JSngry

So, What Are You Listening To NOW?

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Liberty Ellman - Water Walkers (Pi)

Liberty Ellman - guitar
Stephan Crump - bass
Damion Reid - drums

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Outstanding ....

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Posted (edited)

Listening to Sonny Rollins "Tour de Force" Prestige, Japan cd. This session doesn't get a lot of talk, probably because of the two tracks with Earl Coleman, but Sonny plays so well here backed by Kenny Drew, George Morrow and Max Roach, and the sound is very good.

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Followed by another disc that sounds very good, Robert Glasper "Double Booked," sessions recorded live with the Trio and the "Experiment." His third for Blue Note, and one I like a lot.

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Edited by jazzbo

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I asked my daughter what she wanted to listen to and she said Basie.  With the special guests from the Old Testament Band, Jacquet and Eldridge, this one is hard to beat.  

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28 minutes ago, Justin V said:

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I asked my daughter what she wanted to listen to and she said Basie.  With the special guests from the Old Testament Band, Jacquet and Eldridge, this one is hard to beat.  

That's an EPIC record!

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Sam Rivers Trio: Ricochet

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Dexter Gordon "Gotham City" cd from the Columbia Albums Collection box set.

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Forgot what a nice album this was. 

Bass – Percy Heath
Drums – Art Blakey
Guitar – George Benson
Piano – Cedar Walton
Tenor Saxophone – Dexter Gordon
Trumpet – Woody Shaw

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Tommy Flanagan "Beyond the Bluebird" featuring Kenny Burrell, Japanese cd

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VERY nice.

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Houston Person "Legends of Acid Jazz" Prestige cd

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Shirley Scott - Soul Song (Atlantic, 1969)
I think this is Shirley's last LP with Stanley Turrentine, recorded just after Common Touch.

 

 

 

18 minutes ago, jazzbo said:

Houston Person "Legends of Acid Jazz" Prestige cd

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Good one.  One of the LPs compiled on the CD, Houston Express, is my favorite Person album.  :tup 

Very nice Horace Ott arrangements. 

 

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15 minutes ago, HutchFan said:

Good one.  One of the LPs compiled on the CD, Houston Express, is my favorite Person album.  :tup 

Very nice Horace Ott arrangements. 

 

I agree, this is a great Houston Person disc. My wife even likes it. That's sort of a miracle.

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Arrived today. Third release in the series, I've gotten all 3.

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Spent the last two days quite unintentially with music brought to me by the letter "P"

First, all from Prestige (also "P)

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on a CD reissue that coupled it with:

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I can understand the intent/context of these records infinitely more now than I did at the time of their release. I can't say that I like them as equally infinitely more, but they are a lot more enjoyable than to have in the room now.

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This one, otoh, yeah, I dig it a lot more now than I did then, if only because of the rhythm section, who is about as great as this type of thing gets. Houston Person has been an honest player all his life as far as I can tell), but he has never been a 100% "jazz player", especially in these earlier days. He sounds to me like what King Curtis might have become had he not gotten all the hits and record dates. And Houston Person gets to the reed in a way that few players have.Maybe that's jsut a tenor thing, but hey, there it is. So, hearing it like THAT, yeah, I had some fun playing it 3-4 times in a row.

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Person again, and it's good, again in that "qualified" way. But it's the second half, with Rusty Bryant and Melvin Sparks where, finally, the qualifications become unnecessary, hell yeah, Rusty Bryant, THERE it is, always, always, ALWAYS! Even a dogass arrangement of "Proud Mary" is overcome by the collective soul power of this band on this day, and i DARE you to say that about any other band, ever.

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Produced by (houston Person (see, working hard!), again NOT recorded by RVG, to interesting effect, (who much of what we think of as a "classic" B-3 sound is actually RVG?), a little piano (everytime i hear Phillips on piano, he strikes me as having a very deep touch), and oh, yeah, ben Dixon, what's not to like?

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Person again, and for once not recorded by RVG, which is kind interesting, because at times he has kind of a Charlie Rouse-y gruffness, which the uber-reverb of RVG doesn't really reveal. And it's all "straight ahead", no funk-jazz. I don't think Persona was anywhere nearly as comfortable playing in theis vein than eh would become (really not until the later 70s/ealy 80s), but I do like how his honesty comes through - he palys what he knows, and plays it like he means it. It's jsut that at this point, he doesn't know that much, but it's ok, cat was on the scene and working hard at working hard - and at getting better. Anybody who can find fault with that...show me a better way to do it, please.

SO nice to at last have all the Booker/Patterson session under one roof. A longtime sentimental favorite, and if I sounds all Ralph J. Gleason-y emocute when I say that the opening and closing bridges of "Sentimental Journey" are devastating, so be it.

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yeahyeahyeahyeahyeahyeahyeahyeah "lounge"-etc.

BFD. "Lounge" is jsut code for "a gig where you have to play for the audience first if you want dat money. Some people cna do it well, some people gotta okie-doke it, and some people got the will and the skill to be damn near transcendental about it. They cna finf the truth - there turuth - in damn enar anything and then get it over to you like they mean it, because...they do. It, not that, it.

Trudy Pitts was one of those people.

Finally, away from Prestige, but still in the "P"s:

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Carl Grubbs on alto, maybe not the most polished player, but it don't hurt him none, and the rest of the band is all the way on it.

So, the letter P has been good to me this week.

 

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