Rooster_Ties

Scroll down a little. Can anyone be trusted who (plurality) refers to… LIMITED EDITION VINYLS ??!!!

The only one I have (so far), is the Joe Henderson double-disc — the only one I’ve heard too — and it’s been growing on me. The arrangements are pretty inventive, and may take a few spins to work their magic, but the magic is there.

I could probably use something like this myself. Even at the age of 53, I barely know anything about stereo systems — and I have to confess I’ve never owned a stereo system in my life, that wasn’t either an integrated system, like a bookshelf system — or a basic (cheap) component system that was purchased as a pre-matched set of components. I haven’t the foggiest notion of what works with what, or what to watch out for in terms of matching components with each other, or with various sizes/kinds of speakers, etc.

Ok, so that’s kinda crazy, and kinda amazing too! Check out all the details in the description of that YouTube video — from Discogs, and the Atlantic discography… https://youtube.com/watch?v=0WNp9ZZoaBs On my phone, or I’d cut-n-paste it all over here. What an interesting idea for a concept record — and by none other than King Curtis. That’s wild!

Yeah. Chuck was right, more like Urkel.

That’s how I first became aware of Sidran, back in my college days. Not really sure I’d ever heard his name before that. Come to think, I can’t swear if I’ve even seen one album of his while CD shopping — though I’ve seen a few here and there in the LP bins (but most of my buying focus as always been CD’s, at least since I’d gotten into jazz). Didn’t he close his interview with Miles asking about “Nardis” and his own name?

Gave Disc 1 a spin today. SQ issues be damned, there is some really fine music on these very earliest trio recordings with Billy Bauer. You sort of have to sonically fill in (imagine) what can’t quite be heard, but there’s plenty enough ‘signal’ to do so, imho. And I’m not otherwise used to hearing lots of historic recordings from this era or earlier (those of you who know my biases for jazz from the 60’s and later, and not much before the mid-50’s). But there is so much going on in the interplay of Tristano and Bauer, at least on some cuts. Anyone else revisiting this set again, and any further thoughts?

Looking forward to this, in about 27 hours!

In My Own Sweet Way is actually LIVE, but it's so incredibly well recorded -- you can be forgiven for not realizing and/or remembering. https://en.wikipedia.org/wiki/In_My_Own_Sweet_Way And it's a BRILLIANT album too -- probably the single best thing Woody did after his run at Columbia (and equally as good as much of that Columbia run too) -- highest possible recommendation. The trio behind him was a pickup group too, but they play like they'd been a unit for a few years (or at least some of the backing back was new to Woody that night iirc, or pretty close to it -- or one of the members was a last-minute sub, I forget the details). Fantastic album!!

Far as I know, it’s only ever been recorded three times. I highly recommend Neeme Järvi and the Detroit Symphony from 1992 — which has been reissued in at least 2 other forms (same recording, but paired with different works each time, often with Still and/or Ellington), and there was also a budget record-club CDreissue of the exact same recording (with a cheap looking B&W cover). On my phone, or I’d say more. It’s on YouTube a few times too — and I’m not sure if any of those uploads are perhaps of an otherwise 4th version that’s unknown to me.

Barcelona?

Nice!! Just seeing that the entirety of Side 1 is just Sal and Warne as a duo. Here's the whole thing. I'm not too far into the first track, but this is great!

Can anyone come up with any realistic, plausible ideas how this hasn't been issued officially?? I'm about the least knowledgeable person here about the Coltrane catalog -- beyond having a fairly “half-way ok” awareness of most of his Impulse, Atlantic, and Prestige output (but I only own about 20% of it, at most -- and I've only barely scratched the surface of the Impulse stuff, beyond streaming stuff here and there). But I'm listening to the YouTube clip above, and this is mighty interesting (if not quite my thing), and the sound-quality isn't terrible at all (even if the piano is under-recorded). Rights issues? Who would own the tapes? Who would have right to reissue it? Surely this would fall squarely under Trane's contract time-period for Impulse, so as I understand it, it's theirs in terms of who CAN release it -- or they certainly have right-of-first-refusal, though I'm pretty sure that's NOT quite how it works, I realize. But nobody ain't doin' shit with this (legit), unless whoever owns Impulse says OK, am I right? Would the family be blocking it? It just doesn't make any sense how this is still in the can.

I've loved Dawson's symphony for almost 20 years now -- and imho, it's one of the all-time greatest symphonies by any American composer. My other nominations might include Ive's 2nd (which feels more like a real "symphony" than his equally great 3rd and 4th), Sessions' 6th (or 7th? or 9th?), and Barber's less-well-known 2nd -- all off the top of my head -- ignoring some Europeans who took on American citizenship well into their adulthood. And I'm FINE if we want to turn this thread into a discussion of other top-drawer symphonies by American composers. A search on this forum on "Levi Dawson" will bring up half-a-dozen times I've waxed poetic for my love of this piece over the last 10-15 years. AND, this will be the very first live classical music thing my wife and I will have been to in over two years -- in just 3 days I get to hear the Dawson here in DC... https://www.postclassical.com/shows/hope-in-the-night Who else digs the Dawson??

This time tomorrow, it won’t be this time tomorrow. (Maybe only those of us here in the US who see this before tomorrow will get it.)

On a related note, how the hell has it been nearly 30 years(!) since this album came out? I got all four band members to sign it, at four entirely separate concerts (well, come to think of it, I got Al Foster to sign it one of the times I saw him with Joe, so at three concerts). And I was 24 when that album came out (which is when it got it, the very week it came out). That album is now 5 years older (now), than I was at the time it came out. Boggles the mind, how time flies.

I usually like but don’t always love Scofield’s sound (if I’m being honest, I probably rarely “love” it)… That said, I think it actually works (or, rather, I quite like it) on So Near, So Far. For one, it’s quite nice to hear Joe in a really rather different sort of context, in terms of timbre. I’ve also heard some circulating recordings of Joe with Scofield and this same (or nearly this same) rhythm section (sans piano) — but playing JOE’s regular songbook — and that stuff smokes!! I would LOVE if there were a legit live release of THAT band, let me tell you. I’ve had as many Scofield discs over the years that I’ve traded away, as kept — so I get what people are saying. But I really like the timbrel variety in this particular case, and the date is a winner in my book.

You know, I’d forgotten specifically who all was at this lunch —other than the people I was meeting for the very first time (you and your lovely wife, and I think this was the first time I’d met Eric too). A good time was had by all, and very fond memories. I didn’t know Bill as well as I’d liked to, but he will certainly be missed.

I knew Bill through the board better than in person, though I saw him at a few jazz shows about 5 times total over 8 years. He was a nice and thoughtful guy, and very kind. Joe, my dearest friend in Kansas City, knew Bill quite a bit better than I did — and he introduced us in about 2004 (and Joe called me about Bill’s passing last night). Bill and his (then) wife had an adult son with developmental challenges (who required their constant supervision), and they made the brave decision not to institutionalize him. This kept Bill from going to very many live shows (maybe once a month, at most). And I think every time I saw Bill in person it was at The Blue Room in KC (and he always brought his son with him, which was usually challenging, and only enabled Bill to stay for one set, at most — and sometimes he had to leave early even from that one set). But I never saw Bill ever complain, or show anything but an infinite amount of patience with his son. A truly remarkable father. I also never had the opportunity to get to know Bill much in person — and knew him far better from his presence on the board (and also on the Steve Hoffman Forums). Bill always seemed like one of the nicest guys you could ever think of.

So wait, then my dream of the trainwreck (from Aug 1968) getting a PD release from somewhere in Europe is off the table? (Half kidding, but half serious too.)

Wish you were looking for this on CD, as I think I might have an extra one, maybe still sealed even (iirc).

Just seeing the recent postings in this thread about the Cherry / Williams / Taylor titles — which I had noticed on the Dusty Groove site a few weeks ago. So, they’re NOT legitimately licensed?? Son of a bitch. So there goes my brilliant idea of trying to get them to license The Trainwreck and finally releasing it that way (via Hat). I’m mean, The Trainwreck deserves a proper Blue Note release (and cover!!) — but if the only way to get it out (legit) was via Hat, I would have taken it. But I guess that’s even more of a pipe dream than it already was (even if these Cherry / Williams / Taylor 2-fers were legit). ALSO, are those the only 3 BN artists Hat has done dirty like that? All this PD stuff rubs me the wrong way, and I try to avoid all of it like the plague.

Yup!

I’ve never heard the album, but I definitely enjoyed it as a concert experience. That said, getting the live album hasn’t been any sort of priority of mine — but if I ever saw it real cheap out in the wild, I’d probably give in and get it. I went never having heard Ponty — or YES (or Anderson solo) — live, in any context. And on those terms, it was a lovely night, in a small-medium size theater (The Howard, here in DC, barely a half-hour walk from home). All seated at tables, with table service — and they had hard cider too, on draft too iirc. It was nice!

Probably trying to make up for lost gigs during the pandemic. Can’t say as I blame anyone for that.