So, What Are You Listening To NOW?

[Rabshakeh]

Grant Green - Green Is Beautiful (Blue Note, 1970)

A great funk record. 

Does anyone know what that deep sounding reed instrument is on The Windjammer? It sounds like a bassoon, but it might just be a strange organ effect. Les Discogues is helping me not at all.

Edited September 13, 2021 by Rabshakeh

[The Magnificent Goldberg]

1 hour ago, Rabshakeh said:

Grant Green - Green Is Beautiful (Blue Note, 1970)

A great funk record. 

Does anyone know what that deep sounding reed instrument is on The Windjammer? It sounds like a bassoon, but it might just be a strange organ effect. Les Discogues is helping me not at all.

Almost certainly Claude Bartee's tenor. Jim will be able to say precisely.

MG

[Rabshakeh]

Kenny Clarke & Others - Pieces of Time (Soul Note, 1984)

12 minutes ago, The Magnificent Goldberg said:

Almost certainly Claude Bartee's tenor. Jim will be able to say precisely.

MG

Thanks. It has a strange edge to it. It might be a clever bite effect that he worked out.

[jazzbo]

Woody Shaw "Blackstone Legacy" Contemporary 2 LP set

My LP playback is so much better since I last played this! Young, brash Woody. and Ron Casrter and Benny Maupin really shine. And Lenny White is showing his Tony Williams influence strongly.

“This album is dedicated to the youth who will benefit mankind. To the youth who are constantly aware of the turmoil in which the world is and who are trying to right all these wrongs – whether in music or in speech or in any other way of positive work.

This album is dedicated to the freedom of Black people all over the world. And it’s dedicated to the people in the ghettos here. The ‘stone’ in the title is the image of strength. I grew up in a ghetto – funky houses, rats and roaches, stinking hallways. I’ve seen all of that, and I’ve seen people overcome all of that. This music is meant to be a light of hope, a sound of strength and of coming through. It’s one for the ghetto.

We’re trying to express what’s happening in the world today as we – a new breed of young musicians – feel it. I mean the different tensions in the world, the ridiculous war in Vietnam, the oppression of poor people in this, a country of such wealth. The cats on this date usually discuss these things, but we’re all also trying to reach a state of spiritual enlightenment in which we’re continually aware of what’s happening but react in a positive way. The music in this album, you see, expresses strength – confidence that we’ll overcome these things.”

Woody Shaw - trumpet
Gary Bartz - alto saxophone, soprano saxophone
Bennie Maupin - tenor saxophone, bass clarinet
George Cables - piano, electric piano
Ron Carter - bass
Clint Houston - electric bass
Lenny White - drums

Edited September 13, 2021 by jazzbo

[Peter Friedman]

Ben Webster - Stormy Weather

[jazzbo]

Svensk Jazzhistoria Vol. 8 - Swedish Jazz 1956-1959 - Topsy Theme

Michael was selling one of these volumes here and I realized I had four volumes in storage so I fetched them and am enjoying listening to them.

[JSngry]

Celestial love, indeed! John Gilmore in particular.

And the saxophone section in general!

and June Tyson, for finding all those in-between notes and letting them be right rather than trying to force them to be "right".

[HutchFan]

3 hours ago, Rabshakeh said:

Michael Garrick - Troppo (Argo, 1974)

Why was this released on Argo? Was Argo recording unfashionable British artists at that point? I thought that it was struggling at this point in time.

I think Garrick's signing to UK Argo* was a "one off" -- since Argo focused on British & American classical and choral music, not jazz.  I guess the label signed Garrick because his music had a certain "classical" element -- plus he'd written jazz with choral settings.  I also understand that, during this time, Garrick often performed his music in classical venues. ... In any case, I'm glad that Argo committed Garrick's music to tape -- because those recordings are terrific (and strangely overlooked), IMO. ... I wonder how this music would be perceived today if it had been recorded by ECM.  I bet it would have a much higher profile.

* Note that the UK Argo shouldn't be confused with the US Argo label -- a Chess subsidiary that was later re-named Cadet, due to this confusion.

 

 

More Count Basie for me this morning.   

 

and

 

[jazzbo]

Now disc 2 of this set.

Anthony Braxton "Quartet (Standards) 2020"

[Rabshakeh]

41 minutes ago, HutchFan said:

Note that the UK Argo shouldn't be confused with the US Argo label -- a Chess subsidiary that was later re-named Cadet, due to this confusion.

Ah hah! Thank you for being so polite. I hadn’t realised they were different labels.

[BillF]

45 minutes ago, HutchFan said:

 

 

 

More Count Basie for me this morning.   

 

 

 

 

Edited September 13, 2021 by BillF

[jazzbo]

Lee Morgan "Complete Live at the Lighthouse 1970" Blue Note Japan UHQCD box set, disc 5

[HutchFan]

14 minutes ago, Rabshakeh said:

Ah hah! Thank you for being so polite. I hadn’t realised they were different labels.

Well, it was (and still is) confusing enough that the US Argo label decided to change their name to Cadet!  

This name problem sorta reminds me of US Decca and UK Decca, which were two completely different companies -- just like the two Argos.  US Decca was country-pop-jazz-etc. and UK Decca was classical. ... As a result, UK Decca releases issued in the US had to be re-branded as the London label for a long time.  I'm not sure how it worked when US Decca recordings went to the UK. 

Label-ology!  

 

Edited September 13, 2021 by HutchFan

[sidewinder]

UK Argo was part of the UK Decca empire. It was founded by a wonderful chap named Harley Usill who set it up mainly to cover spoken word recordings, train recordings (!) and some folk music. Jazz came into the fold thanks to the link with Michael Garrick, who did much of his best work for the label, in a very sympathetic environment. The whole thing folded in the late 70s when Polygram (I think) bought them out and I understand that the clear out of subsidiaries such as Argo was done ruthlessly and poor Harley was treated very badly. A sorry affair. 

The last Garrick Argo LP, ‘Troppo’, is one of his very best but sold in low numbers.

[soulpope]

3 hours ago, jazzbo said:

Woody Shaw "Blackstone Legacy" Contemporary 2 LP set

My LP playback is so much better since I last played this! Young, brash Woody. and Ron Casrter and Benny Maupin really shine. And Lenny White is showing his Tony Williams influence strongly.

“This album is dedicated to the youth who will benefit mankind. To the youth who are constantly aware of the turmoil in which the world is and who are trying to right all these wrongs – whether in music or in speech or in any other way of positive work.

This album is dedicated to the freedom of Black people all over the world. And it’s dedicated to the people in the ghettos here. The ‘stone’ in the title is the image of strength. I grew up in a ghetto – funky houses, rats and roaches, stinking hallways. I’ve seen all of that, and I’ve seen people overcome all of that. This music is meant to be a light of hope, a sound of strength and of coming through. It’s one for the ghetto.

We’re trying to express what’s happening in the world today as we – a new breed of young musicians – feel it. I mean the different tensions in the world, the ridiculous war in Vietnam, the oppression of poor people in this, a country of such wealth. The cats on this date usually discuss these things, but we’re all also trying to reach a state of spiritual enlightenment in which we’re continually aware of what’s happening but react in a positive way. The music in this album, you see, expresses strength – confidence that we’ll overcome these things.”

Woody Shaw - trumpet
Gary Bartz - alto saxophone, soprano saxophone
Bennie Maupin - tenor saxophone, bass clarinet
George Cables - piano, electric piano
Ron Carter - bass
Clint Houston - electric bass
Lenny White - drums

Underappreciated music ....

[HutchFan]

NP:

Expanded CD version with more cuts featuring Diz & Moody.   

 

[HutchFan]

3 hours ago, jazzbo said:

We’re trying to express what’s happening in the world today as we – a new breed of young musicians – feel it. I mean the different tensions in the world, the ridiculous war in Vietnam, the oppression of poor people in this, a country of such wealth. The cats on this date usually discuss these things, but we’re all also trying to reach a state of spiritual enlightenment in which we’re continually aware of what’s happening but react in a positive way. The music in this album, you see, expresses strength – confidence that we’ll overcome these things.”

Still relevant, timely thoughts. 

Perhaps they always have been and always will be relevant, timely thoughts.  But, even if that's the case, I don't think it makes that sort of idealism any less critical or any less important.

 

[The Magnificent Goldberg]

1 hour ago, HutchFan said:

Well, it was (and still is) confusing enough that the US Argo label decided to change their name to Cadet!  

This name problem sorta reminds me of US Decca and UK Decca, which were two completely different companies -- just like the two Argos.  US Decca was country-pop-jazz-etc. and UK Decca was classical. ... As a result, UK Decca releases issued in the US had to be re-branded as the London label for a long time.  I'm not sure how it worked when US Decca recordings went to the UK. 

Label-ology!  

 

US Decca was started as a partnership between Sir Edward Lewis (owner of Decca records in the UK which started in 1929) and Jack Kapp (a producer for US Brunswick) - though someone called Milt Rackmill was in there, too. They were, in effect, different branches of Decca. Two reasons have been given for Lewis selling his part of US Decca: the New Deal, forbidding foreign ownership of US companies; and (according to Wiki) in anticipation of German aggression leading to WWII. Both are plausible; Lewis put a hell of a lot of money into developing Decca Radar and the sale could have funded that. The New Deal is a known fact.

US Decca was also a pioneer of original cast albums, too. UK Decca was also a general pop label whose successful releases by top artists such as Ambrose were released in the US AND UK on Decca. Later, after the sale, records by Gracie Fields, Vera Lynn, Edmundo Ros, Mantovani and Ted Heath, were very successful in America.

After the split, US Decca records were issued in the UK on the Brunswick label. US Brunswick (part of ARC) sold UK Decca its bankrupt UK subsidiary, which is how UK Decca were able to use the trademark.

Decca UK was a worldwide company (second only to HMV) before WWII with branches in (at least) France, India, South Africa, Australia and probably New Zealand. After the war it opened a branch in West Africa - covering the British Commonwealth countries in the region (The Gambia, Sierra Leone, Ghana, Nigeria & Cameroun). It's the most important Highlife label. When the UK company was acquired by Universal, the West African subsidiary was sold to Chief Commander Ebenezer Obey, who'd already bought his own masters a decade or so beforehand. (You'll realise that THIS is the bit of Decca that means a lot to me.) Decca released several hundred records in West Africa. It was a VERY big player. I don't think anyone knows how big it was. There's a site that tried to put a discography together but only covers a few hundred with loads and loads of empty gaps.

MG

[HutchFan]

2 minutes ago, The Magnificent Goldberg said:

US Decca was started as a partnership between Sir Edward Lewis (owner of Decca records in the UK which started in 1929) and Jack Kapp (a producer for US Brunswick) - though someone called Milt Rackmill was in there, too. They were, in effect, different branches of Decca. Two reasons have been given for Lewis selling his part of US Decca: the New Deal, forbidding foreign ownership of US companies; and (according to Wiki) in anticipation of German aggression leading to WWII. Both are plausible; Lewis put a hell of a lot of money into developing Decca Radar and the sale could have funded that. The New Deal is a known fact.

US Decca was also a pioneer of original cast albums, too. UK Decca was also a general pop label whose successful releases by top artists such as Ambrose were released in the US AND UK on Decca. Later, after the sale, records by Gracie Fields, Vera Lynn, Edmundo Ros, Mantovani and Ted Heath, were very successful in America.

Decca UK was a worldwide company (second only to HMV) before WWI with branches in (at least) France, India, South Africa, Australia and probably New Zealand. After the war it opened a branch in West Africa - covering the British Commonwealth countries in the region (The Gambia, Sierra Leone, Ghana, Nigeria & Cameroun). It's the most important Highlife label. When the UK company was acquired by Universal, the West African subsidiary was sold to Chief Commander Ebenezer Obey, who'd already bought his own masters a decade or so beforehand. (You'll realise that THIS is the bit of Decca that means a lot to me.) Decca released several hundred records in West Africa. It was a VERY big player.

MG

Very interesting, MG.  Thanks!   I had no idea that the "two Deccas" were originally very much connected.  

 

 

[Rabshakeh]

Mtume - Rebirth Cycle (1974)

1 hour ago, HutchFan said:

Well, it was (and still is) confusing enough that the US Argo label decided to change their name to Cadet!  

This name problem sorta reminds me of US Decca and UK Decca, which were two completely different companies -- just like the two Argos.  US Decca was country-pop-jazz-etc. and UK Decca was classical. ... As a result, UK Decca releases issued in the US had to be re-branded as the London label for a long time.  I'm not sure how it worked when US Decca recordings went to the UK. 

Label-ology!  

 

Again. I didn't know this. I assumed they were the same company. 

[The Magnificent Goldberg]

4 minutes ago, HutchFan said:

Very interesting, MG.  Thanks!   I had no idea that the "two Deccas" were originally very much connected.  

 

 

9 minutes ago, The Magnificent Goldberg said:

US Decca was started as a partnership between Sir Edward Lewis (owner of Decca records in the UK which started in 1929) and Jack Kapp (a producer for US Brunswick) - though someone called Milt Rackmill was in there, too. They were, in effect, different branches of Decca. Two reasons have been given for Lewis selling his part of US Decca: the New Deal, forbidding foreign ownership of US companies; and (according to Wiki) in anticipation of German aggression leading to WWII. Both are plausible; Lewis put a hell of a lot of money into developing Decca Radar and the sale could have funded that. The New Deal is a known fact.

US Decca was also a pioneer of original cast albums, too. UK Decca was also a general pop label whose successful releases by top artists such as Ambrose were released in the US AND UK on Decca. Later, after the sale, records by Gracie Fields, Vera Lynn, Edmundo Ros, Mantovani and Ted Heath, were very successful in America.

Decca UK was a worldwide company (second only to HMV) before WWI with branches in (at least) France, India, South Africa, Australia and probably New Zealand. After the war it opened a branch in West Africa - covering the British Commonwealth countries in the region (The Gambia, Sierra Leone, Ghana, Nigeria & Cameroun). It's the most important Highlife label. When the UK company was acquired by Universal, the West African subsidiary was sold to Chief Commander Ebenezer Obey, who'd already bought his own masters a decade or so beforehand. (You'll realise that THIS is the bit of Decca that means a lot to me.) Decca released several hundred records in West Africa. It was a VERY big player.

MG

Go back to my original response. I edited it and answered your question.

MG

[Rabshakeh]

Although having now scrolled down, I see that there was indeed a connection. A Woolworths-type scenario.

[soulpope]

[Peter Friedman]

[Joe]