What vinyl are you spinning right now??

[Dan Gould]

50 minutes ago, bresna said:

Booker Ervin - The In Between (Blue Note). As much as I like Booker, this doesn't seem to come off the shelf very often. "Typical Booker" might be the best descriptor. I was once told by a musician that Booker only has two solos - a slow one and a fast one. Maybe this is one of those dates where that is more evident?

I thought that line was Chuck's?

[Kevin Bresnahan]

2 minutes ago, Dan Gould said:

I thought that line was Chuck's?

I think I heard it first from Danny D'Imperio.

Noah Preminger - Some Other Time (Newvelle Records). I got this from Noah at a local gig. Damn expensive record, even from Noah. Not a huge fan of Ben Monder's echo-drenched guitar but a small complaint. Most of the tunes are taken at a leisurely pace. Weirdly oversized LP jacket. It barely fits into my LP rack and won't fit into any LP sleeve I have.

I wish that NewVelle sold Frank Fimbrough's "Meantime" by itself. I'd like to have that one.

[JSngry]

1 hour ago, bresna said:

Booker Ervin - The In Between (Blue Note). As much as I like Booker, this doesn't seem to come off the shelf very often. "Typical Booker" might be the best descriptor. I was once told by a musician that Booker only has two solos - a slow one and a fast one. Maybe this is one of those dates where that is more evident?

That's my favorite Booker album. Tunes, playing, BN sound, Bobby Few. And tempos. Those are my favorite tempos on a Booker record.

Well, maybe not my only favorite, there's also the Candid record. But, one of two, then.

As far as Booker having two solos, sure, yeah, why not, but...ok, then what? Then he plays one of those (allegedly) two solos and...it's all good, right?

If not, don't blame him.

[Dub Modal]

In Between & Structurally Sound are great Booker albums IMO, both from BN. 

[Kevin Bresnahan]

Don Patterson - Mellow Soul (Prestige). Green label with Van Gelder in the dead wax. Weird notations on the back of this used LP. Side 2 has the first track, "Mellow Soul", circled in red pen with the word "House" written next to the track number and 5 gold ink dots on top of a second "House" written next to the title. The second track on Side 2, "Head", is circled in black ink and there are 6 gold ink dots next to that. There is also the word "Paly" (Maybe meant to be "Play"?) with arrows pointing to the track "Head" and the third track on Side 2, "These Foolish Things". Must be some sort of DJ lingo.

[JSngry]

50 minutes ago, Dub Modal said:

In Between & Structurally Sound are great Booker albums IMO, both from BN. 

Structurally Sound was from Pacific Jazz, produced by Richard Bock, same as Booker 'n' Brass. Booker only got moved to Blue Note post merger, but his contract was originally with PJ.

Now, Texbook Tenor, that was another fine, FINE one from BN, I forgot about that one.

[Dub Modal]

30 minutes ago, JSngry said:

Structurally Sound was from Pacific Jazz, produced by Richard Bock, same as Booker 'n' Brass. Booker only got moved to Blue Note post merger, but his contract was originally with PJ.

Now, Texbook Tenor, that was another fine, FINE one from BN, I forgot about that one.

I have Structurally Sound on a BN Conn CD so that's the reason for my confusion on that. 

[JSngry]

Yean, Lundvall era Blue Note liked to do that, put the "Blue Note" appellation on anything that was now under the then-current umbrella. Gotta read the fine print!

 

[Dan Gould]

40 minutes ago, JSngry said:

Yean, Lundvall era Blue Note liked to do that, put the "Blue Note" appellation on anything that was now under the then-current umbrella. Gotta read the fine print!

 

There was a time that I bought so far into the Blue Note mythology that it outright pissed me off to see the BN insignia on reissues from labels I knew didn't have any connection at the time of original issue.

 

[JSngry]

Like for Kenny Drew?

[Dan Gould]

3 minutes ago, JSngry said:

Like for Kenny Drew?

On that Walkin/Talkin' thing? Hell yeah. But what I specifically recall was a Jim Hall/Bill Evans thing with the "Best in Jazz since 1939" think and I'm like, WTF?

[JSngry]

yeah, me too. I was like, no, UA was a totally different label for Blue Note at that time. People shouldn't think that all jazz form a certain time was Blue Note just because. Nothing could be further from the truth, like, Richard Bock was NOT Alfred Lion, etc.

[danasgoodstuff]

I don't even think of some things that actually were on BN initially as being 'really BN' - if they were done after they moved to LA or show the imprint of an outside producer like Monk Higgins, or just don't feel right to me.

[JSngry]

Jack Wilson - 3 BN albums, three producers. None of them were Alfred Lion.

post-Liberty, there was an interesting divide between Francis Wolff, Duke Pearson, and "others", like Jack Tracy, Monk Higgins, other people, can't recall all of them. Wolff seemed to do the funky organ records, Pearson the more "modern", and then, the others. It led to a diffusion of the label identity, but a more varied catalog. I mean, I got zero use for Monk Higgins, but, part of the times anyway.

Then they let Dr. Death get his foot in the door and, the Knew Knote Of The Death Knell began ringing, and it was NOT Freedom!

Whatever, it's all history now, and to the victors have gone the spoils.

[jazzcorner]

 

 

[HutchFan]

NP:

José Roberto Bertrami - Blue Wave (Milestone, 1983)

 

[HutchFan]

John Scofield - Bar Talk (Novus, 1980)

An early Sco' trio date with Steve Swallow & Adam Nussbaum

 

[JSngry]

Who was driving all that Brazilian talent to Milestone during this prriod? 

You're pulling buttloads of these records, only a very small # of which  I haver ever seen, much less heard. Was this an Azymuth thing or what, who was hooking these people up? And to what extent was Orrin Keepnews involved? Producer, executive producer, , coffeeboy?

Or was this a licensing thing only?

[HutchFan]

47 minutes ago, JSngry said:

Who was driving all that Brazilian talent to Milestone during this prriod? 

You're pulling buttloads of these records, only a very small # of which  I haver ever seen, much less heard. Was this an Azymuth thing or what, who was hooking these people up? And to what extent was Orrin Keepnews involved? Producer, executive producer, , coffeeboy?

Or was this a licensing thing only?

From what I can gather, it was Flora and Airto hooking Brazilian jazz musicians up with Milestone.  Presumably since Flora already had a relationship with the label. Plus, I'm sure that Airto's and Flora's success in the U.S. market inspired many Brazilian jazz musicians to come north to the U.S.  Think about it: Opa (mostly guys from Airto's "Fingers" band; although they were mostly from Uruguay, not Brazil).  Azymuth (and the solo records by Azymuth band members: Jose Roberto Bertrami, Ivan Conti & Alex Malheiros).  Claudio Roditi.  Some really good musicians there.  

I don't think Keepnews had anything to do with these later Brazilian records, post-Flora.  

The LPs by musician I've listed above were not licensing deals -- but Milestone did license some guitar records by Baden Powell and Túlio Mourão (and maybe some others) from indie Brazilian labels.  And the Roberthino Silva record with Wayne was licensed from CBS Brazil.  I suppose that's how Silva got Wayne to play on the one cut.

Viva Brasil, bebê!   

 

By the way, I think there's a book waiting to be written on the interaction between Brazilian music and jazz, beginning with Airto and Flora (circa 1970 or so) and up 'til the present.  The whole bossa thing has been covered.  I'm not talking about that.  Here's why I think a book makes sense:  I believe you could easily make an argument that Airto's and Flora's impact on jazz has been WAY overlooked.  Think about it: Aside from Airto, NO ONE ELSE performed with Miles, Weather Report, AND Return to Forever.  And, while Airto & Flora's impact may have waned a bit in the second half of the 70s, they again began exerting influence as Brazilian/jazz fusion(s) became a thing again in the 1980s.  Along with the stuff above, think about the impact of George Duke's Brazilian Love Affair.  Airto and Flora were right there, and that launched even more Brazilian Jazz fusions.  ... So I think there's an interesting book in there somewhere, even though no one has picked up on it yet.

 

Edited April 20, 2021 by HutchFan

[JSngry]

No Raul de Souza connections then? Or was this a different circle altogether? Maybe he was older?

I think it would be great that Airto/ Flora kept bringing people in to a smaller label once they themselves had moved up the ladder. Like I said, most of these records were invisible to me at the time, or to the extent I saw them just assumed they were some kind of Fuzaky crossover crap.  But apparently not. Bottom line is that they got made, and you can't unmake a record!

Networking is kinda the untold story of music. Kinda. Everybody sees what's obvious in it, but inevitably it runs deeper than the obvious. So this many records by this many different people...wow!

 

[HutchFan]

39 minutes ago, JSngry said:

No Raul de Souza connections then? Or was this a different circle altogether? Maybe he was older?

I forgot to mention him!  That was Airto too!  Airto produced Colors for Milestone.  And that record is really, really good, especially the cuts with Arthur Blythe.  I should have included it in my 70s jazz survey.

 

39 minutes ago, JSngry said:

I think it would be great that Airto/ Flora kept bringing people in to a smaller label once they themselves had moved up the ladder. Like I said, most of these records were invisible to me at the time, or to the extent I saw them just assumed they were some kind of Fuzaky crossover crap.  But apparently not. Bottom line is that they got made, and you can't unmake a record!

Networking is kinda the untold story of music. Kinda. Everybody sees what's obvious in it, but inevitably it runs deeper than the obvious. So this many records by this many different people...wow!

Yep.  It's been a gas digging into all this stuff for my 80s Jazz project.     I've been an Airto & Flora fan for a long time -- but their influence was much bigger than I'd realized.

EDIT:
I also forgot to mention that it was Airto who hooked Hermeto Pascoal up with Miles.  Hermeto and Airto had played together in Brazil (in the Sambrasa Trio and Quarteto Novo), so when Hermeto came to the U.S. circa 1970, Airto introduced Hermeto to Miles.  That's how Hermeto got to play on Live Evil.  Another ripple in the pond prompted by Airto.

 

Edited April 20, 2021 by HutchFan

[JSngry]

3 minutes ago, HutchFan said:

I forgot to mention him!  That was Airto too!  Airto produced Colors for Milestone.  

Ok, so who put de Souza together with Sonny? That's a story I don't know I'm ve heard yet 

And where does George Duke factor into this, if anywhere? Him & Airto go back to Cannonball, and...see, this networking thing, it fascinates me...making the music once people get together is in some way the easier part. Getting in there to even be there, that's the crazy part!

Oh hell, George Duke was on Nucleus, duh!

[HutchFan]

1 minute ago, JSngry said:

Ok, so who put de Souza together with Sonny? That's a story I don't know I'm ve heard yet 

And where does George Duke factor into this, if anywhere? Him & Airto go back to Cannonball, and...see, this networking thing, it fascinates me...making the music once people get together is in some way the easier part. Getting in there to even be there, that's the crazy part!

I don't know how de Souza got hooked up with Sonny.  Maybe because they were both on Milestone?  That's just a guess on my part.

The George Duke connection is easier.  Duke played on several of Flora's records, beginning with the first, Butterfly Dreams.  Airto, Flora, and Cannonball were all friends and hung out together.  I've been reading a book about Brazilian music, and there's a really cool picture of Cannonball, Flora, and Airto.  Flora's chatting with Cannon, and Airto's flexing his muscles behind them, mugging for the camera.  

 

[JSngry]

+ Walter Booker, his wife Maia, singing on Super  Nova...and then Duke Pearson, producer of that, using Flora...it just goes and grows.. 

[chewy-chew-chew-bean-benitez]

just blasted 2 hours of Brunswick 78's 1927-1929 via iphone/archive.org to the 1928 Brunswick 5KR....check out the "0-100" dial