jazzbo Posted July 11, 2020 Report Posted July 11, 2020 Had a rare opportunity to do some Saturday listening and concentrated on old favorites including Jobim's "Stone Flower" and "Ellington Indigos." Quote
JSngry Posted July 11, 2020 Author Report Posted July 11, 2020 Less than I had hoped for, but maybe my expectations were too high, Perkins being the only one of these guys I have a real...investment in. Overall, just too damn "sunny" for me. Another time, perhaps. Ok, this was originally Liberty, there's more, from an actual PJ session w/Hampton Hawes & Mel Lewis, and a much better-recorded Red Mitchell, that is much more on-point, imo. Funny - same engineer on both sessions. Yet the PJ record sounds more like "real jazz" than does the Liberty. Go figure. Quote
sonnyhill Posted July 11, 2020 Report Posted July 11, 2020 (edited) Â Sonny Rollins - There Will Never be Another You (Impulse) Â Edited July 11, 2020 by sonnyhill Quote
JSngry Posted July 12, 2020 Author Report Posted July 12, 2020 Three 1953 dates on one record, 10 tracks, the first being pretty sleepy, and then at the end, there's four cuts live at Minton's by this band: and shit wakes up! Funny now to think that there was a time when both Philly Joe and Blakey got heat for playing too loud and stuff like that. You tell me - is this too loud? Â Â Quote
Larry Kart Posted July 12, 2020 Report Posted July 12, 2020 13 minutes ago, JSngry said: Three 1953 dates on one record, 10 tracks, the first being pretty sleepy, and then at the end, there's four cuts live at Minton's by this band: and shit wakes up! Funny now to think that there was a time when both Philly Joe and Blakey got heat for playing too loud and stuff like that. You tell me - is this too loud?   No --not too loud; Philly Joe is just fine here. But Scott is close to incoherent.  All that upper-register twiddling makes my teeth hurt. I'll take Buddy DeFranco with Blakey. (see below) Quote
JSngry Posted July 12, 2020 Author Report Posted July 12, 2020 Also, check it out -strolling! (1953, not 1957) Â Quote
jazzbo Posted July 12, 2020 Report Posted July 12, 2020 (edited) Keith Jarrett "Expectation" Columbia Records, Sony France single cd reissue. I have had this on LP since the early 'sevenites and this is my second cd version. Would have been interesting to see what further Columbia records would have been like if they hadn't dropped him from the roster after this one and only release (recorded between "Facing You" on ECM and "Fort Yawuh" on Impulse). Edited July 12, 2020 by jazzbo Quote
JSngry Posted July 12, 2020 Author Report Posted July 12, 2020 Just now, Larry Kart said: But Scott is close to incoherent. Don't think so here. I've hear plenty of Scott from this time that really sounds borderline finger-waggle (and some times a little more than bordeline), shapes mattering, changes not so much.. But not here. In 1953, anyway, he was very fluent and very coherent, at time, it's Lockjaw-ish in a weirdly clarinetty way. Personally, the less Scott got worried about changes and fully embraced the shape playing, the more I like him But I do think he had to get all the way in before he could start to get back out. Quote
Larry Kart Posted July 12, 2020 Report Posted July 12, 2020 "Lockjaw-ish"? In my experience, there are no rails that Scott won't go off of in the next moment or so -- time-wise, tone-wise, changes-wise, you name it He reminds of the scene in "Citizen Kane" where Dorothy Cummigore tries to sing that coloratura soprano aria. OTOH, in the movie, she knew she sucked. Quote
JSngry Posted July 12, 2020 Author Report Posted July 12, 2020 On these 1953 records, he's totally coherent. to the point of being boring. Except with Philly Joe & Milt Hinton behind him. At Minton's, no less. Quote
Justin V Posted July 12, 2020 Report Posted July 12, 2020 The Sacred Music of Louie Bellson and The Jazz Ballet Quote
kh1958 Posted July 12, 2020 Report Posted July 12, 2020 Meschiya Lake and the Little Big Horns, Lucky Devil Quote
Larry Kart Posted July 12, 2020 Report Posted July 12, 2020 2 hours ago, JSngry said: On these 1953 records, he's totally coherent. to the point of being boring. Except with Philly Joe & Milt Hinton behind him. At Minton's, no less. Wonder if that was the only time Milt and Philly Joe got together on record. BTW, when I was just getting into jazz back in 1953-4, I bought those Tony Scott 10-inchers for some damn reason. Enjoyed the heck out of Milt and Philly Joe, couldn't stand Scott. Quote
Referentzhunter Posted July 12, 2020 Report Posted July 12, 2020 (edited) Their best and a little gem. Some songs definitely catch my spirit. Â Â Edited July 12, 2020 by Referentzhunter Quote
sonnyhill Posted July 12, 2020 Report Posted July 12, 2020 Mike Reed - Flesh & Bone (482 Music) Greg Ward - alto saxophone Tim Haldeman - tenor saxophone Jason Roebke - bass Mike Reed - drums Ben Lamar Gay - cornet Jason Stein - bass clarinet Marvin Tate - words  Quote
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