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  1. Past Hour
  2. What is this? "Jazz LP Record Collection 75 Bud Powell "The Genius of Bud Powell" LP record". Google Translate shed no light on this. It seems to be a book in Japanese. I looked at it in case it might be some of Bud's Verve recordings. I have all the Blue Note recordings. Flying Dutchman was mentioned. They issued Rabbit's last recording, which was arranged by Ollie Nelson. I didn't see that listed.
  3. Not all at once, for sure! But if the piano usually has 88 keys, most pianists usually have two hands, ten fingers (again, Earl Hines is the exception)...if they're not going to be used, cut them off. Worked for the Rhodes, worked well for all kinds of electronic keyboards, might well work just as well for pianists. Too much of a good thing is a function of too much, not good thing. And a good thing done poorly is no longer a good thing. But, some guy starts walking 10ths in the right way at the right time, yeah, that works for me. But only if it's not too much and only if it's not poorly done. It's a resource!
  4. Today
  5. Charles-Valentin Alkan

    There's a bit of a tradition in France of the organ symphony...e.g. a number by Widor. One I particularly like is the Dupré 'Symphonie-Passion'...fairly epic
  6. What Classical Music Are You Listening To?

    Took a few listens for the Sessions to come together for me, but it got there. The McPhee seems to reveal itself immediately, no idea what the long-range implications of that are. Cool cover, too.
  7. Please go into my loft

    Happily no warping problems here. Really wish I had that Shepp CD. I have a feeling I sold it to make space for the more complete US edition, and then never replaced it. Grr.
  8. ambrose akinmusire

    Just back from Middelheim Jazz Festival, where Akinmusire was artist in residence this year ... I've heard him in person already last winter with his fantastic quiartet (the one on the Blue Note double album from the Village Vanguard). I very much like his approach, both tonally as well as rhythmically ... and the band was truly together in a way that I've not heard all that often yet, all four able to jump in at any time and take any turn right away--a very challenginng approach it seemed, yet also one that allowed plenty of looseness on all sides. Sam Harris (his EP "Harmony", bandcamp/dl only, comes recommded, too!) is a great new voice on piano/keys, too. At (in) Middelheim (a part of the city of Antwerp which is worth a visit, independently of the festival), the first appearance by Akinmusire was with "Origami Harvest". I was a bit doubtful how well this would work in a live setting, but it gelled right away. This was the first set after a fun opening by Idris Ackamoor & The Pyramids and an amazingly powerful set by David Murray's quartet with Saul Williams. A supercharged set indeed--I heard them for the third time and they smoked this time around, never heard Murray in such a mood ... he was in front row checking out Ackamoor's final ten or fifteen minutes, and I guess he went back with the will to show them boys how to really do it, and so he did, his band right with him. This seemed like a nearly impossible act to follow, but the Akinmusire band (with rapper Kokayi [Carl Walker], Sam Harris on piano/keys, Kendrick Scott on drums, the Mivos Quartet - which is right now playing with Saul Williams at Lucerne Festival, alas I'm not attending that) was on from the first beat. The two middle sets from the opening night would remain two of the four or five best sets of the festival (Pharoah Sanders did the closing set ... it was much better than I feared, but still ...) On the second day, Akinmusire was probably rehearsing for the first of his sets on closing night, but on day three he was back. That night was adressing a different crowd, standing room only, the incredibly boring Nubiya Garcia (her band being the only one at the entire festival whose names weren't mentioned, a case of dumb disrespect, but I guess this is pop music ... sax tba, p tba, b tba, d tba - not quite sure it was really her playing, maye she sent in a sub ) ... anyway, we were there for the second set, which was Akinmusire's "Mae Mae", a project attempting to incorporate samples of the recordings made of the singing of Mattie Mae Thomas. The line-up this time was Akinmusire, again Kendrick Scott on drums, singer Dean Bowman, Joe Sanders-b, plus Gerald Clayton-p and Marvin Sewell-g (both part of the Charles Lloyd band that provided another highlight the night before). The set took a while to get going and proved a bit difficult. The interplay (or rather togetherplay) by Clayton/Sewell wasn't as amazing as the night before, but by the time the set came towards its end, I was quite stunned overall. Bowman was quite charismatic, the rhythm section pretty great, only those samples weren't really working at all ... triggered by Kendrick Scott, they weren't even matching in tempo, and with the rather thick orchestration of the band, and then Bowman singing at the same time, it kinda stopped making sense, yet that was definitely not the intention. Anyway, an okay set still, not a great one. On closing night, Akinmusire had two gigs. We skipped the first set that night and arrived in time for his first appearance, with a quintet of students of the Antwerp conservatory. This was a more or less ECM-ish set, with Akinmusire blending in and never attempting to outshine the other guys, who were pretty competent and actually better than I was hoping, but it was all a bit too nice, too melancholy, too subdued for my likings. Two sets (and standing ovations for an awfully nice Toots Thielemans tribute headed by Kenny Werner and Grégoire Maret and featuring a messy guest appearance by local hero Philip Catherine) later, Akinmurise played a quartet set with Harris, Sanders and Scott over on the small stage, and that final set kind of saved closing night. Again they were focussed, to the point, alert, the music and the rhythms taking twists (Scott seems to have his hip stuff down, breaks and all, his beats sometimes skipping a milli-second or being delayed for a blink of an eyes etc.). Akinmusire well, yeah, he shined, but he doesn't do that in a flashy in-your-face way most of the time, he keeps his tone alive, adding shades and colours (and those dissonances mentioned above), his lines flexible and his beat pulsing. And I think he does bring qualities to his music that those mentioned by Steve above mostly lack, a punch, a puckish style, also loads of fun that don't make his stuff leightweight at all ... I love Santos Silva's clarity, I admire Finlayson, enjoy Knuffke and Berman, sometimes like Wooley, but am pretty bored by Branch ... either way, none of them have the force that Akinmusire has (and I guess all of them, most of the time, are too serious about their stuff and not leeting lose quite enough, which may actually be my main issue with Wooley, and partly with Peter Evans, too, who hasn't been mentioned for whatever reason, but this thread is about Akinmusire anyway and that constant derailing is getting extremely tiresome), at least that's how I hear it. -- PS: Where's that noughties recording of Rufus Harley on trumpet? Or what was that all about anyway? Please answer in the fitting thread, which is not this
  9. Jazzmeia Horn - Love and Liberation

    actually i think its probably only important to us, becuase to the biz people its all the same thing anyway right- isnt prestige/fantasy now Concord anyway? so its not like shes moving far-- (but i like prestige)
  10. Jazzmeia Horn - Love and Liberation

    IT TOOK SOME ARTISTS A WHOLE CARREER TO GO FROM PRESTIGE TO CONCORD, JAZZMEIA DOES IT IN ONE ALBUM? I THINK IT SAYS LESS ABOUT HER AND MORE ABOUT THE STATE OF THE MUSIC INDUSTRY. I GUESS NEW PRESTIGE WASNT THE BEST PLACE TO DEVELOP HER THING. THEY SHOULD LET ME BE DON SCHLITTEN 2020, IM SERIOUS, I DONT KNOW WHAT THE FRICK THEIR PROBLEM WAS. WE SHOULD OF GOT IN HER IN THERE WITH LARRY GOLDINGS OR MIXED IT UP A LITTLE BIT. HOW ABOUT THIS: JAZZMIA HORN BAND WITH LARRY GOLDINGS, ROY HAYNES & CANDIDO. (im not really feelin a guitar on this project) heres a rough demo of a possible cover-
  11. Kenny Burrell - The Great Summit

    i was gonna say you gotta be kidding me, what- but then i looked it up and i saw lil' hankie is on it, it must just be a euro comp. snazzy cover though
  12. What Classical Music Are You Listening To?

    Sonatas Nos. 3,4,5&6 The spontaneity and fluidity are present in these recordings. I have to compare them more against his second cycle but at the moment i am leaning towards this one. Great stuff.
  13. Most Unforgettable Baseball Cards Ever

    Trump needs one of Mickey Hatcher's giant gloves ... for his huge hands.
  14. What Classical Music Are You Listening To?

    👍👍👍!!!
  15. So, What Are You Listening To NOW?

    Since this was the first Ornette Coleman Album I could purchase, it allways will have a Special meaning . It was my first "guide" to so called "free jazz" and anyway it´s easy listenin free jazz since Maybe on Alfred Lions insistence they had to Play also some swing pieces like you see on "Good Old Days" . And for the difference of others I allways found Ornettes violin playing quite good and interesting. I don´t have classical trained ears and a violin for my own happiness must not Sound like Mozart or Beethoven. But here it sounds like the stuff some 20th century classical compositions from Eastern Europe, mostly from Hungary did it, I think Gyorgye Ligeti was his Name.
  16. Thank you for your many replies with really worthful Infos. I apreciate them all ! I´m also pleased to read that I´m not the only one who find´s walkin bass lines on piano boring. About Lennie Tristano. I intended to Mention him, but didn´t. I love all of Lennie´s Combo records, the stuff with Billy Bauer , Lee Konitz and so on, but have difficulties to enjoy those Things he did after he disappeared from public, it sounds dull, even if at some Point there are interesting chords. I think I heard some mid sixties live material of very individual rendidions of ballads like "Darn That Dream" and so on..... Enough About Lennie Tristano. Yes the piano has 88 keys but nobody must Play them all. When I was Young I thought I must Play Play Play , now as I get older I think About the inside of the song. I don´t think About the fact that I Play piano or Play an Instrument, I think About the essence of the song, the chords and what I can do with that. When I had those Occasion to be forced to listen to Walking bass piano Players for some Hours and some Point i did what I usually do when I feel the urge to Play myself: During Intermission I hurried to the piano Player, told him how much I love what he does, and that he has such an Incredible left Hand, and how poor is my own pianoplaying but if he´d be so nice and let me Play a song, not for myself, for my wife. With that "Gimmick" I never was refused and played a tune …… of Course not a Walking bass tune.
  17. What Classical Music Are You Listening To?

    I'm also listening to Brendel's recording of Schubert's "Moments musicaux," as heard on this LP: Thanks for prompting me to pull this wonderful record off my shelf! 🙂
  18. Now, that’s a real obscenity.
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