Rooster_Ties

Just today I noticed Blue Mitchell's "Bantu Village" here on the Dusty Groove site, first time ever on CD (far as I know). What ELSE -- what other BN titles have come out on CD for the very first time, say, over the last five years or so?? Many thanks for helping develop a list. Anything within the last 5 (make that 10) years or so, though that's not a hard cut-off date. But especially anything reissued by a label OTHER THAN Blue Note (stuff beyond the RVG series here in the US). Titles that may have been part of some long-out-of-print Mosaic (as their only prior CD issue) can also be included.

Was just transfering the entire McLean 64-66 Mosaic to my ipod, and pasting in cover-art for each of the albums - and stumbled on this homemade cover (through Google image search), which isn't half bad...

Although the entire Amy Select is enjoyable -- I'd have to say that "Groovin' Blue" plus the West Coast Classics issue of "Katanga!" (with its bonus tracks that feature Marcus Belgrave) -- are collectively the cream of the crop.

Never did, maybe I should.

any more thoughts on this?

This one?

I would have liked to have heard Bennie Maupin on tenor with Miles, and particularly live. Maupin brings it on Chick Corea's "IS" sessions (with Miles' actual 2nd quintet rhythm section), and with much of the kind of energy that Shorter brought around the same time. I think Bennie would have been an interesting sub for Wayne.

I brought this up before (here), but... "Lord Sideways" (Albert Dailey), from Ramon Morris' mid-70's Groove Merchant album "Sweet Sister Funk" (with Dailey on piano on the date) and "Love Dance" (Joe Bonner), on Woody Shaw's 1975 Muse album "Love Dance" (with Joe Bonner on piano on the date) Which one is the correct writing credit? - since both can't be right. They are the exact same song, same vamp, same head, the whole enchilada.

How about the Ornette of '73-'79 (Dancing in Your Head, Body Meta, Tales of Captain Black, Of Human Feelings -- take your pick)... ...with the Miles of '71-'75 (not sure which year would be the best fit though). I'm thinking more of Ornette jamming with Miles and one of Miles' 70's bands (which I could actually sorta see), though it's mind-boggling to try to imagine Miles trying to play with Ornette and Prime Time.

OK, we all know Miles was searching around for various suitable sidemen after Trane left in '59, until he assembled the complete 2nd Quintet in 1964. So who ELSE (besides the people he actually recorded with) would have been interesting to have heard play with Miles especially during this 1959-64 timeframe? And who (else) would have stood a chance in hell of fitting with Miles (or at least half-way) during his 'Seven Steps to Berlin' period? And how about with Miles after '64? I'll answer both questions with Grant Green (because, in some sense, there are two Grant Greens. 1) The more straight-ahead Grant Green of '62, '63, '64 would have been interesting to hear with Miles (though I'm not sure the Miles of '64 (with Sam and then Wayne) would have quite worked with the Grant Green of '64). And 2) the more funky Grant Green of '69, '70 and '71 might have been interesting somewhere in there with the Miles of '67/'68 (thinking primarily of Miles very first recordings with guitar in 1967 and '68, shortly after "Nefertiti"). Would it have been a great fit? - probably 'hell no' - but perhaps it could have been interesting. Anybody else? Answers certainly don't have to fit into both/all "Miles" time-frames.

Saw this on the Hoffman board, any ideas? "Hollywood Blues" - 1969 Hollywood Recording Session - Wrecking Crew? Youtube description:

(source)

Now we're getting somewhere. Never imagined that this had ever come out on home video.

For me, the BIG draw on this Amy date is Carmell Jones. Bobby gets about average space (and no more), but Carmell is playing as great as ever, IIRC -- and the date is second only to Katanga!, as far as Amy dates go in my book. A real winner, and a highlight of the Amy Select. The Anderza is a good one too, that I probably don't play enough.

Had to post this somewhere. Not a pic, I know, but it's my thread...

I've never been certain how much to attribute to Hank, in regards to the arrangements (I'm not sayin' they're not his, just that I wasn't sure). But I've always thought "Slice..." and "Third Season" were the apex of arranging out of all his leader-dates, and a big part of the reason they're easily my two favorite Hank dates. On a different subject, are/were there any published interviews with Hank, especially from the 60's? Other than maybe a few quotes in some liners, I'm not sure if I've ever heard anything he had to say about music (or anything else).

a WWI trench soldier plays a homemade cello made from what appears to be an ammo box (source).

Bass clarinet choir... Note the couple contrabasses in the back row, on the left. (click image to enlarge)

Yes, perhaps part of Hank's appeal (especially over the last 25 years) is that he was on Blue Note -- but it isn't just which label he was on - but the consistently solid sideman that appeared on nearly every one of his dates (since he was practically always on Blue Note). Face it, Hank wouldn't be as highly revered if half his dates had been on Prestige and other lesser labels. In fact, Hank's lack of "band leadership" acumen (in combination with being on Blue Note, with their session 'rehearsal' policies) may have ultimately lead to much greater variety of sessions, and all of them with a higher quality of sidemen. And let me be the first to suggest that Andrew Hill benefited greatly from all of those very same things. There's NO way Hill's music would have worked on a less supportive and 'nurturing' label, or (frankly) with less sympathetic sidemen.

Another interesting clip of Tom Jones with Crosby, Stills, Nash, and Young - that showed up recently on the Steve Hoffman Board... http://www.youtube.com/watch?v=9Kg0v0Er8Ak

How about Ives' piece(s?) for two pianos, tuned one quarter-tone apart? There's also a similar piece I remember by John Corigliano, where the conclusion ends with the the famous "doxology" theme, with each fragment of the famous melody stated in segments that go up in quarter-tone increments. Hard to explain in words, but imagine this (where each "^" means the tonality of the melody goes up one quarter tone)... "Praise God from whom all blessings flow" (^"...blessings flow"). ^"Praise Him, all creatures here below" (...^"here below") ^"Praise Him above, ye heav’nly host" (...^"ye heav'nly host") ^"Praise Father, Son, ^and Holy Ghost" ...or something like that. The whole thing speeds up too, so it sounds like a tape recording going faster and faster and faster.

I'm not sure I 'get' the cult of Mobley, least not on a deep personal level - but the existance of it bothers me not one bit. I've got his entire Blue Note output as a leader, and probably at least 85% of his BN sideman dates (and 100% after 1960) -- and most of it is pretty darn good. FWIW, "Third Season" and "Slice of the Top" are my two favorite of his leader-dates. Now the cult of Andrew Hill, I not only 'get' that, I think I invented it.

Even more curious that with everything else under the sun turning up on-line (not legit, mind up, but Youtube uploads and such), that no footage from this doc has ever surfaced on-line, far as I can tell.