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Holy Ghost

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Posts posted by Holy Ghost

  1. 8 hours ago, T.D. said:

    As far as I can tell by zooming on images of the "bird" cover, Design by Reid Miles, Drawing by George Wright. But it's hard to make out and I could be wrong.

    George Wright is credited for Painting on the bird cover of Vol. 2: https://www.discogs.com/release/3378729-Art-Blakey-Quintet-A-Night-At-Birdland-Volume-2

    Don't know this dude; has Hermansader done anything else? I like this though, it kinda reminds me of the Partridge family birds in a way, something that Contemporary Records were doing with their Hampton Hawes jackets. 

  2. Now we in Winby, nothing seems straight, and this is

    On 2/17/2021 at 9:08 AM, Dan Gould said:

    Well, in line with my "who is third on the Men's Grand Slam list" approach, I have to be pleased that Rafa will stay tied with Roger for a little while longer. And there is more tennis to come, maybe the guy who vanquished Rafa can take care of Djokovic too.  This match sounds absolutely epic by the write up in the Times.

    https://www.nytimes.com/2021/02/17/sports/tennis/rafael-nadal-loses-australian-open.html?action=click&module=RelatedLinks&pgtype=Article

    (And while not germane to Rafa's dedicated thread, I am not exactly upset about Serena staying stuck behind Margaret Court. And not only because they won't have any more Serena matches to prioritize on ESPN. It was ridiculous this week, every time I tuned in at 9 pm, "up next, Serena Williams".)

     

    Its been a pleasure to talk tennis on this forum; and largely I agree with everything being said here. Now how about this potential match: Rafa v. Joker. Thoughts. 

  3. 12 hours ago, Late said:

    I believe so. Hermansader created the first two covers, and Reid Miles created the third. I like them all.

    Yeah, me too, but the "Birds" cover is my favorite. 

  4. Listening again to this fine disk right now as I type this. To add about the artwork, it doesn't bother me either  at all (it has the Reid Miles/Patrick Roques approach.) Yeah, flimsy packaging (you get the feel of the RVG sampler packaging way back in 1999 feel) but I'm happy to have it in a whatever official release format.  Its hard bop and glad to shelve it among many other great Blakey dates I have. 

  5. On 7/21/2020 at 4:46 PM, gmonahan said:

    Listening to it now. Music is fine, and I have no objection to the design of the cover, but the *packaging* is unbelievably cheap--skinny cardboard that was warped by the plastic wrap. Luckily, the disc itself was ok, but, really, they couldn't have sprung for a simple jewel box or even a slightly nicer digipac?

     

     

     

    gregmo

    Just played this last night for the first time, and yes, this is fine music indeed, and if it was released around when it was recorded, I believe it would've shelved in between what was recorded before and since equally as fine. A very fine and enjoyable date, and more Hank! 

  6. 14 hours ago, Late said:

    I always found it interesting that A Night At Birdland got three different covers!

    MS0zOTc2LmpwZWc.jpeg

    Ny0zOTk2LmpwZWc.jpeg

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    Mi0yNzA3LmpwZWc.jpeg

    14 hours ago, Late said:

    I always found it interesting that A Night At Birdland got three different covers!

    MS0zOTc2LmpwZWc.jpeg

    Ny0zOTk2LmpwZWc.jpeg

    OS0xNjY0LmpwZWc.jpeg

    Mi0yNzA3LmpwZWc.jpeg

    And seemingly, by three different graphic artists! Besides Reid Miles above, I can't see/determine (print too tiny) who designed the other two jackets. 

  7.  

    On 6/28/2022 at 8:49 PM, Late said:

    In the midst of an impromptu Clifford Brown Memorial Celebration, this one is now spinning, the ballad feature "Once In A While" an absolute gem:

    Ny05NTU4LmpwZWc.jpeg

    The BN Works Series has some staying power.

    I wonder how old Lee Morgan was when he first heard Clifford Brown. Listening to Brown, you can almost hear the teen Morgan putting together how he was going to sound as a soloist. Morgan was 17 when Brown died. 

    Love those album covers. Wish they were issued like that in the US. 

  8. On 6/21/2022 at 4:12 PM, Peter Friedman said:

    For me, Horace Parlan recordings would be my choice every time over a Three Sounds album.

    Easy for me too.

    On 6/21/2022 at 4:20 PM, Late said:

    I like Parlan a lot as a sideman, but as a leader I find his albums somewhat grating. (I recognize I'm probably in the minority with that opinion.) 

    That said, Happy Frame of Mind is a small masterpiece. (I guess I'm thinking about albums without horns. Those I haven't been able to get with.)

    Yes, Happy Frame of Mind is indeed a small masterpiece (maybe larger.)  Anytime Parlan teamed with the Turrentine brothers (or anywhere they appeared together) was always a winner for me, On the Spur of the Moment being an example. I can understand sentiments towards Parlan's piano trios, but Us Three, I still do like it very much. 

  9. Three Sounds on BN are like The Jazz Crusaders were for PJ [(in my opinion) and I already know, gross over generalizations] were just meant to be entertaining party music. I happen to like the (PJ) Jazz Crusaders, but they are what they are. JC, no particular favorites, but happen to like the Festival albums best. Three Sounds, I can't think of one favorite, but all entertaining enough. 

     

     

  10. On 6/9/2022 at 3:47 PM, Dan Gould said:

    And Rafa has 2 Wimbledons only and hasn't even made the final in 11 years. (And btw, if Borg played as long as Rafa has, Rafa would still be chasing him for French wins, and of course be trailing on Wimbledon titles, to boot.)

    Facts:

    Djokovich is the better all-court player.  Roger has problems on clay, Rafa on grass. Djokovich is dangerous everywhere.

    And for the record, my rooting interest is:  Roger > Rafa, and Djokovich under no circumstances ever. But I do recognize facts.

    You're right about that, I see the facts, and I agree about Joker being an all-around, all-surface player. But different eras though too. Rafa squaring against Borg? Love to see that. Hey, we got to see Pete square against Fed at Madison Square Garden, so nothing is impossible. I don't think there's an argument that Roger is the second best (in this era) clay court player. Rafa and Fed have squared off in the French finals many times. The McEnroe, Bjorg, Connors era is one for sure, later, the Pete v. Agassi era. Andre got that French title in at the best time (late in his career '92) whereas Pete never got it.  Now we're seeing the end of another great rivalry. Roger will probably never play a major again (maybe Aussie) and Rafa's "literal" Achilles' heel may end his career too. Will Joker get another major?  Probably, if he can control himself, probably more.  

  11. 4 hours ago, JSngry said:

    Third Stream was a big deal for Atlantic. Now why and how, I don't know. Probably Lewis through Neshui. But by 1959, yeah, the Lewis/Schuller tandem had a very real niche carved out.

    Don't forget, Schuller produced the Buster Smith record, and his liner notes are unintentionally hilarious anthropology.

    Ellis was NY-based by then, he was on the Maynard gig, also working alongside Eric Dolphy with George Russell.

    Why just a one-off? Because not everybody likes everybody's new concepts, I suppose. Record companies all have their quirks,

    Oh, business - MJQ Publishing getting the rights to Ornette's early recorded compositions, that's hardcore business move. Lewis and Percy Heath (remember him), saw investment potential there, and "Lonely Woman" alone probably proved them right. But all(?) of those tunes on Atlantic were published by MJQ Music.

    Did not know the West/East  coast connection, the Etergin Bros, deserve their own discussion. Still don't know much about these dudes. But get the MJQ connection, didn't they name one of their albums "Lonely Woman? or John Lewis at least on Atlantic?" See that connection. 

  12. 3 hours ago, clifford_thornton said:

    Yes. The Five Spot engagement was a huge, huge deal.

    I was visiting the archives of abstract painter Barnett Newman (1905-1970) and his record collection was part of the library. In addition to classical LPs were a number of late 1950s-early 60s jazz LPs, including Ornette's Contemporary and first few Atlantic albums. He had seen Ornette at the Five Spot and was a fan. It was a cultural phenomenon. 

    Interesting side note: Jackson Pollock, whose art was licensed for the cover of Free Jazz, was not the original artist they planned to use for that album. Judith Lindbloom, an abstract expressionist painter and close friend of Steve Lacy, was supposed to paint live as the sessions were taped. However she was too indisposed that day to be able to do it, and the record label ended up licensing the Pollock image instead.

    Woahhh, cool story. Knew that Free Jazz was a Pollock, didn't know the rest.  

  13. 11 minutes ago, JSngry said:

    By the time of Lennox, Ornette already had his sponsors - Lewis and Schuller orchestrated his appearance there.

    They were convinced that Ornette was the next major move forward for jazz. They were already doing the Third Stream thing, which in their minds was very much a "way forward". Well, Ornette was definitely that, and he had the whole package - a band 9sort of), a book of compositions, a genuinely new way of playing (one where the improvisations were not about chord changes and song forms), so hey - let's get him wrapped up because this is gonna be BIG. I think it was Lewis who said that Ornette was the next logical progression after Bird, which rapidly got distorted into Ornette being the NEXT Bird.

    so if you're Atlantic and you've got two of your power players telling you this, hell yeah, you get him signed ASAP.

    Ornette would certainly not have been on Prestige, though. He was a California guy and he was neither a bebopper or a "systems" player like, say, Don Ellis. Prestige had neither geographical proximity to nor musical interest in him.

    Those first two Contemporary albums didn't make a whole lot of noise, remember. It was only after the Lewis/Schuller sponsored media blitz that people paid attention. Before that, nothing. Afte that, Lennox, the Five spot, and EVERYBODY was coming out to check out The Next Big Thing.

    Wow. Color me impressed. Don't take that the wrong way, that's concentrated history, so there's a lot to deconstruct here. So I'll start with Don Ellis. A Boston guy, who got a one deal with  Prestige/New Jazz....why one deal?

    19 minutes ago, clifford_thornton said:

    Makes a ton of sense, thanks. Just re-read the liners to the second Ornette LP on Contemporary and it looks like John Lewis was out in LA and his hearing of Ornette there set the whole thing in motion.

    Also, Tomorrow Is The Question was released after Atlantic had signed him, though recorded slightly before (Jan-Feb 59).

    Its these snippets that puts it all together, thanks Cliff and JSngry! 

  14. So who did all the talking, why were Atlantic so interested in Ornette so much? Were representatives from Savoy and BN there too during the Lenox show? None of them seemed to walk away with better deals than Ornette. 

    To me, during this time, Ornette should've been on par with Jackie on Prestige/New Jazz. Am I alone here on this point? 

    I should add, John Lewis was different, like Ike Quebec was for BN, so that may be the Atlantic connection. 

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