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felser
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Posts posted by felser
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Half and the used network at Amazon each have $2.49 shipping charges.
true, but if you buy more than one item from the same half.com seller, shipping is a dollar less for each additional item. there is no such discount from sellers in the amazon.com marketplace. to that end, if you're thinking of buying one or more of drummond's arabesque recordings, you might check to see if the seller also has available some titles by charles mcpherson, art farmer, or charles sullivan on that label (see below). again, the asking price for sealed copies of these cds often is quite low.
Agreed, some really nice stuff. You can sometimes find the Arabesque's in multiple CD lots on ebay, which really brings down the per disc shipping cost.
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Any opinions on which sellers have the best shipping rates? Some of those one cent CDs screw you with $4.95/per CD shipping...
Half and the used network at Amazon each have $2.49 shipping charges. Ebay sellers usually exceed that in my experience. I have overall had much better experiences buying from the Amazon used network than from Half. In my experience, Amazon seems to be more "professionals" (lots of transactions), with better overall ethics.
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Is this going to finally make it to CD?
I thought this was reissued on CD on Black Lion many years ago.
Might you be thinking of Coon Bid'ness?
Chuck, 'Reflections' is the one I was thinking of. I know I had the vinyl of 'Dogon A.D.' back in the day. Jerry Gordon at Third Street Jazz in Philly got all of those Arista/Freedom releases really cheaply, and sold them for like $2.99.
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Is this going to finally make it to CD?
I thought this was reissued on CD on Black Lion many years ago.
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Another great classic-era Blue Note album, one of many, no more, no less. 'Free Form' is my favorite Byrd, especially the second side with 'French Spice' and the title track. He recorded some great albums then (although I've always thought he was particularly weak at NAMING his tunes!). I agree, he was not the most technically dazzling trumpeter, but great feeling. If your friend is a trumpet player and you are really looking for something with amazing trumpet technique as well as excellent music, get a Freddie Hubbard CD from that era or a little later instead. Something like 'Ugetsu' by Art Blakey and the Jazz Messengers shows Hubbard to great advantage. His solo on the title track of that album turned me onto him for a lifetime. His work on "Aries" on 'The Body and the Soul' is also incredible.
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I have CD available, Woody Herman - 'The Jazz Collector Edition'. This is a nice 10 cut CD of some of his 30's/40/s material on Laserlight. Should be good for filling a hole in somebody's collection if they don't have any of this material. Let me know if you want it.
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I'm looking for a copy of the Grant Green/Sonny Clark Mosaic 4CD-set The Complete Blue Note Recordings of Grant Green with Sonny Clark (Mosaic MD4-133) in excellent or better condition. The booklet must be included.
Please PM me if you have a copy for sale or know where I can get one.
I can only pay through PayPal (credit-card-linked account), or by bank transfer within the euro zone.
You can get the same material for 20% of the cost by purchasing the Green/Clark 2CD set and Green's "Born to Be Blue".
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[Robert] Fripp listens to and is influenced by the music of Debussy, Ravel, Bartok and among contemporaries, the Beatles. He admires among guitarists John Williams, Segovia and John McLaughlin.
Judging by the jazz names these guys are dropping, they had some pretty hip music collections. (How many people were listening to John McLaughlin before 1970?)
I think that JMcL was a session musican before becoming known as a Jazz musican. Lots of people would have heard him on the radio and if you into Jazz in London in the late '60s, you would have known who he was.
McLaughlin played in the Graham Bond Orgainzation in '63with Jack Bruce, Ginger Baker, and Dick Heckstall-Smith, and recorded 'Things We Like' with Jack Bruce. He also had worked with Alexis Korner,a nd recorded with John Surman prior to this time. So he was pretty well known in musical circles in England already, and certainly Fripp would have been well aware of him.
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Couple more to offer
Two ESPs
Sun Ra: Concert for the Comet Kohoutek (ZYX version)
9 tracks
Live at Town Hall 1973
Sun Ra: Nothing Is (get back version)
No case or artwork so disc only but both discs play fine.
Great intros and look forward to passing these forward
c
Colin, I'd love to have the Sun Ra Kohoutek CD. I'll PM you. thx, John.
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This sounds pretty cool ... I've got one of her discs (Better than Anything, w/Junior Mance, Bob Cranshaw and Mickey Roker) and it's very nice ... her voice is very "ear-catching."
That one's my favorite by her (which goes against conventional critical wisdom), but is from like 1961-2, and is quite a bit different than her mid-70's recordings. I also prefer mid-60's Marianne Faithfull to her 70's-80's recordings, and find Sarah Vaughan's late 40's singing irresistable where I can take or leave most of her 70's-80's recordings (the two small group sessions on Pablo being exceptions). to make two analogies which are probably more widely understood. Youthful purity of voice vs. hard-earned maturity.
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So much negativity about "mastering", so little discussion about the music.
I'm with you there. There have been some hideous CD's (the first 'Kind of Blue' issue and some other CBS and MCA titles come to mind), but the Blue Notes and OJC's have always sounded pretty good to me considering the age of the material. The Blue Note CD's I really long for are the later Bobby Hutcherson titles such as 'Rosewood', which haven't ever been released on CD in any form.
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I got the Milt Jackson Blue Note CD one time and the actual music was some hard-core rap group.
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The Islands band put out what had to be the second-worst recorded live album ever released by a major label, 'Earthbound' (the worst, of course, is 'The Beatles Live at the Hollywood Bowl'). Do any of the subesquent remasters really make much difference on 'Earthbound'? 'In the Wake of Poseidon' was interesting because it was sort of a rerun of 'Court' done more purely Frippishly. I loved the Wetton/Bruford/Corss/Muir version of the group. The Belew version was a totally different group to me, not an extension of what came before.
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I really like Chick Corea "A Very Special Concert" with Joe Henderson, Stanley Clarke, and Lenny White.
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Ted Curson - Tears for Dolphy (with Bill Barron)
Sonny Rollins - East Broadway Rundown (with Freddie Hubbard)
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The McCoy Tyner Select when it comes out.
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I picked up a pair of tickets to see this show at Denver's Paramount Theater...always an excellent venue for shows. The wife and I will be in the freakin' 3rd row!!!
Anyone seen and/or know what he's playing like these days? I'm psyched...a mix of standards and originals, perhaps?
Any insight would be much appreciated...
My understanding from an email I received from Lloyd McNeill is that Eric Gravatt is back with Tyner on drums and playing "better than ever", which is an incredible thing to ponder.
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Great to hear. I did some googling, and he apparently recorded at the Vanguard with Tyner in '05, and has been playing some in LA.
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Isn't Sonny Fortune on "Enlightenment?" Whoever, it's a strong album.
Fortune was on 'Sahara' (coming to an AOTW near you) and 'Song For My Lady'. Lawrence was on 'Enlightnement' and 'Atlantis'. After that, horn players became superfluous for Tyner, even normally really strong ones like George Adams and Gary Bartz. Shaw is very strong on 'Bridge Into the New Age'.
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Sennheiser has long been my headphone of choice. I have a pair of HD470's that I use for several hours a day at work, and have had them for several years. I've listened to many other headphones in the same price range (these were about $50), and nothing else came close for me as far as sound quality.
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is there a chance concord will let people like water records issue some of the good stuff which never be seeing the light of day (jerry hahn, jack dejohnette, azar lawrence, etc) through them?
I've got the Azar Lawrence LP 'Summer Solstice' and it's nothing to write home about. Fairly typical of a lot of what was getting recorded at that time but hardly of great interest or import thirty years later. I've never heard his other two which also came out on Prestige. His recordings with Tyner are strong.
well i like summer solstice! especially that song highway or whatever.
'Bridge Into the New Age', the first one, was the great Azar Lawrence album. 'Summer Solstice' was good, 'People Moving' was his commercial move, to me a disaster. He never recorded again as a leader, and indeed I never heard of him again. The best documents of his playing are on McCoy Tyner's 'Enlightenment' and 'Atlantis', live 2LP sets recorded at Montreux '73 and Keystone Korner '74. 'Enlightenment' is especially amazing.
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My favorite Woody is the Last of the line two-fer issued on 32 Jazz. It's a masterpiece.
That one reissues 'Cassandranite' (1965 recordings with Joe Henderson, and Larry Young on piano) amd 'Love Dance' (1975 recordings with Billy Harper and Joe Bonner). Good stuff.
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Back to Woody - I thought the charts for W III were a snore and "comforted" the soloist instead of "challenging" him.
I felt that way too about the Columbia stuff, even 'Rosewood', which won Down Beat album of the year if I remember. Muse in general used to put out a whole lot of underrehearsed stuff (Carlos Garnett comes immediately to mind - as good as some of his albums on Muse were, they should have been even better), but I quite like most of the Shaw sides on that label. And a lot of stuff came out on Muse by a lot of artists that likely would never seen the light of day if Muse didn't exist.
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Very slow for me right now as well.
Also slow for me today, which it is frequently both afternoons and evenings.
AOTW December 18-24
in Album Of The Week
Posted · Edited by felser
This gem, recorded in January of 1972, was Tyner's first work released on Milestone following a series of distinguished albums on Blue Note. While the Blue Note albums featured renowned musicians such as Joe Henderson, Bobby Hutcherson, Lee Morgan, Woody Shaw, Gary Bartz, Wayne Shorter, Ron Carter, Alice Coltrane, and Elvin Jones, the band on 'Sahara' was by comparison much more obscure. Drummer Alphonse Mouzon had played on the inaugural Weather Report album, but alto/soprano sax player Sonny Fortune had most recently been with Mongo Santamaria for a number of years, and had not been recorded in his stay with Elvin Jones. Bassist Calvin Hill had played with Joanne Brackeen in Boston, but Tyner was his first major gig. And yet, together, they recorded an album for the ages, truly a masterpiece of masterpieces in Tyner's catalog.
'Sahara' consists of four cuts on side one, and the extended title track on side two. "Ebony Queen" starts the album with a pronouncement that Tyner had taken his playing to a new level, with a rhythmic power and beauty unmatched then or now. Mouzon is superb in his playing here and throughout the album, lifting Tyner into flight. What a loss for the music when he chose to pursue the brass ring of fusion. Fortune more than holds his own in this context, laying down the most successful saxophone playing ever done on a Tyner recording. Azar Lawrence was able to cut through the torrent on 'Enlightenment' and 'Atlantis' without going under, but shortly thereafter, such strong players as George Adams and Gary Bartz were being steamrolled by the power of Tyner's playing. Fortune's playing on this album, which sounded so good at the time, has gained in significance over the years as no one other reed player has been able to approach his success playing with Tyner. "A Prayer For My Family" is a beautiful, spiritual solo piano piece. Tyner would successfully revisit this turf on his 'Echoes of a Friend', a fantastic solo piano album recorded later in '72. "Valley of Life" is an early example of world music, shades of the Orient with Tyner on koto instead of piano, and Fortune on flute. "Rebirth" is a modal burner, with Fortune's only alto sax appearance on this album and a strong solo by Tyner over inspired drumming by Mouzon. "Sahara", running over 23 minutes, is a remarkable work which is relentless in its power and majesty. The main theme from this cut will stay in your head for the rest of your life after you experience it. All of the musicians are given great space to stretch out, and in one fascinating sequence, Tyner lays out to allow Fortune to play with just bass and drum accompaniment. The bass and drum solos are beautifully integrated into the music, so they do not become boring at all (this from someone who often fast forwards through drum solos!). World Music influences are found throughout, with simple reed instrument and pecussion sounds entering from the players at intervals. Rarely has a 23 minute cut justified its length the way 'Sahara' does. It is an organic whole, and editing out any piece of it would damage the work.
Overall, Tyner truly established himself as a visionary musician on this work. This was the turning point in his career where he would no longer be thought of just as Coltrane's pianist, but rather as the giant in his own right he had become.