lot of people disagree: he's put out many records in his almost 40 years as a leader, he continues to record so his records must sell, and his boosters included Michael Cuscuna (a big plus in my book). I saw Lovano once with Pat Martino at the Blue Note, and his playing bored me; others must have felt differently. So I think, in general, there's a real need to express opinions honestly and, yes, forcefully. That's just life. Perhaps this thread should be retitled to "Joe Lovano (trigger warning!)" to warn readers who might find a strong opinion to be unpleasant.

The Cleveland Quartet - The Complete RCA Album Collection, disc 6.

I am so angry that I can’t read this article!!! 😝

Lovano's not one of my favorites.

They must have had a great agent to strike them that deal. That was a time when lots of groups got their vanity labels (Jefferson Airplane - Grunt, Zappa - Bizarre/Straight, The Beach Boys - Brother are some others that come to mind). There was so much money flowing around back then, I think they threw it at anyone halfway popular who asked.

Raccoon also released the first bluegrass album I ever heard: I honestly didn't know what to make of it, but I think I liked it.

Riccardo Muti - The Complete Warner Symphonic Recordings, disc 45.

Release date June 13: Duke Jordan (1920 - 2006) was approached in NY by Marcel Romano, musical consultant of the French film Les Liaisons Dangereuse directed by Roger Vadim in 1959 to audition for the soundtracks. It laid down the groundwork for Jordan's rise to the star composer status. All too famous "No Problem" is not included in this sketching but a few of the tunes we come to appreciate later are here in their prototypes. This recording made in a NY studio has never been heard (except maybe by Vadim). SteepleChase is proud to announce the world premier release of the album of cultural/historical significance.

Release date May 16: It was an unforgettable week of music at the Blue Note in New York City, March 2005, celebrating the legendary saxophonist & flutist James Moody's 80th birthday. "80 Years Young" documents the grand finale of that week, now released for the first time and in celebration of the 100th anniversary of his birth. The club was buzzing that night with jazz legends, sports figures, TV personalities, and alive with love, joy, and the heartbeat of a community united in reverence for a great American cultural icon. Supporting Moody were Jon Faddis, Randy Brecker, Paquito D'Rivera, and Slide Hampton, with David Hazeltine and Cedar Walton on piano, bassist Todd Coolman, drummer Adam Nussbaum, with a brief introduction by jazz impresario George Wein. Featured in the set was "Moody's Mood for Love," over a half-century since it was a major hit for King Pleasure and Moody's signature tune over the decades. "80 Years Young" is a powerful reminder of the lasting impact of his music and exudes the deep joyful connection he created with colleagues and audiences throughout his six-decade career.

Release date May 30: Known for music which embodies a refined balance of swing, lyricism and harmonic sophistication, pianist Danny Grissett has been influenced by legends like Herbie Hancock, Mulgrew Miller and Cedar Walton. Grissett's approach is marked by a crystalline touch, fluid phrasing, and an impeccable sense of rhythm. Whether performing as a leader or alongside jazz greats like Tom Harrell, Nicholas Payton and Jackie McLean, Grissett's music exudes warmth, elegance, and integrity. On Grissett's latest recording, he offers a set list of mostly original compositions inspired by the life and reflections of a traveling jazz artist. Together with drummer Bill Stewart and bassist Vicente Archer, the trio performs the imaginative structures and lyrical melodies of these new works with compelling dedication and insight. "Travelogue" extends Grissett's impressive discography, taking listeners on a journey through a colorful musical landscape of innovative compositions. Jazz vocalist and pianist Dena DeRose is back with a stunning new recording that solidifies her place among the most communicative and sophisticated artists in jazz today. DeRose has captivated audiences with acclaimed albums like Ode to the Road (HCD 7323) and United (HCD 7279) and here she unveils her latest project, featuring her musical compadres of choice, bassist Martin Wind and drummer Matt Wilson. Also appearing on two tracks is special guest, the remarkable trombonist Ed Neumeister. This new release showcases DeRose's signature blend of swing and heartfelt balladry, underlining her reputation as "a supremely elegant pianist and singer who exudes an effortless sense of swing" (DownBeat). The album is also notable for the first recording of DeRose's own compelling composition, "Hold Fast to Your Dreams," based on the poetry of Langston Hughes. Throughout the session, she performs her music with the warmth and insight that have made her a favorite among the jazz cognoscenti.

Release date May 16: Savina Yannatou's fifth ECM album revolves around the theme of water in its many manifestations. Water as a blessing and a curse. A life-sustaining source and a mortal threat in the elemental power of the storm. Multicultural in their musical passions, and daring in their stylistic juxtapositions, Savina and friends also illuminate the connections between the traditions. Featuring Primavera en Salonico and Lamia Bedioui.

Release date April 25: I sat very near to or next to the greats at the Village Vanguard on many occasions, says the eminent drummer-composer-bandleader Bill Stewart, by way of contextualizing his - and the Criss Cross label's - first-ever live-at-the-Vanguard recording. During his early years in New York, before he ever played the hallowed basement, Stewart, now 58, frequently arrived early to claim the behind-the-drumkit position on the red banquette that runs along the Vanguard's west wall all the way to bandstand stage right to get a bird's eye view of Elvin Jones, Tony Williams, Roy Haynes, Billy Higgins, and a host of other masters whose recordings he'd played along with as an adolescent and teenage aspirant in Des Moines, Iowa. "When you sit close, you get the body language, the whole vibe of the drummer who you want to check out, " Stewart says. "That's the place." It's a sure bet that more than a few drum aspirants took pains to assess Stewart's vibe from that privileged perch between September 18 and September 23 in 2023, when he convened bassist Larry Grenadier and tenor saxophonist Walter Smith III for their third weeklong trio engagement at the Vanguard, following residencies in April 2017 and in October 2018. The latter engagement transpired around the trio's first album, Band Menu, a studio date that marked Stewart's first leader endeavor without a chordal instrument. "My first six recordings before the last one had piano, including two with Larry Goldings and Kevin Hays on keyboards, " saysStewart, who has made numerous organ trio albums with Goldings and guitarist Peter Bernstein, either led by Goldings or Bernstein or under the collective billing Goldings-Bernstein-Stewart. "I wanted to work with the open sound of the tenor trio. Not having a piano or guitar gives me the option to fill up more space with the drums or allow more space in the music. I was also thinking of the famous tenor-bass-drums recordings by Sonny Rollins and Joe Henderson at the Vanguard. So I felt it was time to document the trio playing in the room." The Album was recorded September 22 / 23, 2023 Live at the Village Vanguard, NYC. Recording engineer: James Farber. Mixing by Tyler McDiarmid. Mastering by Nate Wood. Produced by Bill Stewart. Photography by William Brown. Line up: Bill Stewart (drums) - Walter Smith III (tenor saxophone) - Larry Grenadier (bass)

I also have the Kindle app on my iMac. I could open the book in it and easily copy and paste contents. It's just an additional way of doing things. I'll also point out that the eBook is $2.99 during this sale, while the hardcover is $26.98.