felser

Costello was (rightly) a very big deal in post-punk/new wave in the late 70's/early 80's. He and Joe Jackson were the cream of that crop for me. Costello is being backed by McCoy Tyner who passed in 2020? Tell me more!

He appeals to me, so not 100% true. He's terribly inconsistent, but throws out a fascinating album often enough that I try to keep up with his work (though sometimes with a several year delay to get them cheap on the used market). Very few other rock artists from his era I can say that about at this point (Richard Thompson is the only other one who immediately comes to mind).

I like Chic and Elvis Costello, but never thought of them as headliners for major jazz festivals (or appearing on the same bill together.

I liked those later Bobby Hutcherson albums (nice Mosaic Select), though you're right, they also ended up as cutouts very quickly. To me, Hutcherson and Elvin Jones made the last of the consistent runs of good albums on BN, though some other occasional titles (such as the two Chico Hamilton's and the Eddie Henderson's) were interesting. And I like the Ronnie Foster's, though not so sure they should be classified as jazz (also not sure they shouldn't). That first Ronnie Laws album is a guilty pleasure for me for "Always There". But the Silver 'n' series left me cold when I heard it (Being a BN obsessive,I have since picked up a couple of them on Japanese CD's, and they sound better to me, but I avoided the ones with voices on them, which includes Silver 'n Percussion also). Elvin went off to Vanguard, Hutcherson to Columbia, where they put out OK (but not great) albums, not up to the standards of their later BN work, but no doubt at least the Hutcherson's sold better. Of course, Butler also ended up at Columbia somehow.

The marketplace did. Those albums didn't sell (I saw them in cutout bins very quickly), and the company went dormant.

Listened to the Live 1977 samples, and immediately ordered it - great stuff! If only his studio work at the time had been in the same vein.

Love that album - Leon Patillo is great on it. Saw that edition of the group at the Atlantic City Raceway in 1974, and they blew CSNY and Jesse Colin Young off the stage. Incidentally, tickets were $10. What would they go for now for that type of show?

Agreed and understood, I'm one of the ones who can't make the distinction. The production on the Silver 'n series renders several of them unlistenable for me, so I can't really judge the compositions. I've never heard that live 1977 recording on Promising Music, have always wanted to, and I still hope to at some point. Some of the lyrics on the United States of Mind albums sound painfully naive today.

Sublime, underrated singer.

Breakup of the Cook/Mitchell/Taylor/Brooks quintet, and entry of Joe Henderson, Woody Shaw, etc., more progressive players is why. Another divide comes with the United States of Mind releases, which commence in 1970 and that chapter continues through the remaining decade of his BN stay; that break is noted by your 1964-1969 box set (that is my favorite period of his also, but I prefer owning the individual CD's with BN's to recreate the era and aura more fully for me). To me, the 1970-1980 releases have not aged well, and are a great step down from his earlier work (1972's In Pursuit of the 27th Man is an outlier, stylistically and quality-wise belonging with his 1964-1969 work). I'm not familiar with his Silveto catalog (was that his own label?), but the CBS/Impulse/GRP albums of the 90's, while "good", are quite retro in style, and not of great interest to me (I have owned them at different points, but not kept them. When I want to hear that style of his, I go back to the BN's. Can't own/keep everything). I'm thankful for the vintage live albums which have leaked out on Pablo, BN, and TCB. And there is some "grey region" live stuff around of varying fidelity.

Finished up listening. I also like the bass player a lot, and still love the pianist (BTW, looks to be his label issuing the disc), and they play really well together. The idea of adding lyrics to Shorter/Morgan/Dorham is intriguing. Still not sold on the singer as a singer, but she does have ideas and a style. The horns and drummer are functional, don't get in the way. Overall, a nice listen which will reside on my secondary shelves. The cut you picked is my favorite on the album. Thanks for the lead!

Indeed I do! Understood, thx.

And Columbia and Silveto before that. My memory is reading that Silver asked Lion to toss the Pep's tapes.

RIP, great work!

Absolutely spectacular music. I expect it to end up being the best release of 2024.

Will do!

Thanks so much, just picked up the Devins on ebay following the reveal. You've won me over on Rainone for sure, and opportunity to hear him and those Lee tunes is well worth my $8!

Love the label name, but I'm not big on Nelson's soundtrack work beyond The Pawnbroker.

That's the best one on Mainstream. This is my favorite jazz vocal album of all time:

Yes, #2 is "Tenors of the Time" from Christlieb/Marsh 'Apogee'.

May have been for James Spauding on alto? He was never a favorite of mine.

1 – (posted this earlier) Cut is B3 from this wonderful album. Great stuff! 2 – Good cut! Hyperactive sax players, but totally enjoying the rhythm section and the composition. Hard Bop! No ID’s, will be interested to find out who/what it is 3 – I assume Dollar Brand/Abdullah Ibrahim, though maybe Harry Miller, certainly a South African/Village groove. Not my thing, I find myself getting impatient with it. 4 – Grew on me as it went on, but I find myself getting impatient with it on the bottom, with the stagnant martial rhythm, and on top with the little quirks in the composition. The front line guys can play their instruments. Not my type of jazz guitar playing, but this guy is very good at what he does. In the end, this cut does win me over, though it is a split decision. I do want to find out more about it. 5 – I’m probably too old and way too far from being the target audience to really get this one. I appreciate the sentiment of what they’re trying to say, but can’t relate to the vocal style in the least, and the sax solo does nothing for me. Nothing here that sparks me to relisten or explore more deeply. 6 – Back on track, lovely version of “Tenderly”. Clark Terry or someone like that? No fireworks, and the rhythm arrangement and bass solo don’t do much for me, but the cut goes down nice. 7 – Sax player is unlistenable for me. A case where @Dan Gould and I are on exactly the same page! 8 – Interesting cut, but the low fidelity greatly detracts from my enjoyment. Enjoying it more than I would expect given the electronics on the cut. I do want to know more! 9 – The title track from this of course! This is the only post 70’s album I have kept by this artist, and strictly for this cut. Saw him at Penn’s Landing in Philly a couple years later, and this song was the clear highlight of the show for me. Thanks for the Easter BFT!

First cut is B3 from this. Great stuff!