Rooster_Ties

This just in from Jazzmatazz... <span style='font-size:14pt;line-height:100%'>NEW Herbie Hancock - The Piano (Columbia/Legacy) Aug 17 — expanded edition</span> (wonder if that means any bonus material?? - RT) ( also this too: Herbie Hancock - VSOP - Live Under the Sky (Columbia/Legacy) Aug 17 ) I've never heard "The Piano" before, but on paper (or at least from the AMG review) it sure sounds interesting, especially "side two"... Only a few short weeks ago did I ever hear Herbie's first trio album (of those released on in Japan in the 70's and 80's), meaning the one from 1977. I really love it, and here's the AMG review of it... Herbie also did another trio album (for Japan only) in 1981. Although I think the trio date from 1977 is stronger and more interesting, I do like the one from '81 too. (No AMG review, but here's the cover.) ============================= So, let's discuss all things related to Herbie recordings on acoustic piano in the 70's and 80's. What's worth getting?? What's really interesting?? When did he take chances?? How good is "The Piano"?? Sideman dates with Herbie on acoustic piano are fair game too. I'm especially interested in hearing about any other solo-piano dates, or any piano-trio things I might not be aware of otherwise.

I was at work in a 20-story building here in Kansas City when there was a bomb scare several years ago (well before 9/11). It happened around 2:30pm, and everyone had to leave the building. After about one hour, people who normally to work fairly early were already at the end of their day -- but they wouldn't let anyone into the parking garage (under the building) to get their cars. You can imagine that people were NOT at all happy about that. It's one thing to get to spend the afternoon out in the sun, now working -- but entirely another to be told you can have your car for at least another hour after you normally get off work. I think they finally sounded the "all clear" and let everyone get their cars around 4:30pm. Me??? I lived only one mile from work at the time, so when 4 o'clock rolled around, I just walked home -- cuz I had walked to work in the first place that day. None of us thought it was vary scary, but this was pre-9/11, remember. Not sure what the reaction would be now, though I suspect it would still be somewhat similar, actually.

I dare you ... After a few drinks I'll have enough nerve. Yeah, but will you have any of your front-teeth left after you ask him??

FYI, there are a couple different versions of this concert floating around (multiple versions on silver-discs even, I'm not talkin' just CDR's). I used to own the "Jazz Birdies of Paradise" disc of this show, which has decent (but not great) sound quality. But then a few years later I found another silver-disc (I'm just using that term to denote a non-CDR) of what turned out to be the very same show (didn't realize it was the same show at the time I bought it, however). This 2nd silver-disc of the same Antwerp show that I have isn't listed on the Miles Ahead website, and I'm not sure a "label" is even given anywhere on the disc (the packaging is pretty plain, and the disc itself is only stamped with one word, "Antwerp" on it, and nothing else). But the sound quality is much better than the "Jazz Birdies of Paradise" one. In fact, it's nearly as damn good as the "No Blues" show in Paris on 06-NOV-1976 (which sounds incredible!!). Both dates are highly recommended, for both the performance itself, and the sound-quality.

October 28, 1967 -- Antwerp November 6, 1967 -- Paris July 25, 1969 -- Juan-les-Pins Complete list of other possible choices can be found HERE. (Note: Link includes all sessions, both live and studio.)

Had to vote Pop/Rock, based on my current interests (over the last couple years), but if you had asked me the same question anytime between about 1998 and 2002, I would have said Classical.

Got storm-windows?? I think they help. We generally keep the storm-windows on all year round on the east side of our house, that faces the street (and our bedroom is on that side of the house, right at the front). In the summer when it's cool enough to NOT run the A/C, we only open one window (the farthest from the street), and run an exhaust-fan for air circulation. We don't live on a really busy street, but it does get some traffic at all hours, occasionally with loud car stereos (maybe twice per night).

By the way, in case anybody overlooked it... There are three full-length tracks available at the link in the very first post in this thread. The tracks are in the Real-Player format, FWIW. These links (below) should work, but if not - just go to the page from the link in the first post, and look for the titles on the right-hand side of the page. >> Flying in the Sky >> Do To >> Yesterday Tomorrow Enjoy!!

I thought the consensus back on the old BNBB was that Jackie was very possibly of mixed racial decent. In fact, I think the consensus was leaning more towards "probably". In any case, ever since I read that discussion on the BNBB (circa 2000 or 2001), I've accepted this as the most probable answer. Does the "way back when machine" have anything about this from 2000 or 2001?? (I've forgotten where the link is, or how to search to search for things (or if searches can even be done).)

Oh man, I hadn't realized this was coming out as a real release. I've already got a burn of this show (excellent sound quality), and it's definitely a keeper. And I think most of the tunes were composed especially for the event, so this is probably material that's pretty much exlusive to this concert (or at least this release). If anybody has any tips for how to track one of these down, I'd be interested in the info. The burn I already have is fine, but I'd rather own a legit release -- unless it costs a huge bundle to get. Thanks!! PS: I wonder if this is a release of the full concert. What I have from this show is 2 CD's, and roughly 100 minutes of music (if I remember right). Can anybody tell if the legit release is one or two CD's in length?? EDIT: Here's what I think is the concert program, from the actual concert (PDF format): >>CLICK HERE<<.

Whew... The board's back up!!! I lurked on AAJ a time or two, but it just wasn't the same. Glad things are back again!!!

Washed all the windows, storm-windows, and screens on the first floor of our house, outside and inside (took nearly all day on Saturday, about 6 hours -- quite a few windows). More to come, if I can think of four other things worth mentioning...

GREAT DISC!!! !!!!!!!!!! Good price too, especially since it includes shipping. Somebody get on it!!

Possibly my favorite Hutcherson-lead date, ever (BN or otherwise). An RVG of this would be great!! Sessions like this deserve MUCH wider availability.

From Joe's/Spontoon's weekly jazz column in tomorrow's KC Star... • The San Francisco-based free-jazz group Sound on Survival makes a return appearance at 10 tonight (Friday, May 21st) at the Hobbs Building, 1427 W. Ninth St. in the West Bottoms, after the opening of David Ford's new art exhibit. The group features saxophonist Marco Eneidi, bassist Lisle Ellis and percussionist Peter Valsamis. "Oh, Tom!" is gonna try like heck to be there. B) EDIT: Note, this is a different venue (and time) than was in the original announcement (up above). I know Joe can't make it. Eric?? Paul??

Posted on Fri, May. 21, 2004 KC-connected pianist gets major label attention By JOE KLOPUS The Kansas City Star Kansas City jazz fans have known about his piano prowess for years. Now everyone will know. Eldar Djangirov has a contract with a major record label, at age 17. Sony Classical has already recorded the first disc in a multi-album deal for the pianist, who'll be visiting his old stomping grounds in Kansas City and Topeka again next week. “We did the album at the beginning of April,” he says on his cell phone from Miami, “with Todd Strait on drums and John Patitucci on bass, and Michael Brecker on sax on one tune I wrote, ‘Point of View.' ” That's pretty fast company. Patitucci is the astonishingly skilled player who has floated bands for Chick Corea and Wayne Shorter, while Brecker has taken home more Grammys than just about anybody who isn't Pat Metheny. And Strait's excellence, while not acknowledged by the worldwide jazz community yet, is apparent to everybody who has heard him. [RT here: Joe's right (as always!), Todd Strait is a fantastic drummer, easily one of the best (maybe the best) drummer in all of Kansas City - probably for the last 10 years or so.] Djangirov (pronounce it “john-GEAR-off”) was already a recording veteran; he made two self-released CDs when he lived in Kansas City. It turns out, he says, that the big record company has had its eyes on him for quite a while. “Actually they found out about me when I was about 11,” he says. “To make a long story short, we decided that when I was about 17 it would be the right time for me.” And that's how things worked out. The Sony recording session went smoothly, says the pianist, who was born in Kyrgyzstan and lived and learned in Kansas City for five years before moving to San Diego last year. “We did the album in New York,” Djangirov says. “We started at 11 a.m. Tuesday and were done by 4 a.m. Wednesday. We made it an intense day and night. “That's how I liked to do my previous albums,” he says, pointing out that his second, “Handprints,” was recorded in a single day. “You get into that musical extra dimension, where everything is flowing.” And the musical personalities meshed, despite having a 17-year-old leader and sidemen in their 40s and, in Brecker's case, 50s. “It was a fun process because I'd never played with John Patitucci before,” Djangirov says. “I got to learn so much more, hearing things from John's perspective. You're just in awe to talk to him. “And Todd's a great person. He's been a great mentor to me since I was 13. “Michael Brecker's a really nice guy, and, man, can he play! He's got that big, fat New York sound, and he's got chops that'll blow you three miles out of the way. … He was doing all those amazing Michael Brecker things, and it was so effortless.” The album doesn't have a title yet or a release date, though late August seems likely, Djangirov says. The song selection is in line with what he has been playing in concert for the last three years or so. “I tried to do an eclectic repertoire. Jazz standards like ‘Maiden Voyage' and ballads and Latin tunes and four originals.” The originals slated for the Sony album include “Raindrops,” a tune Djangirov wrote not long after moving to San Diego last year, thinking about things he missed in Kansas City. The pianist is finishing his junior year at Francis Parker School in San Diego and not letting his touring schedule (Maui, Miami and New York in just the last couple of weeks) get in the way of his studies — nonmusical and musical. “I haven't had a lot of chances to practice three hours a day lately. I've been on the road. But whenever I have enough time, I put in three hours a day. I get some discipline in there, keep my chops in place, learn new tunes, write. It's refreshing to get back to the instrument.” Once he's out of high school, he says, he plans to “keep doing music. I'd like to go to college and have a community with jazz players my age, to see who's out there. “I'm going to keep doing what I love, and not stopping.” Djangirov plays at the Blue Room in a trio with Gerald Spaits on bass and Tommy Ruskin on drums on May 28; tickets are $10 and are sure to go quickly. Then on May 29, 30 and 31, he plays at the Topeka Jazz Festival.

from CNN: Abandoned girl's parents come forward

I usually don't care for electric bass with acoustic piano all that much (but even that's not a rock-solid rule). Other than that, it all depends on the vibe of the session, and the quality of the players.

I'm 35 (born in early 1969), but I'm fortunate to have friends who are anywhere from about 25, on up to about 55 or even closer to 60. I was an only-child, and my parents were roughly old enough to be my grandparents (my mom was in her mid thirties when I was born (I think 36), and my dad was about 40). As a result, anybody 10 or 15 years younger than my parents didn't seem quite as 'adult-like' as I viewed my parents (as I was growing up). Thus, while I was growing up, 'young adults' (anyone in their 20's, even late 20's), didn't seem as different to me, as they might have otherwise. Also, my primary social outlet while I was in high-school, was a community-theater group where the typical ages were anywhere from mid-to-late 20's, on up to 30's and even early 40's (lots of early 40's, actually). THOSE were my "peers", so to speak, during my last three years of highschool (or so I thought). When I was 18, I thought I was 28, and acted a lot like it too. Currently, one of my best friends (who I know through our mutual love of jazz), is a college professor who is in his mid 50's (and no, he didn't teach where I went to college). Another good friend of mine (we have a mutual interest in 20th-Century classical music) is also in his mid 50's. I've also been lucky to have recently met some really great people who are a bit younger than me (in their mid-to-late 20's), who really seem like they're in their 30's. Come to think of it, most of my friends are either older, or younger than me -- and only a few are about my age.

Well, there's always the Kansas City Blues and Jazz Festival. Or the Kansas City International Jazz Festival. Or even the 18th and Vine Jazz Fest. (All of which I used to enjoy, nearly every year, ever since I moved to Kansas City in 1994.) No, wait!! After 2001, none of those are being put on any more!!!! How could Kansas City go from having two reasonably darn good jazz festivals per year (and once or twice, even three!!), to having NONE. ZERO. ZIP. NADA. NOTHING. Of course, there's always the Corporate Woods Jazz Festival, out in the 'burbs, in and amongst a bunch of totally sterile glass-face office buildings (without a hint of personality to them either, I might add), in an "office park". And of course, they only book local acts, and 75% of them are "feel good" groups, that play some serious "feel good" music, doncha know. Something seriously wrong with this town. Joe?? Paul?? Eric?? Brandon?? Any thoughts??

Moscow. >> Cuz I really don't wanna hear all the bitching here in the U.S. if France gets it. >> And Spain had it 1992, so they don't need it again so soon. >> And frankly, I don't think the U.S. or Great Britain deserve it (for reasons I won't get into in a non-political forum). So, then, what does that leave?? Russia!!

Man, this is just calling out for an internet prank: a website devoted to the session, "reviews" of the session planted here and there (could we get one in AMG?), even an OOP listing on Amazon. If it becomes "real" enough, maybe Michael would *have* to release it! B) I think we have ourselves a project in the making, ladies and gentlemen. So, how should we proceed?? (But first, let's NOT clutter up this thread too much. So, if this idea gets legs, it really needs its own thread.) More ideas: Get a fake review posted on AAJ (should be easy enough to pull off, either with or without Mike's knowledge). Maybe, if we get this thing going strong enough, we could even Google bomb the phase "Blue Note" -- so that searches for that key turn up multiple reviews of the infamous Tyrone Washington "Trainwreck" sessions.

on Nonesuch. Wouldn't have guessed that one in a million years. (Or is there something obvious that I'm missing. Wouldn't be the first time, that's for sure!)

I find Booker's The In Between to be a rather schizophrenic album. Not to say that it isn't good (cuz it is!!), but it's funny - about half of the tracks are really fairly progressive, with both aggressive playing, and some fairly forward-thinking stuff going on ('context'-wise, as much as solo-wise, especially with Richard Williams). And yet, the other half of the tracks are much more 'inside', and something that wouldn't bother your mother-in-law one bit, as background music over dinner (if played quietly). Don't get me wrong... I'm not doggin' the album, cuz I dig it, and always have. It just seems odd that there's such a wide range of 'insidedness' and 'outsidedness' goin' on here. It's almost as if it can't make up it's mind what it wants to be --- progressive, or conservative. It's kinda both, kinda 'in between'.... Hey!! - wait a minute!!