mjzee

Very sad news. I would label him a genius. Throughout the Dylan Live 1966 box, I could absorb myself in his playing alone. He was a rock version of a great jazz improvisor. RIP.

Artur Rodziński - New York Philharmonic, The Complete Columbia Album Collection, disc 7.

That is pretty incredible. I wish him well, and the album much success.

Riccardo Muti - The Complete Warner Symphonic Recordings, disc 23.

https://www.foxnews.com/video/6367080781112 Famed Zorthian Ranch burns in California Eaton fire.

Artur Rodziński - New York Philharmonic, The Complete Columbia Album Collection, disc 6.

Riccardo Muti - The Complete Warner Symphonic Recordings, disc 22.

I bought some of the Jazz Icons DVD boxes many years ago when they were rumored to be disappearing, but I never got around to watching them before now. Tonight, I watched the first disc: Blakey Live in '58 with Morgan and Golson (great performance, btw), and was pleasantly surprised to find it contained a long essay by Cuscuna that was typically him: perceptive, informative, thorough regarding Blakey's career, the circumstances of this band (including an interview with Golson), and info about this '58 tour.

Artur Rodziński - New York Philharmonic, The Complete Columbia Album Collection, disc 5.

Release date February 21: To mark the 40th anniversary of his debut recording as a bandleader in 1984, alto saxophonist Jim Snidero set out to create something special with his 28th album-and his second trio project to date with jazz masters Peter Washington on bass and Joe Farnsworth on drums. Fresh off the success of For All We Know (Savant), particularly the standout track "Parkers Mood", Snidero felt the time was right to pay tribute to Charlie Parker, an artist he regards as "the king of the hill." Ranked among the top five alto saxophonists in Down Beat's 2024 Critics Poll, Snidero is more than qualified to honor one of the bebop pioneers. Richard Baratta has worn many hats over the decades; master drummer, Grammy nominee, film producer, musician, but his latest headwear takes us down a nostalgic road of classic rock and soul recordings from the mid to late 1960's. Here on his most recent recording Baratta, together with his working band, explores such tunes as "Blowin' in the Wind," "Purple Haze," "I Feel Good," "Lucy In The Sky With Diamonds," "Whole Lotta Love," "Respect," and other rock mega-hits. With a real all-star ensemble on hand, the arrangements by pianist Bill O'Connell, are thoroughly swinging affairs with a fresh, unique approach and a funky Latin Jazz feel. As with his Music in Film series, Richard Baratta proves himself to be a gifted innovator at transforming familiar, and often surprising, material into vibrant jazz performances that bring new concepts to these truly iconic tunes and underline their timeless appeal.

Release date March 14: NY's venerable veteran bassist Ron McClure's new release is a case of "Lost and Found". The recording was made 32 years ago at Manhattan's upper Eastside nightclub Danshaku (Baron in Japanese). McClure was hired to play a gig and formed a trio with pianist Don Friedman (1925-2016) and guitarist Vic Juris (1953-2019). The gig was privately recorded but the tape was lost. Long story short, the missing tape was found last year in a NY apartment and it's sound has been restored meticulously for us to experience a fabulous night of NY jazz scene three decades ago. "McClure is recognized for inventive improvising, creative compositions in a wide variety of settings and immaculate tone." (Ken Dryden - NYCJR on 31935 Night Quest)

Release date February 7: Scott Hamilton's Looking Back is a poignant celebration of a career spanning over five decades, released on vinyl, CD, and digital platforms. At 70, the American tenor saxophonist continues to champion the swing and mainstream jazz traditions with his signature warm tone, melodic phrasing, and deep connection to jazz's golden age. The album serves as a personal retrospective, with each track dedicated to influential musicians Hamilton collaborated with or admired, including Ruby Braff, Jimmie Rowles, Roy Eldridge, and Illinois Jacquet. Hamilton describes the project as a way to honor the giants who shaped his artistry. Reflecting on his journey, he expresses gratitude for knowing so many of his heroes, adding, "I might need to make another album or two!" Backed by his Scandinavian quartet--Jan Lundgren (piano), Hans Backenroth (bass), and Kristian Leth (drums)--Hamilton brings sophistication and emotional depth to each track. Whether it's the tender nostalgia of "Rockin' Chair" (for Roy Eldridge) or the vibrant swing of "On a Clear Day" (for Illinois Jacquet and Jo Jones), the album highlights Hamilton's ability to breathe fresh life into timeless material. A champion of classic jazz, Hamilton defied trends in the late '70s by drawing inspiration from swing-era legends like Ben Webster and Lester Young. Over the years, he has built a reputation as an innovator within the tradition, earning acclaim for his commitment to preserving and evolving jazz's foundational sounds. Looking Back is a 10-track journey that showcases Hamilton's rich musical history, crafted with the same top-tier musicianship he's displayed since his 1977 debut. For jazz enthusiasts, it's both a heartfelt tribute and a masterclass in timeless artistry.

Riccardo Muti - The Complete Warner Symphonic Recordings, disc 21.

Interesting piece, but I would challenge Swallow on his saying this: First off, this was standard business practice back then. It was rare for someone like Horace Silver to establish his own publishing company. Swallow, by his own admission, had no clue about that side of the business. And there's no assertion that Lion cheated him: Swallow probably got his earned half of the publishing royalties. Also, consider that Basra couldn't have been released without this detail being resolved. Would/should Lion walk him through the process of creating a publishing company?

Artur Rodziński - New York Philharmonic, The Complete Columbia Album Collection, disc 4.

Riccardo Muti - The Complete Warner Symphonic Recordings, disc 20.

I saw a show on this tour - Barton Hall, Cornell. They were hot.

I'm guessing that, growing up, he was Barry Phillips.

I understand the talk about a staid Concord sound. I sometimes heard a Concord disc and it just went through me without leaving an impression. I'm thinking as an example of a Frank Foster/Frank Wess disc, "Frankly Speaking," that just seemed devoid of personality, which seemed strange given the musicians. There are label personalities, which probably stem from the owner/producer (as a friend of mine used to say, "fish stink from the head"). This is the standard dig about ECM, and I think it's true: how does an ECM recording somehow make interesting musicians record an uninteresting disc? It's a mystery even though I think it's true. It probably stems from the producer. When Alfred Lion told the musicians "it must schwing," he was putting pressure on them to up their game; recording in the NYC area probably added to that, in a good way. I don't see how any of this relates to Emily Remler, though; she put out some fine albums. Concord was a label that prized guitarists.

"...being locked into someone else’s nervous breakdown." LOL! I'm not the biggest fan of Mahler's work, so I'm probably not the best judge of the performance.

I have two of his albums on Reservoir. RIP.

Reading his Wikipedia page now; I had no idea he was American. Quite the discography. RIP. https://en.wikipedia.org/wiki/Barre_Phillips