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medjuck
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Posts posted by medjuck
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4 hours ago, Eric said:
Impulse (as a search term) doesn’t seem to bring back any albums. Would you share some examples of what you saw? Thanks!!
https://themessthetics.bandcamp.com/album/the-messthetics-and-james-brandon-lewis
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What's Gil Evans' "Jazz Time" and how many volumes in the live at Sweet Basil?
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I've noticed a couple of releases from Impulse on Bandcamp. What's up with that? (I'm not complaining.)
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Is that one of the Woodstock releases next to Sweet Baby James?
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23 hours ago, JSngry said:
No you're not. That's the ongoing speculation - who is the second alto player?
I am hearing Dolphy, based on the tone and a few micro quirks in the playing. Check it out a 1:56
Me too. But do you think he has the rest of the photos right excluding those of Wille Smith?
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I would suspect that transcribing podcasts is not be done by humans.
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1 hour ago, JSngry said:
When was that, and where?
I love Louis Jordan, but his mass popularity was far behind him by the time of the modern jazz festivals.
Was it something that Johnny Otis was booking? Didn't Jordan and Otis do business together for a minute or two in the late 60s?
It was a club booking: The Zanzibar, 1945.
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On 4/9/2024 at 2:44 PM, Ken Dryden said:
George Wein included non-jazz acts because of the bottom line, he said so in more than one article and I think his autobiography.
I do find it puzzling as to why the non jazz acts are often the first 8 to 10 acts billed for what is supposed to be a jazz festival. I feel like the Jazz Masters on the bill deserve better, having somebody like Bruce Springsteen billed above Duke Ellington is ridiculous (though Duke would have not shown up had that happened).
Duke was pissed when Louis Jordan was billed above him. But he did show up.
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Looks like Jazzfest without the great Big Easy bands.
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I had that box set and gave it to my son who, unlike me still had a turntable. Good liner notes as I remember.
On 3/25/2024 at 3:21 PM, Jim Duckworth said:I was thrilled to get the RCA box but disappointed that there was distortion marring two of my favorite tracks. I am going to look into The Fremeaux set...
Koko and Jack the Bear?
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19 hours ago, DrJ said:
I haven't yet read the whole discussion, was Cole an acknowledged influence? Or maybe Charles Brown?
I mentioned in a earlier post that I'd heard an interview with him where he talked about being influenced by Charles Brown, but in fact it may have been Cole. Everyone was influenced by the King Cole Trio including Charles Brown.
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I'm surprised no one's mentioned Sara Vaughn in Hi-Fi where she's backed by -- amongst others-- Miles Davis and Budd Johnson. There's also some early sides with Freddie Webster in Tadd Dameron's band.
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38 minutes ago, JSngry said:
W
TRACK TWO - This is sick. The second tenor is Warne, so I'm going to guess that the first is Pete Christlieb. Is this from Apogee? If so, this is a drier mix than I'm used to hearing it with, and that's ok with me. Not my favorite Warne overall,, but it's always good to hear him in different settings, such as a fire-breathing tenor duel. As always he rises to the challenge by going counter to it. What a genius he was, one of the real ones.
If it is Apogee, I remember that I thought it was an electric piano. Someone responded that the Steely Dan guys who produced it liked dry mixes.
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The cut is called Need to be Loved and is credited to all 3 as composer. The bass player is Essiet Okun Essiet. I got it because I'm a fan of Mac (BTW I really like his Ellington cd) and was surprised to see him with Blakey and Newman.
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I've looked at this photo so often I think I could name a large percentage if the photo was enlarged, but even at this size it's interesting how many people jump out because of their distinctive physiognomy or clothing: Art Farmer, Dizzy, Monk, Sonny Greer, Prez, Sonny Rollins, Marion McPartland, Mary Lou Willams, Oscar Pettiford, Gerry Mulligan, Oscar Pettiford, Pee We Russell, Coleman Hawkins and Rex Stewart (because of his body shape-- and of course he's got his horn).
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Last week I went to the local art museum for what was advertised as "An Evening of West Coast Jazz". which described as follows:
"The work of acclaimed Los Angeles-based artist Janna Ireland, currently on view at SBMA and MCASB, includes her photographic interpretation of the architecture of Paul R. Williams, the renowned 20th-century Black architect who designed many of Southern California’s iconic buildings. A gifted designer across genres, Williams transformed the face of Los Angeles, including the Beverly Hills Hotel’s Polo Lounge, the Ambassador Hotel’s Coconut Grove, and the cool jazz corridors of Central Avenue.
In a nod to those favored night spots and the music of the jazz greats, Ben Allison, Steve Cardenas, and Ted Nash perform against a backdrop of images of Williams’ mid-century Los Angeles world and photographs from Ireland’s Regarding Paul R. Williams."
I wasn't that familiar with the musicians (I had Ted Nash confused with his uncle) but it took place in a small theater/lecture hall with very good sound and I'm interested in both West Coast Jazz and West Coast architecture.
When we entered there was one architectural photo projected on the stage's back wall. The trio appeared and began playing Jimmy Giuffre's "The Train and the River". Made sense as they were a trio of sax, bass and guitar and Giuffre was a mainstay of West Coast Jazz. I was relieved that the photos weren't being changed during the music and was trying to guess what they'd play next; Gerry Mulligan maybe.
Well the same photo never changed and Ted Nash announced that they were going to play something by the great unknown composer: Herbie Nichols. They then played 3 Nichols numbers introducing each with a bit more about Nichol's biography.
They followed that with Carla Bley's "Lawns". (They also suggested that she was fairly unknown.), then ended the concert with a very nice piece by Jim Hall. Apparently the trio albums dedicated to each of them.
I guess the West Coast might claim Carla Bley in that she was with Paul at the Hillcrest when they met Ornette Coleman, and that Jim Hall did spend time here and recorded for Pacific Jazz but Herbie Nichols?
However, despite the bait and switch (maybe because of it) this was a great concert. And I especially liked that it was presented with no amplification except for the amp of the guitar.
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You can go a little crazy searching for the best possible sound for the recordings. I have the RCA Box but because I hear some distortion on Jack the Bear and Koko, I've gried to find other transfers. I now discover that I have four other sets that have much of the best sides from this era. My favorite is from France, the Dreyfus cd entitled "Koko". Dreyfus did an additional cd called "Take the A Train" which has 21 cuts from 1938 to 1950.
I also have a 2cd set from Avid, "Highlights of the Great 1940-1942 Band". They claim to use "Advanced Transfer Technology" but add a riders saying the quality of the sound depends on which studio (Chicago is best, LA worst) was used and you need to compare it to other reissues to understand why they advertise "remarkable sound".
Another Avid cd "Jack the Bear" containing recordings from '27-'45 claims to be in "3 Dimensional Sound" which produces a stereo effect".
Finally there's Robert Parker's "Jazz Classics in Surround Sound. Duke Ellington the Great Bands of the 1940s".
I haven't listened to these in years but I hope to do some comparisons this week and will report back . (I'm not really an audiophile and have 81 year old ears. )
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As I often argue about movies: the greatest year for culture was whenever you were 18.
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1 hour ago, Ken Dryden said:
I wonder if a Capitol boxed set of Cannonball Adderley would have any appeal? The CDs are pretty much out of print.
If they are indeed out of print this is a good idea.
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On 3/12/2024 at 1:45 AM, JSngry said:
There's literally decades of such recordings!
Any recommendations?
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All those showing their love for Buddy and Illinois over on the BFT thread should be interested in this: https://storyvillerecords.bandcamp.com/album/count-basie-at-the-aquarium-1946?from=fanpub_fb
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Didn't Miles do the same thing? If so, that explains it.
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4 hours ago, mikeweil said:
Turns out I bought that Jacquet album a few months ago, but listened only once or twice to it until now. His Clef/Verve albums are a cause of neglect - they deserve the Mosaic treatment! I thought of Jo Jones, but wanted to listen once more to confirm ....
I should probably try to hear more Jacquet in non-JATP settings.
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1 hour ago, clifford_thornton said:
Ha, interesting cover by Pee Wee Russell. I assume it's credited to Dolphy here?
It's credited to Coltrane and the liner notes explain that it's also known as "Miles' Mode".
Herbie Hancock
in Artists
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Saw him last night. Terrance Blanchard and Chris Potter part of the sextet. I thought he walked slowly at first but by end of two hour concert he was bouncing around the stage. He filled a 2,000 seat theater and wowed most of the audience (there were a few early walkouts, but the concert was part of a subscription series and unadulterated jazz probably wasn't what everyone was looking for).
All the compositions were by Herbie except Footprints which he announced was written by his recently passed best friend, Wayne Shorter.
Ended with some Headhunters pieces and never played Water Melon Man.