Shrdlu

Members
  • Content count

    2,377
  • Joined

  • Last visited

Posts posted by Shrdlu


  1. I am going through this set at the moment.

    I decided to arrange the tracks in chronological order. The original LP order is of no interest to me - I never had any of the LPs anyway.

    For the first CD, I managed to get the first session and the second up to both takes of "Me 'N' You" onto one CD. It came to 80:20 or so, and the burning software gave me a severe warning, but no pet dogs were harmed during the process, and the CD plays fine. The chronological track order works fine. It looks like I will end up with one more CD than in the Mosaic set, but that's fine. I understand that they wanted to keep the number of CDs to a reasonable level.

    I still suspect that they will do a Lee Morgan 60s set, but, of course, the problem is what to include and what to leave out.


  2. The Tina Brooks and Freddie Redd Mosaic sets were especially valuable back in the early 80s (ouch, nearly 40 years ago now!). The recordings were not easy to find (and some, impossible) then. And the sets were vinyl only. I virtually never play vinyl anymore. CDs sound great, and no Rice Krispie sound. Now, and for quite a while of course, all those Brooks and Redd recordings are available on CDs.

    The Brooks set should have included the superb "Street Singer" session, but it seems that that was then regarded as a McLean session. It is now listed as by Jackie McLean and Tina Brooks. I just put together a very nice-sounding CD of the session using four of its six tracks from two Blue Note Works CDs for the best sound; "Melonae's Dance" and "Medina" came from the Japanese "Street Singer" CD.

    The Mosaic booklet has a picture of Alfred Lion leaning over Freddie Redd at Redd's last Blue Note session. You can see the body language there, and why Freddie was pissed off. Yes, Benny Bailey was not approved of by Alfred, but he was a fine trumpeter and there was no need to sulk.


  3. I like everything I have heard by Duke: performances and arrangements for others. He got particularly interesting toward the end of the 60s, His last Blue Note, "Só Tinha de Ser Com Você", is a very nice set and has not been widely available on CD. I found a Japanese version.

    I don't agree that "Little Johnny C" was a Pearson album. (One of my first Blue Note LPs.) Johnny Coles was an excellent trumpeter and Blue Note decided to give him a session. Apparently, Johnny didn't want to do the arrangements, or was unable to do so, so Duke was given the job. And a fine job it was. When I first heard the LP, I took it for what it was: a Coles album. Actually, I bouight it because I spotted that Joe Henderson was on it. And he contributed "Hobo Joe", which was included in the recent Henderson Mosaic set.


  4. The selections have all appeared elsewhere, so I will pass on this set.

    I just dug out the 1960 set at Birdland, because I was re-arranging it all into consecutive order. (Why not? It was live, and we are not now constrained by release schedules and the LP time limit.) It all fitted onto one CD if the two versions of "The Theme" are cut short; plus, I don't like a certain M.C. who was described as something rude by Prez, so I made sure that his squeak is not heard. Prior to that, I did the same with the 1959 Birdland set, which has Hank Mobley. I don't like Wayne's work on the 1960 set - very harsh and it suffers by comparison with Hank's mellow sound. I am a big Shorter fan, and I like "Mosaic" and "Free For All, and Wayne is fantastic on Freddie Hubbard's amazing "Ready For Freddie" album, which was one of my first Blue Note LPs.


  5. This IS sad news. I had no idea that he was unwell. Many years ago, I had quite a bit of correspondence with him.

    I was thrilled to bits when he issued the Parker Dial recordings properly and completely at the end of the 1960s. Prior to that, I could only get some (and far from all of them) on "pirate" budget LPs with poor sound. As part of his work, he befriended Ross Russell.

    And yes, Tony put out a lot of other valuable recordings, including Dexter Gordon's Dial items.


  6. For me, the session with Lou Donaldson destroys the concept. It is very nice, but it becomes Lou Donaldson with a rhythm section. It is also not on a par with Lou's own sessions of that era, with Herman Foster, Horace Parlan and Baby Face Willette.


  7. I like all of their 1958-1962 recordings for Blue Note. My favorite is "Moods", from June 28, 1960.

    And I want to hear all of their unissued tracks from that period. There are about three CDs worth.


  8. A very late reply to mjazzg's comment about the best sounding version of Tina Brooks's "Minor Move". The Blue Note Works TOCJ--1616 CD sounds fine, and the one alternate take is on TOCJ-1601. I put together a CDr of everything in session order and gave it a spin today.

    Everyone plays well, and one can't have enough Sonny Clark, but the session doesn't happen, and I won't be playing it again soon. I wouldn't have issued it. There are plenty of good recordings by the participants. For Brooks, "True Blue" is where it's at, and the September 1, 1960 session, with "Street Singer", is excellent.


  9. Thanks for posting that long personnel list. Amazing. A lot of quality names in there.

    One of the guys who worked with him said that he knew the characteristics of all the brands of saxophones. (I forget who said that.)


  10. The discussion of the Australian Aboriginal instrument brought to mind the berimbau.

    https://en.wikipedia.org/wiki/Berimbau

    I have one of these. It is awkward to play indoors, because it is about 4' long and has to be held with the bottom (where the gourd part is) against the abdomen, and the top end bumps into the ceiling (at least, at my house).

    It has a deep sound. It can be heard at the opening of Adham Shaikh's "Shabbadub". I couldn't find that track on its own on Youtube, but it starts at the 10:37 mark in the following

    https://www.youtube.com/watch?v=Z7ST-_jK0PU

    which is an upload of his album "Essence".

    Adham Shaikh is excellent. He is in the back of beyond in eastern British Columbia. His groups have a lot of exotic instruments, including a bass flute from India. (I ordered one from India, but it had the left thumb hole on the wrong side, so I sent it back. It got stuck at Customs in Delhi, who refused to send it to the seller, so I never got my refund. Do not buy from India. I love the people, but they are not efficient.) I would greatly love to play in an Adham Shaikh group, but they are in a remote location, so it will never happen.

    The berimbao can be heard on several other recordings. There is a piece using that as its name. Among other places, it appears on an Astrud Gilberto album arranged by Gil Evans.

     


  11. After I had played saxophones and the clarinet for many years, my attention strayed to Latin music, helped by listening to Cal Tjader and others. I ended up getting a lot of Latin percussion instruments, mostly from the "Latin Perscussion" website

    https://www.lpmusic.com/products/congas

    I now have a large number of their items, including all four sizes of their Giovanni Hidalgo "Galaxy" tumbas

    https://www.lpmusic.com/products/congas/lp/galaxy-giovanni-signature-requinto

    The four sizes in this range are requinto, quinto, conga and tumbadora. When a Blue Note album says "congas", they are the middle ones: quinto and conga.

    I have most of their portable items, including all their cowbells and the Jim Greiner shekere

    https://www.lpmusic.com/products/Shakers/Shekeres/Jim-Greiner-Pro-Shekere

    which is a spectacular-looking piece of kit. On the Blue Note albums, it is mis-spelled checkere.

    I also have the Giovanni series Prestige Timbales

    https://www.lpmusic.com/products/timbales/lp/giovanni-series-prestige-timbales

    The great Giovanni Hidalgo can be seen playing those in a most entertaining video here

    https://www.youtube.com/watch?v=ths6YHITLTU

    Latin Percussion is a lot of fun, and i have enjoyed every moment. Highly recommended.

    In a downtown club, there was a Latin percussion guy performing with house music. His son was on the DJ decks and his daughter and he played Latin percussion along with the music. He only had two-dimensional congas and timbales and a cheap crash cymbal. i wish I could have taken my real instruments with me, but parking is impossible at that location. He and his daughter were nice people, but were not very good. For months I took some of my portable Latin gear, my soprano saxophone and my Istanbul Agop 30th Anniversary crash (the best in the world) along with me and joined in. The Dad wanted to move around the room a lot, and was glad to have me play percussion. Having heard Art Blakey and Tito Puente for years, I really let it rip, including loud triplets on the crash at the end of 8-measure segments. The daughter once tried to tone it down, but the audience loved it. Once, a dancer grabbed my shekere and went around the dance floor with it, ha ha.

     


  12. I didn't check earlier, but that video runs at the correct speed (unlike the other copies that I have heard) and is actually in Eb.

    I don't understand the problem with Ben's solo. The only shake I heard is on the tenor's C and it isn't hard to do that. If it were an altissimo figure, with its awkward cross-fingerings, then yes, a shake might be difficult, but Ben plays within the standard range. If I recall correctly, the highest note is the tenor's palm key D.


  13. Furthermore, the whole show is running a half-tone sharp. Monk plays "Blue Monk" in Bb - you can see him hitting a Bb key - but the piece sounds in B.

    At the end, Pee Wee Russell and Jimmy Giuffre play a blues in Bb, and once again, it sounds in B.

    I assume you mean the tenor's Ab, not concert pitch. A trill on Ab to A, or Ab down to G, is a piece of cake.