So, What Are You Listening To NOW?

[Coda]

Alto Saxophone – Tim Berne
Bass, Electronics – Drew Gress
Drums – Tom Rainey
Piano – Craig Taborn
Trumpet – Ralph Alessi

[soulpope]

49 minutes ago, JSngry said:

Priceless ....

[Peter Friedman]

[jazzbo]

8 to 10 inches here so far overnight and this morning here in NE Ohio (Lake Effect area, Geauga County). And it's still falling. Just got back from clearing the deck, steps and driveway for the second time since 7 a.m.

I've been doing some comparison listening this morning. I first listened to the "Vol. 1" material on the Complete Blue Note Recordings of Miles Davis "Pure Audio Blu-ray" disc, and then listened to the same material on the Japanese "24 Bit by RVG" lp facsimile version. Different resolutions, different mastering. . . I have to say both had positive characteristics and I like them both! I could hear "further into" the Blu-ray, but the RVG had real snap, crackle and pop (in good ways!)

[Referentzhunter]

[Larry Kart]

The Complete Bitches Brew Sessions Box set, Extra tracks Edition by Davis, Miles (1998) Audio CD.webloc

 

Just picked this up (have no idea what took me so long) and discovered, much to my surprise, that Bob Belden's notes refer approvingly to a 1969 Down Beat review I wrote of a Plugged Nickel performance by the Lost Quintet.

 

The review FWIW: 

Outside of Charlie Parker’s best units, I don’t think there’s ever been a group so at ease at up tempos as Miles Davis’s current quintet. Their relaxation at  top speed enables them to move at will from the “hotness” up-tempo playing usually implies to a serene  lyricism in the midst of turmoil. 

This “inside-out” quality arises from the nature of human hearing, since, at a certain point, musical speed becomes slow motion or stillness (in the same way the eye reacts to a stroboscope). Yet the group doesn’t move into circular rhythms wholesale. They generally stay  right on the edge, and, when the rhythm does seem ready to spin endlessly like a Tibetan prayer wheel, one prodding note from Davis or Shorter is enough to send them hurtling into “our” time world, where speed means forward motion.

Recent changes in the group’s personnel and instrumentation have had important effects. Chick Corea is playing electric piano, and while this move may have been prompted by the variable nature of club pianos, Corea has made a virtue of necessity, discovering many useful qualities in the instrument. In backing the horns, its ability to sustain notes and produce a wide range of sonorities frees Holland and DeJohnette from these roles. Corea is now the principal pattern maker in the rhythm section, a task to which Ron Carter and Tony Williams previously  had given much attention. As a soloist, Corea has found a biting, nasal quality in the instrument  that can be very propulsive. I heard a number of first sets, and each time it seemed that the rhythm section really got together for the night during Corea’s solo on the first tune.

As mentioned above, Holland and DeJohnette don’t often set up the stop-and-go interludes of Carter and Williams. Instead, they burn straight ahead, creating a deep, luxurious groove for the soloists. Holland is as fast as anyone on the instrument, but it is the melodic and harmonic quality of his bass lines one remembers, as cohesive and austere as Lennie Tristano’s. Shorter, in particular, responds to this kind of musical thought, because it so closely resembles his own. At times it seems as if he and Holland could improvise in unison if they wished. Tony Williams had a greater range of timbres and moods under control than DeJohnette does, but the latter is just right for this group. He sounds something like Elvin Jones with a lighter touch, and he really loves to swing in a bashing, exuberant manner.

Wayne Shorter’s approach to improvisation, in which emotion is simultaneously expressed and “discussed” (i.e., spontaneously found motifs are worked out to their farthest implications with an eyes-open, conscious control), has a great appeal for me. The busyness and efficiency of a man at work can have an abstract beauty  apart from the task. Of course,  Shorter’s playing has more overt emotional qualities of tenderness or passion which can give pleasure to the listener. 

The problem with such an approach lies in keeping inspiration open and fresh, maintaining a balance  between spontaneity and control. Here, Shorter’s recent adoption of the soprano saxophone  is interesting. A master craftsman of the tenor, he already has great technical control of the second instrument, and its newness seems to have opened areas of emotion for him on both horns. Often, while Davis solos, one can see Shorter hesitate between the soprano and tenor before deciding which to play. It’s a fruitful kind of indecision. Shorter once referred to his soprano as “the baby”, and I think I know what he meant.

About Davis there’s not much new to say, except to note that he is to some degree responsible for every virtue of the group’s members mentioned above, and that he uses all of them to achieve the effects he wants. He is the leader in the best sense of the term. Playing almost constantly at the limit of his great ability, he inspires the others by his example. There is no shucking in this band, and if Davis occasionally is less than serious in his improvising, as he was one night on “Milestones,” mocking the symmetrical grace of his mid-fifties style, one soon realizes that he is serious after all.

With this version of the Miles Davis Quintet, one aspect of jazz has been brought to a degree of ripeness that has few parallels in the history of the music. Now let’s hope that Davis and Columbia decide to record the group in person.

[Peter Friedman]

[soulpope]

Before .... :

[soulpope]

[BillF]

[John Tapscott]

15 minutes ago, BillF said:

Now:

[Peter Friedman]

[HutchFan]

7 hours ago, Larry Kart said:

The review FWIW: 

Outside of Charlie Parker’s best units, I don’t think there’s ever been a group so at ease at up tempos as Miles Davis’s current quintet. Their relaxation at  top speed enables them to move at will from the “hotness” up-tempo playing usually implies to a serene  lyricism in the midst of turmoil. 

This “inside-out” quality arises from the nature of human hearing, since, at a certain point, musical speed becomes slow motion or stillness (in the same way the eye reacts to a stroboscope). Yet the group doesn’t move into circular rhythms wholesale. They generally stay  right on the edge, and, when the rhythm does seem ready to spin endlessly like a Tibetan prayer wheel, one prodding note from Davis or Shorter is enough to send them hurtling into “our” time world, where speed means forward motion.

Recent changes in the group’s personnel and instrumentation have had important effects. Chick Corea is playing electric piano, and while this move may have been prompted by the variable nature of club pianos, Corea has made a virtue of necessity, discovering many useful qualities in the instrument. In backing the horns, its ability to sustain notes and produce a wide range of sonorities frees Holland and DeJohnette from these roles. Corea is now the principal pattern maker in the rhythm section, a task to which Ron Carter and Tony Williams previously  had given much attention. As a soloist, Corea has found a biting, nasal quality in the instrument  that can be very propulsive. I heard a number of first sets, and each time it seemed that the rhythm section really got together for the night during Corea’s solo on the first tune.

As mentioned above, Holland and DeJohnette don’t often set up the stop-and-go interludes of Carter and Williams. Instead, they burn straight ahead, creating a deep, luxurious groove for the soloists. Holland is as fast as anyone on the instrument, but it is the melodic and harmonic quality of his bass lines one remembers, as cohesive and austere as Lennie Tristano’s. Shorter, in particular, responds to this kind of musical thought, because it so closely resembles his own. At times it seems as if he and Holland could improvise in unison if they wished. Tony Williams had a greater range of timbres and moods under control than DeJohnette does, but the latter is just right for this group. He sounds something like Elvin Jones with a lighter touch, and he really loves to swing in a bashing, exuberant manner.

Wayne Shorter’s approach to improvisation, in which emotion is simultaneously expressed and “discussed” (i.e., spontaneously found motifs are worked out to their farthest implications with an eyes-open, conscious control), has a great appeal for me. The busyness and efficiency of a man at work can have an abstract beauty  apart from the task. Of course,  Shorter’s playing has more overt emotional qualities of tenderness or passion which can give pleasure to the listener. 

The problem with such an approach lies in keeping inspiration open and fresh, maintaining a balance  between spontaneity and control. Here, Shorter’s recent adoption of the soprano saxophone  is interesting. A master craftsman of the tenor, he already has great technical control of the second instrument, and its newness seems to have opened areas of emotion for him on both horns. Often, while Davis solos, one can see Shorter hesitate between the soprano and tenor before deciding which to play. It’s a fruitful kind of indecision. Shorter once referred to his soprano as “the baby”, and I think I know what he meant.

About Davis there’s not much new to say, except to note that he is to some degree responsible for every virtue of the group’s members mentioned above, and that he uses all of them to achieve the effects he wants. He is the leader in the best sense of the term. Playing almost constantly at the limit of his great ability, he inspires the others by his example. There is no shucking in this band, and if Davis occasionally is less than serious in his improvising, as he was one night on “Milestones,” mocking the symmetrical grace of his mid-fifties style, one soon realizes that he is serious after all.

With this version of the Miles Davis Quintet, one aspect of jazz has been brought to a degree of ripeness that has few parallels in the history of the music. Now let’s hope that Davis and Columbia decide to record the group in person.

This is superb writing, Larry. Thanks so much for sharing. 

What a band the "Lost Quintet" was!

[Larry Kart]

I like that review myself, but the music and the band more or less wrote it. All I had to do was pay attention.

[HutchFan]

Abercrombie, Holland, DeJohnette - Gateway 2 (ECM, 1978)

 

 

1 hour ago, Larry Kart said:

I like that review myself, but the music and the band more or less wrote it. All I had to do was pay attention.

You're being modest.  If it was that easy, more people would be able to write well about music.

 

Edited November 13, 2019 by HutchFan

[Gheorghe]

10 hours ago, Larry Kart said:

The Complete Bitches Brew Sessions Box set, Extra tracks Edition by Davis, Miles (1998) Audio CD.webloc

 

Just picked this up (have no idea what took me so long) and discovered, much to my surprise, that Bob Belden's notes refer approvingly to a 1969 Down Beat review I wrote of a Plugged Nickel performance by the Lost Quintet.

 

The review FWIW: 

Outside of Charlie Parker’s best units, I don’t think there’s ever been a group so at ease at up tempos as Miles Davis’s current quintet. Their relaxation at  top speed enables them to move at will from the “hotness” up-tempo playing usually implies to a serene  lyricism in the midst of turmoil. 

This “inside-out” quality arises from the nature of human hearing, since, at a certain point, musical speed becomes slow motion or stillness (in the same way the eye reacts to a stroboscope). Yet the group doesn’t move into circular rhythms wholesale. They generally stay  right on the edge, and, when the rhythm does seem ready to spin endlessly like a Tibetan prayer wheel, one prodding note from Davis or Shorter is enough to send them hurtling into “our” time world, where speed means forward motion.

Recent changes in the group’s personnel and instrumentation have had important effects. Chick Corea is playing electric piano, and while this move may have been prompted by the variable nature of club pianos, Corea has made a virtue of necessity, discovering many useful qualities in the instrument. In backing the horns, its ability to sustain notes and produce a wide range of sonorities frees Holland and DeJohnette from these roles. Corea is now the principal pattern maker in the rhythm section, a task to which Ron Carter and Tony Williams previously  had given much attention. As a soloist, Corea has found a biting, nasal quality in the instrument  that can be very propulsive. I heard a number of first sets, and each time it seemed that the rhythm section really got together for the night during Corea’s solo on the first tune.

As mentioned above, Holland and DeJohnette don’t often set up the stop-and-go interludes of Carter and Williams. Instead, they burn straight ahead, creating a deep, luxurious groove for the soloists. Holland is as fast as anyone on the instrument, but it is the melodic and harmonic quality of his bass lines one remembers, as cohesive and austere as Lennie Tristano’s. Shorter, in particular, responds to this kind of musical thought, because it so closely resembles his own. At times it seems as if he and Holland could improvise in unison if they wished. Tony Williams had a greater range of timbres and moods under control than DeJohnette does, but the latter is just right for this group. He sounds something like Elvin Jones with a lighter touch, and he really loves to swing in a bashing, exuberant manner.

Wayne Shorter’s approach to improvisation, in which emotion is simultaneously expressed and “discussed” (i.e., spontaneously found motifs are worked out to their farthest implications with an eyes-open, conscious control), has a great appeal for me. The busyness and efficiency of a man at work can have an abstract beauty  apart from the task. Of course,  Shorter’s playing has more overt emotional qualities of tenderness or passion which can give pleasure to the listener. 

The problem with such an approach lies in keeping inspiration open and fresh, maintaining a balance  between spontaneity and control. Here, Shorter’s recent adoption of the soprano saxophone  is interesting. A master craftsman of the tenor, he already has great technical control of the second instrument, and its newness seems to have opened areas of emotion for him on both horns. Often, while Davis solos, one can see Shorter hesitate between the soprano and tenor before deciding which to play. It’s a fruitful kind of indecision. Shorter once referred to his soprano as “the baby”, and I think I know what he meant.

About Davis there’s not much new to say, except to note that he is to some degree responsible for every virtue of the group’s members mentioned above, and that he uses all of them to achieve the effects he wants. He is the leader in the best sense of the term. Playing almost constantly at the limit of his great ability, he inspires the others by his example. There is no shucking in this band, and if Davis occasionally is less than serious in his improvising, as he was one night on “Milestones,” mocking the symmetrical grace of his mid-fifties style, one soon realizes that he is serious after all.

With this version of the Miles Davis Quintet, one aspect of jazz has been brought to a degree of ripeness that has few parallels in the history of the music. Now let’s hope that Davis and Columbia decide to record the group in person.

I also really enjoyed that review. Until not too long ago there were very very few informations about the "Lost Quintet".  I think the only source of musical document during my youth was half of the Album of "Filles de Kilimanjaro" but it still had Tony Williams on drums. Or "Silent Way" with the members of the lost quintet plus Zawinul and McLaughlin. Maybe it took so much time until this great group was appreciated so we can buy recordings of it right now ? 

8 hours ago, soulpope said:

fantastic Album ! 

[Larry Kart]

1 hour ago, HutchFan said:

Abercrombie, Holland, DeJohnette - Gateway 2 (ECM, 1978)

 

 

You're being modest.  If it was that easy, more people would be able to write well about music.

 

Maybe so. After all, it's often not easy to pay attention. But seriously, I pretty much meant what I said. I can't count the number of times I'd be sitting in a club and literally say under my breath, "Notice, notice" and then write down brief phrases that seemed to be linked to what I'd heard. Then when I began to write, those verbalized bits of noticing almost literally began to talk to each other and virtually dictate what one would go on to say. This was especially the case when one went straight from the event back to the paper and filed a review before midnight at the latest. The Lost Quintet review I  must have had more time to think about, maybe a day or so, but I think I sat down and wrote it first thing the next day because I was still so excited by what I'd heard.

[soulpope]

8 hours ago, Peter Friedman said:

Great cover photography ....

[Gheorghe]

This one arrived yesterday.

It´s hard to find words, I´m just so happy this came out. Overwhelming really ! 

I´ll never forget the first time I heard Dave Liebman live and purchased "Drum Ode" the next day. One of my all time favourite albums. 

Here they actually Play live versions of two of the tunes on "Drum Ode"

Iguana Ritual is Incredible, so powerful. Check out Richie Beirach´s superb solo piano on "I´m a fool to want you" and especially Coltrane´s "Your Lady". This was also on Drum Ode and while the Studio Version is more lyrical, here it´s some real powerwork. 

Fantastic that group with Badal Roy on tablas. 

It´s like a Dream that became true, to have this live set of that great Group. Now the only Thing I´d wish to see put out on record might be some stuff of the 1977 tour of Return to Forever with Dave Liebman participating. 

[soulpope]

7 minutes ago, Gheorghe said:

This one arrived yesterday.

It´s hard to find words, I´m just so happy this came out. Overwhelming really ! 

I´ll never forget the first time I heard Dave Liebman live and purchased "Drum Ode" the next day. One of my all time favourite albums. 

Here they actually Play live versions of two of the tunes on "Drum Ode"

Iguana Ritual is Incredible, so powerful. Check out Richie Beirach´s superb solo piano on "I´m a fool to want you" and especially Coltrane´s "Your Lady". This was also on Drum Ode and while the Studio Version is more lyrical, here it´s some real powerwork. 

Fantastic that group with Badal Roy on tablas. 

It´s like a Dream that became true, to have this live set of that great Group. Now the only Thing I´d wish to see put out on record might be some stuff of the 1977 tour of Return to Forever with Dave Liebman participating. 

Thnx for the feedback reg this new archival release 👍 ....

[BillF]

[Gheorghe]

6 minutes ago, BillF said:

Charlie Parker in a quite unusual Setting with musicians who are more associated with the older swing style. Bird could play all kinds of music. But I think it was Norman Granz´s idea to get him in touch more with then "Mainstream" Artists or JATP Settings.

[Referentzhunter]

Again !

[Coda]

Alto Saxophone – Nick Mazzarella
Bass – Anton Hatwich
Drums – Frank Rosaly

[Misterioso]

with Kenny Barron, Charlie Haden, Ben Riley, Howard Johnson and James Newton.

Edited November 13, 2019 by Misterioso