brownie Posted December 5, 2012 Report Share Posted December 5, 2012 Joel Futterman 'Inneraction' (JDF) Quote Link to comment Share on other sites More sharing options...
jeffcrom Posted December 5, 2012 Report Share Posted December 5, 2012 Jim Hall - Concierto (CTI). Hadn't listened to this for awhile; now I remember why. It's half a good album - I zoned out on the side-long "Concierto de Aranjuez" long before it was over. Side one is good, though, and Chet Baker sounds great. Something's wrong with Steve Gadd's straight-ahead drumming on side one, though. It feels vertical rather than horizontal - up-and-down rather than forward-moving. He's marking the beat instead of letting it flow. His playing sounds okay, but doesn't feel right. Quote Link to comment Share on other sites More sharing options...
The Magnificent Goldberg Posted December 5, 2012 Report Share Posted December 5, 2012 Bill Hardman - Focus - Muse I didn't get this decades ago, when I first got it but this time it was really nice. Well, look at that band, will ya! MG Quote Link to comment Share on other sites More sharing options...
jazzbo Posted December 5, 2012 Report Share Posted December 5, 2012 I haven't spun this lp in a long time. I like Jaco better on this than with Weather Report or his own band. Some great songs here, one of Joni's very best. Quote Link to comment Share on other sites More sharing options...
JSngry Posted December 5, 2012 Report Share Posted December 5, 2012 I haven't spun this lp in a long time. I like Jaco better on this than with Weather Report or his own band. Some great songs here, one of Joni's very best. Yes to all of that. Quote Link to comment Share on other sites More sharing options...
brownie Posted December 5, 2012 Report Share Posted December 5, 2012 Frank Wess/Bobby Jaspar/Seldon Powell - The Spirit of Charlie Parker (World Wide) I found this mysterious 1958 LP, on a label I had never heard of, a couple of days ago. As I looked at it more carefully before playing it tonight, I saw all sorts of things that screamed "Savoy" - Ozzie Cadena was the producer, Van Gelder did the recording and mastering, World Wide was located in Newark - even the typeface looked like Savoy's. A little research revealed that World Wide was indeed a Savoy label - there were about 20 releases, mostly non-jazz. My guess (I couldn't find any confirmation of this) is that World Wide was formed as a stereo specialty label - the front cover makes a lot of the stereo angle, and the back cover notes devote as much space to "The Story of Stereo" as to the music. The music is pretty good, not earth-shattering. There are four long tracks - all Charlie Parker tunes, and mostly featuring flutes. Eddie Costa plays piano and vibes, which was the determing factor in my decision to go ahead and grab this album. These four tracks apparently showed up on a mid-1980s Savoy album called Flutin' the Blues: Bird Lives, with a couple of Herbie Mann tracks added. It looks like that album went out of print pretty quickly - information about it is pretty scarce on the internet. As far as I can tell, only one track, "Now's the Time," has appeared on CD, on a Japanese Savoy sampler. So has anyone else heard of the World Wide label? Yes! I have this one The liner notes indicate it was (recorded specifically for Stereo)... It looks like this and The Spirit of Charlie Parker were the only two albums to come out in this Savoy offshoot. Great assemblage of top musicians on both! Wonder if they were ever released on CD? Quote Link to comment Share on other sites More sharing options...
clifford_thornton Posted December 5, 2012 Report Share Posted December 5, 2012 Ok, I was casual with this one relative to the BYGs, Nessas, & Atlantics. My bad. Would love to find it with the original America cover, but...it's jsut a cover when you come right down to it. Cool, but let's have the music above all. The America pressings I've seen for routinely cheap prices on eBay/etc. $15? Great sessions. Quote Link to comment Share on other sites More sharing options...
paul secor Posted December 5, 2012 Report Share Posted December 5, 2012 (edited) Michael Hurley: Back Home with Drifting Woods (Mississippi) Recorded in 1965 by Fred Ramsey, Jr. Early Hurley, but still weird and wonderful. None of those names are familiar to me, but "weird and wonderful" is always an attention-getter. What's we got here? Fred Ramsey, Jr. was a writer, folklorist/record producer, and photographer. He recorded Leadbelly's last sessions and recorded an obscure but good record entitled Cat Iron Sings Blues and Hymns, among other records on Folkways. He also recorded Michael Hurley's first record - on Folkways - supposedly after picking up a hitchhiking Hurley, who was hitchhiking with his unencased guitar. Michael Hurley - hmmm. My good friend Bill Morrison wrote some fine words about Michael Hurley's music: "I guess Michael Hurley fits in with folkies as a genre - he totes a guitar, mostly writes his own tunes, is influenced by blues and country. But there it stops - Hurley needs a bin of his own in the shop, if you ask me. His songs sound like they were pulled together out of spare parts - a little Hank Williams, a little Fats Domino, a little Appalachian fiddle melody, and some other stuff that Hurley machined on his own slightly off-center lathe. His loosest songs resemble the Rustoleum-and-duct-tape jalopies you see on the road in rural Vermont, where Hurley lives - weld together the right spare parts, and you can get something that will run forever, even if it emits some funny rattles and maybe needs a jump-start sometimes. Cars and songs like this elicit a kind of affection that factory-fresh ones will never know." Nick Tosches put it another way: "In the world of Michael Hurley, things - as Lucretius called them - are as they should be. Werewolves, love, pork chops, and the Lord all share and bear metaphysical meaning and at the same time are real enough to attract flies. In a way, he is from the olden days, the days when songsters expressed the desire to be burrowing creatures (Bascom Lamar Lunsford, 'I Wish I Was a Mole in the Ground,' 1928) or asked, in commonplace earnest, 'Have you ever woke up with them bullfrogs on your mind?' (William Harris, 'Bull Frog Blues,' same year, different color); and then again he can flick the ash of this moment and have it land in an ashtray not yet made. I don't know what else to say about what he writes and sings other than it is gosh-darned great. What kind of music is it? Hell man, what kinds of weeds does God grow? Let's just shut up, you and me both; let's just shut up and listen and go to where Michael Hurley is. After all, we can always turn around and come back. He can't." As for where one might start listening, I wouldn't recommend Back Home with Drifting Woods as a starter. Watertower would be a good place to start, or perhaps Snockgrass or Long Journey. Amazon has some recordings, both in and out of print. Michael Hurley's web site http://www.snockonew...t/buy_stuff.htm has CDRs of his out of print recordings available. Michael Hurley's music is probably one of those hit or miss things for a lot of people. If it hits you, you have a friend for life. If it and you don't connect, well there's a lot of other music and other stuff in this great wide world. Here's a musical taste: Hope something here piques your curiosity. edit - Forgot - Hurley's also an artist who does his own LP/CD covers. Edited December 5, 2012 by paul secor Quote Link to comment Share on other sites More sharing options...
JSngry Posted December 5, 2012 Report Share Posted December 5, 2012 That guy does indeed sound interesting. Thanks for the tip! NP, something a little different. Used to think that this one was just ever so slightly off, but now I think it just wasn't recorded and/or mixed quite right, the parts are not as integrated into the whole relative to how it sounds like they were while being played. Too bad, because if you can reimagine the mix while listening, it's a very good record. Bartz gets in that zone where he locks into the rhythmic matrix and BAM you're THERE. But that's where the whole isolation-in-recroding thing comes in. Not enough and you got a mess. Too much, and you end up needing some mess. Quote Link to comment Share on other sites More sharing options...
clifford_thornton Posted December 5, 2012 Report Share Posted December 5, 2012 The Flying Luttenbachers - The Void - (Troubleman Unlimited) Quote Link to comment Share on other sites More sharing options...
Clunky Posted December 5, 2012 Report Share Posted December 5, 2012 Baroque Jazz Quintet- Contemporation and jazz (Panton) - Czech ECM like session , 4 tracks all very different and not much to link them. The late Ted Curson features on one track. Most of the info on the sleeve is in Czech and is hard for my muddled brain to understand but the music is actually despite the pretensions quite good Quote Link to comment Share on other sites More sharing options...
colinmce Posted December 6, 2012 Report Share Posted December 6, 2012 Something's wrong with Steve Gadd's straight-ahead drumming on side one, though. It feels vertical rather than horizontal - up-and-down rather than forward-moving. He's marking the beat instead of letting it flow. His playing sounds okay, but doesn't feel right. Wow, I finally understand what people mean re: vertical/horizontal. Thanks! MG, I grabbed that Charles Davis LP recently. Love it. Quote Link to comment Share on other sites More sharing options...
brownie Posted December 6, 2012 Report Share Posted December 6, 2012 Martial Solal '1960' (Pathé) Quote Link to comment Share on other sites More sharing options...
jazzbo Posted December 6, 2012 Report Share Posted December 6, 2012 Quote Link to comment Share on other sites More sharing options...
king ubu Posted December 6, 2012 Report Share Posted December 6, 2012 Interesting one! Has the companion blues album from the same session ever made it to CD? Would love to hear that one, too! Quote Link to comment Share on other sites More sharing options...
The Magnificent Goldberg Posted December 6, 2012 Report Share Posted December 6, 2012 Apparently not, unless in Japan. It was MV10, 'ALone with the blues'. WHile I feel I may have seen it on a Japanese CD, I may be remembering Ray Bryant's LP of the same title. MG Quote Link to comment Share on other sites More sharing options...
JSngry Posted December 6, 2012 Report Share Posted December 6, 2012 This Septem is not deviated. Quote Link to comment Share on other sites More sharing options...
Clunky Posted December 6, 2012 Report Share Posted December 6, 2012 Martial Solal '1960' (Pathé) nice one, I even bought my copy in Paris, some place near the university, Crocojazz, I think. I say "even bought" because most things were pretty expensive by Scottish standards. Quote Link to comment Share on other sites More sharing options...
JSngry Posted December 6, 2012 Report Share Posted December 6, 2012 Grand Encounter - Vogue EPV 1239 Quote Link to comment Share on other sites More sharing options...
JSngry Posted December 6, 2012 Report Share Posted December 6, 2012 Because no $3.00 opportunity to hear some more Lockjaw goes unaccepted. Quote Link to comment Share on other sites More sharing options...
jazzbo Posted December 6, 2012 Report Share Posted December 6, 2012 Quote Link to comment Share on other sites More sharing options...
Clunky Posted December 6, 2012 Report Share Posted December 6, 2012 (edited) More great Miles. this one is so different to the others from this period. These two by Albert Manglesdorff this evening. The solo album is really stunning. Edited December 6, 2012 by Clunky Quote Link to comment Share on other sites More sharing options...
jazzbo Posted December 6, 2012 Report Share Posted December 6, 2012 More great Miles. this one is so different to the others from this period. Yes, I remember buying this when it first came out and there were only a few friends who could stay in the same room when I played it! I prefer the mix on the lps. Quote Link to comment Share on other sites More sharing options...
Clunky Posted December 6, 2012 Report Share Posted December 6, 2012 Quote Link to comment Share on other sites More sharing options...
JSngry Posted December 6, 2012 Report Share Posted December 6, 2012 Count Basie Joe Turner -The Bosses Lockjaw, Zoot, Ray Brown, J.J., Sweets, and most importantly (as I hear it), Irving Ashby, who in both rhythm and solo roles recontextualizes Louis Bellson's Inevitable Bellsonism in the way that it usually works best for all concerned. Contrast to Joe Pass on the previous Base Jams records. Nothing against anybody, especially in their own realms, but... Funny how just one different ingredient can change the entire flavor of the stew. Speaking of which, they got Basie an organ to play here and there. And of course, Ray Brown can play this vibe. Ray Brown was a bad motherfucker, I don't care how old and "predictable" he got. Being a bad motherfucker trumps getting old and predictable, especially after you're dead and everybody looks back at the legacy. Some of those Joe Turner Pablo sides (especially the later ones) I love more for the spirit than for the flesh, and this one has moments of that, but overall, on this one the flesh is up to the task. Quote Link to comment Share on other sites More sharing options...
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