Rooster_Ties

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About Rooster_Ties

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    Groovissimo!
  • Birthday 03/18/1969

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  • Gender Male
  • Location Washington DC!! (formerly Kansas City, MO)
  • Interests 'Progressive' hard bop (Andrew Hill!!!, Larry Young, Charles Tolliver, Woody Shaw, later Lee Morgan, Tyrone Washington). Also a big fan of 20th Century classical, and Frank Zappa.

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  1. The ITC Logo - Edwin Astley

    And I'm eager to get your feedback on all 6 songs that "Ted" orchestrated for his son-in-law. I doubt many Who fans even know of them, and probably not even half of fans who profess to like Pete's solo work either. A couple of them are pretty unconventional too, particularly "Football Fugue". I barely have 3-4 Who albums, all expanded CD-reissues with bonus material with key Pete-only demos, and the like. Whereas I have about half to 2/3rds of Pete's entire solo catalog on CD, and even a few solo things that haven't ever been on CD. And these few obscure orchestral songs of his (the only versions of these particular tunes that he's ever recorded, far as I know), are among my favorites out of his entire solo catalog.
  2. Additional Herbie Mann Live at Whiskey

    Me too -- I often confuse a few of Tolliver's tunes, and also a few of Billy Harper's too (but not with each other).
  3. The ITC Logo - Edwin Astley

    Apparently Astley also did some string-arrangements on a couple tunes on Who's Next (released in 1978). I'm not familiar with either of these songs, as I'm about a 5x bigger fan of Pete Townsend's solo output, than I am of The Who. http://www.thewho.net/discography/albums/WhoAreYou.html Roger Daltrey Vocals John Entwistle Bass Guitar, Vocals & synthesizer [and horns] Keith Moon Drums & Percussion Pete Townshend Guitar, Piano, Synthesizer & Vocals Andy Fairweather-Low Backing vocals on "New Song," "Had Enough," "Guitar And Pen," "Love Is Coming Down" and "Who Are You" [Andy was the lead singer of The Amen Corner in the mid-60's. Since 1991 he has been Eric Clapton's backup guitarist/vocalist and appeared on Clapton's Unpluggedalbum and also accompanied Pete on his 1993 Psychoderelict tour.] Rod Argent Synthesizer on "Had Enough" and piano on "Who Are You" [Rod was the keyboardist for The Zombies ("She's Not There," "Tell Her No") then headed the early 70's band Argent ("Hold Your Head Up"). He is now a producer, composer and performer.] Ted Astley String arrangements on "Had Enough" and "Love Is Coming Down" [Ted Astley, full name Edwin Thomas Astley, was born in 1922. In addition to being Pete's father-in-law, Astley was a composer for many British films and TV series including The Mouse That Roared, the 1962 version of The Phantom of the Opera, The Saint, and, oddly enough, the 1961 film A Matter Of Who. He died in 1998.] Produced by Glyn Johns and Jon Astley [Jon Astley is the son of Ted Astley and Pete's brother-in-law. He was [also] in charge of the 1994-1998 Who [CD] re-release program. Glyn Johns quit Who Are You after getting head-butted by Roger. He returned for 1982's It's Hard.] Engineering Assistance: Judy Szekely
  4. The ITC Logo - Edwin Astley

    "The Ferryman"... "I Like It The Way It Is"...
  5. The ITC Logo - Edwin Astley

    "Brooklyn Kids"... "Praying The Game"...
  6. The ITC Logo - Edwin Astley

    "Street In The City"... "Football Fugue"...
  7. The ITC Logo - Edwin Astley

    Ttk, do you know the six (6!) Pete Townshend solo-songs that Astley orchestrated in the mid-to-late 70's? If not, you should!! The first one came out on Pete's 1977 album Rough Mix. Then 4 more on Pete's 2nd compilation of 'demos' in 1987 called Another Scoop, and the last one on his 3rd demo compilation, 2001's Scoop 3. All but the very first one seems to have been recorded in 1978, iirc. If only these had been collected together, along with maybe 3- or 4 more -- or even some acoustic songs (without orchestra), it might have been Pete's finest hour's on record (imho). For anyone not aware, Edwin Astley (1922-1998) was also Pete Townshend's father-in-law (didn't want to presume you didn't know that, TtK). I don't really know a whole lot about the genesis of these tracks, but I think they are pretty close to divine! "Street In The City" (Rough Mix) "Football Fugue" (Another Scoop) "Brooklyn Kids" (Another Scoop) "Praying The Game" (Another Scoop) "The Ferryman" (Another Scoop) "I Like It The Way It Is" (Scoop 3) A bit of discussion here too (on the Hoffman board, and I think they've been mentioned collectively there in some other threads too). I'll try and post YouTube links to all of them in a moment. https://forums.stevehoffman.tv/threads/street-in-the-city-pete-townshend.94039/#post-2070859
  8. LF Jimmie Lunceford Mosaic

    I'd suggest setting up an eBay auto-search, which should email you every time a new set comes up. In fact, you can probably set up two separate searches -- one more generally for the Lunceford Mosaic, and then a second one that's specifically for UK-based sellers only. That way if there's ever one from a UK source -- you'll get TWO emails (it'll come up on both searches) -- as a way of maximizing the chances of you not overlooking it. With some patience, you may snag one within just a few months.
  9. "Gimme Some Of That Ol' Atonal Music'

    I've mentioned this before, but about 15 years ago I fell in love with Schoenberg's mid-20's opus numbered chamber-works that all include winds. More specifically... Serenade, Op. 24 - for clarinet, bass clarinet, mandolin(!), guitar, violin, viola, and cello - plus a bass vocalist (on one movement only) Wind Quintet, Op. 26 - for standard wind-quintet: flute, oboe, clarinet, horn, and bassoon Suite, Op. 29 - for sopranino clarinet in Eb, standard Bb clarinet, bass clarinet, vioin, viola, cello, and piano ...plus Webern's chamber arrangement of Schoenberg's Chamber Symphony #1, Op. 9 - for flute, clarinet, violin, cello, and piano There's also a really nifty "sonata" arrangement of the Wind Quintet for piano and either violin, or else flute (and I've got recordings of each version, for flute or violin) -- and both versions are just dandy!! People complain about serialism not being any fun, but I find these particular pieces just about as spritely and "dancy" as all getout. When I was working to pack up our house to move to Washington DC, and it was just me for a few months trying to get that house shaped up to put on the market, I only had about 200 CD's to listen to -- most of them stuff I was going to get rid of, plus a all these Schoenberg pieces. Damn, if that music isn't ever just about THE best thing ever to get shit done to. I think I literally listened to 1-2 of these works every day (or every other day) for several weeks there. Joyous music, in my book, and complicated too -- but it always put a spring in my step, if not literally then at least mentally. And the funny thing is that I'm really NOT especially fond of wind quintets and other stuff like this generally. Sure, they're ok, but it's not like Wind Quintets are a specific 'thing' I'm into or anything.
  10. "Gimme Some Of That Ol' Atonal Music'

    I've tried with both Lulu and Wozzeck (on CD's at least), and I just can't get into either one. I've got a few Henze operas on CD (part of a HUGE Henze box I have), and those work a bit better for me -- though I'd be lying if I said I'd listened to any of them much in the last 10 years. For me, the modernist 12-tone stuff I'm pining to hear live most of all is Roger Sessions!! Especially symphonies 6, 7, or 9...
  11. New Terumasa Hino reissues

    I'll agree that Journey To Air doesn't sound especially "organic". But I still think it hangs together better as a listening experience (at least for me), than the one with Bartz -- and the one with Bartz might very well be more "organic" (but it just was alternately tedious and occasionally torturous even, to my ears). I get the Strata East reference, but a few of those more woolly Strata East things have never clicked with me either (enough that I'm content to have access to them via YouTube uploads, and I've resisted the temptation to pay through the nose for $30 Japanese CD issues of them). There's a couple of the lesser Tribe dates that hit me the same way (most of which I have on CD, though a couple were more woolly than I realized before I paid the piper for them). BTW, I would LOVE for this Hino nugget to come out on CD somehow... https://www.discogs.com/Terumasa-Hino-Kosuke-Mine-Sadao-Watanabe-Takeru-Muraoka-Masabumi-Kikuchi-Yoshiaki-Masuo-Kunimitsu-In/release/11263311 I only know this one "Freedom Jazz Dance" track, but I can't help but imagine the whole thing is pretty interesting (or at least some of it). Here's FJD...
  12. New Terumasa Hino reissues

    Since Hino is clearly reacting more in real-time to the changing musical world (or world of Miles) going on around him, rightly so (or not) I've always cut him a little slack because he seems to be trying to integrate Miles' changing language into his own. Maybe it's because Hino is just a stronger player (with more ideas, imho), but I've always felt he was more successful (generally) in his various endeavors from his debut in '67 up through '75 or so -- than say Kenny Cox' quintet in '68 & 69 (which was clearly heavily inspired by Miles 2nd quintet, circa 1967). That isn't to say I don't enjoy those 2 Kenny Cox BN dates for what they are (I do really like them), even if they aren't are refined as the real deal (in '67). Similarly I judge Hino as not quite being there too, though I think he gets closer (in terms of group cohesion, 'telepathy' (for lack of a better term), and the strength of the soloists Hino had in his bands was generally a bit strong than Kenny Cox' quintet too). ALSO, it seems (to me) like Hino was always behind Miles by about a year, and he also seemed to be 'evolving' somewhat in sync with Miles -- though these 4 new "free" albums give a whole new perspective I never knew about. Also, (re: Teo's influence), I think it needs to be said that MILES and his groups were never as cohesive (live) after ~1970, as they were all during the 2nd Quintet and Lost Quintet years. Miles and groups were probably more cohesive live (and more often) than Hino's during the same timeframe (in the first half of the 70's) -- but the difference is probably not vastly different. Whoever said Miles benefited from having a "Teo" -- and that Hino could have used a "Teo" was probably right. Maybe I'm a glass-is-half-full (rather than half-empty) kind of guy, but I still think it's rather remarkable how many highs Hino got to over the course of ~8 years (and maybe longer -- I really haven't ventured into his post-1976 material much). Also interesting, Jim, that yours and my reactions to Journey To Air and the other one with Bartz were almost exactly switched. Didn't help that the Bartz one sounded like it was recorded in a large bucket, but I also didn't feel like the smaller-group (the one with Bartz) added anything at all in terms group interplay. I just felt like it was way more unfocussed, with a whole lot LESS thought. Frankly, it felt like an unplanned, nearly totally-free blowing session (been a few weeks since I heard it, I'll have to spin it again). Whereas Journey To Air -- while it did sound more episodic, it almost reminded me of the way something like Trey Anastasio's "Surrender to the Air" group/album worked (the one with Sun Ra alums Michael Ray and Marshall Allen, along with John Medeski and Marc Ribot, along with others). It was free, but had an overall structure, and floated back and forth between different textures and periods of free interspersed with more organized free-sections (stuff that I think(?) reminds me a little of how Frank Zappa's "Approximate" worked -- isn't that the one that was notated rhythmically, but the players choose the notes to play)? Clearly the effect of "Approximate" is WAY more dense, and specific -- but my point is that Journey To Air -- while it's all pretty "free" -- there's lots of parts that are more organized than others, and everything is pretty episodic. Frankly, I was really surprised at how much I liked Journey To Air -- which I hadn't expected to like a ton based on my just skimming through it initially. But the one with Gary Bartz was just a total slog for me, top to bottom. Different strokes, I guess.
  13. Spiritual Jazz series: V. 9 on the way

    And not one -- but TWO cuts from Pete La Roca's Basra. Great album, definitely, but I don't get including fully 1/3rd of the tracks from just one album (2 of 6). And "Footprints" also doesn't make a lot of sense, if only because everybody's gonna have that one already (out of all the tunes on this set). I guess those are minor quibbles, though.
  14. The USPS SUCKS

    I send two CD's overseas back in December (from the US, to the UK), and could not believe that the cheapest shipping rate was over $20 (I think I paid around $23, iirc). There was no media-mail rate option at all, and what I had to pay was easily double(!) what I was expecting. I held my nose, and tried to forget what the price-tag was (what I was sending was effectively a gift, on my dime). Almost $12 per CD, just for shipping alone!!
  15. Spiritual Jazz series: V. 9 on the way

    Here's the track listing (below). I think I have about 90% of this stuff on CD already, but I will also probably pick up a copy since I've loved all of the previous volumes in this series, and it'll be interesting to see how the liners treat this material (their liners are often pretty nicely written). Also don't mind "voting" with my pocketbook for the continuation of this series, which I've loved. One VERY nice inclusion -- is the very last track, Solomon Ilori's 13-minute "Song of Praise To God", one of 3 long bonus tracks from 1964 which were previously exclusive to the expanded 2006 'Conn' of African High Life. 10 years ago(!) I started a whole thread about that extra session. It's more jazz-oriented than the regular full Ilori album, and I just love those 3 bonus tracks a ton -- VERY forward thinking, to my mind. Anyway, 3 cheers to the Jazzman compilers!! - for including one of them on this set new Spiritual Jazz set. It'll be interesting to see what they come up with for Vol. 10 (and I hope there are 10 more volumes after that too -- I'll buy every one of them). https://www.shinybeast.nl/item/471721/various_spiritual_jazz_9_blue_notes_parts_1_2.html 01. Bobby Hutcherson - Verse 02. Pete La Roca - Basra 03. Wayne Shorter - Footprints 04. Elvin Jones - At This Point In Time 05. Andrew Hill - Poinsettia 06. Eddie Gale - The Rain 07. Duke Pearson - Empathy 08. Bobby Hutcherson - Searchin' The Trane 09. Duke Pearson - The Phantom 10. Freddie Hubbard - Assunta 11. Joe Henderson - El Barrio 12. Jackie McLean - Plight 13. Duke Pearson - Cristo Redentor 14. Wayne Shorter - Indian Song 15. Hank Mobley - The Morning After 16. Pete La Roca - Malaguena 17. Freddie Hubbard - Blue Spirits 18. Booker Ervin - Gichi 19. Solomon Ilori - Song Of Praise To God You can also sample all the tracks here: https://www.juno.co.uk/products/spiritual-jazz-9-blue-notes-parts/714140-01/ The only one's I don't already have on CD are 2 of the later Duke Pearson tunes, iirc.