Jump to content

HWright

Members
  • Posts

    206
  • Joined

  • Last visited

  • Donations

    0.00 USD 

Everything posted by HWright

  1. Bergman has been and remains one of my favorite film directors. His work has meant so much to me over the years. I saw his films in theaters and auditoriums whenever possible (I very much agree with Alexander's point about this), rented them whenever I could, read them when I couldn't see them (in English translations) and in recent years bought many of them on DVD.
  2. I saw Steely Dan at Wolf Trap in Virginia last night. Part of their "Heavy Rollers" Tour. The opening act was the Sam Yahel Organ Trio with Peter Bernstein (guitar) and Gregory Hutchinson (drums). Great stuff. Reminded me a lot at times of Larry Young/Grant Green/Elvin Jones. Although I heard Yahel with Joshua Redman, I think he mainly played Fender Rhodes at that show, so this was a chance to hear him play Hammond B-3 excusively. They played for about half an hour. After their set, Sam Yahel signed CDs and autographs (he is promoting a new trio album coming out soon) and I got to meet him and talk to him a little. Although some people talked and others didn't even show up until after the opening act, there was an appreciate percent of the audience that was into it, I'm happy to report. Steely Dan came on with a large group they called the Steely Dan Orchestra. "Hey Kids!" said Fagan. The group included: Fagan on Fender Rhodes and melodica, Becker on guitar, with: a four piece horn section (two saxes, trumpet and trombone), a lead guitarist, an electric bass, a clavinet player, a drummer and two back-up vocalists. The set list was the following: Time Out of Mind Bad Sneakers Two Against Nature Janie Runaway Hey 19 Haitian Divorce (sung by Walter Becker, who also did little raps with jokes during some of the other songs) Peg Babylon Sisters Bodhisattva Dirty Work (sung by the back up singers) When Josie Comes Home Aja FM Kid Charlemagne Encore: Pretzel Logic My Old School
  3. Bertrand, thanks for the clarification. I couldn't find the Post's review, which I searched for on their site. Do you have a link you could share?
  4. I saw Pat Martino at Blues Alley in Washington, DC on Friday night. He mostly played material associated with Wes Montgomery as heard on his recent Blue Note album "Remember: A Tribute to Wes Montgomery," including a rousing version of "Four on Six". I think the keyboard player (Fender Rhodes and piano) was David Kikoski (he played on the CD) but I'm not entirely sure. On a related note, I went to the same club to hear Robert Glasper on Thursday, but the show was cancelled as Glasper didn't appear! Some in the audience said the gig was not listed on his website and that he may not have known about it. The club management just said that RG's manager didn't know where he was and no one else did either.
  5. Just as a little follow up, I read on Criterion's website today (5/14/07) that they are putting out a DVD of "WR: Mysteries of the Organism": http://www.criterion.com/asp/release.asp?id=389 I will certainly rent it when it becomes available (in June, I think)
  6. I saw the Joshua Redman Trio at Blues Alley, first set Friday. They played mostly material from his new album "Back East," as well as "Angel Eyes."
  7. Speaking of Shuggie Otis, I'm a big fan of "Inspiration Information." Hearing Sly's work from 1971-74 ("There's a Riot Going On," "Fresh" and "Small Talk") now reminds me a lot of Shuggie's 1974 album. Perhaps it's just a common sound: stripped down and funky. There's a kind of do it yourself quality to all of these recordings.
  8. Has anyone checked out the new Leonard Cohen reissues of his first three albums? (I haven't seen a thread on this...apologies if I missed it) I found copies of them at a B&N here in Washington, DC. Each disc comes with lyrics, extra photos and an introductory essay. The first album has two bonus tracks not previously released ("Store Room" and "Blessed is the Memory"); the second and third albums have one alternate take each but no new songs. Although it has been rumored that "Priests" (recorded by Judie Collins and Richie Havens according to Wikipedia) was cut around the time of the second album, it does not appear as a bonus track. Perhaps it was never recorded or is lost. Anyone know anything about this? The discs have "made in the EU" stickers on them and may be imports, although there is conflicting information about this on line. This was the first time I saw any of these discs in the area. No word on future LC titles from Legacy. Their website seems to be down. I for one would like to see "Live Songs" and especially my favorite "New Skin..." remastered.
  9. I like "Curtis/Live" too. The best part of it to me is that it includes live versions of Impressions tracks as well as few numbers that Curtis never recorded in the studio under his own name. I have "Give, Get, Take and Have" and "Never Say You Can't Survive" now (bought on iTunes). They are enjoyable but they take the smooth/mellow trend of the previous albums even further, at times verging on disco. Now, note, I'm not anti-disco myself (I like Chic, for instance), but I don't think it was a style of music that served Curtis' strengths. There aren't really any hard funky tracks on these two albums, as far as I can tell. Still, some of the ballads are quite nice. "Only You Babe" is a stand out for me, in that respect. It's also neat to hear "Sparkle" which was also on the soundtrack of that name that Curtis did with Aretha.
  10. >>>hey, i've been interested in that book. what are your impressions? I like the book ["Higher Ground" by Craig Werner]. I would recommend it certainly, although keep in mind that I have only read one other book about Stevie and read no other books about Curtis or Aretha. In any case, it's not an academic treatise with musicological comments, understand. It's more of a collective biography with some comments about the music. I suppose this could therefore be considered a book "written about a record collection," but I think that Werner did do some original research and certainly interviewed a number of people himself, including Curtis, if I recall correctly. The theme of the book, as I understand it, is that Curtis, Aretha and Stevie all represented the gospel impulse carried out in the pop arena. In addition to recounting the careers of the the three stars, there is also material on their gospel forebearers (Clara Ward, Mahilia Jackson, Marion Williams, the Soul Stirrers, etc) as well as background on pioneering figures such as Sam Cooke and Ray Charles and secondary figures who crossed the paths of the three subjects such as Donny Hathaway and Leroy Hutson. (Werner is/was an associate of Dave Marsh's. He co-authored a study of Creedence Clearwater Revival with Marsh and has also written a more general work about American rock and soul (popular music) in the' 60's and after called "A Change is Gonna Come" which I have ordered and and plan to read when it comes).
  11. I'm a big Curtis Fan. After I got the Rhino reissues ("Curtis," "Roots," "Super Fly" and "Curtis/Live"), I wanted more. Most of the post-"Super Fly" albums are available in one form or another, although they are much harder to find than the Rhinos. For the longest time I didn't even think about checking them out because they weren't in most stores and they don't get a lot of critical attention either. So far I got "Back to the World" and "Got to Find a Way" as used CDs (Charly reissues from the '90's, I think) and "Sweet Exorcist" and "There's No Place Like America Today" on iTunes since I couldn't find any CDs of them at a reasonable price on line, although there may be some copies of the Charly CD editions out there somewhere... All four albums are quite entertaining and I recommend them to any fan of Curtis' music. If you don't want to go so far, samples of some of the singles from these albums can be found on the second half of Rhino's one disc "The Very Best of Curtis Mayfield" disc (1996) as well as on various other best of and box sets that are readily available. I've also been reading "Higher Ground" by Craig Werner, which is about Curtis, Aretha and Stevie Wonder. It's the only book I've been able to find that has anything to say about Curtis' post-"Super Fly" career...
  12. On Saturday I saw Allen Toussaint at Blues Alley in Washington DC with special guest Marva Wright, 8 pm set. The band with AT on piano and lead vocals, included tenor sax, guitar, bass guitar and drums. Here's the set list: AT and Band Blues Alley (instrumental) Medley: A Certain Girl/Mother in Law/Fortune Teller/Working in A Coal Mine Things that Make You Mine Shoorah! Shoorah! I Like it Like That Ride Your Pony Something You Got With Marva Wright on vocals: Whole Lotta Shakin'/Shake Rattle and Roll Help Me Make it Through the Night (Your Love is Liftin' Me) Higher and Higher AT and Band Yes We Can Happy Birthday Southern Nights.
  13. This past weekend was a good one for jazz in the Washington, DC area. On Friday I saw the Dave Holland Sextet at the Kennedy Center. The group included: Alex Sipiagin (trumpet), Robin Eubanks (trombone), Antonio Hart (saxophone), Mulgrew Miller (piano), DH (bass) and Eric Harland (drums). Although some of these players were with Dave's Big Band which played the KC in 2005, this was the first time I saw this sextet together and the first time I heard Mulgrew Miller at all. The first set included: Ebb and Flow ("Dream of the Elders") Mr. B ("Points of View"), dedicated to Ray Brown Interception ("Conference of the Birds") Processional ("Extensions"), partly inspired by Cleopatra's barge in the (Liz Taylor?) movie, according to DH. Pass it On ("Ones All"), dedicated to Ed Blackwell. On Saturday I saw Coryell/White/Bailey at Blues Alley. I had only heard this guitar trio from recordings before. I didn't catch the name of the first tune, but the rest of the first set which I attended included: Black Dog (Led Zeppelin) Joyce's Favorite (Bailey) Our Love is Here to Stay (Coryell dedicated the standard to his wife) Dedication (White) Spaces Revisited (Coryell)
  14. [quote name='sidewinder' date='Dec 20 2006, 12:54 PM' post='593788'] Well, I combed the web and didn't come up with any additional stills or images useful to this case. However, I noticed that they have played it in Boston at both the Brattle and the Harvard Film Archive, both of which have similar programs to the one Concordia had in the '90's, so I think that for now, lacking any further evidence, I will conclude that this is the movie I was thinking of... I'm certainly interested in seeing it after all I've read about it now. It is also interesting to note that some critics and followers of Wilhelm Reich (the WR of the title) find the movie to be a misrepresentation of his work and ideas.
  15. I wonder if any of the cinephiles on the Board can help me here. I'm trying to find out the name of a movie I didn't see back in the '90s. Let me explain: in the early '90's I lived for a time in Montreal and I used to go to movies at Concordia University, which had an excellent film series. In one of their programs there was an ad for a Yugoslavian (?) movie from the late '60's or early '70's featuring a scantily clad woman wearing a gorilla mask and holding a big gun (sub-machine gun? M-16? Kalashnikov? ). In my memory the pose is somewhat like the famous Patty Hearst photo. The film was supposedly very avant garde. I didn't get to see the movie and I am now wondering what it was called and whether it has been put out on DVD. Anyone have any ideas? This is not a joke, by the way, although I may be remembering some of the details wrong... Thanks.
  16. Louis Hayes and the Cannonball Adderley Legacy Band played at the Kennedy Center in Washington, DC on Saturday (October 28, 2006). I caught the first set (7:30). The band consisted of Hayes on drums with: Jeremy Pelt on trumpet Julius Tolentino on alto sax Rick Germanson on piano Gerald Cannon on bass They played a set of tunes associated with Hayes' time with Cannonball: Jeannine (by Duke Pearson) Autumn Leaves Fiddler on the Roof Azule Serape (by Victor Feldman) Never Let Me Go Jive Samba (by Nat Adderley) The show was taped for Dee Dee Bridgewater's radio program. I went mainly to hear Jeremy Pelt (he hasn't played any gigs in Washington under his own leadership yet, so concerts like this are the only chance one has to hear him play), but was also glad to have a chance to hear Hayes and the other musicians.
  17. The complete listing of remastered classic Fania reissues are here: http://www.descarga.com/cgi-bin/db/fania I have seen that page and while it is quite useful for knowing what is out there right now, what I had more in mind was a list in tablular format with the serial numbers of the original sequence of LPs next to the artists and albums titles, so one can tell what has been reissued and what has not.
  18. Clem: Here are the Hector Lavoe reissues I have: (1) Titles Under Willie Colon's name: A. El Malo (1967): Willie and Hector's first album. It was considered quite groundbreaking at the time, but I haven't quite gotten a handle on any of the songs. Some of the sound was influenced by the then current Boogaloo craze. B. Crime Pays(1967-1971): this is a best of compilation that includes material from "El Malo" and 3-4 of the Willie/Hector albums that followed, none of which has been remastered. I haven't had time to listen to this very carefully, but it sounds interesting. C. El Juicio (1972): This is great, I very much recommend it. Willie and Hector in fine form. D. Lo Mato (1973): This is great too. Another Willie and Hector classic. At this point Willie broke up the band and from that point on worked either with Ruben Blades or as a solo artist (he even started singing leads). However, Willie produced (and frequently played) on many of Hector Lavoe's solo albums. (2) Titles Under Hector Lavoe's name: A. La Voz (1975): Great stuff. The main difference between this and the later Willie/Hector albums is that Willie doesn't contribute any songs and Hector's personality comes more to the fore. To me Hector is a bit like Elvis: he doesn't write a lot of songs, but when he finds good material that suites his voice and personality, he's dynamite. B. De Ti Depende (1976): Another good one. Willie and Hector in fine form. C. Comedia (1978): So far I like this a little less than the first two. It's still good, but the music is different and there's something a little corny about some of the tunes. I wonder if this prefigures Hector's later career. One critic I read said Hector and Willie broke off their partnership because Willie was frustrated that Hector wanted to remain a "teen idol." Hector made 5-6 other solo albums after that (before he died) but I am approaching them with caution because even though I am very curious, I have yet to find an online source (in English or Spanish) that provides any useful comments on them. Everything I've read so far though suggests that the ones I have so far are considered the crucial releases in the classic salsa period (1967-1979, approximately).
  19. Hundreds. This is a huge back catalog spanning not just Fania, but Tico, Alegre, and others. A treasure trove of Latin music.
  20. Up. Since we started this thread I've continued my investigation of Fania and the reissues. Having enjoyed Willie Colon's work with Ruben Blades, I went on to pick up and enjoy many of Willie's albums with Hector Lavoe (under Willie's name and later under Hector's). Having done that, I am now taking a closer look at the rest of the Fania catalogue. In the beginning I got the first two sampler volumes (Soneros de Siempre) and have been listening to them for inspiration. I haven't been able to find an actual discography on line anywhere, but I have used the list of reissues on Descarga.com as a guide. My question to everyone here is: how many more reissues do you suppose we can expert in the future, supposing they keep up their current pace? I am aware that there are at least 6 Willie Colon albums that haven't been remastered (The Hustler, The Big Break, Guisando, Cosa Nuestra, The Good, The Bad and the Ugly) and there's also "Metiendo Mano" by Colon and Blades, but how much else is there out there to be remastered? 60 more discs? 120? More?
  21. I agree. This is frustrating. I'm always in favor of more JB product, but taking into account the complicated nature of JB's catalogue and all the previous reissues/collections, I think I would prefer to see a complete box set of JB's work at Federal/King. Here is my data on this period of JB's work: King/Federal Years Single =X Please, Please, Please 1959 Please, Please, Please b/w Why Do You Do Me X Try Me b/w Tell Me What Did I Do Wrong X I Feel That Old Feelin' Comin' On That's When I Lost My Heart Chonnie-On-Chon b/w I Won't Plead No More X Hold My Baby's Hand Tell Me What I Did Wrong Baby Cries Over the Ocean Begging, Begging b/w That When I Lost My Heart X No, No, No, No b/w Hold My Baby's Hand X That Dood It b/w Baby Cries Over the Ocean X I Don't Know b/w I Feel That Old Feelin' Comin' On X I Walked Alone Love or a Game b/w Messing with the Blues X Let's Make It Just Won't Do Right Try Me 1959 There Must be a Reason I Want You So Bad b/w There Must be a Reason X Why Do You Do Me X Got to Cry b/w It was You X Strange Things Happen Fine Old Foxy Self Messing with the Blues Try Me It Was You I've Got to Change b/w It Hurts to Tell You X Can't Be the Same b/w Gonna Try X It Hurts to Tell You I Won't Plead No More You're Mine, You're Mine b/w I Walked Alone X Gonna Try Don't Let it Happen to Me Non-LP Single 1959 Doodle Bug (instr) b/w Bucket Head X Think 1960 Think b/w You've Got the Power X Good Good Lovin' b/w Don't Let it Happen to Me X Wonder When You're Comin' Home I'll Go Crazy b/w I Know It's True (I Found Someone) X This Old Heart b/w Wonder When You're Coming Home X I Know It's True ( I Found Someone) Bewildered b/w If You Want Me X I'll Never, Never Let You Go You've Got The Power If You Want Me Baby, You're Right b/w I'll Never Never Let You Go X So Long Non-LP Single 1960 The Bells b/w And I Do Just What I Want X
  22. Yes, a strange venue for a jazz concert. I saw Ian Gillan from Deep Purple there last month and gather that is more typical programming.
  23. I caught Branford's current group at Birchmere in Alexandria, VA last night. Great show. They played selections from the new album (Hope, Fate, Blakzilla), a few older numbers (Bullworth?), Tain's "Vodville" and Wynton's "Free to Be" (from "The Magic Hour") as an encore. It was great to see Tain again (I saw him with his own group at Blues Alley). He was wearing a "Chocolate City" by Parliament t-shirt. Branford Marsalis - Saxophones Joey Calderazzo - Piano Eric Revis - Bass Jeff "Tain" Watts - Drums
×
×
  • Create New...