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Posted (edited)

Two sister recordings, favorites of mine, by Antônio Carlos Jobim, on one Beat Goes On cd. 

Antônio Carlos Jobim, "Tide/Stone Flower"

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I have masterings I favor a bit more of both, but having both on one cd is a nice thing indeed. Deodata arrangements... I think he did great arrangements at this time.

Edited by jazzbo
Posted

Stan Getz "Billy Highstreet Samba" Emarcy cd

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Bass – Mark Egan
Design – CB Graphic
Drums – Victor Lewis
Guitar – Chuck Loeb
Keyboards – Mitchel Forman
Producer, Tenor Saxophone – Stan Getz
Soprano Saxophone – Stan Getz (tracks: 3, 5)

Posted
21 hours ago, jazzbo said:

Just set up something new so I'm listening to familiar material. 

Herbie Hancock "Speak Like a Child" Blue Note Japan SHM-SACD

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Such beautiful music!

So true.  :tup 

 

Posted (edited)

Currently revisiting Joshua Redman's Elastic (Warner, 2002).

I remain surprised at how heavily pushed Redman's, perfectly competent, music was. Was jazz in the 1990s in such straits that this was the best on offer? These albums are still in print even now.

Edited by Rabshakeh
Posted (edited)

Lisa Sokolov "Presence"

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A very interesting singer, lots of mult-tracked performances here. Her daughter is also an interesting singer.

Oddly enough she sometimes reminds me of Grace Slick.

Edited by jazzbo
Posted

Terry Morel "Songs of a Woman in Love" Bethlehem/Solid Records Japan cd

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Herbie Mann, flute; Ralph Sharon, piano; Jay Cave, bass; Christy Febbo, drums. Recorded live at Montclair Club, Jackson Heights, NY, January 1956

Posted
3 hours ago, Rabshakeh said:

Currently revisiting Joshua Redman's Elastic (Warner, 2002).

I remain surprised at how heavily pushed Redman's, perfectly competent, music was. Was jazz in the 1990s in such straits that this was the best on offer? These albums are still in print even now.

I think the fact that J. Redman's albums were so heavily promoted had as much to do with non-musical factors as musical ones.  Not hard to "package" an attractive, articulate young man.  OTOH, his middle-of-the-road-ness -- music-wise -- might have been a positive from the Marketing Department perspective at Warner Brothers.  Just like his appearance, it was non-threatening. ... In other words, it comes down to "major label" nonsense.

All that said, I enjoy some of Redman's music.  I just think his level of promotion (especially in his early years) had much more to do with marketing machinations than music.

 

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