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So, What Are You Listening To NOW?

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Jackie & Roy - Like Sing: Songs by Dory & André Previn (Columbia, 1963)
This year, I've gone completely bananas for Jackie & Roy -- and I think this LP is one of the (several) high, high, HIGH points in their discography.  Stinkin' brilliant.

Roy is terrific, an essential ingredient in their cocktail, but -- like I've said before -- it's Jackie's voice that kills me.  And I'm not alone; none other than Billie Holiday loved Jackie's singing too.  In a Metronome blindfold test, Billie identified one of J&R's records and said,  "I believe that has my girl on it -- Jackie Cain.  She's the greatest for this sort of thing... ." 

 

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Next up:

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Lorez Alexandria - How Will I Remember You? (Discovery, 1978)
with Charles Owens (fl, ob); Grant Geisman (g); Gildo Mahones (p); Allen Jackson (b); Jimmie Smith (d)

 

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Mary Halvorson: Amaryllis

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On 25.6.2022 at 10:20 PM, Rabshakeh said:

The Fritz Pauer Trio – Blues Inside Out (MPS)

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Listening to this now for the first time after a recommendation in the MPS thread and it's absolutely top notch. One of the best piano trio records I've heard in ages. So exciting. It's like someone dropped Tyner, Evans and Garner into a blender. 

Thank you to whoever recommended it.

I think I posted it some times ago. 

Fritz Pauer was my mentor. I was a shy teenager at hi school and his niece went to the same school and got me in touch with him (of course I knew before who he is). What an honour for me that this great musician said I got a lot of talent. He was the one who encouraged me to play and was the first one who let me sit in with some fast company when I was 18 years old.  
 

I had the occasion to see that trio on several occasions, and the hi light was when they played with Johnny Griffin. 

I miss him.

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1 hour ago, Gheorghe said:

I think I posted it some times ago. 

Fritz Pauer was my mentor. I was a shy teenager at hi school and his niece went to the same school and got me in touch with him (of course I knew before who he is). What an honour for me that this great musician said I got a lot of talent. He was the one who encouraged me to play and was the first one who let me sit in with some fast company when I was 18 years old.  
I had the occasion to see that trio on several occasions, and the hi light was when they played with Johnny Griffin. I miss him.

Great story and memories ....

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2 hours ago, Gheorghe said:

I think I posted it some times ago. 

Fritz Pauer was my mentor. I was a shy teenager at hi school and his niece went to the same school and got me in touch with him (of course I knew before who he is). What an honour for me that this great musician said I got a lot of talent. He was the one who encouraged me to play and was the first one who let me sit in with some fast company when I was 18 years old.  
 

I had the occasion to see that trio on several occasions, and the hi light was when they played with Johnny Griffin. 

I miss him.

Thank you for sharing this!

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MPS 0068.235 - Hans Koller - "New York City - The Bog Band" - rec. 1968 - Engineer:  Rolf Donner

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"The Complete Verve Tal Farlow Sessions" Mosaic Records cd set, disc IV

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Ahmad Jamal - Tranquility / Outertimeinnerspace (Impulse! 2-on-1)

 

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13 hours ago, jlhoots said:

Mary Halvorson: Amaryllis

I dig this one over Belladonna 

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See the source image
 
 

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I very much do NOT like the Nyman piece, but the rest is a quite nice listen,

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2 hours ago, HutchFan said:

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Ahmad Jamal - Tranquility / Outertimeinnerspace (Impulse! 2-on-1)

Outstanding (especially "Outertimeinnerspace") ....

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Bought Bill Charlap's second Criss Cross album "Distant Star" at a library sale this weekend, along with the Milt Jackson Quartet's (Cedar Walton, Ray Brown, Mickey Roker) "It Don't Mean a Thing If You Can't Pat Your Foot To  It." The Milt album very together rhythmically, as one might expect -- Roker a key there. The Charlap quite tasty, as was his first on Criss Cross, but I was bothered by some  of his succeeding  Criss Cross efforts ("Stardust," with his eventual regular trio of Peter Washington and Kenny Washington  was one IIRC) where it sounded like Charlap was willingly restricting his harmonic language to what would have been the norm at, say, the Hickory House circa 1954. What a strange and rather creepy development, I thought. 

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What was he wearing on the cover?

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As for the Hickory House circa 1954, I'm perfectly OK with Marian McPartland of that vintage, but the Marian of recent times wouldn't self-restrictively play that way. So if I'm right about what Charlap has found himself doing on "Stardust" and similar outings, what the heck is his motivation for doing so? It's not like it's an approach that can have intense musical appeal to him in this day and age I would think, nor is it an approach, though I may be wrong here, that would have a potent enough nostalgiac vibe that it would  draw in listeners on those grounds.

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originally on Ictus

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