mikeweil

Finished re-listening to this box set earlier this afternoon. The development of the quintet over the years covered by this set is remarkable. On the last session (July 1963) Shearing as modern a pianist as anybody else that year.

Recorded on September 11 & 21, 1954 in true stereo but released in stereo in 1959 or 1960 on this LP, as there was no market for stereo playback equipment in 1954. The music was released in mono on the following two albums: The Original Jazz Classics reissues have only seven of the twelve stereo tracks in that format, and one (Just Squeeze Me) was never reissued.

Thanks, will keep an eye open for it! p.s. found a shop carrying this brand not too far away!

I couldn't care less about reviews. I like Shearing, I like Wes and his brothers. Their combination is different from what the brothers did on their own, and different from Shearing's quintet of the time - not the typical block chord unisons, more counterpoint. I find it to be an inspired meeting. Not all jazz has to be shouting. This is light but pleasant, and it swings.

We've opened another bottle on Wednesday to celebrate our 22nd wedding anniversary. I'm glad I bought a whole box of it a few weeks ago, as it's now out of stock at my wine shop. Our favourite French red, Carignan, when well done, has an incomparable flavour.

If you can get it in the U.S., try this one: Vinosia Orus Primitivo IGT - Primitivo is the Italian name for the Zinfandel grape.

The versions on Blue Note are different recordings!

Thad Jones (tp) Billy Mitchell (ts) Terry Pollard (p,vib) Jimmy Richardson (b) Elvin Jones (d) Sonny Wilson (vcl) Detroit, MI, early 1950's 1400 Rockaway rock Dee Gee 4000 1401 Rainy day blues (sw vcl) - Danny boy 4001 The bulldozer - Note:The date previously listed for this session is 1948. During that period Mitchell was in New York and the above group was formed in 1950 in Detroit. Billy Mitchell Quintet : Thad Jones (tp) Billy Mitchell (ts) Terry Pollard (p,vib) Alvin Jackson (b) Elvin Jones (d) Detroit, MI, early 1950's Compulsory Dee Gee XP4009, Savoy SV0188 [CD] The blue room - - The zec - - Alone together - - Savoy should have added the first four tracks to the CD reissue.

..... from this box set:

Today in the car:

This one? They are also on this Frémaux disc, omitting alternates:

Limited edition reissue (only 500 copies) combining the Latin Esacapade and Mood Latino LPs with four bonus tracks from the latter's sessions that were issued later.

Yesterday's listening: Yesterday's new arrivals:

The composers list reads like a Who's Who of European exile composers ..... I can understand Marsh's antipathy - Schönberg wrote extremely expresionistic music at a certain period in his life, and then turned away from it. There seem to be some contradictions in his personality, and he must have treated some of his students rather badly. I was given a 500 page LP size book on Schoenberg by some friends with part Jewish family - they knew I was into music and saved the book from an aunt in Berlin who was not interested and wanted to dispose of it. I still need the time to dig a little deeper into it. Like in painting, there was a lot of discussion about the underlying principles of artistic work. With expressionistic style and harmonic sophistication. having reached a peak, they were searching for new rules for composing and took different ways - consider Cage, who, too, studied with Schönberg for a short while. There still is a lot of debate, and always was - Bach's way of composing waa criticized by his contemporaries. It depends of what fascinates you and how you try to figure it out how it works. Emotionalism vs. rationalism, and trying to get both to work together. Add to this personal traumas and a resulting skepticism, like the holocaust which played an important role in Schönberg's life - and it will get pretty comlpicated to deal with it all. Look at Milhaud's biohraphy, another composer with Jewish ancestry, teaching in California, and getting totally different feedback from his students. Yes, it says as much about Schönberg as it says about Marsh. Utterings of musicians about their peers are alway very interesting. It gets problematical when you consider your own view of things as the only one that's right.

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Yes! I cherished that one, too. The first half was on the early Trio LP, and I made my own CDR of all the later trio tracks. I think Blue Note should have done that. The official title of that brown paper bag look series can be clearly seen here.

Yesterday this received several spins, the last with my conga drum students who understood what makes the groove on these tracks so great. A must for all fans of Armando Peraza!

There was a Horace Silver in that series, too, which was a fine selection. It inspired me to get all his Blue Note albums, and then I sold it.

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After setting up our new media receiver for watching tv I check out all the other features. I now have direct access to YouTube on tv and enjoy some old Snader tv casts with the George Shearing quintet.

I bought a good number of those twofers, Prestige, Milestone, Fantasy, Brown Bags from Blue Note/UA/Pacific Jazz - still have some of them, the Yusef Lateef ones in particular. When French EMI started a series of Blue Note LP reissues shortly before the advent of CD, it was like heaven on earth. I happened to be on vacation in Rome when I first got the news; near the hotel at the Campo dei Fiori was the book and record store of the Italian Communist Party which had the whole batch. I took about twenty LPs home, much to the amazement of my girlfriend. There was one second Prestige I bought, too: A.K. Salim's "Afro-Soul Drum Orgy". That's the only one I still have, as I bought all of those Blue Notes on CD later on.