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About jeffcrom

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  • Birthday 11/08/1958

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  • Gender Male
  • Location Atlanta, GA

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  1. What vinyl are you spinning right now??

    This again. Now one of my favorite gospel albums on my shelves.
  2. What's the verse that can happen?

    In my humble opinion, the verse to "How Long Has This Been Going On?" adds a lot to the meaning of the song - musically and lyrically.
  3. What vinyl are you spinning right now??

    Hank Jones, Kenny Wheeler, and now: Kid Howard's La Vida Band: Afraid to Stay Here, Afraid to Leave This Town (Icon mono)
  4. How to remove space between lines?

    Write a line then instead of just pressing "enter" to get to the next line, press "shift / enter."
  5. What 78 are you spinning right now ?

    Shorty Rogers - Modern Sounds (Capitol three-record box). I have this material on LP as well, but this set "pops" out of the speakers nicely. Art Pepper and Hampton Hawes win.
  6. So, What Are You Listening To NOW?

    The Jazz Scene (Verve). Listening to the original configuration - the 12 originally-issued sides.
  7. So, What Are You Listening To NOW?

    I love that stuff, especially the intensity of "That Certain Door." Jemeel Moondoc - Revolt of the Negro Lawn Jockeys (Eremite)
  8. Art Tatum

    Max Harrison is another critic who really understands Tatum. His short essay on the pianist in Jazz on Record 1917-1967 is excellent. Since I doubt many folks have access to it, here are some excerpts: Externally, then, Tatum's music offers a fantastic array of pianistic devices, but we shall be mistaken if we allow this to dazzle us for it is the smaller part of his achievement. We shall also be misled if we expect him to build new melodies on the chords of the pieces he plays, like most soloists, for Tatum represents, among other things, the final sophistication of stride school practices. This means that he uses a melody, preferably a well-known ballad, as a cantus firmus around which evolves a structure of ever-changing textures, full of countermelodies, inner voices. Sometimes a melody is "analysed" into its basic motives, which recur again and again, often modified, usually revoiced, reharmonised and over various intensifications of stride bass patterns. And later: As one recording session follows another, while his virtuosity becomes more extravagant the rhythmic invention grows more acute and personal, the harmony more complex yet sensitive. While a certain part of this music's expressive force derives from tension between its athletic execution and the sensual complexity of its harmony, the main point is that Tatum's staggering technical command is the vehicle of a vast harmonic and rhythmic imagination. These are the elements through which he principally works and he is by far the greatest harmonist jazz has produced.
  9. First Concert

    Oh, wow! I was just a kid, it seems like now. Petrucciani played first because he had a plane to catch, and we enjoyed joking about how Michel Petrucciani opened for us.
  10. What Classical Music Are You Listening To?

    Stockhausen - Opus 1970 (Deutsche Grammophon LP). This is basically a version of Stockhausen's "Kurzwellen," a piece in which the performers respond to random short-wave radio signals. Here, to celebrate the 200th anniversary of Beethoven's birth, the radios have been replaced by tapes of Beethoven, prepared by Stockhausen to sound "short-wavy." It actually works pretty well, in my opinion, but I guess Stockhausen later rejected the idea, since he never reissued the recording in his Stockhausen Edition CD series.
  11. What vinyl are you spinning right now??

    Willis Conover's House of Sounds (THE Orchestra) (Brunswick). The Washington big band that backed Charlie Parker (One Night in Washington) six months earlier. Several of the same arrangements appear here.
  12. What vinyl are you spinning right now??

    Lots of varied stuff tonight, but I ended up with New Orleans trad 45s. No usable pictures of many of these on the web. Armand Hug and His New Orleans Quartet (Southland four-track EP, 1954) Kid Thomas - New Orleans Jazz (Smoky Mary, 1973). With Willie Humphrey on clarinet and Sister Annie Pavageau on vocals. Clem Tervalon - Eh Las Bas / Streets of the City (Clemente, 1973). Clement Tervalon (1915-1989) was one of the unsung heroes of New Orleans trombone. Alvin Alcorn and Albert Burbank are on board here. Bill Matthews and His New Orleans Ragtime Band (Southland four-track EP, 1954). Not great - "racehorse Dixieland," as Bunk Johnson put it. George Lewis and Papa Bue's Viking Jazzband (Storyville four-track EP, 1959). Very nice collaboration, recorded in Copenhagen. Sidney Bechet at Jazz Ltd. (Atlantic four-track EP). Three 1948 tracks with a Chicago band and a later French side. Ken Colyer's Jazz Men (Storyville four-track EP, 1953). Okay, not a real New Orleans band, but my favorite European trad band. And dang - this is way better than the Bill Matthews EP, even though those guys are all New Orleans natives.
  13. What vinyl are you spinning right now??

    JJA Presents the Music of Alec Wilder. A late-70s promotional record (in a plain white sleeve) with 18 of Wilder's pop songs, put out by his publisher. The recordings are mostly taken from Wilder's NPR show, American Popular Song, which featured one Wilder song every episode. The quality of both the songs and the performances vary, but the best tracks are very good. I particularly like Johnny Hartman's " 'S Gonna Be a Cold, Cold Day," Marlene Verplank's "The Winter of My Discontent," Mark Murphy's "When Yesterday I Loved I Loved You," Woody Herman's "Baggage Room Blues," and Tony Bennett's "The Lady Sings the Blues."
  14. Which Mosaic Are You Enjoying Right Now?

    Complete Atlantic Tristano, Konitz & Marsh - the Atlantic Warne Marsh album. The two tracks with Philly Joe Jones always make me nervous; Marsh sounds much better with Paul Motian.
  15. What vinyl are you spinning right now??

    Al Haig - Jazz Will-O'-the-Wisp (Everest). Much of this album superficially sounds like cocktail piano, but the more carefully you listen, the more it rewards you. I know that there are better-sounding issues out there than this cheap 1974 budget-label record, but this is the one I've had for years, and it will do for me. I learned a lot about jazz from cheap Everest records. I think this is the last one I have left.