Rooster_Ties

For some reason reading this specifically reminded me that it was a 4-5 nights a week gigging jazz musician (10-15 years my senior) back in Kansas City circa 1995 who, when I mentioned that I was increasingly trying to get into more complicated and modern string quartets, told me to listen to the late Beethoven quartets (but especially the Große Fuge) -- and also Alban Berg's Lyric Suite. I will never forget his exact words (and the look in his eye) as he told me "that Grosse Fuge, and Alban Berg... will. FUCK. YOU. UP!" No specific point, other than to relate a story and cool memory.

Wasn't it Schoenberg (or maybe Stravinsky - who also lived in or near LA around the same time, iirc), who semi-seriously thought he could write some movie soundtrack music, but had intended (or maybe actually fully wrote) some incidental music for a film, never having seen one frame of the movie in question -- ? Is that ringing any bells for anyone else? Not that he (whichever one of them it was) thought they were going to be the next Korngold. But that they quite seriously more than half intended to write a score for 'a film' without ever really writing it to go along with said film, in any traditional sense of how movies have nearly always been scored. I know I read/heard that somewhere -- and not just online -- but like way back in college, in my 300-level "20th Century Classical Music" class (which I took twice, actually, just for the fun of it -- under two different instructors, 3 years apart -- I audited it the second time). Hell, if I'd stuck around that college town long enough to see a 3rd professor come along to that tiny little Music Department (in the liberal arts college I went to), I sure might have audited it again several years later. God knows fully half the syllabus and required listening would have been different with each new prof.

Shame these two rare Japanese performances by and with Henderson are so impossible to get a hold of. To recap (from above): "Black Narcissus" recorded live with the same band (same date) as he album titled: In Japan (aka the album titled: Henderson's Habiliment as released in Japan, from which this tune might(?) have come (still to be confirmed, iirc). and the side-long version of "Dancing Mist" from the Masabumi Kikuchi date above (the one with 4-5 different lengthy versions of the same tune, across 2 LP's no less) -- see my most recent post above this one for details. About 32 minutes of material, just those 2 tunes combined (13:05 + 18:55 = 32:00 exactly, though presumably some of that is applause and such). But easily 30 minutes worth, FWIW.

I did bring in Mark's book yesterday, but they upgraded my work laptop to Windows 10 over the weekend, and I'm I'm still missing some things (the full version of Adobe, for one), so it may be until next week before I can convert a PDF to a JPG and get it uploaded here. Or maybe I can Rube Goldberg the thing, and get a screen-shot of the PDF, past it into Word, and then I'm not sure what next (cuz I need to pull just the image out of a much larger 11x17 inch scan of two whole pages of the book). If not, next week sometime then.

Though I know they're not that similar, I've always felt my my *initial* reactions to Mahler and Bruckner were both pretty similar. Long, sprawling works, heavy on chromaticism. "OMG, where is this going, and why the hell is it taking so long to get there??!!!" For a good 5(?) years Mahler never made any sense to me (I only dabbled a bit listening at home, but did hear 3 Mahler symphonies live over those early years for me, back in my 20's). Then quite suddenly, Mahler almost overnight "made sense" to me when I was in a performance of Mahler 8 (in the chorus). Not that it made any sense as we were rehearsing it over 2 months. But the week it started to really come together (when all the double-choir stuff started getting rehearsed together), and then with the actual orchestra -- and then the one (and only) performance -- VERY SUDDENLY Mahler just "clicked" for me. I think I heard Mahler 5 (live) a few months later, and I was totally smitten. I've even heard Mahler 7(!) performed live 3 different times -- and I was on the edge of my seat the entire time. Same with Mahler 9. Evening-long performances, that felt like barely 45-minutes. I've never had that happen with Bruckner for me, at least not yet. And I have to confess, I've not had the energy to try and force it (through home listening) in 15-20 years (or I guess you could say "not ever", which would also be technically true). I'm not a Mahler fanatic, but I'm half of one, certainly. But oddly, as I said upstream several posts, the only Bruckner I've ever really clicked with are his 10+ motets (or however many there are, and I've sung 6-8 of them over the years). And his one string quintet -- which is just glorious.

I'm hoping the entire thing is accessible via streaming at some point. Not pining for it or anything, and it wouldn't bother me a bit if it weren't ever available that way. But it'd be fun, as a diversion, just to dig into the whole bloody mess and see what's there. Maybe even put the whole 38 discs worth of material on "random" and see what comes up. Or spin (stream) a 'disc' every day until I'd heard the whole thing (probably take me 2-3 months, if I was honest, to get through that much material.

Yeah, I hear you there. I wish there was a better word for all my music. I feel more like a curator of an assemblage of music, and the "collection" is ever changing -- expanding, and periodically contracting too. And the collection -- in my mind, at least -- gets a little better, or more interesting with every addition (and some well-needed pruning too, every few years). I do call it a "collection" (for lack of a better term), and the museum I work for certainly has a significant collection (and that's the term of art), and we are a "collecting institution" So on the personal front, while I might have a collection, I absolutely do NOT consider myself a "music collector". THAT'S the term I hate the most - FAR more than "collection". I've known lots of music "collectors" -- and I really don't get on with them nearly as well. They're worried about this reissue, or that original pressing. And don't get me started with (some) audiophiles, many of whom seem WAY more obsessed with the provenance of how something was recorded and mastered/remastered, and who (often) seem not to give a whit about the music itself. Those people drive me up a wall. I've had more than a few "good acquaintances" who I never really became good friends with (good "musical friends"), because it was nearly impossible to interact with them for very long about things, give that our priorities were so different (if seemed to me), despite our both owning 2,000-3,000 (or more) CD's. (Don't mean to offend anyone here if you fall into any of these categories. Please accept my pre-apologies.)

Yeah, to be honest, Bitches Brew is something I just take in as a whole most of the time. That entire "Complete Bitches Brew" box, really, is ALL material that I just let wash over me, to a degree that's definitely different than most other Miles albums (or boxes). I've said it before, but Bitches Brew and that entire box is music I only listen to when I'm doing something else, usually something physical -- like cleaning the apartment, or lots of filing, or something where I've got a bunch of mindless work to get done over a whole day. And it's been like that for me for YEARS. None of the other Miles boxes are like that for me, but Bitches Brew is all just material I let wash over me while I gotta get other shit done. Doesn't work for exercising at the gym (at least not for me), or that kind of work -- but anything where I have to be productive, but not focus too closely on what I'm doing. As a result, I don't know that I could ID more than half the tunes by name any more (and I couldn't tell you which half of the tunes I'd get right either), other than "Sanctuary".

OK, you got me on Havens' "Freedom" and Santana's "Soul Sacrifice". I don't own either one, but they are certainly both memorable and exceptional. I'll have to stream TYA's "I'm Going Home" -- not recalling it (but then again, TYA rings no bells for me at all, generally speaking).

PS and BTW, the "unknown" drummer in the photo in post #1 of this thread looks VERY much like the drummer in the photo in Mark's Detroit book (different outfit/tie, but 80% sure it's the same guy). If that's the case, then the "unknown drummer" would be Roy Brooks.

I'd love to spend a month with an entire 38-cd set, but I'd be perfectly happy without most of it in my collection. The Hendrix is better on video (and the performance itself isn't spectacular, at least the lion's majority isn't). Not sure what else I'd really 'need' -- but it'd be a gas to hear the entirely thing sometime. *Once*

FWIW, there's a semi-similar photo (that was entirely new to me) on page 128 of Mark Stryker's new book Jazz from Detroit, with the following caption: "Tenor saxophonist Joe Henderson leading his quartet at the Blue Bird Inn in 1958 with pianist Kirk Lightsey, bassist Herman Wright and drummer Roy Brooks. Photo courtesy of Jim Gallert collection." I say only "semi-similar" because in the photo in the book, Joe is wearing dark (sun)glasses, and wearing a bow tie. BUT the stage background (with the diagonal lines in the back, and the small framed photo hanging on the wall on the left) are *identical*. The position of the piano is entirely on the opposite sides the stage (and facing 180° in the opposite direction). But the venue is 100% the same. Not proof it's Joe, but damn good circumstantial evidence if you ask me. Would have to have been in Detroit (and at the Blue Bird Inn), and probably in that same late 50's time-frame. HOLD UP! I just managed to zoom in on the picture in this thread, and I'm NOT sure it looks similar enough to the confirmed picture of Joe (in the Mark's new Detroit book). Facial structure, hair, and facial-hair are all different. I showed my wife too, and she doesn't think it's the same guy either. So given the venue is confirmed to be from the known time-frame when Joe was known to have played there (around 1958), I could see where someone could easily think that it was Joe. But I really DON'T think it is. Which means, of course, we have a NEW mystery. Who IS the tenor-player in the photo in post #1 of this thread?? (And can someone with mod-powers please change this thread-title to "Mystery tenor-player? - in photo from Detroit Blue Bird Inn, circa late 50's".)

Yeah, that Elvin session with Lee Morgan is probably favorite out of the entire Elvin Jones Mosaic (because of Lee Morgan), and it's a shame it's never been issued individually. Agree with you about those Mclean and Moncur dates too -- but that Elvin/Morgan date is really maybe the single greatest Blue Note date NOT YET issued individually on CD.

OK, NOW you gotta explain what the "Now Sound" section is -- ??

Lovely track! By any chance, is this available on any compilation CD's (various artists)? Not sure I need a whole disc of this, but it could be a nice part of a bigger overview of some sort, I can imagine.

Personally sent 2 CD's from the US to the UK in the last year, and I think shipping ran me just slightly over $20 (and that was the very cheapest USPS option). Even asked for 'media mail' - which they said wasn't available from US to UK. Absolutely could not believe it, but I gritted my teeth and got out my credit card.

I don't think Terumasa Hino and Mal Waldron recorded together more than twice (are there any others?? - besides Mal's Moods (1978) -- and Reminicent Suite (1973) on which they're billed as co-leaders)... ...but the results were fantastic in both cases. I'd pay a pretty penny for a legit CD release of Reminicent Suite (which has never been on CD).

"Regular liver?" That's almost as good as when we take my 90+ yr old father out for a nice dinner, and he always asks the waiter about whether they have any "regular beer" on draft? No joke either, he's deadly serious. Despite my father being a second generation American of 100% German stock, what he's talkin' about is Bud, or Old Milwaukee, or Stag, or maybe a Pabst. You know, "regular" beer.

So, has there been anything more said about this, specifically RE: Blue Note??

I have all but one of Ranelin's post-1995 leader-dates on CD (~5 discs, iirc), and they're all uniformly outstanding.

Which came first, the chicken or the egg??

So somewhere I could have sworn I read 'somewhen' (eons ago), that the song "Soul Makossa" spawned a slew of covers specifically because the song was never copyrighted (or copyrighted properly), or something like that. All I remember is that the song was considered 'Public Domain' from the git go. Does that ring any bells for anyone?

No musicians, but too good a commercial not to share somewhere...

More than half seriously, who isn't terrible in that OP ad for Bud?

Close enough for jazz?