-
Posts
3,832 -
Joined
-
Donations
0.00 USD
Content Type
Profiles
Forums
Events
Blogs
Everything posted by Ken Dryden
-
Jason: Do you still have the Wycliffe Gordon: The Sidney Bechet Society (Nagel Heyer)? I sent a PM. I can send you a trade list of what I have to offer.
-
I disagree with BlueNote82's contention that one has to write some negative reviews or risk not being taken seriously. Some writers go overboard, seemingly rating everything 4 stars or more. I've never liked the star system, even though I've been required to use it by some publications. Allen, I'm curious as to which publication thought you wrote too many negative reviews. If you were being sent stuff blindly to review, I can understand that happening. I fully agree with you that there are a number of artists who devote way too much time and space to their own originals, which are too often mediocre. I can remember reviewing one decent pianist who also decided to write lyrics, there were so poor that they should have not been used. I don't want to discourage anyone from writing original material, but if you are new to the writer, you give him/her no basis for comparison if you don't play anything but originals.
-
I'm remember when I first got interested in learning more about Edgard Varèse after listening to Frank Zappa for a little while. I talked to my father and he pulled out a copy of The Complete Works of Edgard Varèse, Vol. 1, which he had purchased during the early 1950s at Sam Goody's in New York City. I always thought it was a tragedy that he destroyed his early compositions. I'm still fascinated by his music 35 years after discovering it for myself. I'll have to look around to see if anyone has recorded "Graphs and Time," as I'm unfamiliar with that Varèse composition.
-
Skimming a CD, book or DVD before reviewing is unfair to the artist/author/filmmaker's work. I agree with Allen Lowe, such sloppiness will often show (I probably mentioned the JT writer who didn't know the difference between Herbie Hancock's "Dolphin Dance" and McCoy Tyner's "Passion Dance" when the latter was labeled as the former on a CD). But when I recently heard fellow writers talking about listening to a CD numerous times before reviewing it, I chuckled to myself. Are they getting paid that well to write a CD review? Liner notes, on the other hand, take a good bit more hearings, unless it is a compilation of previously issued material that is very familiar to me, or in one case, a previously unreleased concert that I had recorded off NPR some 20+ years prior to getting the assignment.
-
I don't buy the idea that one must listen to a CD several times to review it. Great and awful CDs tend to reveal themselves quickly to me, it's the ones in the middle that are toughest. If I am very familiar with the artist and the songs performed, it is not going to take me as long to write a review as with a CD by musicians new to me playing originals. While I am not opposed to negative reviews, I usually find myself writing them only when I've pitched a review to a media outlet before I hear it. If I just don't like the performer, what's the point of covering him or her? The review isn't going to be of service to most of those who might read it. If I've written a strongly negative review of someone, I am unlikely to cover them again. In addition to the performances, arrangements and compositions, discussing of engineering, editing, liner notes, packaging are all fair game for criticism, assuming space is available. Misspelled names and incorrect song titles/composer credits are a huge pet peeve to me. Any time I read someone else's review, after I've gotten familiar with his or her writing style and taste, I want to know whether or not the CD/DVD/Book is worth purchasing. Most reviews can say enough to tell me that information within 300 words or less, unless it is a boxed set with many artists or multiple CD collection.
-
Denny Zeitlin's Columbia recordings will be in a Mosaic Select this fall, including an album's worth of unissued material. Confirmed by Denny during IAJE.
-
List updated I have the following CDs available for trade. Make an offer with your trade list if interested via a PM. Pianists: Kenny Drew: Undercurrent (Blue Note, non-RVG) Andrew Hill: Compulsion (Blue Note RVG) Keith Jarrett: Standards, Vol. 1 (ECM-BMG Club Edition) McCoy Tyner Afro Blue (Telarc) compilation Reeds: Charlie Barnet Cherokee (Evidence) Charlie Barnet More (Evidence) Booker Ervin: The Freedom Book w/Jaki Byard (OJC) Dexter Gordon Clubhouse (Blue Note RVG) Haze Greenfield Five For the City w/Tom Harrell (Owl) oop Joe Henderson Sextet: The Kicker (OJC/Milestone) Joe Henderson: Joe Henderson in Japan (OJC/Milestone) Jackie McLean: New and Old Gospel (Blue Note RVG) Archie Shepp Blase/Live at the Pan-African Festival (Fuel 2000) 2 CDs Ben Webster No Fool, No Fun (Storyville) Jack Wilkins Artwork Koch (not the tenor saxophonist) Brass: Louis Armstrong: In Scandinavia, Vol. 1 (Storyville) Louis Armstrong: In Scandinavia, Vol. 2 (Storyville) Louis Armstrong: In Scandinavia, Vol. 3 (Storyville) Chet Baker: Chet (Riverside 20 bit) Donald Byrd: The Cat Walk (Blue Note RVG) Kenny Dorham: Jazz Contrasts (OJC) Art Farmer: Farmer's Market (OJC) Dizzy Gillespie: Jazz in Paris-Cognac Blues (Univesal) oop Nils Landgren & Joe Sample: Creole Love Call (ACT) Jack Teagarden Has Anybody Here Seen Jackson? Jass oop Jack Teagarden 1944-45 Big T Jump Jass oop Guitar: Nguyen Le Duos: Homescape (ACT) Nguyen Le: Purple-Celebrating Jimi Hendrix (ACT) Big Bands/Large Ensembles: Thad Jones-Mel Lewis Detroit-New York Junction BN RVG Strings: Turtle Island String Quartet: A Love Supreme-The Legacy of John Coltrane (Telarc) Drummers: Art Taylor A.T.'s Delight (Blue Note RVG) Tony Williams: The Story of Neptune (Blue Note, non-RVG) Vibes: Lionel Hampton Hot Mallets, Vol. 1 Bluebird/RCA Lionel Hampton The Jumpin' Jive, The All Star Groups 1937-39, Vol. 2 Bluebird/RCA Vocalists: Bing Crosby & Louis Armstrong Havin' More Fun! (Jazz Unlimited) Miscellaneous: BeatleJazz: All You Need (VideoArts)
-
The curse of Concord? I would think that the Maybeck solo and duo series, sessions by Dick Hyman and Ruby Braff, Ken Peplowski, Howard Alden, the Dave Brubeck Quartet, Gene Harris (except for the last couple with the dull vocalist Curtis Stigers) and Jim Hall would be of interest to most jazz listeners, just to name a few. And don't overlook Marian McPartland. Scott Hamilton was obviously a favorite of Carl Jefferson and I enjoy him, though I think Ken Peplowski is a more intense tenor saxophonist.
-
Twilight World is an excellent trio session, opening with the title track, followed by "In the Days of Our Love" (originally titled "Interlude" when it was an instrumental) and Ornette Coleman's "Turnaround." Ms. McPartland has been a great interview and just fun to talk to any time I've had the opportunity. But one of my favorite moments was her putdown of a lousy Baldwin baby grand provided to her for a concert. Her comment during the soundcheck was priceless.
-
Marian McPartland just performed with strings in Columbia, South Carolina, a suite dedicated to Rachel Carson. She's got a new release, Twilight World, due out next month. I've already played the advance several times. I do wish the folks at Concord would get busy issuing more of her Piano Jazz programs on CD, and not just the rock/pop guests...
-
Why have I never heard of. . .Jerry Bergonzi?
Ken Dryden replied to Bright Moments's topic in Artists
I first heard Jerry Bergonzi with the Dave Brubeck Quartet when they performed in Atlanta in the late 1970s. I've long enjoyed his work and think he is more than a Coltrane disciple, particularly his recordings in recent years. Also worth checking out are: Fast Company (Blue Jackel) Standard Gonz (Blue Note) Peek a Boo (Evidence) Vertical Reality (Musidisc) On Again (Ram) Jerry On Red (Red) Lineage (Red) Most of these discs are likely to be out of print. -
I have the following CDs available for trade. Make an offer with your trade list if interested via a PM. Pianists: Kenny Drew: Undercurrent (Blue Note, non-RVG) Andrew Hill: Compulsion (Blue Note RVG) Keith Jarrett: Standards, Vol. 1 (ECM-BMG Club Edition) Mulgrew Miller: Keys to the City (Landmark) oop McCoy Tyner Afro Blue (Telarc) compilation Reeds: Charlie Barnet Cherokee (Evidence) Charlie Barnet More (Evidence) Booker Ervin: The Freedom Book w/Jaki Byard (OJC) Dexter Gordon Clubhouse (Blue Note RVG) Haze Greenfield Five For the City w/Tom Harrell (Owl) oop Joe Henderson Sextet: The Kicker (OJC/Milestone) Joe Henderson: Joe Henderson in Japan (OJC/Milestone) Jackie McLean: New and Old Gospel (Blue Note RVG) Archie Shepp Blase/Live at the Pan-African Festival (Fuel 2000) 2 CDs Ben Webster No Fool, No Fun (Storyville) Jack Wilkins Artwork Koch (not the tenor saxophonist) Brass: Louis Armstrong: In Scandinavia, Vol. 1 (Storyville) Louis Armstrong: In Scandinavia, Vol. 2 (Storyville) Louis Armstrong: In Scandinavia, Vol. 3 (Storyville) Chet Baker: Chet (Riverside 20 bit) Donald Byrd: The Cat Walk (Blue Note RVG) Kenny Dorham: Jazz Contrasts (OJC) Art Farmer: Farmer's Market (OJC) Dizzy Gillespie: Jazz in Paris-Cognac Blues (Univesal) oop Nils Landgren & Joe Sample: Creole Love Call (ACT) Jack Teagarden Has Anybody Here Seen Jackson? Jass oop Jack Teagarden 1944-45 Big T Jump Jass oop Guitar: Nguyen Le Duos: Homescape (ACT) Nguyen Le: Purple-Celebrating Jimi Hendrix (ACT) Big Bands/Large Ensembles: Thad Jones-Mel Lewis Detroit-New York Junction BN RVG Strings: Turtle Island String Quartet: A Love Supreme-The Legacy of John Coltrane (Telarc) Drummers: Art Taylor A.T.'s Delight (Blue Note RVG) Tony Williams: The Story of Neptune (Blue Note, non-RVG) Vibes: Lionel Hampton Hot Mallets, Vol. 1 Bluebird/RCA Lionel Hampton The Jumpin' Jive, The All Star Groups 1937-39, Vol. 2 Bluebird/RCA Vocalists: Bing Crosby & Louis Armstrong Havin' More Fun! (Jazz Unlimited) Miscellaneous: BeatleJazz: All You Need (VideoArts)
-
Due out this April 1st: Kenny G Plays Monk, featuring "'Round Noon," "Straight, No Changes," "In Walked Yanni" and "Pannedonica"
-
Having done a few interviews over the past 20 years, I can't say that I've read every article or interview transcription of any guest. It also depends upon what the editor wants for the particular publication or website. But it I can get an artist to say "That's a really good question, no one ever asks that," it is satisfying. Having a big collection of the artist's work is definitely of help.
-
LF/ Paul Gonsalves meets Earl Hines On Black Lion Cd
Ken Dryden replied to Jazztropic's topic in Offering and Looking For...
It's a shame that you've been stuck so many times. I have no use for sellers who don't regularly update their inventory, particularly the full time businesses that don't realize the inconvenience on the buyer's part. Right now I'm dealing with a seller who sent me an item that was described with totally different personnel and a song list, while the second order never arrived. And he wondered why I left negative feedback... Keep checking Cadence's clearance section on line, all sorts of things turn up there. Then again, I haven't seen that many Black Lion titles in used bins in the past few years. -
2008 New Orleans Jazzfest lineup announced
Ken Dryden replied to GA Russell's topic in Live Shows & Festivals
They ought to call in the "Heritage and a Little Jazz" Festival. Not one jazz artist in the first ten names mentioned, pretty sad. When I was attending Tulane during the 1970s, there were artists like Charles Mingus, McCoy Tyner and Eubie Blake taking part. Give me Monterey any day over this commercial, uninspired lineup at Jazzfest. -
New Milt Hinton Book
Ken Dryden replied to sheldonm's topic in Jazz In Print - Periodicals, Books, Newspapers, etc...
Thanks for sharing the information. I enjoyed both of Milt Hinton's earlier books and look forward to this one. -
No writer is flawless, but artists, liner note writers and record labels should be 100% sure that the titles and composers/lyricists are correct before they print the CD booklet and tray card. I check them as soon as I get an advance CD, while I'm listening to it for the first time. The reviewer ought to know the music. If you don't know Wayne Shorter's "Footprints" by its composer's recording, how will you recognize it on someone else's CD? I'm not talking about obscurities, like when Marcus Roberts recorded Duke Ellington's "Shout 'Em, Aunt Tillie," but compositions that should be in a well-rounded writer's jazz collection.
-
I may have brought this up in an earlier thread, but when Will Calhoun's Live at the Blue Note was first issued, the final track was listed as Herbie Hancock's "Dolphin Dance." I'm sure that most Organissimo Forum contributors, if they have heard this CD, recognized it as McCoy Tyner's "Passion Dance," which hardly sounds anything like Herbie's piece. But the JazzTimes reviewer evidently didn't have much depth to his jazz knowledge and commended the performance of "Dolphin Dance." I was surprised when my sarcastic letter to the editor was printed. One of many reasons I eventually cancelled my JT subscription.
-
I'm always puzzled when a liner note writer takes the information provided by the artist or label without question, which makes for embarrassing results when the song titles or composers are incorrect (or incomplete), along with forgetting to list some of the instruments. One recent gaffe by a well known liner note writer on a European release: Thelonious Monk was credited with writing John Coltrane's "Locomotion." Monk's piece is, of course, entitled "Locomotive." Evidently this unnamed writer didn't know either composition well enough to catch the huge differences between them.
-
I'm not afraid of admitting that my first time hearing Oscar Peterson perform in person blew me away and made me a lifelong fan. His recordings will stand the test of time and he is a true "giant of jazz." RIP, Oscar Peterson.
-
Clark Terry says more in one note than Wynton Marsalis can in a lifetime.
-
Our local Best Buy's CD selection is a joke period. Don't even get me started about their lack of valuable jazz, there's far too much crap by Kenny G, Jane Monheit and other lightweights.