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Post by dottorjazz on Jul 10, 2018 15:05:35 GMT
my interests in Jazz vary into different directions. the one which is less considered here is West Coast. I'm gonna try to raise interests among friends and readers here as well as learn from you all. the statement: East=serious, West=weak is simply silly. there have been great musicians and great music in the 50s, on the Atlantic side and the Pacific one. some records are not heavy weight but they give me pleasure in listening. MAX ALBRIGHT: MOOD FOR MAX, MOTIF ML 502 to my knowledge it's his only recording, Hollywood November 23, 1956 all star as you read on front cover? this could be the perfect record for a blindfold test: John Anderson tp, Dave Wells btpt and tb, Buddy Collette as, ts, cl, fl, William Green as, ts, cl, bcl, fl, Chuck Gentry bar, cl, bcl, Gene Cipriano ob, engh, bcl, bar, Gerald Wiggins p, Joe Comfort or Courtis Counce b, Max Albright dr, vibes, bells. I know Collette, Counce and Wiggins (by name). all others are victims of my ignorance. all were musicians involved in TV and movies scores (recorded in Hollywood...). the original recording is flat edge. the music is happy and light, embellished by arrangements that flow without dangerous curves. Attachment Deleted
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Post by gregorythefish on Jul 10, 2018 16:15:38 GMT
i love a lot of west coast jazz. people tend to not like it so much because of the heavy arranging that is often associated even with small group sessions, but strong music is strong music. there is so much great jazz on contemporary and mode, for example. but i get why some people might prefer the more casual blowing session. what i don't get, though, is why horace silver and art blakey are so lauded by the critics of west coast style, when both also often offer highly arranged pieces. but i love it all, so it's all good.
also, that max albright label looks a lot like a mode label... perhaps it's just coincidence.
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Post by bassman on Jul 10, 2018 16:44:01 GMT
Dottore, you say you know Gerry Wiggins by name only? I'm almost certain you own The Return Of Art Pepper, Kenny Clarke's Telefunken Blues, and Tal Farlow's Autumn In New York, to name a few.
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Post by dottorjazz on Jul 10, 2018 17:29:30 GMT
my fault: didn't remember Wiggins played with Farlow and maybe in different other recordings I own, but with Pepper? pianist was Russ Freeman on both of these
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Post by bassman on Jul 11, 2018 6:27:47 GMT
my fault: didn't remember Wiggins played with Farlow and maybe in different other recordings I own, but with Pepper? pianist was Russ Freeman on both of these [ ... ] Oh, to be sure, I was talking about the bonus tracks with Red Norvo, Wiggins, Ben Tucker, and Joe Morello. They're part of the complete Aladdin recordings volume one, which is also named The Return Of Art Pepper.
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Post by dottorjazz on Jul 11, 2018 7:12:41 GMT
ah, this one! as suspected I may have many more... having the originals I was unaware of the reissue on BN
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Post by bassman on Jul 11, 2018 17:49:03 GMT
ah, this one! as suspected I may have many more... having the originals I was unaware of the reissue on BN [ ... ] Many thanks, Dottore, for reminding me of the original. I'm beginning to hate those "complete" editions because an album is an album is an album.
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jcband
Junior Member
Posts: 65
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Post by jcband on Jul 12, 2018 1:14:41 GMT
I like the Howard Rumsey's Lighthouse All Stars Records by Contemporary Records and there are lots of nice things on Pacific Jazz by Chet Baker, Russ Freeman and Gerry Mulligan
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Post by dottorjazz on Jul 12, 2018 7:27:16 GMT
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Post by gregorythefish on Jul 12, 2018 15:09:52 GMT
never understood why Intro 606 goes into the stratosphere and Intro 608 for less than a tenth. my guess is that the cover is awully boring compared to 606, and because 608 lists the comparably uninteresting red norvo first.
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Post by dottorjazz on Jul 12, 2018 16:21:12 GMT
agree for the cover, my worst one is this one
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Post by bassman on Jul 12, 2018 16:24:59 GMT
never understood why Intro 606 goes into the stratosphere and Intro 608 for less than a tenth. my guess is that the cover is awully boring compared to 606, and because 608 lists the comparably uninteresting red norvo first. That's my guess too, Gregory. Plus: Maybe it's the music also? 606 is much more swinging, much more in style.
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Post by gst on Jul 12, 2018 18:46:30 GMT
agree for the cover, my worst one is this one ugh. that cover makes no sense.
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Post by bassman on Jul 14, 2018 17:32:44 GMT
Right now I'm listening to Riverside 225 "Trigger Happy", by bass player and former Glenn Miller sideman (no, wait!) Trigger Alpert, later reissued as "East Coast Jazz" (JLP 11). West coast jazz recorded at the east coast, as it were. The lineup is stunning (Joe Wilder, Urbie Green, Tony Scott, Zoot Sims, Al Cohn, Alpert, Ed Shaughnessy). Trigger's competent playing (and full sound) is admittedly remarkable, and he's given the lion's share at least in the frequency spectrum. But it's the other players, especially Tony Scott, that make the day. The arrangements are by Scott, Marty Paich, and Dick Hyman. Very listenable, swinging, masterful sounds.
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Post by dottorjazz on Jul 17, 2018 16:46:25 GMT
from a minor label, a couple of 10" that were the first releases of a short series JACK SHELDON QUARTET, Jazz West JWLP: 1, GET OUT OF TOWN cover pic by William Claxton. anytime I look at this cover, Hitchcock comes to mind... Sheldon tp, Walter Norris p, Ralph Peña b, Gene Gammage drums (totally unknown to me). on upper corner, left side, a stamp reading Sniderman's Music Hall, $ 1.95, not the price I paid
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