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corto maltese
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Posts posted by corto maltese
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On 11/13/2017 at 11:48 PM, JSngry said:
I'll see your Ali Jackson and raise you a Midge Pike. Who the hell was/is that???? I kinda go out of the path whenever confronted with a person named "Midge", it's just one of those names that freezes me up for some reason.
Don Heckman, not so much. I don't know how many records of his own, if any, have been released, but excerpts from this https://books.google.com/books?id=LqTZ6SrMkF0C&pg=PA35&lpg=PA35&dq=don+heckman+john+benson-brooks&source=bl&ots=u1BOogOfNM&sig=xqQfWCWqlwkevWtTHtJx6ZSEe84&hl=en&sa=X&ved=0ahUKEwj21f2O47zXAhUrhlQKHUDnD84Q6AEIRjAI#v=onepage&q=don%20heckman%20john%20benson-brooks&f=false
probably are the source for what is heard here in excerpts of the audio-collage that is: https://www.discogs.com/John-Benson-Brooks-Trio-Avant-Slant-One-Plus-1-II/release/5535957
This is a record I casually but repeatedly like to throw out there, not because it's "good", but it is definitely interesting. John Benson-Brooks should not be casually dismissed in any way. Just sayin'.
And it's the same Don Heckman who co-produced, annotated, and played clarinet/bass clarinet on BS&T 4, which once you get past it being Blood, Sweat & Tears and all that comes with that, is not at all a bad record. Or maybe it is. But I like it better than any other from this run of the band. So...maybe it is bad, but still, since you asked, yeah, Don Heckman (later long-time music critic for the LA Times, right?) got around more than might be evident to the casual observer, at least as much as Robert Palmer, quite possibly more, and definitely earlier.
People often come with stories, Don Heckman certainly does, so what about Midge Pike?
Also - JIMMY GIUFFRE. That Resonance(?) set of a few years ago, pay attention if not already done, Jimmy Giuffre being there for this was no accident.
Also, in my life this remains one of the iconic "jazz" photos, taken shortly after the concerts of the OP:
It didn't/couldn't last in this form, but there they are, look at them and don't be confused, there they are.
That concert by the Free Form Improvisation Ensemble has been released under Burton Greene's name.
:format(jpeg):mode_rgb():quality(90)/discogs-images/R-4022867-1352662742-9656.jpeg.jpg)
:format(jpeg):mode_rgb():quality(90)/discogs-images/R-4022867-1352663107-7685.jpeg.jpg)
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6 hours ago, mikeweil said:
That's a feature I have been missing, too, when browsing label listings on discogs.
There were quite a few Prestige compilations they didn't remember when preparing CD reissues. They could have added the Burrell/Galbraith tracks to the "Two Guitars" album, e.g., but no .... must be real hard to look into a label discography.
You can order the label listings alphabetically by "format".
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6 hours ago, aparxa said:
The Mankunku has been reissued recently!
I know it's been reissued by Jazzman Gerald last year, but there seems to be another 2017 reissue on the Gallo label (South Africa).
Discogs now lists six (!) different vinyl editions of this album. Which one do you have?
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On 12/4/2017 at 2:35 PM, Pim said:
Nice record and an interesting combination. Bought the LP a few years AFP but would like to have a nice cd version too.
It's not a CD, but the Japanese original on Victor (and not the French budget-pressing on Explosive, as Discogs claims...) is a much nicer issue.
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12 hours ago, paul secor said:
:format(jpeg):mode_rgb():quality(90)/discogs-images/R-10536417-1499445834-8833.jpeg.jpg)
Max Roach" We Insist! Freedom Now Suite
From discogs: "The track positions have been modified for this reissue, as can be seen on record labels and insert (explanation in Japanese).
This track listing modification is Roach's own intention especially for this Japanese release (written in liner notes)."I have a Japanese issue with the changed track order. I can't find out the reason for the change because I can't read Japanese. Does anyone here know why Max Roach changed the running order of the tracks for this issue?
I don't read Japanese either, but I remember reading about this.
"Freedom Day" was meant to be the last part of the suite (it's the last track on the Japanese issue); IIRC, according to Max Roach, that song (and the Freedom Now Suite) should have an open ending because freedom has not been achieved yet.
Anyway, it's a terrific record.
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Although this news doesn't come as a surprise, it's very sad.
The first time I saw him perform was at a small club in the early nineties, with Charles Gayle. There was only a handful of people waiting for the concert to begin; I was standing two or three meters away from the drum set. He walked over to the set, took his seat, and then looked at us with a big grin, seemingly not bothered at all by the modest attendance: "Hi, I'm Sunny Murray!". As if we didn't know... I thought: maybe I should say something, tell him how important a musician he was in my opinion, how much I had been enjoying his records.
But of course I didn't. Gayle and William Parker came on stage and they immediately started to play. It was a great concert and a wonderful experience to observe the master-drummer from very close.
Thank you for the music, Mr. Murray.
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On 10/17/2017 at 4:27 PM, clifford_thornton said:
yeah that's a wonderful album.
For me,
Ric Colbeck: The Sun Is Coming Up (Fontana, UK)
Jym Young: Puzzle Box (Polydor, GER)
Yes, the Ric Colbeck LP is a great one.
To be honest: I wouldn't nominate the Jym Young LP, which is neither obscure (fairly easy to find, at least here in Europe) nor musically exceptional. Maybe I was disappointed by the contrast between the promise of the group's name ("San Francisco Avant Garde") and the actual music... It's a decent album, but Dewey Redman's "Look For The Black Star", on which Young also plays, is a much better album and very much harder to find (the original Fontana issue).
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This is a very fine album, obviously close in spirit (and sound) to the three Debut releases ("Action", "T.C.J.Q." and "Nu!").
Mid 1960's European avant-garde jazz: how can you possibly go wrong?
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5 hours ago, clifford_thornton said:
Yes. Probably got this stuff off of dime and had it pressed up with Dogtown etchings. He's legendary for these antics but people with money keep buying stuff from him and presumably don't care.
He was also selling LPs of stuff grabbed from the old WKCR archives streaming site in editions of 99. Truly crass.
Yes, the Charles Tyler live and studio recordings from a couple of years back. But with those releases (even if they were not legitimate) there was no cover-up story about the origin of the recording.
While this "Dogtown test pressing" would be a counterfeit and -even more remarkable (and without becoming too metaphysical
)- a counterfeit of a record which doesn't even exist.
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Sold on Ebay yesterday for $1,775...These were the seller's comments:
"looks like an unreleased Dogtown LP !! matrix n° on side a is "dogtown 7"/side b "dogtown 8" (hand-written); very spare and out there music, one side it's under Byard Lancaster/other side by Khan Jamal. could be two different sets as i don't hear for example any vibes on the Lancaster side and viceversa (no sax on Jamal side) ?! unfortunatly not much info on who plays on it (it'd be a trio or 4et on each side ?!) and where it was rec. but without any doubts one of the rarest LP i ever offered for sale in the last 20 years, could easily be the only copy in existence".
I am unconvinced, but I'd like to hear other opinions.
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10 hours ago, Chuck Nessa said:
Working with Roscoe Mitchell on his project with the Montreal - Toronto Art Orchestra I was exposed to a number of Canadian musicians who should be known better outside of Canadia. Initially, the most striking is Yves Charuest. Sadly, he currently doesn't have any recordings available, but you can get a bit of him, as well as the fine bassist Nicolas Caloia at this site: http://musiquerayonnante.org/charuest-caloia.html.
I hope to mention more of these fine artists in the future if anyone cares.
In the late 1980's - early 1990's, Yves Charuest was a member of percussionist Michel Ratté's trio, of which I still have a couple of CD's. In fact, Charuest's name awoke my interest in the trio, because at that time he was also playing with Peter Kowald (trio with Louis Moholo; never recorded).
I didn't really follow his career since then, but your post will be an invitation to catch up with him again .
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My expectations might have been too high because of the calibre of the other players (Sunny Murray, Byard Lancaster...), but none of his three records really works for me.
Or maybe it's just the covers that kill them...
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That cover probably was received very well, because one year later his next album looked like this:
:format(jpeg):mode_rgb():quality(40)/discogs-images/R-4682959-1372101740-1464.jpeg.jpg)
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He was in fragile health, so probably the news doesn't come as a surprise. But still... it's a terrible blow.
I'll just say this: it was because of unique artistic voices like Misha Mengelberg that I was initially attracted to and will always love this music.
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On 2/25/2017 at 10:02 PM, clifford_thornton said:
Orange - In the Midst of Chaos - (Free Force, US private pressing)
Paul Flaherty-related 70s Connecticut wildness, glad to have finally found a copy after many years of searching.
That's a great find, Clifford. I've never even seen a copy.
There's been a CD reissue some years back, but this is really music that should be enjoyed on vinyl.
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AFAIK the only album cover designed by Dick Bruna.
Unfortunately, it's not very appealing, especially compared with his often beautiful graphical work for paperback covers. He would have been great at designing abstract covers for modern jazz records...
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1 hour ago, Niko said:
I am pretty sure that the album title comes from a card Hank Mobley wrote in Holland. In that radio show I linked to earlier in this thread (see above), Frank Jochemsen tells about finding the tapes, and the way I understand it (my Dutch is almost non-existent), the radio show was deleted by the radio station, but he found a copy of the tape together with a card from Hank with the text from the album cover on it in the private archives of the club owner
Your Dutch is actually quite good.
Jochemsen, who is a big fan of Mobley, also tells about the (at best) lukewarm response to the 1968 concerts in Holland, where the New Thing (Breuker, Mengelberg, etc.) was all the rage.
There's a review of the Rotterdam concert in one of the newspapers referred to above, that goes something like this:
"Today, Hank Mobley's role in the jazz business is played out. You can tell that from his performance on Friday night. Currently, Mobley isn't much more than a rather pale bopper without any prospects for further development."
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11 hours ago, l p said:
what they love, like almost all other successful rock, pop, and country acts, is that they make a good living because the unsuspecting public is too lazy to search for real music, and instead have to be satisfied with whatever is thrown at them through the radio, mtv, and movie soundtracks. and all the money probably makes them think that they do have talent.
OK, so Mats will plead guilty for possession of that "Smile Sessions" box set (although the defence will emphasise that a certain Dutch dealer has been offering copies everywhere for ridiculous prices).
But he's not too lazy to search for real music, on the contrary, he's playing real music himself.
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Wonderful pictures!
The number of records is really not important, but Mat's collection (strictly vinyl) is extraordinarily deep in non-mainstream jazz and "off-the-beaten-track" music.
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There's even a Discogs entry for this record:
https://www.discogs.com/Miles-Davis-And-His-Band-Dig-Part-One/release/8791948
The 7" 45rpm and the 10" 78rpm have the same catalogue number (prefix 45- added for the single).
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About track 3: me too, I was initally guessing one of Arthur Blythe's Columbia-period albums, but the guitar is too clean (certainly no Blood Ulmer) and there's no cello (Abdul Wadud plays on most of those records). Checking Bob Stewart's discography learns that this is a much more recent track: "Nubian Stomp" from his 1996 "Then & Now" album, with Carlos Ward, Graham Haynes and Jerome Harris.
About track 7: I have many of Shelly Manne's 50's and early 60's quintet/sextet albums (including this one) and I like them a lot. Just recently I stumbled upon a copy of "My Son The Jazz Drummer", also from 1962, where the band, with Teddy Edwards and Shorty Rogers, improvises on traditional Jewish melodies. Great stuff and they played this 30 years before Zorn started Masada.
The David Holland/Barre Phillips duet is lovely and once again a reminder of why I dearly love those early ECM albums.
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About 12: I didn't really listen closely the first time, because I generally don't care much for organ jazz. But now I think I actually have this in my collection: I don't have my records here, but is it SoulBrass Inc. with Hans Dulfer, that live album with the fluo spray painted cover?
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On 22-11-2016 at 4:55 PM, mjazzg said:
Circle - 2 Gathering [CBS/Sony Japan]
a board inspired purchase. thank you whoever it was who posted about this (Jeffcrom possibly)
Like I told you before, I like both Japanese Circle LP's (a lot) more than the ECM "Paris Concert". Just last week I talked about this with someone who was actually present at the 1971 concert. He told me the complete concert was recorded by French radio for broadcasting and included a first set which featured just one long and very "free" improvisation. When ECM released the concert one or two years later that first set was left out. Luckily, we've got those Japanese LP's to get an impression of what this quartet was really about.
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My first thought for track 3 (Monk cover) was low-grade Italian bootleg label (great concerts in horrendous sound), but that's Bernie McGann from the "Modern Jazz At Wayside Chapel" LP, a recent release of a 1966 recording by the so-called "Australasian jazz avant garde".
Tracks 7 and 9 are really naggingly familiar, but I can't put my finger on them. I'm preparing myself for shame and dishonor upon the reveal.
What vinyl are you spinning right now??
in The Vinyl Frontier
Posted
There is a studio recording by the same trio where they perform "Treffpunkt", one of the 15 pieces that constitute Stockhausen's monumental "Aus den sieben Tagen".
Mike Zwerin really has a rather interesting CV.