Rooster_Ties

Assuming arrangements are OK, I'm really fond of these piano four-hand arrangements of two Mahler symphonies... Mahler 6, arranged by Alexander von Zemlinsky Mahler 7, arranged by Alfredo Casella And I since I file this in with my classical CD's (and feel it's right at home in that section), I'll also mention... Anthony Braxton, Opus 95 for two pianos (Arista, 1980 - from the recent Mosaic) There's also a TON of Brahms arrangements for piano four-hands (done by Brahms himself), of all his symphonies, both piano concerti, and maybe a dozen other multi-movement chamber works. I have about half of them on various Naxos CD's, and they're lots of fun (particulary for the works with themes I really know by heart). Liszt also did solo-piano arrangements of all of Beethoven's symphonies, except the ninth - which is for two pianos, and lots of fun.

I generally love Hank's playing, no matter the year -- but I think Miles really needed particular kinds of foils in the front-line. I'm reminded of the contrast between Miles' playing in Stockholm in March of 1960, with Trane, vs. with Sonny Stitt in October of that same year (also in Stockholm). Trane was white hot, and Miles reacted on the bandstand in a particular way. Sonny Stitt bought less energy, and Miles had to rise to the occasion -- and in many ways, I prefer Miles' playing with Stitt (quite a lot, actually - Miles was GREAT with Stitt). It's been years since I've heard the Blackhawk recordings - but over the years, my reaction has always been that they lacked energy (they've always left me feeling "Kind of Bored"). I don't think you can pin that all on Hank, though I do think he's a factor. But if Miles had risen to the occasion, and played to balance Mobley's energy, I don't think there'd be the generally mixed opinions out there about the Blackhawk material. On a related topic, the conventional wisdom is that Sam Rivers wasn't a good fit with the band in '64 (or at least not with Miles), which I believe to be true -- but what might have been the problem more than Sam's (or Hank's) playing, was Miles' particular reaction to them on the bandstand. I do wonder what might have come from a (theoretical) Miles-lead studio session with Sam in the band, circa late 1964. While E.S.P. was a huge breath of fresh air, as compared to it's predecessors, it also isn't anywhere the level of interplay that Miles Smiles and Sorcerer/Neftiti brought. But I suspect a Miles studio album with Sam might actually have been more interesting than E.S.P. (if, perhaps, also more of a mixed bag). All that is to ask what a Miles studio album with HANK might have sounded like?

Has anyone ever seen this documentary? Or even any clips? I can't believe with all the digging I've done on-line over the years, searching for Miles-related footage on Youtube and other streaming video sites, that I've NEVER once seen any footage from the actual documentary that Miles did the soundtrack to. There's one Youtube clip with some footage of Jack Johnson, set to the Miles soundtrack music -- but it's clearly a fan edit montage kind of thing (here, fwiw). In short, I've always wondered about seeing/hearing the Miles "Jack Johnson" soundtrack, in its original context (arguably). I know the music wasn't recorded with the specific footage in mind (let alone with visual edits in mind), but the album does bear the name of the documentary.

Just saw an actual copy of this in an actual record-store bin last week (they wanted $25), and I couldn't believe Bennie Green had recorded for BN in the late 60's. Looking it up later, I was right, the album is from 1959. Never saw a date on the cover with the alternate design, so needless to say I was confused at the time. What's up with that? - and were there any other "alternate" Liberty designs in the late 60's (or early 70's) for BN dates from earlier in the label's history? Asking about straight-up reissues of single albums (with the exact same title), and with the exact same track-listings as the original, just with a different cover -- essentially a "repackaging" of an earlier album with a different design. Source of the alternate cover.

Whoah!

Did they play anything rare, or that hasn't been issued commercially?

Which reminds me (and I always forget), that "Dimensions & Extensions" didn't come out back in the day. Such an interesting date, in many ways, maybe Sam's first album that realy demonstrated his later writing for larger groups.. Because as much as I adore "Contours" -- among all is BN dates, it's only "Dimensions & Extentions" that really SOUNDS like the writing in Sam's latter, larger group sessions.

FWIW, video for Tanglewood '70 circulates (I had it on VHS 20 years ago), and I think is even streamable from Wolfgang's vault (and probably on Youtube). Pro-shot, two or maybe three camera set-up, iirc. Good stuff. Doubt it's ever been issued legit, though, anybody know?

...and Greg Osby

I blame Dookie.

Anything in the Sun Ra catalog qualify? Practically all the Sun Ra "with guitar" I can think of is either from his brief, late 70's 'disco' era -- and some rather 'inside' (if still quirky) players on several recordings in his last decade of Ra's work. Anything earlier?

I've heard the same thing time and time again, but there's this which I posted a couple years ago (here)... ===== Well, gosh golly, maybe there IS some evidence of BS&T with Joe Henderson... http://www.rdrop.com/users/rickert/fielder.html Jim Fielder Interview (by David Callow 10/99) Jim was one of the founding members of Blood, Sweat, and Tears, playing on the first six BS&T albums. Since then he has played with a large number of groups and has appeared on a variety of different recordings. Now, the questioner says "recorded" and also mentions "Salty Tears" (as if it's been released, and implying that Joe's on that one). But then Jim Fielder only says "rehearsed" (implying that everything in his answer was rehearsed, but NOT recorded -- although the beginning of his answer implies that all three were recorded). I'm afraid I don't know squat about BS&T -- is "Salty Tears" something that has been released from this era?? Also, FWIW, I'm pretty darn sure that "No Me Esqueca" (Don't Forget Me) is a later alternate title for one of Joe's very best known tunes, "Recorda Me", from his very first BN album (and damn near a jazz standard, by most measures).

Not to be a cliché of myself, but did Andrew Hill ever really have any "working bands" back in the 60's?

Well, since this config of the Jazz Messengers played more than just one or two gigs, I guess that narrowly counts as "working"... Source (click, then page-search on TW's name)

Joe Henderson's big band, which (iirc) rehearsed some number of times in the mid-to-late 60's (can't remember if they had any gigs or not). Not quite "working" - but the first thing I thought of.

Gosh, which ones did they have? I can't think of a record store I've walked into in the last 10 years with more than one Sam Rivers CD.

Unfortunately, the longer he's out, the more believable it becomes. As I said before, I really love post-1995 era Bowie (better than all his 60's/70's/80's output combined), and I'd love it if he'd come out with more.

"Lazuli" is probably my favorite of all his post-BN era recordings (confirmed just now, as I just noticed that I had him autograph my copies of "Lazuli" and "Fuchsia Swing Song"). Although, that was before I'd heard Aurora (Sam's pre-Select "Florida Big Band" date), which is a fucking MONSTER of a date. I haven't yet taken the plunge on the Select, but the second our house in KC sells, I'll be pulling the trigger for sure! I'd have to imagine that the RivBea Orchestra would continue without him. There had to be someone coordinating that effort (beyond Sam, or his daughter), and from what I've heard/read, it was a godsend to adventuresome musicians in the Orlando area.

Those guys' "reading chops" must have been out of this world, especially for their day.

For the last 10 years, and roughly in order of preference (though the differences are slight)... Woody Shaw, Billy Harper, Charles Tolliver, Andrew Hill (primarly BN-era Hill), Joe Henderson (especially the Milestone years!), Miles (especially post-1965 and 70's-era Miles), BN-era Larry Young, and John Patton.

Yes, a very good list!

I 'like' 70's Bowie (mostly, though not fanatically), but I really LOVE Bowie in the 90's and 00's. Seriously. Exepecially everything he's done in the last 20 years with Mike Garson on piano. He's a way better singer since about 1995, than he ever was in the first half of his career.

I'm a patient person about hearing the actual music, but WHAT in heaven's name is the unreleased Andrew Hill that was mentioned earlier, in conjunction with the earlier planned release of this unreleased Wes.

One of the giants. For well over 15 years, "Beatrice" has been one of my two* all-time favorite jazz tunes (and one I'll always request at the drop of a hat). Even had it played at my wedding (reception) in 2001, especially since it was named for his wife of 56(!) years. Got to hear Sam but once, his trio -- in Topeka, KS of all places, in 2008 -- and shook his hand, and he graciously autographed my copy of "Fuchsia Swing Song". Never dreamed I'd get to hear Andrew Hill, Grachan Moncur, and Sam Rivers - but somehow I heard all three (Grachan just a couple weeks ago). Sam's contribution to music, and to life, was nothing short of amazing. RIP. *the other being Joe Henderson's "Black Narcissus".