What vinyl are you spinning right now??

[mjazzg]

9 hours ago, sidewinder said:

 Not heard the Rudolph stuff, will have to check it out. I did see Lateef live with the Belmondo project, very late in life and that was memorable. Even watching him pack his array of instruments away was a treat.

Was that at the Barbican or possibly South Bank?  I saw him later in life and also remember the packing of the instruments.   Don't recall the band though, thought it was smaller than on the Belmondo recording that I have

[Gheorghe]

12 hours ago, HutchFan said:

Now spinning:

 

Up next:

2016 Elemental reissue

 

Great stuff, Larry Young one of my favourites, but I think my very favourite album of his is "Unity". 

Art Pepper Quartet wonderful, great music and my favourite Quartet with him. But the cover photo is terrible. It looks like they pissin´ and Art Pepper just was not photogenic anyway, I mean you see his face and think about drugs and jail.... and somehow mean.
On the other hand , for example Chet Baker: You see he´s a live-long junkie, but he had that nice smile until the very end. When he did not disappear, he was on time, and very very articulate and if you wanted to meet him after the gig for an autograph or a photo, he could be so nice and had that smile. You can see it also on that very late interview in London, which is on video from a concert....

[sidewinder]

4 hours ago, mjazzg said:

Was that at the Barbican or possibly South Bank?  I saw him later in life and also remember the packing of the instruments.   Don't recall the band though, thought it was smaller than on the Belmondo recording that I have

No, at NorthSea. He was playing in one of the more low-profile outer enclosures, so it wasn’t crowded. He had the whole lot lined up - tenor, flute, argol.. The Belmondo band had the quintet plus chamber ensemble, very nice. Several familiar tracks including ‘Before Dawn’.

That NorthSea also had the last time I saw James Moody. Roy Hargrove too. Roy Haynes was also there, already a sprightly 80+ and still going strong. Another highlight was Jack DeJohnette and his Tony Williams Lifetime project.

Edited July 19, 2021 by sidewinder

[kh1958]

David Moreno, Spanish Guitars (Capitol)

[Chuck Nessa]

Decided to dip into this today -

[clifford_thornton]

excellent set. The book is amazing.

[JSngry]

First time hearing this in decades, and even more fun now than then!

[Gheorghe]

13 hours ago, Chuck Nessa said:

Decided to dip into this today -

13 hours ago, Chuck Nessa said:

Decided to dip into this today -

On 18.7.2021 at 11:57 PM, HutchFan said:

Now spinning:

 

Up next:

2016 Elemental reissue

 

 

And how was it (Free Music Production) ? 

I wonder what day I might choose to dip into this.....

I like some of the Free Jazz, but only thinks like Ornette, Don Cherry, Cecil Taylor Unit (not solo), late Trane, Pharoah and so on, and was already on the scene when Europeans played Free Music. It was a certain clique then in those years 1976-78. Somehow, though I´m European, I can´t really get with it if it´s European "Free Jazz" because I can´t feel the roots. And the guys and girls who did those "free music meetings", I doubt most of them could play something with written chords and a song structure. Sometimes one of them tried to sit in on a session and we played something simple, let´s say "Straight No Chaser" or "Tenor Madness" and when his turn came, he would go completly out and never stopped.....

There are still kind of folks like that. Last year (in the few weeks between lock-downs) we played a few gigs with one set and jam session as the second set and there came a girl, I don´t know what stuff she had smoked before and wanted to sit in on piano and when we asked here, what tune she would like to play, she says "let´s improvise". She was not invited on stage....

 

[corto maltese]

2 hours ago, Gheorghe said:

 

And how was it (Free Music Production) ? 

I wonder what day I might choose to dip into this.....

I like some of the Free Jazz, but only thinks like Ornette, Don Cherry, Cecil Taylor Unit (not solo), late Trane, Pharoah and so on, and was already on the scene when Europeans played Free Music. It was a certain clique then in those years 1976-78. Somehow, though I´m European, I can´t really get with it if it´s European "Free Jazz" because I can´t feel the roots. And the guys and girls who did those "free music meetings", I doubt most of them could play something with written chords and a song structure. Sometimes one of them tried to sit in on a session and we played something simple, let´s say "Straight No Chaser" or "Tenor Madness" and when his turn came, he would go completly out and never stopped.....

There are still kind of folks like that. Last year (in the few weeks between lock-downs) we played a few gigs with one set and jam session as the second set and there came a girl, I don´t know what stuff she had smoked before and wanted to sit in on piano and when we asked here, what tune she would like to play, she says "let´s improvise". She was not invited on stage....

 

It happens all the time and may be difficult to avoid, but it makes little sense to label freely improvised music as "(free) jazz" and then judge it according to criteria specific to "jazz".

[chewy-chew-chew-bean-benitez]

On 7/18/2021 at 8:37 PM, HutchFan said:

Art Pepper - Winter Moon (Galaxy)

in this house we believe the pre-OJC FCD series Japan-for-US CD is the best cut of this album.  check it out!

[HutchFan]

1 hour ago, chewy-chew-chew-bean-benitez said:

in this house we believe the pre-OJC FCD series Japan-for-US CD is the best cut of this album.  check it out!

Yes, I have that.    Got it based on your recommendation, IIRC.

Not sure which sounds better -- the vinyl release or that CD.  Both are lovely.

 

[mjazzg]

Charles Tyler Ensemble - s/t [ESP-Disk, 1966]

just great

[sidewinder]

Haven’t compared with the sonics on the Jack Johnson CD box but this one sounds really good !

[HutchFan]

A superb LP.  Producer Ozzie Cadena puts Jug in various musical contexts and styles, and they all work.  Jazz, blues, soul, or pop.  It does not matter.  Whatever the label, Ammons LIFTS it up -- and us up!  Like Duke would say, what Jug is doing is "beyond category."

... And a little side note: How about that filthy electric piano from Hank Jones!?!?  Yes sir!  Very, very nice.

 

[Gheorghe]

10 hours ago, sidewinder said:

Haven’t compared with the sonics on the Jack Johnson CD box but this one sounds really good !

I love the Jack Johnson stuff, wonderful music. 
And the cover here is really fitting to the music and the times.

But exactly this cover was on a Prestige Double Album from the late 70´s , which featured the sessions from 1953-54 (you know, cut from the original albums "Miles and Horns" "Walking", "Blue Haze") and then I thought if they were crazy, how can they use for an album of early 50´s Miles a photo of Miles from the 70´s ?????

[sidewinder]

1 hour ago, Gheorghe said:

I love the Jack Johnson stuff, wonderful music. 
And the cover here is really fitting to the music and the times.

But exactly this cover was on a Prestige Double Album from the late 70´s , which featured the sessions from 1953-54 (you know, cut from the original albums "Miles and Horns" "Walking", "Blue Haze") and then I thought if they were crazy, how can they use for an album of early 50´s Miles a photo of Miles from the 70´s ?????

I still have that twofer (‘Tune Up’ I think), bought at the time. Cover a travesty, music great. The photo in B&W works much better on this release. Some good selections here and in v. good, crisp sound, shame it isn’t a double set like last year’s vinyl release though.

8 hours ago, HutchFan said:

 

A superb LP.  Producer Ozzie Cadena puts Jug in various musical contexts and styles, and they all work. 

Ozzie Cadena had an amazing involvement in so many 50s and 60s settings. In his retirement he was organising jazz for Sunday Brunch at the Lighthouse, Hermosa Beach, which is where I got to briefly chat with him in the late 90s. He was very enthusiastic about the music and low profile. Wish I had been more gen’d up and asked him some questions about e.g. how it was like to work for Savoy/Lubinsky and with Teddy Reig !

Edited July 21, 2021 by sidewinder

[porcy62]

 

 

[Kevin Bresnahan]

Continuum - Mad About Tadd (Palo Alto Jazz). Quite a nice date with a killer band, well recorded at the Van Gelder Studio by RVG. Slide Hampton, trombone; Jimmy Heath, saxes; Kenny Barron, piano; Ron Carter, bass; Art Taylor, drums.

[Dub Modal]

10 hours ago, Gheorghe said:

But exactly this cover was on a Prestige Double Album from the late 70´s , which featured the sessions from 1953-54 (you know, cut from the original albums "Miles and Horns" "Walking", "Blue Haze") and then I thought if they were crazy, how can they use for an album of early 50´s Miles a photo of Miles from the 70´s ?????

 

9 hours ago, sidewinder said:

I still have that twofer (‘Tune Up’ I think), bought at the time. Cover a travesty, music great. The photo in B&W works much better on this release.

From my collection. Image fits a Jack Johnson theme since he's in the ring, while the ties to the Prestige material are slim to none. 

[clifford_thornton]

On 7/20/2021 at 6:32 AM, corto maltese said:

It happens all the time and may be difficult to avoid, but it makes little sense to label freely improvised music as "(free) jazz" and then judge it according to criteria specific to "jazz".

Well, every time something bubbles up about free players not being able to play changes or read music, I feel like it has to be trotted out -- like an abstract visual artist has to be Michelangelo in their drawing ability. Sure, some foundation can help, but why do what Michelangelo did? Why play like Bird did, or why sight-read Stravinsky when that's not what your music requires? Or, perhaps a musician can do this but prefers to play free music -- then let them do it. 

A sampling of the musicians on that boxed set, many of whom were excellent readers/composers/players in a wide range of settings: Steve Lacy, Bobby Few, Alexander von Schlippenbach, Paul Rutherford, Misha Mengelberg, Willem Breuker, Irène Schweizer, Vinko Globokar, Albert Mangelsdorff, Fred van Hove, Johnny Dyani... and then there are people like Brötzmann and Frank Wright, Alan Silva, and others, who may not be able to read microscopic fly shit on paper but are tremendous musicians in other ways. 

[Big Beat Steve]

4 minutes ago, clifford_thornton said:

Well, every time something bubbles up about free players not being able to play changes or read music, I feel like it has to be trotted out -- like an abstract visual artist has to be Michelangelo in their drawing ability. Sure, some foundation can help, but why do what Michelangelo did? Why play like Bird did, or why sight-read Stravinsky when that's not what your music requires? Or, perhaps a musician can do this but prefers to play free music -- then let them do it.

I dont' think that not being able to read sheet music is a criterion. Many jazzmen from more "traditional" styles of jazz (a strange term to use for hard bop or post-bop, for example) have never been able to do that either. BUT - as you probably are aware yourself - the comparisons you allude to only exist because there are SO MANY out there in this never-ending debate of the place of free jazz within jazz who INSIST that playing free or free players are on a HIGHER artistic level than all those who are not (and have never been) part of that free (or avantgarde or whatever ...) movement. Which is an argument that would only hold water if they were indeed able to do everything those who came before them in the "non-free" world (which would be on a "lower" artistic level according to their "reasoning") have done and they have exhausted ALL of that and would then go above and beyond that.

But if they are not able to do that then what they do in the "free" or "avantgarde" world may well have its merits but it most certainly is not on a "higher" artistic level. In fact they have not gone higher but sideways in the evolution or development of the music and have just branched out in a different direction. Which is fine if this is what they prefer to do. There are many differnt branches in the evolution of any broader style of music. But they really should not - never ever - claim they are on a "higher" artistic level. Or else their lack of "chops" in the mastery of their instruments, technique, ability to swing outright, knowledge of all the changes, etc., would be very easy to hold against them by the musicians from the non-free realms of jazz who DO have these chops.

Just my 2c but I stand by them.

 

[chewy-chew-chew-bean-benitez]

On 7/20/2021 at 8:38 AM, HutchFan said:

Yes, I have that.    Got it based on your recommendation, IIRC.

Not sure which sounds better -- the vinyl release or that CD.  Both are lovely.

 

oh rad!!!!!!!!!!!!!!!!!!!!!!!! glad you like- its a very scarce cd

[clifford_thornton]

40 minutes ago, Big Beat Steve said:

I dont' think that not being able to read sheet music is a criterion. Many jazzmen from more "traditional" styles of jazz (a strange term to use for hard bop or post-bop, for example) have never been able to do that either. BUT - as you probably are aware yourself - the comparisons you allude to only exist because there are SO MANY out there in this never-ending debate of the place of free jazz within jazz who INSIST that playing free or free players are on a HIGHER artistic level than all those who are not (and have never been) part of that free (or avantgarde or whatever ...) movement. Which is an argument that would only hold water if they were indeed able to do everything those who came before them in the "non-free" world (which would be on a "lower" artistic level according to their "reasoning") have done and they have exhausted ALL of that and would then go above and beyond that.

But if they are not able to do that then what they do in the "free" or "avantgarde" world may well have its merits but it most certainly is not on a "higher" artistic level. In fact they have not gone higher but sideways in the evolution or development of the music and have just branched out in a different direction. Which is fine if this is what they prefer to do. There are many differnt branches in the evolution of any broader style of music. But they really should not - never ever - claim they are on a "higher" artistic level. Or else their lack of "chops" in the mastery of their instruments, technique, ability to swing outright, knowledge of all the changes, etc., would be very easy to hold against them by the musicians from the non-free realms of jazz who DO have these chops.

Just my 2c but I stand by them.

 

that's fair -- I am not one of those to insist free players are on a higher level. It's music I love very much but I also love straight ahead jazz, trad, swing, and whatever else. There's room for everybody.

[sidewinder]

Audio from the Les Tomkins archive but Gearbox have done a very fine job of the LP mastering. Mike is too near Ronnie Stephenson’s drums but the music is captured very well indeed, with great ‘punch’ and atmosphere. A winner.

[mjazzg]

20 minutes ago, sidewinder said:

Audio from the Les Tomkins archive but Gearbox have done a very fine job of the LP mastering. Mike is too near Ronnie Stephenson’s drums but the music is captured very well indeed, with great ‘punch’ and atmosphere. A winner.

Missed postie this morning. One to collect tomorrow