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AOTW - June 27


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the quintet from 1993

with Ernst Reijseger, Michael Moore, Wolter Wierbos & Mark Dresser - the long time working band of the 1990's.

sublime, adventurous 54 minute suite - beyond category

on hatART

for those who don't know - and if only for the closing 16 minute section which brings all the power and glory of these master musicians to full flower - stunning - Michael Moore transcends his reputation as a coolish, restrained player with some of the most outrageously intense, yet collected alto saxophone playing of his wonderous recording history - and Hemingway absolutely unloads behind his kit - tremendous recorded sound - and the themes from all the preceding sections appear, dissapear and coalesce into something I still never think existed - even after all these years of loving this band - at one time this recording was the one that was a bit mystifying - today, it might be their best to these ears

more later.....

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I used to have this one but I did a trade.

I'm a big fan of Hemingway's groups (saw this band live) and he's a great drummer. But I found this one a little disappointing when compared to the previous Hats - maybe that might have just been down to Hemingway overload though.

Overall I prefer his "American" quartets and his associations with Ray Anderson. They communicate more directly with me.

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I picked up all the Hemingway's long ago when Steve R. recommended them

I think that was on the Jazz Central Station, Man awhile back.

I do like all of them, however my favorite is still Demon Chaser.

For me any music I return to often is music I value and all the Hemingway Hats

are music I am still returning to. Would love to see one of his bands live.

Thanks for the recommending these all those years ago Steve.

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I admire Hemingway - but have really been unable to listen to him since I heard him on a gig that required straight 4 timekeeping - and he could not do it, kept turning the beat around and drove the saxophonist crazy, as Hemingway did not even realize he was doing it -

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I admire Hemingway - but have really been unable to listen to him since I heard him on a gig that required straight 4 timekeeping - and he could not do it, kept turning the beat around and drove the saxophonist crazy, as Hemingway did not even realize he was doing it -

??????????

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Like it a lot but I think that I like better the two previous on HAT ART, DOWN TO THE WIRE and, certainly DEMON CHASER.

Never been too much in love with the jazz "suite", unless it comes from COLTRANE.

Edited by P.L.M
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I admire Hemingway - but have really been unable to listen to him since I heard him on a gig that required straight 4 timekeeping - and he could not do it, kept turning the beat around and drove the saxophonist crazy, as Hemingway did not even realize he was doing it -

??????????

Why the question marks?

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I admire Hemingway - but have really been unable to listen to him since I heard him on a gig that required straight 4 timekeeping - and he could not do it, kept turning the beat around and drove the saxophonist crazy, as Hemingway did not even realize he was doing it -

Has Hemingway ever played with David Murray?

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I admire Hemingway - but have really been unable to listen to him since I heard him on a gig that required straight 4 timekeeping - and he could not do it, kept turning the beat around and drove the saxophonist crazy, as Hemingway did not even realize he was doing it -

??????????

Why the question marks?

Because I've heard HEMINGWAY playing straight 4 timekeeping before.

So what ALLEN say was a bit, heu... surprising.

Who was the saxophonist? May be he tries to drove him crazy for good?

I've also lot difficulties to believe that HEMINGWAY "did not even realize he was doing it".

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it was a bebop gig back in New Haven some years ago - they were playing standards - Hemingway was completely unaware, it was obvious - and you may have heard him play straight 4, but I'll bet it was not in standard form - if he is playing straight four over free improvising, you are much less likely to notice beat turnarounds, as there is no song form to return to -

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Is it possible that when Allen heard him "some years ago" in New Haven, he could not, but subsequently mastered the art of straight 4 by the time P.L.M. heard him? I suspect the New Haven time of Hemingway's career was fairly early on?

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not that early - the true indicatior is that he had no idea he was doing it - this is something I could tell when I was 12 - I'm willing to bet, put him in a straight-ahead group configuration and he'll do the same thing again - Nate, not too long ago, had a post about some free playing that was quite sloppy - free is no excuse - as Ornette said, he knew he was on to something when he realized he could make a mistake - some of these guys have no idea -

Edited by AllenLowe
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Allen--oh, right, you must mean the writeup I did on Braxton's Charlie Parker Project (which doesn't as it happens feature Hemingway). I kind of like that disc but it's got a lot of really basic mistakes on it. -- Just listening to the new 20 Standards (Quartet) 2003 & again despite the good things on the discs there are some things that really make me cringe, like the muffed heads that seem to be cold readings from the fakebook.

No, I've never heard Hemingway play standards in straight 4/4 time, so have no opinion on that matter. He can swing darn hard but it's always been a "time but no set metre" feeling situation I've heard (e.g. the opening to BassDrumBone's Hence the Reason).

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