mikeweil

I just ordered a Gilles Groulx box set from amazon.fr. Maybe I can identify some of these while viewing, but considering the sheer number of pieces Couperin and Vivaldi composed, this could be difficult.

This weekend:

"Slick" really is an inappropriate term. But I think Cal Tjader had a more beautiful vibes sound in 1955 than Bags. It's a combination of many factors: the instrument itself, the oscillator setting, the mallets, and your striking technique. It's not just the studio engineer. Listen to Bags on other pre-1955 recordings. I dare say Jackson listened to Tjader and others and changed his sound (didn't he switch his vibes brand around that time?). The smaller labels had only one vibes player in their catalog, and Savoy was looking for one. Bags was lucky that Tjader opted for Fantasy and California, for convenience,

There are a few Blue Note sessions that are pretty far out, too. But Sextant leads the pack.

Their recorded sound was pretty much standard for those years. The first two sessions are much closer to pre-bop - Monk was born in 1917, like Dizzy, and both were musically raised in the swing era, in different ways. One must not forget that Monk commented "I sound just like James P. Johnson" after listening to a playback of one of his solos for Columbia (!). His music is about sound and form/structure (that's what Coltrane meant when he described Monk as a musical architect of the highest order), and not about modernizimg the changes. His last compositions may sound simple, but they really strip the music down to the very essence of jazz and jazz forms. This is already there in these early pieces, and it is no wonder most sidemen did not yet get it. But they did their best. To me it sounds right. The mood is there.

I'm sorry but couldn't find the time to listen to the remaining tracks. I wonder if I would have recognized the Reggie Workman track, as he is one of my favourites and I love that album. I should have recognized Booker Ervin. Oh my ......... Thanks for putting together an intersting program.

Considering the strong 1960's Miles influence on the music of the Marsalis brothers and Roney, they were a natural choice. Tony and Herbie played on their records, didn't they? Since Miles followed a different path, all the more so. They did for them what Miles had dome in the sixties.

To me, this is somehow the closing chapter in the V.S.O.P. series, or an amendment:

It's a shame these great sounding Vanguard albums were not reissued properly in most cases! I'd buy a Mosaic of them in a minute. Now playing:

Once again:

I never heard him play less than inspired.

Just listening to my own CDR with the three sessions Teddy Charles made with Charlie Mingus. These men were such great ballad players.

Maybe this was in part inspiration for Williams' quintet with Roney and Billy Pierce?

Agreed. It was a sign that "acoustic neo-bop jazz was not dead and could attract large audiences.

Fully agreed. That's a fantastic performance. It can be found on youtu.be.

Same here. He performed in Frankfurt a few years ago, but not with his trio but guesting with some band I definitely did not like, and only for a short one hour part of a festival, so I didn't go. RIP, and thanks for so much exciting music.

Martha Wainwight - Comin' Tonight (promo single)