frog, thanks for your contributions (as always).
I think you touched on an important point when you mentioned the new wave of audiophile reissues, with "Waltz For Debby" as a good example. The availability of those as LPs, CDs, downloads, whatever, may influence newer jazz buyers. And some, such as "KOB" and "Take Five" have now been audiophile reissues several times over. But they are at the top for sales of all jazz albums so there have been other influences than simply recommendations by audiophile publications like Stereophile and TAS. More general readership of newspaper, magazine, or online articles also identify mainly the same war horses. It's fun to expand things once in awhile.
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o10, I think that video is mis-labeled. I was expecting something by the Blue String Orchestra! ;^) More correctly it is -- Paul Desmond, "Desmond Blue" with string orchestra. I know, not your doing.
Aside from that anal reaction, I just never get into jazz albums when featured artists are backed by string orchestras. That seems counter to jazz in my mind. Just yesterday my favored local jazz FM station featured the Charlie Parker album with strings!?!
Anyway, to step down off my soapbox, frogman's suggestion for the Monk/Coltrane concert at Carnegie Hall reminded me to pull it out to enjoy it again. In addition to the music, the liner notes show a copy of the billing for the concert. Just imagine if you could hear Billie Holiday, Dizzy Gillespie, Ray Charles, Chet Baker with Zoot Sims, Sonny Rollins, and Thelonious with Coltrane, ALL for only $2.00 to $3.95 PER TICKET!!! Of course that was in November, 1957! But still, what a bargain!
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That's funny frog. Before reading to the end of your post I started thinking of "Focus" as the sole exception to my "no string orchestras in jazz" rule. In fact, I was going to find a link and post it. ;^)
So you saved me the trouble. BTW, I've had that album for at least 40 years.
Back to Carnegie Hall, your being in NYC means you would know, but my impression is most concert or Broadway play tickets today can easily begin near $100. So that inflation adjusted $17.50 still represents a phenomenal bargain.
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nsp, I really enjoy "Timeless". However I only listen to it late at night with the lights out and a wee dram in my hand. ;^) I've recommended that album to several friends but most don't "get it". Oh well, strokes and folks. Maybe if I furnished the single malt too? Here's a favorite song for me. However, this is a much extended version and with different musicians than the LP, other than Silver. Note all the discussion in the comments about who is in this band. https://www.youtube.com/watch?v=NFjmWI-d6d4 |
Reports on the death of jazz may be greatly exaggerated.
Last evening I attended a concert I'd looked forward to for a couple of months since learning about it. Our symphony orchestra promotes a sub-set of concerts featuring jazz. I'm not sure how many symphonic music fans also appreciate jazz but I happen to be one. The program was also promoted by our local (college) jazz FM station.
The title was "Kind of Blue -- In Concert". The six musicians were led by local trumpeter Gilbert Castellanos. Bios for the others identified many well know artists they'ed each played with but I was not familiar with these particular artists. Perhaps the best known was Roy McCurdy, the 82 year old (but still spritely) drummer who I should have remembered. They opened with three tunes Miles was well known for, "Bye-bye Blackbird", "'Round Midnight", and "Milestones", then took a break. When they returned they played the KOB album numbers in sequence. Each was of course recognizable but, being jazz, was interpreted individually.
But what pleased me as much as the music was the fact the 2,200 seat hall was sold out! Not only was it full but the applause reinforced the fact the audience knew the music. I found the evening stimulating and encouraging.
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nsp, from that last post I also found this delightful trumpet player. Guess I'm guilty of not thinking of women playing trumpet after high school band. So my bad for that. Anyway, with a testosterone-less orchestra, ;^) - https://www.youtube.com/watch?v=h8cNnxLsvdk |
nsp, just goes to show once again it doesn't matter about sex, color, or religion, it's more about what's inside!
acman, that was new to me but I enjoy everything I hear with Mulligan.
Thanks to all for lots of recent posts with rare/unknown music, at least for me.
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nsp, I read that too quickly and thought you suggested Red Rodney. ;^) There's a story that when he toured Southern states with Charlie Parker he was called Albino Red to get around local laws for segregation. Not sure if that's true but it sounds believable. https://www.youtube.com/watch?v=OeFFVjFI2VM |
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nsp, frog's reference covered it better, but here is another substantiation. See the second paragraph - https://en.wikipedia.org/wiki/Red_RodneyI remembered it from something shown on PBS maybe a dozen years ago. At least my memory didn't fail me this time. ;^) |
o10, I have a couple of songs with emotional attachments to women in my life when I was younger, but those are far removed from jazz. However encouraged by mary_jo's post I will offer this one, which is closer to jazz because of the artist, if not the song itself. But an introduction is needed to appreciate the meaning. Some of you will remember my previous mention of my introduction to jazz by my dad. At the time he died my folks had moved back close to my sister so she could watch over them. So when we discussed a memorial service with the minister he didn't know dad and ask for some background on his life. One thing mentioned was his love of jazz and his favorite musician being Louie Armstrong. The minister did a credible job at the memorial, but he surprised us all when he referenced dad's love of Satchmo and then brought out a guitar and softly sang "It's A Wonderful World". That was certainly a capper to the service. The song brings me a flood of great memories, but my sister can't bear to hear it now. https://www.youtube.com/watch?v=BlDgQOd3p-0 |
Yes o10, back on your feet soon would be nice. But the important thing is that you get back on your feet again. So have patience, and stay positive. There is simply too much great jazz to enjoy yet.
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o10, not to split hairs, but I doubt many would consider that "classical". It simply utilizes a full orchestra. While it's true that several classical composers wrote scores for films, "soundtracks" seem to have developed their own category of musical classification over the years.
Not having a technical background in music I can't offer a good definition for classical, hopefully friend frog will chime in and enlighten us.
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o10, I'm sorry I failed to read your reference to classical as being humorous. My reply was intended to be gentle since "some" folks probably would consider music by any full orchestra (say more than 60 pieces) to be classical in nature.
Please believe no insult was intended.
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frog, that was a good selection to show how various instruments contribute to orchestral sound. Also the brisk tempo defies the idea that classical music is too slow and plodding. I enjoyed seeing the energy of many of the musicians as they "leaned into it", not unlike many jazz artists might as well.
Regarding taste, I added blueberries, walnuts, and a dash of pure maple syrup to my oatmeal this morning. ;^)
nsp, I can enjoy Mingus any time of day!
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frog, I enjoyed Bernadette's performance, but it can't displace Peggy Lee as #1. https://www.youtube.com/watch?v=JGb5IweiYG8&list=PL18E00C84FF26FA25BTW, I've heard that Shelly Manne was drummer on that, but I don't have the record to reference the fact. Also I thought Julie London recorded it too, but I couldn't find it on YouTube. It seems like an obvious choice for her. |
nsp, interesting post on Little Willie John. I just became a teenager about the time rock and roll emerged in popularity. I remember John but strangely not that song in his original version. However in my defense, during the ’50s there were still regional hits, not just a single national Top Twenty. Anyway, that one reminded me of this which was a personal favorite. https://www.youtube.com/watch?v=9kIswurDJt4It was a few years later before I developed a serious interest in jazz. But R&R relates to R&B which relates to jazz so there were connections. |
Thanks for joining us supertweak. Weather Report has been a favored band for me for years. And while I realize personal experience can vary a great deal, and I do appreciate "Mysterious Traveler", was that really such a uniquely creative album to distinguish it from earlier WR albums? Maybe I don't have sufficient musical knowledge to make such distinctions. :^( https://www.youtube.com/watch?v=xzpDAH_ISCk |
Thanks for the kind words frog. I've not listened to some of my WR albums in some time so I need to give a re-do listen. Off the top of my head I can't pick one I consider exceptional. Favorite(s) may change depending on mood. But I always considered Zawinal to have the prominent role in the band, although Jaco seemed to contribute a lot with both playing and writing once he joined.
I will say the only time I saw them live was after Jaco joined and that was an exceptional performance all 'round.
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acman, great stuff. I was completely unfamiliar with them.
As so many have commented, that's one thing that makes this site so wonderful, so a tip o' the chapeau to o10 for bringing us all together. |
ghosthouse, your comment "there's a lot of discussing and obsessing about the best hardware for audio when the critical variable that can make a mega $ system sound like trash or a mid-fi system sound great is the recording itself!" should be posted on audio sites, not this music site. Proof in point, a few days ago I wanted to test an old NAD 3020 I recently had repaired for a channel drop out. The NAD is connected to a pair of nearly as old Signet speakers I used to enhance the audio with my TV. I mention that only to identify the system as both old and inexpensive. The disc I played was "Louis Armstrong & Duke Ellington, The Great Summit". I was doing other things, only listening for background to see if an extended time would verify the repair was successful. But then I realized how great it sounded and had to stop and sit to listen directly, captivated by the music. The components were considered respectable in their day but certainly not great. And yet I was drawn in to appreciation by the playback! https://www.youtube.com/watch?v=DEUKM-n3dq8 |
o10, we have a coupe of musical street fairs each year in an older neighborhood in town. Several years ago, about the time of the release of the movie "Frida", one of the performers on one of several stages was Lila Downs. In spite of a microphone problem she put on a great show and I've been a big fan ever since. There is such warmth and sincerity in her performances.
Also, I believe I posted that Gil Evens album previously. I somehow missed it when it was released but it became a favorite after hearing it a couple of years ago.
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o10, if this helps you find it, my CD of Satch and Duke is a double album, as was done with many CD reissues. It includes "The Great Summit" and "The Master Takes", both recorded over two day's sessions. Mine is a Roulette Jazz label and remastered in 24-bit/96 kHz. I hadn't played it in years and forgot how good it is.
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Hey frog, thanks for commenting. But while I didn't listen all the way through either of your links I couldn't identify any particular unusual instrument. However comments posted under the first one did say Pascoal played a "live pig" in one concert. I just didn't hear any piggy squeals here. ;^)
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Well, I guess it helps if you know what you're listening for. Yes I heard the oinks and grunts first time but never supposed it might be a piglet. And the first song was a couple minutes in before I read the comments to see the pig reference. So I got it, I just didn't know what I got! ;^) Anyway, I concede that should win the prize for most unusual instrument. frog your follow up with the video bio on Hermeto reminded me of one of my favored rock musicians, someone that admittedly not that many other rock fans appreciate. The Captain hisself, plus band of course - https://www.youtube.com/watch?v=c0uqyjGuxyA |
nsp, sorry but I just realized I never confirmed your question about the Chevy pictured with that video. Yes, it was a 1958 Impala. That was the first year the Impala replaced the Bel-Air as their top model. A friend in HS had a turquoise '58 Impala convertible. I was green with envy, but didn't have the long green to buy one. :^(
Speaking of the late '50s, early '60s era, anyone here remember the 45 changers available as automotive accessories then? I knew someone who had one in his '56 Bel-Air convertible but only ever heard it playing records while parked curbside. I wondered how well it did driving over anything but the smoothest streets?
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And now for something completely different. I heard this on my favored jazz station this morning and it raised an interesting question -- what is the most unusual instrument featured in a jazz recording? One seemingly easy answer might be the bagpipes. But a cat named Rufus Harley had several LPs as a leader and he was not the only musician to extemporize on the bag and pipes. https://www.youtube.com/watch?v=sBT47aU11PcSo aside from my man Monk on the celeste, I nominate this Artie Shaw number including the harpsichord. https://www.youtube.com/watch?v=ycdINaa8St0Per the internet this piece has been utilized as a theme song by several folks. I first heard it introducing a wonderful radio show on all things automotive from LA many years ago (thanks John and Len) and I enjoyed it. |
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o10, that soundtrack is a bit confusing. The link you provided doesn't include Monk or any of his songs. In the bio, "Thelonious Monk, The Life and Times of an American Original" there is discussion about Monk avoiding signing the contract for the score until the very last minute. When he finally signed and went to the studio to record the music he only did a few of his existing compositions rather than write anything new. The exception was his solo performance of the old hymn, "We'll Understand it Better, By and By". Most of the music furnished to Vadim for the film was done in those same sessions by Blakey and the Jazz Messengers.
I've never seen the film but the title and credits in your link leave me wondering.
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frog, thanks for filling in the blanks here. This makes me wonder how the Jordan album could be released claiming to be the soundtrack?
Oh well, C'est la vie.
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Well, that was clear, until it was not.
You suggest "the names of the tunes were changed." From my listening, o10's initial post was not Monk, and those tunes were not the same as listed for his recording date in the bio I referenced.
I didn't watch the film link beyond the opening two minutes or so. As you pointed out, that was obviously Monk. So without having watched the remainder of the film could it be that the Jordan music was utilized in the soundtrack for only the "party scene" while the remainder of the film utilized music recorded in that three day session with Monk and Blakey and the Jazz Messengers? That way both could be credited as from the soundtrack.
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As mentioned, the Monk/Blakey & Jazz Messengers tracks were never released on a album. So even while I'd choose that, it is apparently a wasted pick. :^(
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Well, I guess I just proved it is foolish to offer comments on music I’ve not heard. :^(
As I admitted, I hadn’t watched the film so could only guess about the specific music beyond the first two minutes or so. However I based my input on what I’d read in the Monk bio. That stated that Monk as well as Blakey and the Messengers were booked into a studio for three days to make their recordings for the film. Apparently Monk laid down his tracks the first day. There was no suggestion that Monk recorded with the Messengers during that session. And so far as I read, Jordan and his band were not present. I believe all that fits within the information/suggestion provided by frogman.
Also o10, I should have said no recording release of Monk’s performance for the film. Obviously as linked here, both Blakey & the JM (I skipped over that) and Jordan do have soundtrack records.
Sorry if I added confusion. |
nsp, it was called "The Car Show", not to be confused with "Car Talk" with Tom and Ray which was syndicated out of Boston, or should I say Harvard Square.
I listened to "The Car Show" directly from an LA FM station which was part of the Pacifica Network. No idea if they had any east coast stations. Len Frank and John Retsic (sp?) were absolutely amazing for their automotive knowledge. Part of the program involved callers with questions about their vehicles. It didn't seem to matter how old or how rare the model, those two knew something about them.
I listened most Saturdays for several years, continuing after Len died suddenly. The Artie Shaw theme music was use throughout.
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o10, Ry has such a variety in his recordings I think it is impossible to make an absolute recommendation -- it may all depend on what sort of listening mood you're in at the time. I will say I've only heard one of his which I didn't enjoy, "Bop Till You Drop". For all that, possibly his most popular recording and thus a safe place to begin is the "Buena Vista Social Club". He doesn't play lead, instead allowing a great group of little known (within the US) musicians enjoy the spot light. I believe he was the producer though so deserves much credit for pulling off the the whole thing. So yes, it features underdogs! https://www.youtube.com/watch?v=JNYOVEXJBBM |
It may not have been jazz -- but this video shows the improvisation and interplay among the musicians of a very creative group from the early '70s. I may have mentioned it before but I saw them in concert around this time. It was in a small club, probably no more than 200, and we had a table up front. Watching the musicians trade off lines and feed off one another's energy was something special. Cobham was a coiled spring that released more and more energy as the night went on. Certainly one of my Top 10 concert experiences. https://www.youtube.com/watch?v=E-0bMRcBik4 |
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Regarding the "Hudson" track. Those who read Stereophile will know the album was recently selected as their recording of the month. When I first began listening I thought, OK, heavy bass line to propel it forward but nothing really grabbed me. But the review mentioned the resemblance with Miles from the "Silent Way", "Bitches Brew" period. I could hear some Mahavishnu Orchestra as well, which led me to the post above. A second listen, all the way through this time, was a little more fun.
The review also discusses the use of classic rock associated with the Hudson Valley as well as a few new compositions. "Woodstock" and other rock numbers can be found in the listing to the right for anyone else curious about how they were adapted.
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Lots to be thankful for today, including the wonderful heritage of jazz as it has progressed from its creation in America in the early 1900s.
I'll add my welcome to luizfcoimbra. Your country has made some nice additions to the lexicon.
I was going to offer "Way Out West" as another counter to inna's position but o10 beat me to it. ;^)
For a long time I had little tolerance for "country" music. Only a few artists like Willie Nelson and Patsy Cline interested me. And BTW I consider mountain music/blue grass/string band music to be separate from country. So Doc Watson, Alison Krauss, the Dirt Band, etc. have been on my playlist. That label applies more to the commercial Nashville product in my mind. But then I happened to attend a George Jones concert with a friend (I'm leaving out the longer story of how that came about) and was truly impressed. That opened my eyes, and ears, to some of the more traditional country artists who are worth listening to.
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Not to step away from Rollins, who I admire for both his musical talent and intellect, but I just stumbled across this nearly 30-year-old 60 Minutes interview with Miles. "I never suffered, and I can still play the blues." https://www.youtube.com/watch?v=sb6WIzRbCjo |
Luiz, interesting that a direct to disc master was reissued with a Japanese pressing. I don't pretend to have expertise with that but I'm surprised if a) WB was willing to let a D2D master out of their immediate control, and b) that a D2D master would be sent overseas.
Reading about Sheffield D2Ds years ago I thought they made a point that it was considered critical to create the stampers from the master as quickly as possible?
Can anyone more familiar with production shed some light on this?
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Yes o10, I'm waiting too, though it is not critical.
I do own a few D2D LPs, but all of them were produced by US companies. So it was just a curiosity about the Japanese pressing.
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Hi frog, thanks so much for all your follow up efforts on the direct disc process. I thought the master disc was the "mother" from which the stampers were produced? Saving the extra processing steps was key to their sonic qualities. So the issue was not with stamper degradation but the potential for problems before the stampers were created.
Anyway, I appreciated the background on the LA4 recording. I have a few of theirs but not that particular album. |
Now, at the danger of repeating a recommendation posted previously, I offer this. It was among the first jazz albums I bought, I was still in high school. Mulligan has been a favorite ever since. I love his small group recordings and even appreciate some of his big band efforts, although in general I'm not much into big bands. He was an artist who excelled in creative output, whether leading his own groups or sitting in with a wide variety of other major jazz musicians. I just love his tone. https://www.youtube.com/watch?v=MX7BPKVjJbM |
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Nice Mulligan choices o10. Here’s a bari player I wasn’t familiar with while he was still alive. Fortunately the music lives on. https://www.youtube.com/watch?v=degZcUFL9SAIt might require a couple of listens but I didn’t enjoy that Cherry as much as my albums with Old And New Dreams. |
o10, I have maybe 20 Brubeck albums and that one must be in my top 5. But no, I've never actually rated them all. ;^)
frog, that Mulligan/Getz album is the one I have. Also I should have known that Chaloff was one of the famed Four Brothers. My excuse is the Herman albums in my collection seem to be from the mid-60s onward.
And yes, Carney was another who had a beautiful sound. This may be true with any instrument, but the potential for the tonalities make both the bari and tenor sax favorite instruments for me.
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