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king ubu

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  1. I was posting this while elsewhere this other thread got started: They took Max Sad news Thanks for all the great music, Max Roach!
  2. some background reading: http://memory.loc.gov/ammem/aaohtml/aopart9.html the cover - one of my favourites: Since this is sarting halfway into the week only, I still hope some will be able to give this classic album a spin and post some thoughts. I haven't actually prepared anything on such short notice, but I'll try and spin it again soon. So for now, just a couple of impressions: Coleman Hawkins' tenor solo on "Driva Man" smokes! It's one of the strongest statements ever committed to record by Hawkins, in my opinion. It's full of raw emotion, once he even squeaks, but doing a re-take was no option (I think they offered it to him but he didn0t want to do it again). Also how Max stresses the first beat in this 5/4 number, so as the old Hawk doesn't get lost is creating a great kind of groove, kind of a stop and go feel which I love. Then there's Abbey Lincoln... I never liked her, the one two/third of her Riverside albums and the Candid album are just so-so, I think. But hell, that was a long way from the bar singing stuff she did, looking cute and singing nicely, to the extremely emotional "Tryptich" on this album! That track is still now hard to take for me, it's just too much, actually, too much emotion, too much screaming... but it's real. One last thought for now: the afro stuff on the second half fits in with the general black movement and all in all this album is one of the highwatermarks of politically engaged jazz, for me. But then it's so good on a musical level, it could be about any kind of crap... but probably if it had been, it wouldn't have ended up being so good on musical terms... anyway, there's the Rollins Freedom Suite and a few other things from the era that I love, most notably the 1960 Randy Weston album "Uhuru Afrika" (Roulette, reissued on the Weston Mosaic Select). That Weston album should be much better known and be part of the "canon" together with the Rollins and Roach Freedom Suites, in my opinion!
  3. disc 2 now, once again leaving out the McFarland - don't feel like more than a trio right now... Go ahead, put me out of my misery. The McFarland session is one of the tops in terms of my favorite Evans session. Oh yes, I know... I left it out last time I made an attempt to dig into the Verve box and you (and also some others, I think) told me not to neglect it... anyway, I want to play the main beef and I'm in for some piano music, so it's the trios (plus solos / overdubs, will also play "Intermodulation"), but I'll leave the larger bands and the Zetterlund session for now. At this moment I'm into "Trio '64" and like it a lot more than last time!
  4. disc 2 now, once again leaving out the McFarland - don't feel like more than a trio right now... and at this moment it's "Round Midnight", the opening number of "Conversations with Myself".
  5. I've heard her on two radio broadcasts - she's great, in my opinion: A 32 ans, « Uncaged » marque pour Sophie Alour une étape décisive et audacieuse de son itinéraire. Si elle apprend la clarinette dès l’âge de 13 ans dans une école municipale de Quimper, ce n’est toutefois qu’à 19 ans qu’elle découvre le saxophone, et décide de s’y consacrer. Quelques incursions dans des écoles de jazz comme le CIM ou l’IACP sont des entorses à une formation avant tout autodidacte. Ces années d’apprentissage se concluent en 2000 par un passage à l’acte ambitieux, puisqu’elle participe à création du désormais légendaire Vintage Orchestra au sein duquel elle côtoiera entre autres Thomas Savy, Fabien Mary, Jerry Edwards et Yoann Loustalot. L’année suivante, Sophie Alour crée un sextet avec Stéphane Belmondo, et, toujours en 2001, joue aux côtés d’Olivier Zanot dans la formation Manita de Jean-Daniel Botta, avant d’intégrer d’un même élan le big-band de Christophe Dal Sasso et des frères Belmondo. Au sein de cette formation, elle enregistrera l’album « Ouverture » et se produira à Marciac, au Parc Floral, ainsi qu’une fois par mois au Sunset pendant plusieurs années. Une nouvelle étape est franchie quand Rhoda Scott l’engage pour former en 2004 son quartet, au sein duquel elle va prochainement enregistrer. Lorsqu’elle ouvre, aux côtés de l’ambassadrice de l’orgue Hammond, le Festival de Vienne 2004 sur la grande scène, Sophie Alour commence à s’affirmer comme l’une des plus voix les plus prometteuses de sa génération. Elle remporte ainsi la même année le Tremplin Jazz de Vannes, joue dans le big-band de Wynton Marsalis, et participe au projet chanté d’Aldo Romano. L’année 2004 se conclut par l’enregistrement avec le guitariste Huggo Lippi d’une maquette qui, écoutée par le label Nocturne, aboutit à la production de son premier album en leader, « Insulaire », publié en 2005. L’accueil enthousiaste que la critique lui réserve en tant qu’instru- mentiste ne doit pas faire oublier que huit titres sur dix sont des compositions originales, et qu’Insulaire marque aussi l’avènement d’une brillante compositrice de thèmes inspirés et évocateurs. Sophie Alour n’en continue pas moins son exploration de toutes les facettes du jazz actuel, et on la retrouve aussi bien sur le disque d’Alexandre Saada « Be where you are », que dans le Pepper Pils, le big-band électro de Benjamin Roy avec lequel elle enregistre l’album « DJ Killer ». Tandis que ses prestations en club se multiplient devant un public toujours plus nombreux à la découvrir ou à la suivre de près, elle invite un soir des musiciens à jouer à ses côtés : Laurent Coq (piano), Karl Jannuska (batterie) et Yoni Zelnik (basse). Ce soir-là, une rare alchimie se produit : une cohésion fusionnelle soude le groupe auquel il ne manque plus qu’un ingrédient iconoclaste pour expliquer la genèse d’Uncaged. Cet ingrédient, c’est le guitariste Sébastien Martel qui va l’apporter de la scène rock. Autant d’incitations à ne pas démêler ce qui, dans ce deuxième album relève encore de l’improvisation plutôt que de l’écriture. De la déclaration de guerre ou du récit de paix. Derrière le parfum sulfureux de dissidence contre des formes trop explorées, on décèle dans Uncaged une Sophie Alour aguerrie, tenant les promesses de son passé, et décuplant celles de son avenir. ("biography" taken from her website)
  6. king ubu

    AOTW

    I'd have an album to nominate: Max Roach's "Freedom Now Suite"... I guess that's one that many people have, so we could do it immediately, but I don't want to show my non-britishness by not queuing correctly...
  7. The Complete Bill Evans on Verve - disc 1 the opening track is great, and Manne is a perfect match for Evans, in my opinion!
  8. Today's Evans' birthday - coincidentally I've been playing his music all day yesterday, this morning, and plan to continue until tomorrow... I started out with the post-LaFaro dates on Riverside and am now coming to the end of the last disc. I like both the Israels/Motian and the Israels/Bunker trios a lot. The solo session has some very fine moments, too. The quintets though don't really work... at least the one with Hubbard leaves me pretty cold, the one with Zoot has some moments... Bill Evans, August 16, 1929 - September 15, 1980 At the end of summer of that year, Bill asked his drummer Joe LaBarbera to drive him to the hospital, since he was having severe stomach pains. He calmly directed Joe to Mount Sinai, checked in, and died there the 15th of September. There's a lenghty profile over on AAJ.
  9. here are some details: [01.] Introduction by Dizzy Gillespie artist: Louis Armstrong 0:26 [02.] When It's Sleepy Time Down South artist: Louis Armstrong 2:57 [03.] Autumn Leaves artist: Miles Davis Quintet 11:24 [04.] Why Should I Care? artist: Diana Krall 5:12 [05.] Rhythm A Ning [edited] artist: Thelonious Monk 8:16 [06.] S..K. Blues artist: Jimmy Witherspoon 3:18 [07.] Some Day My Prince Will Come artist: The Dave Brubeck Quartet 5:23 [08.] Change Of Heart artist: Pat Metheny 8:01 [09.] And I Love Him artist: Sarah Vaughan 4:32 [10.] Isotope artist: Joe Henderson 8:22 [11.] Poor Joe artist: Dizzy Gillespie Sextet 4:32 [01.] Introduction by Dizzy Gillespie 0:26 [02.] When It's Sleepy Time Down South 2:57 [03.] (Back Home Again In) Indiana 3:50 [04.] Blueberry Hill 3:36 [05.] Tiger Rag 2:20 [06.] Now You Has Jazz 5:09 [07.] High Society Calypso 3:47 [08.] Bucket's Got A Hole In It 4:17 [09.] Perdido 4:48 [10.] Autumn Leaves 2:28 [11.] After You've Gone 4:18 [12.] These Foolish Things 7:32 [13.] Mack The Knife 3:23 [14.] Stompin' At The Savoy 6:23 [15.] Undecided 2:57 [16.] St. Louis Blues 6:26 [17.] That's My Desire 4:36 [18.] When The Saints Go Marching In 4:46 [01.] Blue Monk 10:39 [02.] Evidence 10:04 [03.] Bright Mississippi 9:36 [04.] Rhythm A Ning 8:43 [05.] Think Of One 9:00 [06.] Straight No Chaser 11:03 [01.] Introduction 0:54 [02.] Trinidad, Goodbye 9:01 [03.] The Day After 5:05 [04.] Poor Joe 4:32 [05.] Dizzy's Comedy Sketch 4:49 [06.] A Night In Tunisia 10:46 [07.] Band Introduction 0:54 [08.] Ungawa 11:27 [09.] Chega De Saudade (No More Blues) 1:50 [01.] Waiting for Miles 0:41 [02.] Autumn Leaves 11:24 [03.] So What 11:20 [04.] Stella By Starlight 14:35 [05.] Walkin' 12:48 [06.] The Theme 1:16 [01.] Introduction by Norman Granz 0:36 [02.] I Remember You 5:01 [03.] The Lamp Is Low 1:48 [04.] 'Round Midnight 5:25 [05.] There Will Never Be Another You 1:39 [06.] And I Love Him 4:32 [07.] Scattin' The Blues 5:00 [08.] Tenderly 2:58 [09.] All-Stars Introduction 1:18 [10.] A Monterey Jam 14:35 [11.] A Monterey Jam (encore) 1:33
  10. playing those trio sessions now funny, just read it was Evans' birthday today... will continue with the Verve box later and plan to so all day tomorrow, too... about time I play all of this again! (In fact, some of the later discs on the Verve box I haven't even played before...)
  11. what an idea! yeah, and a brush to clean the toilet, too... >> flush! <<
  12. what an idea! yeah, and a brush to clean the toilet, too...
  13. disc 8 now - the three sessions with Israels/Motian ("Moon Beams" & "How My Heart Sings" are excellent - I like them as much as the LaFaro/Motian recordings! Disc 9, the Hubbard/Hall/Heath/Philly Joe quintet - not sure I like this date one a lot, but then I only played it two or three times so far... Disc 10, just going into the Milestone solo session. The quintet with Zoot is much better, I think, than the one with Hubbard. Disc 11, second part of the solo material - some of it is terrific! Looking forward to the trio sessions with Israel/Bunker - favourites!
  14. I added quite a few more, too, yesterday... not counting the probably 150 I got in 2001's 3 euro sale... and before that the two Bill Evans boxes, then after that the Mingus Debut box... crazy times! Now I need a break!
  15. disc 8 now - the three sessions with Israels/Motian ("Moon Beams" & "How My Heart Sings" are excellent - I like them as much as the LaFaro/Motian recordings! Disc 9, the Hubbard/Hall/Heath/Philly Joe quintet - not sure I like this date one a lot, but then I only played it two or three times so far... Disc 10, just going into the Milestone solo session. The quintet with Zoot is much better, I think, than the one with Hubbard.
  16. disc 8 now - the three sessions with Israels/Motian ("Moon Beams" & "How My Heart Sings" are excellent - I like them as much as the LaFaro/Motian recordings! Disc 9, the Hubbard/Hall/Heath/Philly Joe quintet - not sure I like this date one a lot, but then I only played it two or three times so far...
  17. disc 8 now - the three sessions with Israels/Motian ("Moon Beams" & "How My Heart Sings" are excellent - I like them as much as the LaFaro/Motian recordings!
  18. Bill Evans Riverside - disc 7 (starting with the solo session)
  19. I'd say start the discussion, Marcus! I have my first impression comments ready... sorry to say it wasn't all in my taste, but most of it was nice and some was pretty great!
  20. Who cares, really? Things come and things go...
  21. Happy Birthday!
  22. Yeah, but so what? He has other virtues. I'd rather listen to Jon Hendricks off-key than Kurt Elling in tune. But I tend to forgive off-key-ness more easily than most people. I never heard any Elling (in fact Mahoganny is the only singer I've heard some of, years ago... of course Jarrett, too, but I'm not one of his general haters, not at all). Anyway, Hendricks is cool... enjoy him a lot, but then again I don't know much, except some of LH&R (and LH&B, including the fun "Jazz Casual" show), and his great Pacific album that came out again on CD recently.
  23. Yes, a 1941 or 1942 item with unknown band and possibly Young singing... very, very bad sound quality, though...
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