sonnymax

Some other scenes caught by Google Maps street view:

Schneider was quite prolific during the mid-nineties into 2001, releasing eight albums on SteepleChase and also a few more on Splasc(h) and Label Bleu. I have several SteepleChase titles and they're very good. I especially like these ones:

Damn, you are magnificent! Got to kick myself for not recognizing the connection between the two titles. Thanks again.

Would someone please tell me when this track was recorded (supposedly 1961 in LA for Pacific Jazz) and where it first appeared? It's included on the CD reissue of After Hours, but wasn't on the original LP. While this particular reissue also features tracks from Tell It Like It Is, it omits one title from the After Hours LP, namely Groove Bird. Thanks in advance.

It is available in CD format at Squidco, so I assume you can (or will soon be able to) get it from other retailers as well. On the other hand, this is advertised as a note-for-note copy of the original KOB, and the sound clips appear to confirm this claim. So (as others have asked), why bother?

No, not at all. This was a budget American outfit that reissued several dates originally released on the Warwick label, often in a rather shoddy manner. In addition to the aforementioned editing of some tracks, TCB typically renamed the albums, omitted personnel information, and even changed the titles of some songs. Here are some of their releases: Freddie Hubbard, Curtis Fuller, Yusef Lateef ‎– Gettin' It Together (TCB 1001) aka Curtis Fuller ‎– Boss Of The Soul-Stream Trombone (Warwick W2038) Donald Byrd With Herbie Hancock ‎– Takin' Care Of Business (TCB 1002) aka Pepper Adams Donald Byrd Quintet ‎– Out Of This World (Warwick W 2041) Booker Little & Booker Ervin ‎– Sounds Of Inner City (TCB 1003) aka The Teddy Charles New Directions Quartet ‎– Metronome Presents Jazz In The Garden At The Museum Of Modern Art (Warwick W 2033) Donald Byrd & Booker Little ‎– The Third World (TCB 1004) aka Various ‎Artists – The Soul Of Jazz Percussion (Warwick W 5003) This album is comprised of two 1960 dates led by the Armando Peraza Septet and the Earl Zindars Sextet. In addition to Little and Byrd, the personnel includes Curtis Fuller, Pepper Adams, Don Ellis, Bill Evans, Mal Waldron, Paul Chambers, and Philly Joe Jones. Herbie Hancock ‎– Jammin' With Herbie Hancock (TCB 1006) aka Pepper Adams Donald Byrd Quintet ‎– Out Of This World (Warwick W 2041). Yeah, they already reissued this material on (TCB 1002), but here they edited and renamed all the tracks. Andrew Hill ‎– So In Love (TCB 1006) same as Andrew Hill ‎– So In Love (Warwick W 2002) There were also some compilations issued, including one featuring Billie Holiday and another entitled “Super Sax”.

Per below, the answer seems to be that the music comes from the same MOMA concert, but "Sounds of the Inner City" lacks the "Take Three Parts Jazz" suite and "Embraceable You," and the performances on "Sounds of the City" are edited in some manner... Edited indeed. All of Teddy Charles' solos were cut. IIRC, he isn't credited at all on the TCB reissue. Here's the press release for the concert: "Final Jazz In The Garden Concert"

I share the sense of loss and feelings of sadness expressed by others. He was a thoughtful member of the community who wrote an informative blog illustrated by some of his own wonderful photographs. R.I.P. Hans, and Keep (it) Swinging.

I like Annie Lennox and I respect her artistry. I think it will be interesting to see what she brings to this project. I'm sure it will be significantly better than what Rod Stewart and Carly Simon have subjected us to.

Oh, yes indeed. You're the coolest. Just ask these Japanese kids.

it ain't a jazz standard

In that other thread, I said that Bob Porter described it as jazz intended as entertainment for black adults. It's really hard to define, especially as people like Milt Jackson and Sonny Stitt made bebop and hard bop and soul jazz records. But if you think about entertainment, dancing (including very slow dancing, perhaps horizontally), partying and the music that goes with that, and the music that could and would be affected by that, and could be and was affected by (and led) changes in popular black music, hey, you're getting there. MG Thanks for the reply, and for the list. I only began exploring this genre in earnest over the past year. It really hits the spot when you're "in the mood".

How do you define or describe "soul jazz"?

I don't think he's necessarily referring to CDs. Check out this article from Ars Technica that explains How Audio Engineers Tweek Music For the iPod Age.

The OP says he's sharing"a couple of Jazz related art projects". These are two different projects.

If I'm reading the OP correctly, there is no restraining order in effect. Have you tried blocking the person's number? When blocked, your phone will ring once, then stop. I believe the other person gets a recorded message that their call is being blocked. Just curious. What kind of situation are you're involved in, and why do you think the other person feels the need to contact you?

Thanks for the news, but is there really any need to post such ginormous covers. Frankly, it makes viewing less comfortable for me.

Hope you feel better, or go see a doctor. Might be a case of Rockin' Pneumonia and the Boogie Woogie Flu.

I can't speak of Budvar, but anyone who can't tell the difference between Stella Artois and Heineken should have their taste buds surgically removed and set afire on top of a dump heap. On the other hand, this guy likes Heineken:

and spelled it wrong.

In trying to understand Allen's behavior in this thread, I think that looking for some hidden meaning in Norah Jones is missing the point. Sadly, I think this statement probably relates to far too many of Allen's experiences as a musician. No one can deny that he is a very talented artist and a notable musicologist. What kind of rewards has he received for all of his efforts? What must it be like to repeatedly see others who are arguably less talented and less devoted to their craft reap the benefits of large-scale marketing and an audience that doesn't demand enough from the music they typically enjoy? Those of us working in education, healthcare, social services and other underpaid and unappreciated fields surely have had similar ("What the fuck?!") moments like this. In the past, I've been openly critical of Allen's bashing of a few popular artists. Although I don't agree or approve, I'm trying to be more understanding and appreciative of artists like him who strive to create and share something of value, something that can elevate and enhance our experience in life. Yes, Allen can be a smart ass at times and a pain-in-the-ass at other times, and I don't believe in necessarily giving artists a "free pass" regarding their personal behavior. Instead, I'm suggesting that one might want to pause, reflect, and try to empathize before drawing any conclusions.

It still seems a bit odd to me that despite no other recordings of the tune by Hampton, and few (? I'm still not sure on this) recordings by others; and the fact that this album was not exactly widely circulated (neither the Prestige nor the MPS albums seemed to turn up much, and likewise for the eventual CD issue), the tune not only has a very strong ring of familiarity to me, but is a vehicle for high school and college ensembles. I guess I may just have to get over it. Anybody else have thoughts? Slide's arrangements for large ensembles are much revered and readily available. Do a search of his "charts" or "arrangements" and you'll appreciate why educational ensembles might be drawn to his work.

Music was such a big part of Haden's life from the very beginning (that's little Charlie sitting on the piano). He contributed so much to the music, and in so doing shared so much with us. May he rest in peace, and may his music continue to enrich our lives.

Probably my least favorite of the Rocky movies. More importantly... "I pity the fool who don't like my breakfast cereal!"

Bad enough to be called "Fats" because of your weight, but Theodore Navarro was also nicknamed "Fat Girl", reportedly due to his cherubic face and high voice. Ben Webster's bulging eyes earned him the nickname "Frog", but he was also called "The Brute", purportedly because he could become violent when drunk. The staff at All About Jazz compiled a list of jazz nicknames and their origins in 2004: AAJ