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So, What Are You Listening To NOW?


JSngry

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In 1957 when recorded it was I think less esoteric. The public was used to singing groups albeit not with the invention and expertise of these three all together. And there were The Blue Stars that Blossom Dearie had a hand in birthing that were known by jazz persons. Each of the three in this trio had a pedigree of experience and enthusiasm and some reknown and togethter they were really something new and exciting.

Edited by jazzbo
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29 minutes ago, Rabshakeh said:

From 2023 it strikes me as one of the most esoteric things out there. Who came up with this stuff?

Here's some background on how & why the album was made by author Will Friedwald:  https://www.wnyc.org/story/great-jazz-and-pop-vocal-albums-lambert-hendricks-and-ross-sing-song-basie/

 

Edited by HutchFan
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On 2/28/2023 at 12:00 PM, jazzbo said:

Yes, MIles in Espanol is a release produced by Bob Belden long after Miles passed.

 

https://www.discogs.com/release/3551662-Various-Miles-Español-New-Sketches-Of-Spain

 

I believe that the Powell disc I have may have been speed-corrected. And I find no problem moving from one disc to another, don't get stuck in a mood.

Thank you ! That Miles in Espanol might be something I might purchase. Seems to be something nice. 

 

About speed-corrected albums. I think I bought those albums in a time when no speed correction was done. I purchased the Roost sessions via LP where the first session was not speed corrected, as well as I bought the Bird-Fats-Bud "One Night at Birdland" with a speed that sounds like a semitone up.
Same was with the Bud Powell - Johnny Griffin encounter on "Hot House". 
 

But during that time I didn´t know that something can be recorded with higher speed. If I taped my playing or an LP with my cassette recorder it was always the correct speed.


So I frankly believed that it´s not at wrong speed recorded, but PLAYED in a unusual key, just a  semitone up. I have perfect pitch and if I hear something, I know what tone , what key it is what I´m listening, so I thought "wow, he can play so fast in F-sharp" and tried it out on my own instrument, having in mind that a good musician should play in any key. What hard school of self-learning, but not in vain. 

About moving from one album to another to not be stucked in a mood: Your suggestion is a reasonable one, but let´s say if I play a gig, you got the instrumentation, the set list and don´t change the players or the complete style with something else. We keep the set lists as variable as possible, having medium tempos, ballads, latin tunes, up tempo tunes and takin´care they all are in different keys.

If I listen to an album, I think mostly about listening to a concert. Much of the stuff that I listen to if I HAVE the time for it, is live recordings of concerts, and it´s hard for me to listen to something completly else afterwards. 

It´s like the festivals in the past. Too much switching from one stuff to another for me. And as a player festivals are good money but the rest can be quite a mess, not enough time to stretch out, and anyway you seldom have the time to listen to the other acts too. 

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NC0xOTMyLmpwZWc.jpeg

Charles McPherson - Live in Tokyo (Xanadu, 1976)
Elemental's "Xanadu Master Edition" reissue

Hell yeah.  This sounds GOOD.

Elemental reissued McPherson's Live in Tokyo and Beautiful! -- but not New Horizons.  Wish they hadn't skipped that one, since it's one of my favorite McPherson albums.   Oh well, I am very grateful for what they did reissue. 

Besides, I've still got New Horizons on LP.  :) 

 

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