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analogak

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Everything posted by analogak

  1. hi what is shitting? i have recently been listening to a live radio broadcast of i think 73 donald byrd and it is really good! a lot jazzier than i expected. here is the info....but i am impressed. sounds kinda like freddie hubbard shows of the time in that there is some long extended improve. not so commercial. 1 Kwame (?) 2 Fancy Free 3 The Good Reverend 4 Flight Time Donald Byrd - trumpet Kevin Toney - piano Keith Kilgo - drums Ray Armando - conga David Williams - bass Bernard Perry - guitar Alan Barnes - saxophones, flute
  2. ok that tangent is all fun but is anyone else hearing this?
  3. analogak

    Egberto Gismonti.

    Phil Ken Sebben: I've seen things you people wouldn't believe. [points to left eye] Phil Ken Sebben: And from this side only! The flight of a half-man, half-bird. Dinosaurs nuzzling their young in pastures where strip malls should be. Cookies on dowels... All those moments, lost in time... like... eggs off a hooker's stomach. Time to die... [the duplicate Phil Ken Sebben is unceremoniously jammed into a woodchipper]
  4. analogak

    Egberto Gismonti.

    http://www.youtube.com/watch?v=ZQcUS4chhc4
  5. though actually she might cause some damage in your tank if your cichlids are ram size.
  6. i wish i could shit by blood parrot cichlid on you. i hate her so much.
  7. am i drunk or does the title track sound like the title track of puttin it together? maybe just farrell's solo? skateboard park is a little more swinging and a bit faster but i think they are pretty much the same.
  8. willis jackson-headed and gutted....a little mellow but nice playing and i know it is good music and was worth $4 bucks. before that gene ammons-brasswind...what the hell is going on during the first track? ammons sounds like he is asleep and then someone shakes him awake to play his solo. prince lasha is on this one a bit, which is weird too. i always feel david axelrod was OVERRATED as a jazz album producer. but a decent album... lou donaldson-cosmos...was this his best blue note? i think it might be. really an awesome record...leon spencer, melvin sparks, jerry jemmott....great stuff. vocals don't get in the way and spencer plays a little clavinet!
  9. analogak

    Egberto Gismonti.

    yes 7, i don't know if that one will make you tumescent. not one i would recommend. though i am anti-haden.
  10. analogak

    Steve Tibbetts

    i would probably put on "safe journey" if i had to listen to tibbetts again.
  11. analogak

    Steve Tibbetts

    i like the idea of being steve tibbets better than listening to him. being in my cozy minnesotta home, taking some acid, calling over my friend who is an "ethnic" percussionist, and just tripping out.
  12. analogak

    Egberto Gismonti.

    yes some of his fusion experiments from the 70s are amusing to listen to. speaking of fusion, he is on cal tjader's "amazonas" playing keyboards along with dawili gonga duke. one song has a legitimate piano excursion of interest (CD bonus track). i find the ECM stuff boring but the song "don quixote" off of duas voces is pretty haunting. it used to trip me out when i was in college. actually the two albums (w. garbarek and haden) are surprisingly good considering my dislike of percussionless music and my dislike of charlie haden. and sol do meo dia or whatever it is called is ok since you know what you are getting. a bit boring to me as the instrumentation can be sparse. but it had a use or two in my life.
  13. i can't find it anymore but the "peaches and regalia" with a fat don grolnick was fun. a little too much bozzio antics but everyone was having a nice time.
  14. "giant steps" is hard to play? bluenote, i am confused as to whether you are talking down to all of us or if you are just don't really know what the hell you are talking about.
  15. bebop, you are a japanese minimal house DJ?
  16. analogak

    Ralph Towner

    i think it has to do with the melodies garbarek plays with the different musicians. with jarrett, i think the compositions combined with garbarek's tone can sound a bit annoying and cheesy.
  17. if you got high at the foreigner show and enjoyed it, why don't you get high again? go on a bender tonight! smoke, snort and sip everything you have always wanted to!
  18. lol bluenote can drive to every high school parking lot in the country and crank the duke jordan. will he be able to turn all the cool kids onto jazz before the evils of hip hop, trip hop and jam bands win them over? find out by watching the documentary of bluenote 182's 2008 US tour!
  19. because when you are in middle and high school the people who play jazz like in the high school jazz ensemble are dorks. possibly the biggest dorks in the school, if you went to public school. they are dorks from band or whatever you call the dorks who play during football games. school band? whatever. those people were and probably still are the biggest dorks so it makes the prospect of listening to and supporting what they are doing very unappealing. imo. "jazz is that loser from biology class with the white high tops playing a trumpet? i don't think i want to listen to that, thanks." that is the voice of most children in america.
  20. what would you expect? what were you wearing back then? don't you like exotica?
  21. i find charles mariano a bit annoying with his keening tone, especially when he gets ethnic. yellow fields is a bit boring whereas colours of chloe i find to be unique and interesting. no mariano and peter giger, more known at the time for his krautrock contributions (dzyan, etc) than jazzy stuff, might be reasons why. little movements and silent feet are both a bit stiff. if you are british you probably dig them more because john marshall is on the drums rather than giger or jon christensen who is on yellow fields. but for anyone outside the UK, marshall is a bit stiff, imo. it is still good to great fusion, despite mariano's keening and marshall's too stiff drumming, and it is a unique soundworld but it is a bit stiff and wishy washy. you might as well check out later that evening too, which has jerry granelli and bill frisell and the equally keening paul mccandless but also has nice parts. all of them have high and dull parts...even yellow fields. colours of chloe has slow parts but they are more um logical since it has more of an orchestral chamber feel with the large groupings of strings. pendulum is fine. i don't understand what the issue is. isn't it an album of solo bass? what would you expect? if you know what weber sounds like, can't you imagine what he would sound like solo. he loops shit up but if you like him and you like solo bass you might like it but for many, an album of solo bass, even with looped layers, would be boring. i feel like it is more your own personal taste. solstice is very good, probably more interesting than many of these weber albums from a jazz perspective.
  22. lou donaldson-cosmos this is pretty good! is leon spencer playing clavinet here? magnifiberg...really? those earland tracks are from almost a decade earlier? i am blown away by this conspiracy. wow. i guess it makes sense if perkins is on drums but still...
  23. analogak

    Ralph Towner

    a negative view (commercially) of towner in this period. by negative, i mean that the writer accuses people of using towner for commercial gains. i didn't realize towner was such a smoking hot piece of poozass. wow. i don't know who wrote this or where i lifted it from... From there, Towner's name was accorded high-level cult status. In 1973, fusionist Horacee Arnold followed Weather Report's lead, featuring the guitarist on Tribe, an unknown classic blending him into a stellar cast: Joe Farrell, Dave Friedman, George Mraz, Ralph MacDonald, and a cat named Billy Harper on tenor. Ralph nabbed the LP's opening moments with his 12-string, then recessed to rhythm for the remainder of the first cut, a couple of times paralleling others' leadwork. There's a problem here, though, one that occurred with dismaying frequency back in the day: the use of a musician to capture segments of the audience which mightn't otherwise pay attention. Towner appears only on the opening cut. The rest of the LP is excellent, worthy of a commemoration it presently doesn't receive and never has, but the mercenary tactic of garnering sales through the use of a rising star is... well, both satisfying and dismaying. That same year, folkie Michael Johnson enjoyed Towner's work on the deservedly obscure There is a Breeze, and Oregon released Distant Hills, but ECM also grabbed the axehandler, featuring him not only in a solo debut, Diary but a "duet LP" with Glenn Moore as well, Trios/Solos. In reality, the disc was Oregon itself, fractionated into two- and three-man ensembles, though the lion's share went to the bassist and guitarist, presenting a string lover's delight. In essence, every cut was more an outtake improv from Oregon sessions than anything else. That, however, was exactly what the mob wanted, and that was exactly what we, thank all the stars in heaven, got. The initial groove displayed Towner in nimble-fingered glory, hands roving over a 12-string with mad abandon and startling precision. Compositionally, the LP was Towner's writing alone, or done with chums, in every song but two. When he switched to classical guitar for the one-man "Winter Light," a tune that would become the titular banner for next year's Oregon release, the slower song was just as satisfying in a Hoagy Carmichael manner, giving way to the moody "Noctuary" with McCandless and Moore. Alternating between mistily engaging threnodies and vivacious complexities has ever been Towner's trademark and "1 X 12" became Ralph's alone, his 12-string blending classicalists, Kottke, and the maestro himself in his own unique sound, tapestries floating in mid-air. 1974 saw him asked back for Arnold's sophomore release, Tales of the Exonerated Flea, again for only a single cut but in a slab that also sported Jan Hammer and Rick Laird (Mahavishnu Orchestra), Dave Friedman once more, Sonny Fortune, and several others... including John Abercrombie. The alliance with Abercrombie would bear later fruit, but this outing is as much worth checking out as Arnold's first - in fact, more so, due to Hammer's unbelievable playing as well. Nothing from Ralph was outstanding in Tribe - in fact, Abercrombie and Hammer were the most commanding presences - except perhaps for the odd fact that Arnold chose Towner and Hammer for the only two rear liner photos, with Ralph decked out in a very uncharacteristic Claptony beard and mustache. Clive Stevens decided Arnold's practice was a sound one and similarly grabbed Towner for the Atmospheres fusion LP's he put out in ‘74: Atmospheres and Voyage to Uranus, a twosome combusting Stevens' sax chops and the presence once again of John Abercrombie as he went thorugh his most psychedelic period. Like Arnold, Stevens barely used Towner in Voyage. Atmospheres was another story, though. There, Ralph was led in for his keyboard playing, getting a true workout, quite an unexpected one at that. Ralph was never a rocker nor a true jazzer, and fusion requires a strong basing in both. Acquitting himself well, it would nonetheless be the last time such an inapposite form would be ventured by him. Oregon put out Winter Light and Ralph traveled over to Keith Jarrett's side of the ECM house, to sit in on In The Light.
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