Joe

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About Joe

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    Funkateer
  • Birthday 08/27/1972

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  • Website URL http://www.slowstudies.net/jmilazzo
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  • Gender Male
  • Location The Former Aztlan

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  1. Mal Waldron's Mal-1

    MAL-4 is also pretty essential IMO. Trio, swinging, but also documents another side of Mal's skills as an arranger. And "Love Span" might be the, uh, loveliest, performance he ever committed to tape.
  2. Stu Williamson

    Update: the Claude Williamson interview in question looks like it appears in the March 1997 issue of CADENCE. Not sure what volume and issue that would be, though...
  3. Mal Waldron's Mal-1

    Agreed... it's the record where Mingus starts to sound like Mingus.
  4. The genius you never knew about

    Fascinating!
  5. Mal Waldron's Mal-1

    Always had a lot of affection for this record. It's got so much... mood. It's also a real triumph of programming, which is saying something given Bob Weinstock's preference for blowing sessions. Also interesting to me how relatively light Mal's touch here is compared NOT to his post-breakdown work, but the more "pounding" playing he was doing with Mingus around this same time. Cf., AT THE BOHEMIA, which is one of my top 5 Mingus records (though I feel like it doesn't get much love). That Mal sounds more like 60s Mal than this Mal. Not a good or bad thing; just interesting (maybe).
  6. Stu Williamson

    Thanks! I will look for that!
  7. Stu Williamson

    Agreed! Interesting to compare his work on this instrument to Bob Brookmeyer's and Bob Enevoldsen's. He's much closer to the latter than the former, at least to my ear. This is a nice, heretofore unheard-by-me example of his prowess on his other horn.
  8. Stu Williamson

    Dude could play, especially when he picked up his trumpet. Not quite sure how to characterize his sound, often mellow, even a bit "fluffy" ... I guess there's some Clifford Brown in there, but more measured, certainly less exuberant (hear his contributions to that Elmo Hope Quintet date waxed for Richard Bock) ... maybe some Sweets Edison, too. And Shorty Rogers, duh, but without the overt impishness. And bouncier. Not quite the West Coast Tommy Turrentine, but, like TT, I always look forward to hearing his contributions when he shows up. That includes those Shelly Manne mid-50s LPs (in the company of Charlie Mariano), Pepper Adams' Mode date, Lennie Niehaus' Contemporary recordings, a handful of sessions under his own name/leadership for Bethlehem. Brother of Claude, of course, and, by all accounts, a more troubled individual. But he seemed to have found regular work in Hollywood's studios. So, really, what was his deal?
  9. Charette's new to me... liking what I'm hearing so far. A very subtle player who seems to have listened closely to both Larry Young and Shirley Scott. Will be interested to hear what he sounds like in an ensemble.
  10. Not quite the "female Nick Drake," but close enough.