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corto maltese

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Posts posted by corto maltese

  1. 12 hours ago, Late said:

    I think that, unfortunately, that probably had a lot to do with Revenge not getting the exposure it deserved. The "Bley-Peacock Synthesizer Show"? I can almost see people in the late 60's passing that one up in the bins.

    I still think people pass on it.

     

    1 hour ago, clifford_thornton said:

    there's a second pressing with the same cover art but minus most of the text... even more perplexing. I'm sure it went straight to the remainder bins.

    "Revenge" was reissued a few years ago as a "proper" Annette Peacock album on her own (?) Ironic label.

    I Belong To A World That's Destroying Itself. Aka Revenge (Vinyl, LP, Album, Reissue) album cover

     

  2. 6 hours ago, Pim said:

    Closing record for this week is the pretty rare Jazz Concert in a Benedictine Monastery. I have a really, really soft spot for Nathan Davis and I love this record. Perhaps it's obscurity contributes a little but this whole record feels like little treasure. That tone man, that tone! Backing support by Mal, Woode and Taylor is superb, great record. Anyone knows where this was recorded? All kinds of sources say something different: some say it was recorded at some religious monk school in Paris (including the cover), other sources say a Benedictine Monastery in Switzerland.

     

    Pim, the album was recorded at the concert hall of the Schola Cantorum, a private music school in in Paris. In the late 60s Nathan Davis taught jazz history and improvisation there. The concert hall is the former church of the Benedictines’ Convent, dating from the 17th century.

  3. On 8-4-2021 at 5:59 PM, mjazzg said:

    I'm really enjoying it. I'm no way near the Harper afficionado that some of our fellow board members are but to my ears this is a storming set, good some quality and production values. Can't believe anyone who likes Harper would be disappointed.

    Some may baulk at the short playing time 20:16 and 15:29. The notes mention that the set was completed by a 20' 'Priestess' so I do wonder why they went for the shorter 'Croquet Ballet' for side 2.

    I'm glad they did; it's a particularly strong performance. I have the impression that you can hear that the quintet is more familiar with this piece, which they recorded a few days earlier in the studio, than with "Cry Of Hunger". 

    Anyway, an excellent release from Sam. 

  4. 16 hours ago, JSngry said:

    Any chance of a Paul Serrano link in that chain?

     

    16 hours ago, JSngry said:

    Or better, who was Don Logan to have his name on the Paula release?

    Some lunchtime sleuthing:) :

    Paula Records launched its jazz series in 1973. Part of it were the "Carson" recordings by AEC ("Chi Congo") and Mal Waldron ("On Steinway"). Other titles in the series were originals (James Moody, Sonny Stitt, Young-Holt Unlimited...). Those albums  were recorded by Paul Serrano at his PS Studio.

    Dandy Don Logan worked as chief cook and bottle washer for Stanley Lewis' record companies. He gets a credit on some of these jazz series albums, including "Chi Congo", as "co-ordinator". 

     

  5. 8 hours ago, Chuck Nessa said:

    Lots of negative feelings in the band about those recordings. I don't feel able to share.

    I understand and I will respect that.

    Just one thing, though: do you mean negative feelings about the music or about what happened with those recordings ("Chi Congo", "Go Home"...) ? 

    6 hours ago, clifford_thornton said:

    my understanding was that Berjot was responsible for the America, Carson/Decca, and Galloway recordings and released/sold them as he saw fit. 

    Whenever Berjot/Jaubert's name comes up, you're bound to have a discographical mess...

     

  6. On 21-3-2021 at 10:03 PM, Chuck Nessa said:

    First my friend Donald Clarke issued 4 cds in England on the Chief label in 1989.

    Bomba issued 9 titles in Japan in the late '90s.

    Neither pressed any lps.

    The French titles are the AEC's People in Sorrow and Les Stances a Sophie. These titles were recorded by Pathe Marconi with the understanding (with the band) they would be issued in North America by nessa. Pathe issued a contract licensing these masters to me "in perpetuity". Because of a complication in the '80s involving a third party, the North American rights are hazy. The cd reissues across the pond are at least partially "needle drops" while I have pristine master tapes. When Universal Sound / Soul Jazz issued Les Stances a Sophie they unwittingly used my artwork and compensated me with 100 cds to sell.

    The "Chi Congo" album was recorded around the same time as "Les Stances à Sophie" and was also issued in Japan by Emi/Odeon. There seems to be quite a bit of discographical confusion about this album. I suppose that session was not part of the recording deal with Pathé Marconi? Do you know what happened with those masters?

  7. I thought the first song started out very promising, until the male voices joined in. From there on it succumbed to an excess of clever turns and effects. The group is already identified as Roomful Of Teeth; the track is called "Quizassa". I read above that the composer is a "name" in pop music. I don't know her and, based on this track, I am not convinced. Marie Daulne/Zap Mama already did this translation of traditional vocal music into quasi-pop music 30 years ago (she was mainly inspired by the Pygmy music of her childhood) and, for this listener, with much more charm.

    I liked the last track more than I would have expected, considering the ensemble playing here. Some added effects bothered me a bit: in general, I prefer either a piece built entirely on (the manipulation of) the vocal loops (like the early Steve Reich tape pieces mentioned above) or the preservation of the unedited/unadorned field recording. Still, an attractive piece, full of atmosphere (the guitar part was not necessary for me, but I can assume that it helps to warm up a wider audience for this music).

    The gorgeous snippet of Bartok is the first of his 15 Hungarian Peasant Songs. I have the complete Bartok piano music by Zoltan Kocsis, but it's not him playing. Remembering your enthusiasm about György Sandor, that name seems a safe bet.

     

  8. On 3/5/2021 at 5:09 PM, clifford_thornton said:

    Fifteen Saxophones, on Northern Light/Wergo, reissued on Unseen Worlds (w/ liners by yrs truly)

    Having Been Built on Sand, a collaboration with Lawrence Weiner, which is also going to be reissued along w/ Solos and 4 Cuts

    Solo (CD from 2006)

    Don't want to interfere with your recommendations and count me in as a fan, but that Lawrence Weiner is a very different record from the others mentioned here.

    Think artists' record, sound art, "broken music"...

  9. On 11/17/2020 at 6:36 PM, mjazzg said:

    Mine's a little bit of a crackling good album unfortunately.  Doesn't detract too much from the impact of the music though.  Signed by Favre and Schweizer too, although I've no proof they're legit.

    A pity, because it's a really good recording and pressing. But it's nice to have an original with its gorgeous silk screened sleeve.

    And honestly, I wouldn't worry about the legitimacy of the signatures. Why would anyone forge Favre's and Schweizer's signatures on the cover?. Those two are not exactly hot among autograph hunters.^_^

  10. 2 hours ago, Daniel A said:

    I often cannot afford to care, but I am nevertheless interested in these things. If possible, please share your insights regarding the BIEM mark and identification of the year of release (<1972).

    I'm not a specialist on copyright matters, but on labels of French releases the legal notice "BIEM" was replaced with "SACEM" somewhere during 1971. 

    This particular concert recording from July 1969 was released by the Edici label to celebrate the fifth anniversary of the Summer Jazz Workshop at the Paris American Academy which was founded in 1965. Nathan Davis thaught and performed there from 1965 to 1969. 

    So this album would most probably have been released in 1970. And my copy does indeed have a "BIEM" label;

  11.  

    7 hours ago, Daniel A said:

    BTW, did 'Orgasm' actually come out in the US in 1969? The liners on Parabolic state that it (the UK release) was the first release anywhere, but I have no idea what year it was released. It does really look like a 70s cover design. 

    I have a copy of the US original which was released in early 1969. However, all US copies I've ever seen were promo's and/or had a cut-out hole in the cover. I think it was withdrawn by Verve before its official release.

    The UK and the Japanese reissue, both marketed by Polydor, were released in late 1973. 

  12. On 20-4-2020 at 4:19 PM, Д.Д. said:

    How is the music? 

    It's a showcase for Gérald Merceron's compositions, dating (all, I think, or at least most of them) from the 1960's. I guess you could call these "advanced" or "third stream". One of the compositions (performed twice on the LP) is "Portrait Of Carla", an homage to Carla Bley, "compositrice américaine de grand talent". That should give you an idea.

    All tracks without Konitz are solo performances (some with re-recording), including a fine piano solo by Merceron himself.

    It's been some time since I played the record, but regarding both Konitz quartets, I remember especially liking the 1973 tracks. 

  13. On 4/19/2020 at 2:39 AM, Joe said:

    I have this record. My copy is inscribed to the French philosopher and jazz critic Lucien Malson. I mention this, because the scarce references to this record mention different (and improbable) release dates; the inscription is dated 21 september 1977.

    The three tracks by the "Lee Konitz Quartet" were recorded in NYC in 1966, with  Dick Katz, Victor Sproles and Ronnie Bedford.

    The two tracks by the unidentified "Daring Jazz Quartet"  also feature Lee Konitz, this time playing with Jim Hall, Eddie Gomez and Beaver Harris. They were recorded in Haiti in 1973.

    Both sessions are documented (the second one with a few tiny mistakes) in the exhaustive Lee Konitz discography in Andy Hamilton's "Conversations on the Improviser's Art":

    Two other musicians on this intriguing release are Martial Solal and... Warne Marsh, clumsily disguised as "Rawen Shram"

  14. On 17-4-2020 at 8:41 PM, clifford_thornton said:

    I've seen his name spelled both Giuseppi and Giuseppe; I recall hearing that the "e" was actually correct, though most recordings from the period list "i" and I don't have the article handy where this variation is detailed... mods can change it if they like!

     

    I agree that "Giuseppe" is much more likely.

    I was reminded of (and wondering about) Mr. Logan first name, when Trump was speeching and tweeting about the Italian Prime Minister "Giuseppi Conte" a couple of weeks back ("Giuseppi was very, very happy").

    I haven't catched up with his comeback music, but I am thankful for his earlier music on ESP (and with Roswell Rudd).

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