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What vinyl are you spinning right now??


wolff

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49 minutes ago, Dub Modal said:

I think Strut was going for the kitsch factor on their vinyl release of this album. I don't know of many (if any) Sun Ra reissues that don't have digital steps in the vinyl pressing process, so they're never going to be AAA. 

Spot on. Strut realised that 'Lanquidity' could be more easily sold beyond Sun Ra fans than others of his titles, went for an over the top packaging and marketed it accordingly.

They have never been an audiophile label as far as I can tell so not sure why anyone expects them to start now.

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Languidity is one of those jazz records that seems to have an extraordinarily inflated amount of cultural capital attached to it. I have had two irl conversations in the last week with very enthusiastic fans for whom Languidity was at the centre of their jazz listening (along with Journey by Alice C and Karma by Pharaoh Sanders).

I think it lends itself to lavish vinyl represses that capitalise on its status. Hence why I've stayed away from this one so far. But I'm still interested to hear what people are saying.

4 minutes ago, mjazzg said:

Spot on. Strut realised that 'Lanquidity' could be more easily sold beyond Sun Ra fans than others of his titles, went for an over the top packaging and marketed it accordingly.

They have never been an audiophile label as far as I can tell so not sure why anyone expects them to start now.

Ha ha. Snap. That's putting what I was trying to say far more eloquently. 

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Just now, Dub Modal said:

Not a terrible centre to have, btw.

I've rec'd Lanquidity to a friend who found it too bizarre, which surprised me. 

What surprised me was that one was with a record shop guy. Don't get me wrong, I appreciate enthusiasm, but I prefer my record shop staff cold, cynical and unimpressed with everything I do or think. 

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3 minutes ago, Rabshakeh said:

What surprised me was that one was with a record shop guy. Don't get me wrong, I appreciate enthusiasm, but I prefer my record shop staff cold, cynical and unimpressed with everything I do or think. 

:lol: I hear you. Maybe he's new to the biz and his soul hasn't been crushed just yet? 

Edited by Dub Modal
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Ha ha. He won't last long.

There does seem to be something happening in the music world at the moment, in which "spiritual jazz" (as I think these records are billed) is now very cool.

I have read a few opinions on social media, mostly off the back of that Pharaoh Sanders / Floating Points record, that are raging about the supposed "gentrification" of free jazz, but I personally think it's fine - more interest means more reissues, and it's not like its leading to a scarcity of Arthur Doyle records or anything. Suddenly DJ friends, one record shop guy and my 17 year old nephew are all about this music, and I think that's great. Reel 'em in.

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1 hour ago, Rabshakeh said:

What surprised me was that one was with a record shop guy. Don't get me wrong, I appreciate enthusiasm, but I prefer my record shop staff cold, cynical and unimpressed with everything I do or think. 

 Back to the good old days of Mole Jazz...

1 hour ago, Dub Modal said:

:lol: I hear you. Maybe he's new to the biz and his soul hasn't been crushed just yet? 

:D

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On ‎4‎/‎20‎/‎2021 at 7:07 PM, HutchFan said:

From what I can gather, it was Flora and Airto hooking Brazilian jazz musicians up with Milestone.  Presumably since Flora already had a relationship with the label. Plus, I'm sure that Airto's and Flora's success in the U.S. market inspired many Brazilian jazz musicians to come north to the U.S.  Think about it: Opa (mostly guys from Airto's "Fingers" band; although they were mostly from Uruguay, not Brazil).  Azymuth (and the solo records by Azymuth band members: Jose Roberto Bertrami, Ivan Conti & Alex Malheiros).  Claudio Roditi.  Some really good musicians there.  

I don't think Keepnews had anything to do with these later Brazilian records, post-Flora.  

The LPs by musician I've listed above were not licensing deals -- but Milestone did license some guitar records by Baden Powell and Túlio Mourão (and maybe some others) from indie Brazilian labels.  And the Roberthino Silva record with Wayne was licensed from CBS Brazil.  I suppose that's how Silva got Wayne to play on the one cut.

Viva Brasil, bebê!  :D 

 

By the way, I think there's a book waiting to be written on the interaction between Brazilian music and jazz, beginning with Airto and Flora (circa 1970 or so) and up 'til the present.  The whole bossa thing has been covered.  I'm not talking about that.  Here's why I think a book makes sense:  I believe you could easily make an argument that Airto's and Flora's impact on jazz has been WAY overlooked.  Think about it: Aside from Airto, NO ONE ELSE performed with Miles, Weather Report, AND Return to Forever.  And, while Airto & Flora's impact may have waned a bit in the second half of the 70s, they again began exerting influence as Brazilian/jazz fusion(s) became a thing again in the 1980s.  Along with the stuff above, think about the impact of George Duke's Brazilian Love Affair.  Airto and Flora were right there, and that launched even more Brazilian Jazz fusions.  ... So I think there's an interesting book in there somewhere, even though no one has picked up on it yet.

 

https://static1.squarespace.com/static/5cb134e6b2cf790d711e7a92/t/5cb18f299b747a58e89ecaf1/1555140396677/JI_interview.pdf

Terri Hinte!

 

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12 hours ago, HutchFan said:

Now:

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This sounds better than I remember it being. ... Funny how that happens. The music doesn't change. We do.

I need to relisten then too. I remember being underwhelmed at the time it was released. I had seen a storming gig of theirs at Ronnies so maybe the album suffered in comparison.

Today's been a Yusef Lateef and Paul Horn day here

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Mono, 1966

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Stereo 1964

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not the 1957 issue sadly but 1985

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Mono, 1978 compilation

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Mono, 1960

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Beware the Jazz bagpipes...

and currently

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maybe some Brotzmann next...

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