GA Russell

Members
  • Content count

    16,032
  • Joined

  • Last visited

About GA Russell

  • Rank
    Groovissimo!
  • Birthday November 05

Profile Information

  • Gender Male
  • Location Raleigh, NC
  • Interests eBook reading
    Canadian football

Recent Profile Visitors

10,918 profile views
  1. Region Free DVD players

    This week everything at Bombay Electronics is 10% off with free shipping. Code: CM2020
  2. The end of The Jazz Standard in New York.

    Presumably the rent is whatever the landlord can get. After the club closes, will someone else come along to fill the space at a higher price?
  3. Louis Armstrong (Harmony)

    Thanks, Michael! I don't remember Loma.
  4. Bargain Audio Equipment

    This deal is back on.
  5. Louis Armstrong (Harmony)

    What record label did Ike & Tina record for that wound up in Columbia's hands?
  6. Return Of The Film Corner Thread

    I'm halfway through it, and so far it is a real downer. However, some people like that sort of thing. The question in my mind is whether it is a realistic portrayal of Hollywood in the '40s. I bet you met some old hands over the years who could tell you, and perhaps did. Since you're in the business, I bet you would probably enjoy it.
  7. Return Of The Film Corner Thread

    Joe, I'm reading a Horace McCoy novel about Hollywood called "I Should Have Stayed Home." Did you ever read it, and if so, what did you think?
  8. New Art Pepper releases from Laurie Pepper

    New album coming out December 15 called "Atlanta." Here are four excerpts... Avalon The Trip Patricia Mambo Koyama https://artpepper.bandcamp.com/album/free-a-few-tastes-of-volume-11-atlanta-out-soon
  9. jcam and Niko, here are the CDs: CD #1 1-4...May 5, 1967 evening 5-6...May 5, 1967 morning 7...May 3, 1967 Disc #2 1-4...May 3, 1967
  10. Bargain DVD boxes

    Attention Dan Gould! 2018 World Series (8 DVDs) - $14.99 prime after coupon https://www.amazon.com/gp/product/B07GW5217S/
  11. Resonance Records To Issue Set of Sonny Rollins Discoveries From the Dutch Jazz Archive, "Rollins in Holland," As a Limited 3-LP Record Store Day Exclusive On November 27 Collection of Unheard "Take-No-Prisoners" Live & Studio Recordings From the Tenor Sax Master's 1967 Netherlands Tour Will Arrive as a 2-CD Set On December 4 Packages Include New Interviews with Rollins & Dutch Sidemen Han Bennink & Ruud Jacobs, Comprehensive Notes by Rollins's Biographer Aidan Levy, An Essay by Journalist-Researcher Frank Jochemsen, & Rare, Previously Unseen Photographs  November 27, 2020 Los Angeles – Today, “Black Friday,” independent jazz label Resonance Records continues its ongoing tradition of releasing previously unissued archival recordings as limited-edition Record Store Day exclusives with a stellar new three-LP collection of historic Sonny Rollins performances, Rollins in Holland: The 1967 Studio & Live Recordings. Featuring more than two hours of music, this stunning collection, drawn from tenor saxophone master Rollins’s Netherlands tour of May 1967, will also be presented as a two-CD set, due Dec. 4. The Rollins set succeeds Resonance’s critically acclaimed RSD archival finds from such jazz giants as Bill Evans, Eric Dolphy, and Wes Montgomery. Last November saw the release of the label’s poll-topping 10-LP/seven-CD Nat King Cole box Hittin’ the Ramp: The Early Years (1936-1943). Resonance co-president Zev Feldman, known within the industry as “the Jazz Detective,” says of the forthcoming release, “The music on Rollins in Holland is extraordinary. Rollins fans will rejoice when they hear the news of this discovery. These performances follow an important time in his life, and he brought those experiences along with him to make this incredible music.” In a new interview with Feldman included in the set, the 90-year-old Rollins says, “I’m so happy that Resonance is putting it out because it really represents a take-no-prisoners type of music. That’s sort of what I was doing around that period of time; that was sort of Sonny Rollins then—a wham-bam-thank-you-ma’am approach. It was very much me. And I loved it and I loved playing with those guys.” The music heard on the Resonance album is drawn from a little-documented period in Rollins’s career. The musician’s 1966 Impulse! album East Broadway Run Down was his final record date before a studio hiatus that lasted until 1972. In 1969, mirroring a celebrated public exit of a decade earlier, he began a two-year sabbatical from live performing. Rollins in Holland captures the then 36-year-old jazz titan in full flight, in total command of his horn at the height of his great improvisational powers. He is heard fronting a trio, the same demanding instrumental format that produced some of the early triumphs of his long career: the live A Night at the Village Vanguard (Blue Note, 1957) and the studio dates Way Out West (Contemporary, 1957) and Freedom Suite (Riverside, 1958). During his brief but busy 1967 stay in the Netherlands, the saxophonist was supported by two of the nation’s top young players, bassist Ruud Jacobs and drummer Han Bennink. The pair had together supported such visiting American jazzmen as Johnny Griffin, Ben Webster, Wes Montgomery, and Clark Terry, among others. Jacobs was a celebrated straight-ahead accompanist, while Bennink had developed a reputation as an avant-garde lion, having backed Eric Dolphy on 1964’s Last Date. The pair jelled magnificently behind their celebrated leader. Rollins in Holland brings together material drawn from three separate appearances by the trio: a freewheeling May 3 concert at the Arnhem Academy of Visual Arts, at which Rollins stretched out in expansive performances that sometimes topped the 20-minute mark; a four-song May 5 morning studio session at the VARA Studio in Hilversum, where Dolphy and Albert Ayler had also cut unforgettable dates; and two live shots captured during the band’s stand that evening on “Jazz met Jacobs,” a half-hour national NCRV TV show presented from the Go-Go Club in Loosdrecht and hosted by bassist Jacobs’s pianist brother Pim and his wife, singer Rita Reys. In his essay for the collection, Dutch jazz journalist, producer, and researcher Frank Jochemsen notes that while recordings of the Arnhem show (presented here with carefully restored sound) had been passed hand-to-hand by Dutch jazz buffs over the years, the rest of the music was only recently unearthed. In 2017, the four stereo tracks from VARA Studio were discovered by Jochemsen, and they were authenticated by Ruud Jacobs and Han Bennink as they were being digitized for the Dutch Jazz Archive (NJA). In 2019, Jochemsen also discovered the audio from the “Jazz met Jacobs” appearance in the Dutch Jazz Archive, along with a unique set of photos shot at the sound check and live broadcast of this lost TV show. Jochemsen says, “I find it an exciting idea that so much has been recovered and documented from this modest tour and that the music is indeed of such high quality. Even more sensational is the fact that the whole world can listen to it now. The great Sonny Rollins at his best, accompanied by a great rhythm tandem, which makes me, as a Dutchman, extra proud.” An extensive overview of Rollins’s Holland trek is supplied by jazz journalist Aidan Levy, whose biography of the saxophonist will be published by Da Capo Books. Levy says, “Rollins in Holland is a resounding, still-urgent argument for jazz as a universal art form, transcending time, place and race. This is jazz at its most international and interdependent, with no boundaries or borders.” Rollins in Holland also includes an in-depth interview by Levy with Han Bennink and Ruud Jacobs, conducted a year before Jacobs’s death from cancer in July 2019. In it, the late bass virtuoso recalled the experience of playing with the American legend as “something spiritual. [There was] a very special atmosphere on the stage where I felt I could do anything.” The opportunity to bring Rollins’s exceptional Netherlands performances to the public for the first time has proven a special moment for Resonance, Feldman says: “Working with Mr. Rollins has been the experience of a lifetime, and I’m so grateful that he has put his trust in Resonance and our team to bring forth this newly unearthed, previously undocumented chapter in his career.” Photography: Toon Fey (at Academie voor Beeldende Kunst, Arnhem, Netherlands; May 3, 1967)  “A major addition to [Rollins’s] discography … These mighty performances, without any explicit political reference in the titles, are linked in form, tone, and ethos to [his 1958] ‘Freedom Suite,’ and extend its stylistic range to the new times.” –Richard Brody, The New Yorker “Vintage Rollins in a freewheeling setting, playing his heart out.” –Kevin Whitehead, Fresh Air “****1/2 … A prime period for Sonny. … [This] is two hours of blistering Rollins improvisations.” –Jeff Krow, Audiophile Audition The photos are not showing up here either. I'll let my contact know.
  12. Cold Duck Time

  13. I asked my contact why the recordings are not presented in chronological order over the two CDs. She contacted Zev Feldman, and he responded twice. "In short, we faced difficulty when programming the Lp sides and we did this so it fit and also still had a good flow. " and "The more expansive answer to the question about chronological order is that we wanted to lead off with the newly-discovered, stereo(!) material from VARA Studio 5. Even though it was recorded 2 days after the Arnhem concert, it had the better fidelity and had never been circulated before in bootleg circles. It made sense then naturally to program the 2 tracks from the Go-Go Club in Loosdrecht on Side B since it was literally recorded on the same day, and was also a new discovery. Regarding the Arnhem concert, we chose not to start with "Love Walked In," which was the first song played at the actual concert, because we didn't want to have the same song appear on the first 3 sides of the 3-LP set. We thought it made for a better listening experience to put it on Side E/LP 3. We also didn't include the incomplete tracks (ie, "My One And Only Love," "Old Devil Moon," and "St. Thomas")."
  14. I don't know why, but it's not pasting the album cover and two photos of the band.
  15. The Gabriel Alegría Afro-Peruvian Sextet Releases "Social Distancing," A Musical Memoir (& Protest) Inspired By The 2020 Pandemic Full-Length CD Set for January 29 Release On Saponegro Records, Digital Release on Tiger Turn Music Tells the Story of 2020 Through the Lens of Afro-Peruvian Jazz Music & The Experiences Common to All of Humanity Using Spoken Word, A Poem Gone Viral, & A Deliberate, Forceful Percussion Core To Remember & Think Through the 2020 Pandemic Pre-Release Concert November 27 (online); Release Concert January 29 (online) November 24, 2020 Afro-Peruvian Jazz Music is the life’s work of trumpeter and composer Gabriel Alegría. For the past 15 years, he has led a cross-cultural ensemble called the Afro-Peruvian Sextet that has slowly (but surely) placed Afro-Peruvian Jazz Music on the international musical map. Alongside his principal collaborators Freddy “Huevito” Lobatón (percussion), Laura Andrea Leguía (saxophones), and Hugo Alcázar (drums), the Afro-Peruvian Sextet has to date produced seven CDs, one vinyl, and one documentary film. On the band’s latest effort, Social Distancing, which is set for January 29 release on Saponegro Records (with a digital release on Tiger Turn), Alegría digs deep into his longstanding relationship with the band’s fan base. Most recently, during the 2020 pandemic, the band opened a member’s area on their web site to include footage and closer access to their work. Featured on the new CD’s cover are hand drawings of more than 120 fans who sent in their pictures as part of the design process. (The band’s unique business model has included fan-accompanied tours to Peru.) The faces of the pandemic are thus vividly captured in an album that according to Alegría “will always serve as a memoir of what we went through in 2020.” L. to r.: Hugo Alcázar, drums; Freddie “Huevito” Lobatón, percussion; Gabriel Alegría, trumpet; Yuri Juárez, guitar; Mario Cuba, bass; Laura Andrea Leguía, saxophones. Alegria points out that the band dealt with the pandemic very directly in that one member battled Covid in the ICU—and won. “The album is a statement and a reflection not only of the pandemic,” he adds, “but also the issues of social justice that have surfaced as a result.” Alegría became a U.S. citizen very recently, and Social Distancing is his way to connect to that new part of his identity. “I’ve never felt it was my place to say much about the negative side of the U.S. But now, as a dual citizen, I believe it is my duty,” he affirms. One of the album’s highlights is “George & Breonna,” which, according to Alegría (pictured at right), reminds us of “the other pandemic: systematized social injustice in the United States.” The musical exchanges between Alegría and saxophonist Laura Andrea Leguia on this track are a testament to the deep level of communication between the members of this band. “The musical phrases Laura Andrea and I exchange are really from the gut,” says Alegría. This recording goes far beyond the music. “An immigrant knows all too well what it is like not to have rights,” says Alegria, “and our writing on the album reflects that experience and intention.” “Covid-19” is a powerful festejo written using a classical composing technique called serialism. “The melody is comprised of a 12-tone row where all 12 notes of the chromatic scale must be used before any notes repeat,” explains Alegria. “The result is a very angular and aggressive sound. Hence the title Covid-19.” The haunting and relentless piece called “The Mask” includes spoken word by master percussionist Freddy “Huevito” Lobatón that echoes the idea with which Alegria frames the entire album: a poem-gone-viral by Kitty O’Meara called “And the People Stayed Home,” which is both the opening and conclusion of the album. The first iteration includes the poem read by the author in English, and the last track in Spanish. The darkness is brought to light by driving and uplifting tracks such as Alegría’s “Octavio y Natalia,” which the composer describes as the counterpart of “George and Breonna.” "That's my daughter and Yuri's son playing and being children, being innocent, just like George and Breonna probably played when they were kids. The point of connecting these two tunes in red type on the CD cover is that Yuri and I—and every parent on earth—should never see the death of their kids. And they certainly should not be afraid of that possibility existing. Hence our web site right now says #blacklivesmatter at the header.” The spirit of the song is expressed over a festejo rhythm, with the saxophone and trumpet pursuing circular phrases throughout. Social Distancing is very much a concept album, a testament-in-sound that documents the story of the 2020 pandemic. Its infectious rhythm makes the listener feel that concept as well as think it—on a par with the great concept albums of the 20th century (think Sgt. Pepper’s Lonely Hearts Club Band). For this release and during the pandemic, the Afro-Peruvian Sextet has also pioneered high-tech livestreams of their concerts, and they will be celebrating this release entirely online with a Pre-Release Concert on November 27 and a Release Show proper on January 29. Both concerts are available online at afroperuviansextet.com and include the highest level of audio and video quality available anywhere in the world. ‌ Photography: JAC Soundshots Social Distancing Kickstarter campaign (live through Nov. 30) here.  ‌