Posted 16 June 8 hours ago, sidewinder said: 👍👍👍!!! Share this post Link to post Share on other sites
Posted 16 June Duke Ellington, Piano in the Foreground Share this post Link to post Share on other sites
Posted 16 June (edited) On 15/06/2019 at 3:05 PM, HutchFan said: If you've enjoyed the other two, I don't think you'd regret it. 👍 I found a new, unsealed copy (of the CD) on Discogs for a good price. Edited 16 June by erwbol Share this post Link to post Share on other sites
Posted 16 June 26 minutes ago, erwbol said: I found a new, unsealed copy (of the CD) on Discogs for a good price. Great! Enjoy! Share this post Link to post Share on other sites
Posted 16 June 1 hour ago, kh1958 said: Duke Ellington, Piano in the Foreground Desert island platter .... Share this post Link to post Share on other sites
Posted 16 June Ben Webster - At the Renaissance (Contemporary) with Jimmy Rowles, Jim Hall, Red Mitchell and Frank Butler Sublime Ben with an inspired band. Share this post Link to post Share on other sites
Posted 16 June NP: Oregon - Distant Hills (Vanguard) Beautiful. Share this post Link to post Share on other sites
Posted 16 June Clark Terry-Bobby Brookmeyer Quintet - Straight No Chaser (Mainstream) Share this post Link to post Share on other sites
Posted 17 June On 15.06.2019 at 2:28 AM, HutchFan said: Sonny Rollins - Don't Stop the Carnival (Milestone) Oh yes ! This is the Sonny Rollins how he sounded when I heard him first in the late 70´s. Sonny at his top. I heard him with Al Foster, but here it´s Tony Williams, just incredible the great drummers Sonny always had ! This is a great album, the only weaker point is torwards the end when Donald Byrd sit´s in. I mean I was lookin forward to hear Donald Byrd on that sides since he was always a favourite of mine, but here it seems that he was in no playing condition at all and I never heard a weaker trumpet voice, I mean even Ornette sounded better on trumpet...... Share this post Link to post Share on other sites
Posted 17 June well look this is famously a vinyl but bceause this my favorite thread im positing in it so i found this well known lp on *early cd* mfg by Disctronics. $2 at goodwill. yea didnt know this label did cds.....its like the record with no background noise, fantastic- we like les brown right, is this les brown and his band of reknown, or was that later. the singer is pleasnt, im very particular with that. so we like this right? the only people in the band i recknoize are Dave Pell & abe are listed in sax section and thats it just those two i know, but this is west coast jazz, right??? I seem to remember this is west coast jazz it is?????? whoa the singr has her own Trend 10" lp, shes legit Share this post Link to post Share on other sites
Posted 17 June Dude, not just Trend-legit, but MODE-legit as well! Share this post Link to post Share on other sites
Posted 17 June 14 hours ago, Gheorghe said: Oh yes ! This is the Sonny Rollins how he sounded when I heard him first in the late 70´s. Sonny at his top. I heard him with Al Foster, but here it´s Tony Williams, just incredible the great drummers Sonny always had ! This is a great album, the only weaker point is torwards the end when Donald Byrd sit´s in. I mean I was lookin forward to hear Donald Byrd on that sides since he was always a favourite of mine, but here it seems that he was in no playing condition at all and I never heard a weaker trumpet voice, I mean even Ornette sounded better on trumpet...... 100% agreement on Byrd, and I was pleased enough with this record in real time. But it bugged me how "Autumn Nocturne" and, especially, "Silver City" we so much more in the zone than anything else on the record. I gotta wonder what's in the can, if anything, that reached the level of those two cuts. Share this post Link to post Share on other sites
Posted 17 June (edited) 2 hours ago, JSngry said: 100% agreement on Byrd, and I was pleased enough with this record in real time. But it bugged me how "Autumn Nocturne" and, especially, "Silver City" we so much more in the zone than anything else on the record. I gotta wonder what's in the can, if anything, that reached the level of those two cuts. If you have the Silver City 2CD compilation, you have, with those two tunes, all you need from that album. If anything else recorded reached that level, why include the dross? Edited 17 June by erwbol Share this post Link to post Share on other sites
Posted 17 June You got three nights of recording to fill up four sides of an LP with no redundancy of material and a desire/need to present enough originals to make the nut with composer royalties and shit. That does not necessarily mean including the best performances from the entire engagement, it just means assembling product, with multiple criteria of inclusion. Now, somebody tell me what drove the inclusion of all that stuff with Donald Byrd, whose idea was that? One whole LP + one cut on another. What got left out so that could go in? There might be something like an amazing "My One And Only Love" or something like that that just wasn't a fit for the product. Or 2-3 more takes of Silver City that got to that zone and they had to pick just one (or maybe what we got is a composite?). Just saying, the record is product, the music, not so much. And maybe nothing else reached the heights of those two. But I'd like to have a chance to find out! Share this post Link to post Share on other sites
Posted 17 June (edited) Perhaps. If there are hidden post 60s gems, they are not from the studio sessions. That's for sure. Edited 17 June by erwbol Share this post Link to post Share on other sites
Posted 17 June I'm less than 100% certain of that, actually. The guy was so, uh..."eccentric" about the studio...who knows what got caught while he was walking around, going off mike? Or started out rilliantly but then crashed as he became self-conscious again. Or maybe he did get loose, forget himself, and did one of those extended energy burns like you hear on the bootlegs, and then when it was over, you know, well, we're not using THAT and then he does another tidy, earthbound take and releases that. The possibilities are endless...But now that there's not going to be any newly created Sonny Rollins records...we can fret about wasted glories and all that, but that's not going to change anything. We can, however, if we want, listen to the live stuff from all those decades, line it up with what came out of the studio, and see if there's not some kind of a narrative there other than the tired/provably false one that Sonny Rollins just forgot how to play, or lost hope, or whatever the latest variant of that lie is. Me, I think it's as basic as that he did not want to be held prisoner by his records and took it to a bit of an, again, eccentric conclusion. But more power to him for keeping hold of himself as he felt necessary. Share this post Link to post Share on other sites
Posted 18 June 8 hours ago, JSngry said: Now, somebody tell me what drove the inclusion of all that stuff with Donald Byrd, whose idea was that? One whole LP + one cut on another. What got left out so that could go in? But what really had happened to Donald Byrd that he sounded so weak on that recordings? Even Miles after 6 years off trumpet, when he sounds very shaky on that tape when he was sittin in with the Thad Jones-Mel Lewis Big Band, sounded better than Donald Byrd on that Sonny Rollins album. And Donald Byrd was not that old, I think he was about the same age like Sonny. I have a lot of Donald Byrd records from the 50´s and 60´s and he was one of the fastest trumpet players around. Share this post Link to post Share on other sites
Posted 18 June Seems that Donald Byrd got so busy doing educational work and carrying out business duties that he let his chops gradually go. It starts, slightly, in the mid-late 1960s. He was a very busy man, doing a lot of things that did not require playing. He got a little back by the time he did those Landmark dates, but just a little. Share this post Link to post Share on other sites
Posted 19 June 16 hours ago, JSngry said: Seems that Donald Byrd got so busy doing educational work and carrying out business duties that he let his chops gradually go. It starts, slightly, in the mid-late 1960s. He was a very busy man, doing a lot of things that did not require playing. He got a little back by the time he did those Landmark dates, but just a little. Oh yes, this explains much. I noticed that as soon as 1967 (see Sam River´s "Dimensions and Extension") he sounds much more subdued and a bit "rusty". And right, I think I have read that he did very much educational work. I remember the first Donald Byrd record I had was "Long Green", the Savoy record with Frank Foster, Hank Jones, Kenny Clark and Paul Chambers. Share this post Link to post Share on other sites
Posted 19 June IIRC, Byrd went to law school during this time as well as teaching. Share this post Link to post Share on other sites
Posted 19 June Billy Harper Quintet - Love On The Sudan Slide Trombone Featuring Lawrence Brown (Clef UK) Mal Waldron, Terumasa Hino – Reminicent Suite Randy Weston-Vishnu Wood Duo – Perspective Groovin' with Golson (Esquire) Bliss Share this post Link to post Share on other sites
Posted 19 June 4 minutes ago, aparxa said: Billy Harper Quintet - Love On The Sudan Slide Trombone Featuring Lawrence Brown (Clef UK) Mal Waldron, Terumasa Hino – Reminicent Suite Randy Weston-Vishnu Wood Duo – Perspective Groovin' with Golson (Esquire) Bliss Winner galore ....congrats .... Share this post Link to post Share on other sites
Posted 20 June yea Byrd's carreer was much more extensive and varied than your typical jazz musican, it wasnt just blowin n sessions n blowin n sessions with him Share this post Link to post Share on other sites
Posted 20 June finally got my turntable hooked up - Share this post Link to post Share on other sites
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