wolff

What vinyl are you spinning right now??

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3 hours ago, mjazzg said:

two very fine albums there :tup

I know I say it every time they're mentioned but those Giuffre Choice sessions really are right up there

Those albums seem to get forgotten amongst Giuffre's output, but they are great. Kiyoshi Tokunaga and Randy Kaye are an excellent rhythm section for this music.

 

Evan Parker/Derek Bailey/Han Bennink, The Topography of the Lungs (Incus)

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Mel Brown's Fifth (Impulse), and Pharoah Sanders, Black Unity (Impulse)

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Hozan Yamamoto, David Friesen, Masahiko Satoh - Hozan, Friesen +1 [Next Wave]

took a punt on this on the back of a couple of other Yamamoto's I enjoy. Very pleased I did

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On 11/14/2015, 1:35:39, sidewinder said:

All the ones I have both look and sound great. I particularly like the attention to detail with the LP sleeve facsimiles. The Tubby Hayes Tempos are particularly good - considering they are needle drops.

no tapes?

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C.P.U (Cosmic Pulsation Unity - s/t [Denon Jazz]

another jump into unchartered Japanese waters

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55 minutes ago, mjazzg said:

C.P.U (Cosmic Pulsation Unity - s/t [Denon Jazz]

another jump into unchartered Japanese waters

Excellent record!  

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10 minutes ago, Homefromtheforest said:

Excellent record!  

It is indeed. The copy could be cleaner but the music wins out

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2 hours ago, clifford_thornton said:

no tapes?

All the Tempos were lost a long time ago I think, presumably destroyed by Philips (Tony Hall has confirmed as much)

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davisstitt109134.jpg

Miles Davis & Sonny Stitt: Live in Stockholm 1960 (Dragon)

Listening to this last night, I heard one man immersed in his music and another man playing for a paycheck. Perhaps a harsh opinion, but a true one for me.

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I won't ask which was which....

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11 hours ago, paul secor said:

davisstitt109134.jpg

Miles Davis & Sonny Stitt: Live in Stockholm 1960 (Dragon)

Listening to this last night, I heard one man immersed in his music and another man playing for a paycheck. Perhaps a harsh opinion, but a true one for me.

I tend to go for the spring, 1960 tour with Coltrane, because I feel similarly about Stitt's playing on the fall tour. But years ago a friend pointed out something about the tour with Stitt, and I've found it to be true: Miles really bears down on the Stitt dates - he plays. My guess is the he didn't hear/feel much coming from Stitt and felt he had to make up for that. By contrast, there are moments from the spring Coltrane tour when Miles seems to be - well, not coasting; I wouldn't go that far - but not stretching himself, because he knows that Coltrane is pushing himself to the limit.

Does this make any sense?

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yup.

Now:

Phil Pearlman - The Beat of the Earth - (Artistic Statement, new reissue/boot)

 

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31 minutes ago, jeffcrom said:

I tend to go for the spring, 1960 tour with Coltrane, because I feel similarly about Stitt's playing on the fall tour. But years ago a friend pointed out something about the tour with Stitt, and I've found it to be true: Miles really bears down on the Stitt dates - he plays. My guess is the he didn't hear/feel much coming from Stitt and felt he had to make up for that. By contrast, there are moments from the spring Coltrane tour when Miles seems to be - well, not coasting; I wouldn't go that far - but not stretching himself, because he knows that Coltrane is pushing himself to the limit.

Does this make any sense?

Yes. Miles id definitely playing to the max on this record. I'll have to listen again to the Trane recordings before I comment on his playing there.

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5 hours ago, jeffcrom said:

I tend to go for the spring, 1960 tour with Coltrane, because I feel similarly about Stitt's playing on the fall tour. But years ago a friend pointed out something about the tour with Stitt, and I've found it to be true: Miles really bears down on the Stitt dates - he plays. My guess is the he didn't hear/feel much coming from Stitt and felt he had to make up for that. By contrast, there are moments from the spring Coltrane tour when Miles seems to be - well, not coasting; I wouldn't go that far - but not stretching himself, because he knows that Coltrane is pushing himself to the limit.

Does this make any sense?

I saw the Davis/Stitt band on this tour.  Just out of my teenage years.  I don't remember too much about it except what was played was hot and totally unexpected.   We were definitely not prepared for it from the recordings  available at the time.

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4 hours ago, JohnS said:

 

I saw the Davis/Stitt band on this tour.  Just out of my teenage years.  I don't remember too much about it except what was played was hot and totally unexpected.   We were definitely not prepared for it from the recordings  available at the time.

So sorry to have missed that gig. They were at the Free Trade Hall when I was a student in Manchester. However, it was during the university vacation and I was at home with my parents in Leeds. My Manchester student friend, the late Jack Massarik, managed to make the gig.

Edited by BillF

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20 hours ago, paul secor said:

davisstitt109134.jpg

Miles Davis & Sonny Stitt: Live in Stockholm 1960 (Dragon)

Listening to this last night, I heard one man immersed in his music and another man playing for a paycheck. Perhaps a harsh opinion, but a true one for me.

 

20 hours ago, AllenLowe said:

I won't ask which was which....

 

This reminds me of first hearing a Japanese CD-set of Miles' Blackhawk recordings with Hank Mobley and noticing that some of the (very long) solos had been heavily edited on the original LP's.

I won't tell whose...

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Trane with Miles in Paris in 1960 is, for me, a sci-fi like experience, you want to know what time warping ahead forward and when back again, that's what that date is. As the tour goes on, Trane pulls back a little, probably out of fear of people dying and shit, but I do sense that Miles was in awe at Trane, that's why he begged him to make the tour, because he so seriously wanted that, especially as he realized that he wasn't gonna have it, potentially, ever again.

But for Stitt, yes, he was playing for a paycheck, but keep in mind, playing was his paycheck, and he came up in a place and time where if you failed, your paycheck would probably not be there, so...higher stakes than just "getting paid". Cats like that always paid for a paycheck, either right then, or tomorrow.

Which is not to say that he never coasted, oh jeez, the man was one of the best non-big-band coasters ever. But the worst of it came later, when he was established and could afford to, the daggers weren't everywhere, too much time and competition had passed and he was a beloved club draw no matter what, so fuck it, just have a record out, any kind of record, let them know you're still alive and the gigs will be there. In 1960, the dude still had to play, even at his coasting level, especially with Miles!

Pulled this out the other day, just to hear "Don't Get Sassy", totally rockindiculous stuff.

va-jazzwaveontour.JPG

 

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5 hours ago, JSngry said:

 

Pulled this out the other day, just to hear "Don't Get Sassy", totally rockindiculous stuff.

va-jazzwaveontour.JPG

 

Not often that you would find an original Blue Note at £1 at Mole Jazz but that's what that one cost me. Pretty well the dustiest couple of records I ever bought though, sneezed for a week afterwards..

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