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Everything posted by Hot Ptah
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I can't go any further with an identification of #9. Someone else will have to pick up the baton. Something I like about the Butterfield Blues Band on the first two albums. I have read that Paul Butterfield and Mike Bloomfield had played in the black blues bars in Chicago and were respected by Muddy Waters and the other blues greats. Their bass player and drummer were black blues sidemen from Chicago. But Bloomfield also brought more unusual music to the group, such as "East West" and the group could play it and Butterfield himself was into the new directions. It is a pity that the group did not want to stay together and evolve musically together. They were ahead of the rock pack in 1965 and 1966 and none of them were ever quite as compelling in their recordings, after the original lineup split apart.
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I'm in. I will send you a private message.
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You may have to forfeit your Platinum Level Organissimo Board Jazz Cred badge. You can keep your Gold Level Jazz Cred badge though.
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https://www.washingtonpost.com/entertainment/in-2015-jazz-reasserted-itself/2015/12/17/f025f3b2-a04d-11e5-a3c5-c77f2cc5a43c_story.html According to this Washington Post article, Kamasi Washington is a prominent part of the resurgence of jazz.
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Is Tubby Hayes playing on #9? I think I recognize him.
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#9 sounds to me like a late 1960s British jazz session, just from the sound of the instruments and the approach. I have not come up with any identification yet though.
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. Track 8 is the title track from this 1967 album. Trumpet, Composer– Jimmy Owens Tenor Saxophone – Benny Maupin Piano – Kenny Barron Bass – Christopher White Drums – Freddie Waits
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I like most of what Bowie has done, which has encompassed a great amount of variety over his entire career. Different strokes. He has worked with jazz musicians before. Lester Bowie was featured on his "Black Tie White Noise" album, and he recorded with the Pat Metheny Group on "This Is Not America."
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That is really interesting. That is more intrigue and excitement than I would have expected from hearing the album. I want to see them live now.
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That is really interesting, how he heard it unaware of what it was, and liked it so much. I have to say that I do not quite understand why this album blows people's minds--unless any pleasant mainstream jazz would blow their minds. It's not THAT good. To me, it's somewhere in the middle between something that should be scorned and something that should be idolized--neither reaction is appropriate.
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To me, after hearing "The Epic" several times, any notions of what music came before it are largely irrelevant. "The Epic" stands on its own as a pleasant mainstream jazz album. I do not hear many echoes of the past in it. It is not especially derivative of older styles, to my ears. My point is, if members of the Organissimo board are not going to listen to music as music, without being distracted by the kind of pop culture nonsense that overwhelms much discussion these days, then who will listen to music and give musical opinions? But where is the discussion of what "The Epic" actually sounds like? Why do we, who should be among the most discerning listeners, choose not to talk about what an album sounds like, what the music actually is like, apart from any hype spewed by others? Or is it that we rarely buy or listen to any newly released jazz, so it is much easier to just dismiss newly released jazz with snarky remarks, without actually hearing the music at all?
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To me, the members of this forum should be on a more discerning level of discussion than that. What are we, teenage girls oohing and aahing over the latest heartthrob? Are we early 1970s pre-teens fighting over whether David Cassidy or Bobby Sherman is the cutest? What ever happened to discussing MUSIC?
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I have just purchased this album and played it several times. I am not concerned about the album's packaging or titles, any hype attached to the album, the popularity of the album, or any ideas of its place within the jazz music business. I am just reacting to the music itself. To me, this is a pleasant mainstream jazz album, appealing in its energy. The musicians play with a freshness and conviction which connect with me. The strings and vocals are used in a sparing, tasteful manner. The vocals are beautiful. It is not a very unusual jazz album. It fits comfortably within the jazz mainstream. I really do not get why there have been so many negative emotional reactions to it. I think that Kamasi Washington is the least compelling soloist on the album. He is all right, but pianist Cameron Groves, trumpeter Igmar Thomas, and the bass soloists all strike me as more exciting soloists. I think that Kamasi Washington is more of a conceptual bandleader than he is a monster soloist. I do not hear much of a connection to the Alice Coltrane and Pharoah Sanders Impulse albums which are often referred to as "spiritual jazz". If the album had been titled "Cherokee" after a standard which is performed here, and given a nondescript album cover, I think that more people might view it as I do, as a good, pleasant mainstream jazz album, worthy of repeated listens but hardly something to get judgmental or angry about. I don't understand the judgmental posts on this thread.
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This is odd. I used the search function and searched for Epic and Kamasi. Both times nothing came up. So I did not find this prior thread. I just bought it and have listened to it once. I find it to be a pleasant mainstream jazz album, with some good solos, especially by pianist Cameron Graves and trumpeter Igmar Thomas. After listening to the album I read the prior thread about the album. I do not know what most of you are talking about. You must have heard a different album than I did.
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Professionally Speaking: Is there any Future in the Future?
Hot Ptah replied to AllenLowe's topic in Miscellaneous Music
Private message sent. -
Here is one of the jazz albums mentioned in NPR's Top 50 albums of 2015. Has anyone heard it, and what are your reactions? KAMASI WASHINGTON The Epic What happens when one of the linchpins of a quietly humming, tight-knit L.A. jazz scene buckles down for a month in the studio with his usual working band, plus a 32-member orchestra and 20 vocalists? You get a sprawling three-disc, three-hour feat that's heroic in scale and skill alike. Kamasi Washington's The Epic is vertically expansive music that attains both rich depth and soaring height. Washington's arrangements build up those voices and strings in grand layers, while his own tenor sax tone is aggressive and huge. Bassists Thundercat and Miles Mosley and drummers Tony Austin and Ronald Bruner Jr. (Two of each? You bet.) keep everything grounded in the groove even as the tunes get sweepingly spacey. —Rachel Horn
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To me, "East West" is the best of the long rock instrumentals, nothing else ever matched it. It is musical and listenable, even today. So many other rock groups tried to record instrumental tracks which fall short of this. Is the vocalist on #5, Lorez Alexandria? I am not that familiar with her work, but I remember hearing her on a public radio program. The trumpet player on #8 sounds like Jimmy Owens to me. I have other albums by him, but not this album.
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Michael Bloomfield and Elvin Bishop, the guitarists on #11, were excellent on the first two Butterfield Blues Band albums, and on the tracks by that band released on the Elektra album "What's Shakin'", which had songs by different groups and is very much worth checking out. Bloomfield's "County Boy" and "Blues For Roy", recorded in 1964 and available on a CD which came with his biography, are incredible, especially as they were recorded in 1964. He was years ahead of everything else being recorded in electric blues at that time.
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Except for the McKinney's Cotton Pickers album, I do not own any of this music, and do not think that I had ever heard any of it. Thanks so much for introducing me to it! I liked this section of the Blindfold Test a great deal.
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Five excellent tracks, and I had not heard them before, although I have purchased the Krupa album and did not listen to it yet. I am not that surprised by Hank Jones' playing on this track. I have heard several of Hank's recordings after 1980 and I think that this falls well within what he was doing in that period.
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I was not familiar with any of these tracks. I would never have guessed #1 in a million years. What a truly rare record, and since I enjoy playing it repeatedly and would never have heard it in my life except for this BFT, all I can say, is "Thanks......Thanks LOADS!" (That is what Dexter Gordon once said onstage, in response to frenzied applause and screaming from an audience which I was a part of). 2. I have always liked Steig, and again, would have never heard this track except that you included it here. 3. I would not have guessed who this is, but I enjoyed this very much for what it is. I like this kind of music generally. 4. You were not kidding with the "Rare" designation for these tracks. I like this one very much. 5. This was identified early. I am glad to know of one more Charlie Christian recording, since his overall output was rather small unfortunately. 6. I like New Orleans Brass Bands, but do not know much about them. I like your historic information about how this particular band sparked a revival of this tradition. Again, many thanks for an excellent set of tracks!
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1. I had read about the Billy Tipton Memorial band but had never heard it. I enjoyed it a great deal. Thanks for introducing me to their music. 2. I had read Connie Crothers' name, but never heard her playing. Again, thank you for this introduction! 3. I have never heard of any of these musicians, or the music label. I liked this one very much. 4. I have some Spontaneous Music Ensemble CDs but not this one. It is very enjoyable. 5. Wow! Somehow I had never even heard of these guys. I love this track, and will now check out more of this "trio's" music! Thanks for this section of the BFT--I enjoyed it all very much.
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#3 is Dave Holland's composition "The Oracle", from the 1989 album by the same name by Hank Jones. It is a trio of Hank Jones, Dave Holland and Billy Higgins. #5 may be Gerry Mulligan's "Disc Jockey Jump", but it sounds a great deal like Jimmy Giuffre's "Four Brothers". Oddly, I bought the CD of "Gene Krupa Plays Gerry Mulligan Arrangements" just recently. It is in my "to play" pile and I have not played it yet even once.
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BFT 140 - Discussion of The Freedom Principle
Hot Ptah replied to jeffcrom's topic in Blindfold Test
I love Track 5. To me, it is one of the few times that electronic sounds were recorded in a convincing jazz way. These electronic sounds might or might not have come from a keyboard instrument. I am not sure. It almost sounds like they came directly from an electronic device of some sort. Whatever the origins of the sounds, I find this very compelling. I could listen to an entire album of this kind of thing. Heck, I could listen to a 10 CD box set of this!