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DobermanBoston
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Posts posted by DobermanBoston
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1961 zwang ihn der Vertrag mit Impulse! ein weiteres Album aufzunehmen, aber er stieg auf seine Weise aus dem Vertrag aus: Da er keine Material hatte, um eine neue LP aufzunehmen, bot er stattdessen als formeller Leiter von Into The Hot (Impulse!) unter seinem Namen Projekten der jüngeren Musiker Johnny Carisi und Cecil Taylor für je eine Plattenseite eine Plattform, versehen mit einem Cover mit Evans’ Foto ähnlich der von Out of the Cool. Gefragt nach dem Grund für dieses „Abfallprodukt“ meinte Evans, dies sei die einzige Möglichkeit gewesen, die Musik der von ihm bewunderten Künstler zu hören
I thought English was the forum's language, not German. Not everyone here speaks or reads German.
Können Sie Deutschen nicht lesen?
I do read and speak German (ich lese und spreche Deutsch), but not everyone here does and English is the forum's language; I think everyone should post in English, if only as a courtesy to others.
I was just being funny, or trying to be.
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I hate to be the "guy without a good discographical reference work of his own," but... assuming this release was always conceived of a split showcase, do any extra tracks or takes exist for either session?
I think alternates were recorded but were never issued. The Taylor tracks which appeared on Impulse A-9 were later issued on the Taylor/Rudd compilation, Mixed.
Yes, the Rudd portion is his fantastic Impulse! album Everywhere with Giuseppe Logan.
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1961 zwang ihn der Vertrag mit Impulse! ein weiteres Album aufzunehmen, aber er stieg auf seine Weise aus dem Vertrag aus: Da er keine Material hatte, um eine neue LP aufzunehmen, bot er stattdessen als formeller Leiter von Into The Hot (Impulse!) unter seinem Namen Projekten der jüngeren Musiker Johnny Carisi und Cecil Taylor für je eine Plattenseite eine Plattform, versehen mit einem Cover mit Evans’ Foto ähnlich der von Out of the Cool. Gefragt nach dem Grund für dieses „Abfallprodukt“ meinte Evans, dies sei die einzige Möglichkeit gewesen, die Musik der von ihm bewunderten Künstler zu hören
I thought English was the forum's language, not German. Not everyone here speaks or reads German.
Können Sie Deutschen nicht lesen?
I hate to be the "guy without a good discographical reference work of his own," but... assuming this release was always conceived of a split showcase, do any extra tracks or takes exist for either session?
I don't believe so. I am a huge Cecil Taylor fan and have never heard (or even heard of) any outtakes. Then again until last year I had always assumed that this record was just a lesser, cash-in follow up to Out of The Cool a la Oliver Nelson's More Blues and The Abstract Truth.
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So sad. My favorite Motian record is Dance, which was also David Izenson's last record if I'm not mistaken.
Steve-Mat is a SUPERB violinist. I did not know Motian mentored him.
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A "strange" record it may be but hardly little known. And Carisi is not just "some guy," whether or not you happen to like his stuff here. Do a little homework first.
I never claimed it was little known. Carisi is pretty much whatever the music version is of a television character actor is. He played with some of the swing guys and on Birth of The Cool, right?
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I think he's one of the all time greats!
Agreed with the OP on Dortmund. "Composition 40F" is probably my favorite Braxton tune. Any of the Hat Hut/Hat Art or Arista releases are good starting points IMO.
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Strange little record. Supposedly a sequel to Out of the Cool, but it's really Gil just fronting for Cecil Taylor and some guy named John Carisi, whose orchestra alternates tracks with the Cecil Taylor Unit.
The Cecil half of it is excellent; the only recording of his I know of that featured both Jimmy Lyons and Archie Shepp. The Carisi stuff isn't very good though.
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I just discovered this band before I went on vacation a few weeks ago. Overall it's really, really good stuff but the lyrics bug me so I prefer the wordless numbers, and therefore the earlier records.
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Golden Circle 1 for sure. It's even a contender for my favorite Ornette album, period. Amazing rhythm section, infectious tunes. Moffett completely underrated. For me this is the sax trio that gave birth to the funky-free sounds of Rivers-Holland-Altschul, Surman-Phillips-Martin and Romano-Sclavis-Texier.
I VERY much agree here.
In order I would say, for me, ...Golden Circle Two, ...Golden Circle One and New York is Now.
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Alice is underrated in my opinion - Journey into Satchinanda is a fine album....
Yes, it is. Sanders is great throughout and Cecil McBee's bass line on the title track wouldn't be out of place on a Black Sabbath album!
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A lot of it was and is too earnest for my liking, and I'm not a fan of choirboy vocals either. That's probably why I like early Genesis more than most other bands of that sort. Gabriel didn't take himself too seriously in the lyrics department and he had a lot of R&B influence in his vocal style too.
If you can call 1970-1973 Soft Machine "prog" (many would call it "fusion" or "electronic music") than I dig that too. Same deal with Can and the original Mothers of Invention. They were both great bands but a lot of people think prog has to be from the UK.
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I love Lewis' playing on this album:
and on this one:
I saw George Lewis live, in an unaccompanied solo performance, in the fall of 1978 in Ann Arbor, Michigan. Eclipse Jazz was the student jazz organization. They had a series called Bright Moments, for avant garde jazz musicians, held in smaller spaces. (They also had a big name jazz musician series in the 2000 seat Hill Auditorium, and an annual multi-day jazz festival with big name jazz artists. It was really quite impressive to think back on).
George Lewis was the first artist in the Bright Moments series for the 1978-79 school year. I remember that he mostly played synthesizers, in a minimalist fashion, laying his hands on them with a solemn look on his face. After a lot of that, he said, "oh my. I find that I feel like......swinging." He picked up his trombone and played an amazing solo trombone piece, which did, in fact, swing.
Other artists who I saw in the Bright Moments series, in small rooms, included Dave Holland (solo bass); Old and New Dreams (Don Cherry, Dewey Redman, Charlie Haden, Ed Blackwell); James Newton and Anthony Davis; Roscoe Mitchell, solo alto saxophone; Jaki Byard, solo piano.
That must have been an intense year. I had always pictured Old and New Dreams as a band that played large venues, between their ECM status and their former boss' own draw. They were like the "edgy" answer to VSOP!
Apparently Brandeis here in Massachusetts had a lot of those folks up at around the same time. An acquaintance recorded a 1979 Holland solo performance from their radio station WBRS and it was fantastic.
And thanks for the recommendations everyone. I need to pick up the latest Lewis release and that older Altschul one....
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My favorite Herbie on Blue Note sideman appearance and general playhing is "Feelin' the Spirit." He plays gloriously on this great session.
That's easily one of my favorite Blue Note records.
As far as sideman appearances go Hancock is great on this one; Chambers too.
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Creed Taylor's influence shows a little too much for my taste on that Thigpen disc. Tracks are somewhat short, rather polished. Herbie plays great, of course - he was like Taylor's house pianist at that time.
Yes, and HH stayed on for Creed Taylor's A&M/CTI stuff as well, through the early 70s I believe.
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Another new jazz title: Thelonious Monk with Misterioso, Monk in Tokyo (both discs), Monk and Thelonious Sphere Monk
...aka Monk's Blues!!! That is one strange record....
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I bought every Soft Machine LP as it was released. I'm definitely up for getting these five on CD. Thanks for the heads up!
Those Columbia records really are incredible, and a recent discovery for me.
When I was in and just out of high school 25+ years ago my best friend was really into prog, but he favored the first two, poppier SM records that I never liked.
That did it for me until a year or so ago when Third kept coming up as a "people who bought" suggestion when I was buying Larry Young records and stuff like that on Amazon. Finally bought it on a lark and fell in love with it and then bought the rest. I don't care what anyone says; the post-Wyatt stuff kills too, especially Seven. Karl Jenkins is a fine musician/writer/improviser.
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Would it have killed them to have done 6-disc sets, so as not to leave out the essential Atlantic releases Ornette On Tenor and Ole?
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Do you know this one?
It's excellent - one side of Ewart compositions and one side of Lewis's.
And how about:
Voyager. I can see some folks not liking this one, but it just fascinates me. Voyager is a musical computer program written by Lewis, designed to interact with an improvising musician. Lewis and Roscoe Mitchell each play four duets with Voyager, and it amazes me how differently the program responds to/interacts with each of them. The Mitchell/Voyager duets in particular are just amazing.
Yes, I've been listening to that first one a whole bunch. I was unaware of the Voyager/Mitchell recording but am now looking forward to checking it out. Thanks!
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Very fond of Waldron - nice and understated.
This one is a dream. It also has my favourite Charlie Rouse playing:
I saw Mal Waldron with Steve Lacy not long before his death in Brecon. Magical concert.
You were reading my mind on Seagulls.... What a marvelous record!
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I'm a big "Herbie on Blue Note" fan. Speak Like a Child remains my favorite, but IMO you can't go wrong with any of them.
Has anyone ever heard this record he played on as a sideman during the same era, one which is conceptually quite similar to Maiden Voyage?
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I realize I'm late to the dance on this, but I've been listening to quite a bit of George Lewis lately, especially his Black Saint records from the 70s and his more recent Lester Bowie tribute.
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Big fan; one of the first artists I started listening to post-children's music. My favorite unsung/underrated/"dark horse" Dylan album is 1978's Street Legal.
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don't think that thread was Blue Note specific, definitely started by jsngry with the kontomanou...
anyway this one would fit into that thread
That record is really good.
Gil Evans Orchestra's (not really) "Into The Hot" (1961)
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HAHAHAHAHA!
Nah, I have nothing against Carisi, but a lot of people who played with Miles Davis could fairly be referred to as "some guy," even Bennie Maupin who is one of my favorites. I far prefer Bennie's reed work to Wayne Shorter's but Shorter, because of his notoriety, could never be called "some guy". It's not really a value judgement.