dg
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Posts: 126
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Post by dg on Jan 8, 2022 15:03:39 GMT
Hilarious!
BTW, "Arabia" ("Three Blind Mice" Vol.2, or the studio version from "Mosaic") has been one of my long term favourites.
... great music to ring in a new year!
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Post by bassman on Jan 9, 2022 18:45:25 GMT
... great music to ring in a new year! (Youtube videos deleted - see below!) --- bassman Re: Getz/Coltrane video and Ted Brown/Art Pepper record.
Thanks for posting! Great stuff, I didn't know either of them, except for the "The Way It Was!" tracks from the latter. Peterson with Chambers and Cobb - what a treat! It's unique, isn't it? Did the three of them ever meet in a studio? And the tenor titans, of course, are beyond category.
As for the Free Wheeling session, it's nicely done, well arranged, with a couple of really good solos. But when I look for music of this kind I usually go to the Lennie Niehaus sessions on Contemporary. Jeff Morton, despite his well tuned drumset, is no match for Shelly Manne, and the sound engineer - whoever it was - is no Roy DuNann. The cymbals, at least on the Youtube file, do not shine at all - but I think I am complaining on a high level. It's very good music altogether.
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dg
Full Member
Posts: 126
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Post by dg on Jan 9, 2022 21:34:14 GMT
(Youtube videos deleted - see below!) --- bassman Re: Getz/Coltrane video and Ted Brown/Art Pepper record.
Thanks for posting! Great stuff, I didn't know either of them, except for the "The Way It Was!" tracks from the latter. Peterson with Chambers and Cobb - what a treat! It's unique, isn't it? Did the three of them ever meet in a studio? And the tenor titans, of course, are beyond category.
As for the Free Wheeling session, it's nicely done, well arranged, with a couple of really good solos. But when I look for music of this kind I usually go to the Lennie Niehaus sessions on Contemporary. Jeff Morton, despite his well tuned drumset, is no match for Shelly Manne, and the sound engineer - whoever it was - is no Roy DuNann. The cymbals, at least on the Youtube file, do not shine at all - but I think I am complaining on a high level. It's very good music altogether. I'm not aware of any recordings by Peterson, Chambers and Cobb - this video seem to be unique. Niehaus et al. - a glorious sound of the three sax voices together - alto, tenor and baritone - and fine arrangements too. Thanks for the tip.
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Post by jazzhead on Feb 24, 2022 12:08:53 GMT
Some more great music from Isaiah Collier & The Chosen Few here. They've released two tracks from the same session as their excellent album, Cosmic Transitions. Both tracks cost just $2.22 (or more if you like) on Bandcamp.
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Post by jazzhead on Mar 17, 2022 23:55:52 GMT
This isn't jazz related but it is vinyl related; also, it's pretty cool. Jack White's Third Man Pressing plant. A pretty in-depth look at how records are made.
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dg
Full Member
Posts: 126
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Post by dg on Jul 11, 2022 19:25:30 GMT
I thought it would be fun to have a thread where people can post their 'real-time' as (or at least shortly after) it happens...... ...from2022. What really impressed me here was the excellent back up trio of Taber Gable, piano, Ivan Taylor, bass and EJ Strickland, drums - worthy of Coltrane, perhaps. ...from 2008. Doom Girl tells me that back up singer and composer Georgia Anne Muldrow credits Lakecia Benjamin with originating the expression ("woke"), although it may have been Lead Belly.
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Post by bassman on Jul 24, 2022 7:19:37 GMT
LAST MILES ...I have just recently stumbled upon what are believed to be Miles Davis's last studio recordings. In 1989, Miles contributed a couple of solos to some music recorded by Italian-American pianist, composer, and producer Paolo Rustichelli. There are two albums of this kind, "Mystic Jazz" (only two tracks with Miles), and "Mystic Man" (six tracks with Miles). "Mystic Jazz" is the better album, with Wayne Shorter, Herbie Hancock and Carlos Santana sitting in, while "Mystic Man" to me sounds like stiff, contrived, lifeless, "esoteric" techno rock. Music to count sheep by. It was the time when the "New Age" craze was expanding widely - something that never really caught my interest. Still, Miles somehow manages to breathe some of his "Miles-ness" into the music. His sound still is unmistakable, and he plays beautifully.
EDIT: It should be added that although the Rustichelli sessions are listed by Cook & Morton as "Miles Davis's final studio recording", it seems that the title really goes to the "doo-bop" album (January 19 – February 1991). I am expecting George Cole's book "The Last Miles" tomorrow, so we'll see what we shall see.
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Post by Doom Girl on Jul 24, 2022 20:06:50 GMT
LAST MILES ...I have just recently stumbled upon what are believed to be Miles Davis's last studio recordings. In 1989, Miles contributed a couple of solos to some music recorded by Italian-American pianist, composer, and producer Paolo Rustichelli. There are two albums of this kind, "Mystic Jazz" (only two tracks with Miles), and "Mystic Man" (six tracks with Miles). "Mystic Jazz" is the better album, with Wayne Shorter, Herbie Hancock and Carlos Santana sitting in, while "Mystic Man" to me sounds like stiff, contrived, lifeless, "esoteric" techno rock. Music to count sheep by. It was the time when the "New Age" craze was expanding widely - something that never really caught my interest. Still, Miles somehow manages to breathe some of his "Miles-ness" into the music. His sound still is unmistakable, and he plays beautifully.
EDIT: It should be added that although the Rustichelli sessions are listed by Cook & Morton as "Miles Davis's final studio recording", it seems that the title really goes to the "doo-bop" album (January 19 – February 1991). I am expecting George Cole's book "The Last Miles" tomorrow, so we'll see what we shall see. I was happy to see this post as it jogged my memory to recall that Paolo’ MYSTIC MAN was an album that I listened to frequently in 1996-97. I don’t remember why I purchased this album. I had never heard of “Paolo,” Miles’ name is nowhere on the original album cover back or front, and it is in genres I was not particular enamored of (“electro pop,” “techno,” “new age,” “dance,” whatever). In time, this album was relegated to my record collection “annex” - the top shelves of the closet - and forgotten until seeing your post. Now it has come out of the closet, so to speak. I played it and find it still to be rather enjoyable, despite some of the vocal parts. It is beautifully produced on Island Records, recorded in studios in Los Angeles, Berkeley and Rome, and mastered by Bernie Grundman. I do agree it does sound rather “contrived” perhaps even “lifeless” at times. Miles Davis appears on five tracks and on an alternate mix of one track. His contributions are fine throughout, and rather touching on “Kyrie,” which has the word Kyrie vocalized by operatic tenor Mario Leonard - and the track is “dedicated to Miles’ memory.” Miles of course died in 1991 and one wonders why this music went unreleased for so long. I suspect that the tracks were “constructed” by Paolo using various unreleased material left behind - Paolo thanks “the Miles Davis Family” in the liner notes. And so “contrived” might be a perfect word to describe the album. The Paolo albums don’t rate a mention in Richard Cook’s “It’s About that Time: Miles Davis On and Off the Record.” He here seems to consider DOO BOP the last studio recordings, with a track from LIVE AROUND THE WORLD being Davis’ final recording. If we look at Miles’ complete discography and session indexes at jazz disco.org, we find that there was indeed a session at Paolo Rustichelli’s “Home Studios, Rome, Italy” in June of 1990 which would indeed pre-date the DOO BOP sessions (Jan-Feb 1991). Jazzdisco.org also lists recordings made in France on July 10, 1991, that is after DOO BOP but prior to the Hollywood Bowl track (Aug 25, 1991) which eventually appeared on LIVE AROUND THE WORLD. In the past few years I have been building a collection of Miles’ studio recordings and this is a noteworthy addition to the collection. (I gave up on the vast “live,” “concert,” and “bootleg” material.) The “mature” Miles appeared on few albums under other leaders - and most are not I think considered especially memorable - e.g. his appearance (with brass arrangement and conducting by Gil Evans no less) on one track of wife Betty Davis’ (nee Mabry) NASTY GAL, which I nonetheless have as original vinyl in my somewhat eclectic collection
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Post by bassman on Jul 25, 2022 7:43:02 GMT
Thanks for your reply, Doom Girl. "Kyrie" is indeed one of the more memorable tracks, although it had become a fashion to rely on old church music to get that "mystic" touch. Since Richard Cook’s discography (in “It’s About That Time...”) "is a listing of the official record releases involving Miles Davis as a leader, with a few of his selected sideman appearances ..." it would have been neither wrong nor indispensable to include the Rustichelli tracks. I don't think they just escaped his attention, considering the amount of work he put into his book. Just for the record, I listened to the Gil Evans - Betty Davis track on Youtube. So much for that.
EDIT: In "The Last Miles", George Cole elaborates on how Rustichelli was trying hard to get Miles to record "Capri" (a tune he had written for him some time before). Rustichelli had prepared the song on a special computer. He played all the instruments himself on a synthesizer, while Miles was to do the overdubs. It happened on the morning of July 26, 1989 that two versions of "Capri" were finally put to tape. Later, after Miles's death, Rustichelli used samples from the July 26 session to produce five tunes featuring Miles's horn on "Mystic Man". So "Capri" (heard on "Mystic Jazz") was the thing Rustichelli had been striving to get done in the first place, and the follow-up album seems like a by-product.
The final guest recording by Miles is from August 13, 1990: The title track of Shirley Horn's "You Won't Forget Me" (Verve).
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Post by jazzhead on Aug 2, 2022 14:21:38 GMT
We were just chatting about video game soundtracks and Katamari Damacy came up. It has an infectious soundtrack, but this track is something else:
A Crimson Rose & Gin Tonic
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Post by Doom Girl on Aug 2, 2022 14:46:45 GMT
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Post by bassman on Aug 2, 2022 16:59:37 GMT
We were just chatting about video game soundtracks and Katamari Damacy came up. It has an infectious soundtrack, but this track is something else: A Crimson Rose & Gin Tonic [ ... ] Reducing Krupa to his licks misses the point. "Sing Sing Sing" is slower (at least the versions I can remember), with that heavy sound ...
"Blood Count" has its moments, but I find it so hard to suppress Hodges who seems to be playing along with CL from somewhere next door . Still, it's one of those Strayhorns that I can listen to by people other than Duke's men (Getz). "Take The A Train" I can't.
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Post by Doom Girl on Aug 2, 2022 17:52:59 GMT
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Post by jazzhead on Aug 13, 2022 14:44:11 GMT
Couldn't decide what to listen to on this hot Saturday afternoon. So I went with Lee Morgan's The Sidewinder. Bob Crenshaw's (Cranshaw) bass is epic on the title track.
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Post by Doom Girl on Aug 15, 2022 15:59:20 GMT
Nagel Heyer records, a German company, released an album called NICE PEOPLE by Paul Desmond. I like very much Desmond’s sound and style and so purchased it. It has some good music on it. A booklet was supposed to come with it, but didn’t. Searching Jazzdisco.org, I find that what I think is Don Elliot’s mellophone suggests it might be from some 1956 sessions with Joe Dodge and Norman Bates, but not sure. Anyone have any further information or comments on this album?
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