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So, What Are You Listening To NOW?


JSngry

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Art Pepper ā€“ The Return of Art Pepper [(A) on Pepper's Mosaic Select set] (Jazz Westā€”Aladdin Records / Mosaic)
ā€” Art Pepper - alto saxophone; Jack Sheldon - trumpet; Russ Freeman - piano; Leroy Vinnegar - bass; Shelly Manne - drums

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Joe Morello: Collections [portion with Art Pepper] [(B) on Pepper's Mosaic Select set] (Intro Recordsā€”Aladdin Records / Mosaic)
ā€” Art Pepper (alto & tenor sax), Red Norvo (vibes), Gerald Wiggins (piano), Ben Tucker (bass), Joe Morello (drums)

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Put on Mal Waldronā€™s ā€œMal -1ā€ today, and while itā€™s not all solid gold, these threeĀ tracks really struck me. Personnel is Idrees Sulieman, Gigi Gryce, Julian Euell, Arthur Edgehill. This is a good as Iā€™ve ever heard from Sulieman, likewise perhaps with Gryce. Nice added interlude on ā€œStablemates,ā€ probably from Mal. The depth of the mood on ā€œYesterdaysā€ is special, and ā€œDeeā€™s Dilemmaā€ is aĀ nice tune.

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After listening to "Mal-1" I put onĀ a Coral album from 1957 led by trombonist Tommy Shephard, ā€œShephardā€™s Flock,ā€ with charts by Manny Albam, Al Cohn, and Nat Pierce (mini-big band personnel: Nick Travis, Sam Marowitz, Hal McKusick, Cohn, Charlie Oā€™Kane, Pierce. Barry Galbraith, Milt Hinton, Osie Johnson). In some respects a rather tame affair, built around Shephardā€™s Dorsey-like horn, but the charts are not fobbed off stuff, and all the solos by the other players (not that thereā€™s anything wrong with Shephard's balladeeringĀ ) are quite committed, especially Cohn's ā€” he has a gem on bass clarinet. In any case, ā€™55-ā€™56 was when I first began to listen, and sometimes when I run across something from that era, particularlyĀ when, as in this case, I haven't heard it in years,Ā it speaks to me withĀ such a peculiar oblique intensityĀ ā€” speaks to me OF that era, perhaps, of how a good deal of music was being felt and made back then Ā ā€” that I find myself full of emotion.
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By Ā the same token, I recall what it was like as a child (in the early 1950s) to read the Chicago Tribune comics on Sunday. (We didn't get the Trib, so I saw their elaborate comics section only when we visited a family that did get the paper.) In any case, virtually every strip in the Trib (Little Orphan Annie, Prince Valiant, Dick Tracy,Ā many more) while theyĀ stillĀ were being drawn in the present, originated in the early 1930s and still wereĀ drawn in that era's style.Ā Thus, even though, this wasn't spelled out for me, I was being brought into direct contact with The Flavor (virtually The Smell) of The Past, and felt and knew this. A tremendously important experience I think this was -- toĀ grasp not only that the way things were in the then present (e.g. the way they were, speaking only of comics, in L'il Abner, which was in the paper we got, the Chicago Daily News)) was not the way things always were, but also to detect and attempt to decode all theĀ various implicit messages from the past (social, political, Lord knows what else)Ā that, say, Little Orphan Annie still reeked of in 1952. BTW, one of strongest odd examples of this was the old but futuristic strip Buck Rogers in the 25th Century. What could date more decisively than a c 1930Ā style strip about the future? It was like watching an old Flash Gordon serial with Buster Crabbe as Flash. (p.s. I recall finding "The Teenie-Weenies" [see below] to be especially weird in its past-ness -- the way those women were drawn!)
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BackĀ to the music. The next thing I put on after Mal-1Ā was a Don Sickler album of Kenny Dorham music from 1978 on Uptown, and while these were all good players (Jmmy Heath, Cedar Walton, Ron Carter, Billy Higgins) Ā I found myself during a too closely recorded (no doubt at his own request)Ā egomanical Carter bass solo so utterly repelled by the whole thing and the era that represented/spoke of to some degree that I turned it right off. Responses of these sorts to eras and their characteristic habits, especially in relation to oneā€™s own history, are no small matter perhaps.
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2 hours ago, paul secor said:

Did not know that, Ā thanks for posting and sorry for their loss. Ā Just posted because that happened to be what I was listening to while I work from homeĀ during the snowstorm.

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