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king ubu

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Posts posted by king ubu

  1. I don't care about light or heavy whatever these clichés are. Lots of west coast jazz might not even be identified as such (think of Mingus, Dexter, to name just two). And I sure love the Shank Mosaic very much! That quartet with Williamson/Prell/Flores was very tight.

    What's that Ted Gioia story? Don't know anything!

    ubu

  2. A great set, yes! I was quite positively surprised, bought it without having heard any of the albums.

    Love the two trio sets with Tucker/Harewood - they've got a very nice touch of their own.

    Then the two albums with the Turrentines are great, too. Only it's a pity that the third one released under Stan Turrentine's name somewhen in the eighties if I'm right is not included. I have that one on LP and it's a pretty fine date as well.

    Oh, and speak about Booker E., and Grant Green, and Johnny Coles :wub:

    ubu

  3. Anyone has heard this one?

    I gave it a spin yesterday and it's one very fine record!

    Recorded live (on July 7, 1973) at Montreux Jazz Festival, the band (and mostly so Bartz himself) is clearly inspired. Hubert Eaves is on acoustic and electric piano, Stafford James on bass and electric bass, and 17-year-old Howard King is on drums.

    They easily and without creating any harsh changes of mood switch between hard driving jazz, funk and free playing. The record was made after vocalist/pianist Andy Bey had left the band (and was replaced by Eaves), which is why Bartz himself does some singing/reciting. But don't shy away because of this! The playing is just too good to mind those few vocal passages.

    The sound and the music is very much of seventies vintage, but it keeps up extremely well. Some politics, some Trane hommage, some "Bitches Brew"-reminiscences, and a very strong homage to the great great Langston Hughes (hence the title and title-track of the album).

    The music was performed as sort of a suite, the short ad-text on the Fantasy-site speaks of "an uninterrupted nearly 80-minute set", though the last track (Peace and Love) seems to be an encore and there's a clearly audible fade before it.

    Due to playing time of CDs, one track (Sifa Zote - featuring a stunning alto solo) is said to be "slightly edited". I have no idea, how much they had to cut out, but as the CD is more than 78 minutes, and they're talking of "nearly 80", it cannot be that much.

    However good that band is, the greatest feature of this CDs is Bartz himself, turning in some clearly inspired solos (as on "Sifa Zote" or "Jujuman"), showing his own personal voice.

    ubu

  4. Blakey, Selections from Lerner and Loewe

    Eddie Costa, Guys and Dolls Like Vibes

    Billy Eckstine, Now Sings...in 12 Great Movies

    Tommy Flanagan, Giant Steps

    Kenny Garrett, Pursuance

    That Giuffre album, what's it called? Modern something

    Golson, Take a number from 1 to 10 (yes Dan, it IS terrific!)

    Paul Gonsalves, Cleopatra feelin' jazzy

    Grant Green, Feelin' the Spirit (and probably Goin' West - I never heard it)

    Charlie Haden, the Liberation Music Orchestra

    Chico Hamilton's Ellington Suites

    Joe Harriott, Indo Jazz Fusions (2 Vols)

    Andrew Hill, Dusk

    David Klein, My Marilyn

    Steve Lacy, Five Facings

    Joe Lovano, Rush Hour, Celebrating Sinatra

    Mingus, Blues & Roots (if that qualifies for a concept album)

    Oliver Nelson, The Blues and the Abstract Truth

    Pago Libre, Cinémagique

    Bud Powell, Portrait of Thelonious

    George Russell, New York N.Y.

    Hal Russell, The Hal Russell Story

    Frank Sinatra, In the Wee Small Hours (if that's allowed at the O-board...)

    Billy Taylor, My Fair Lady Loves Jazz

    Mel Tormé, California Suite

    Vienna Art Orchestra, The Minimalism of Erik Satie, All That Strauss, Art&Fun 25

    Cassandra Wilson, Travelling Miles

    ubu

  5. I'd say its hard on trumpeters lips to be blowin' so much in a quartet.You need to rest while the sax player plays ALL those notes :)

    Indeed, that's what makes an album like Lee Morgan's CANDY, and many others in the trumpet-quartet model, all the more remarkable. Lee definitely blows a lot of trumpet on that session.

    off topic: there was a discussion about trumpet quartets earlier on this board:

    http://www.organissimo.org/forum/index.php...trumpet+quartet

    ubu

  6. I'm completely with you on this Jim :tup

    I actually like lots of Mingus - from that early sides on the Uptown disc up to the "Mingus at Monterey" (I still haven't got "Music written for...", otherwise it would sure be up to that one). It's just that Mingus' later stuff has not yet grabbed me as his other records. Though I will give them Changes a close listen as soon as I can. (and then I've got to admit that I still don't have "Have you Children..." -_- )

    ubu

  7. There's a quote by Mingus along the lines of: Earlier, when everybody played walking bass, he didn't, now, that no one plays walking bass, he does it...

    I know his health wasn't that good anymore. And it's clear that it shows in the music, or at least in what Mingus himself is playing. And I also know how highly regarded these Changes albums are among Mingus fans - however, I somehow can't chime in here. I can agree that they're (among) the best he did in his last decade, but with me they nevertheless are far from ranking close to his pre 1965 stuff.

    Maybe that's my fault. Need a pair of new ears or something...

    ubu

  8. On the Hill-sax-connection (as opposed to the Hill-well, youknow): what do you guys think about Joel Frahm, who shows up with Hill from time to time?

    I heard him with Jane Monheit (a nice band, with Mike Kanan on piano) and he did some real killer solos on "That Old Black Magic" and "Lover Come Back to Me" - leaves you breathless. A very good sense for construction, then he seems to be in complete command whatever the tempo (and that Lover was REAL fast...), and playing no licks, building up to a very heated density and slowly coming down again...

    got me real impressed!

    On topic: I also think Horton is a good match for Hill, though: hearing some of those (european) guys play with him would be great, I guess (like Stanko, Wheeler, mayber Enrico Rava, or Paolo Fresu).

    ubu

  9. note the funny cover however w/ the wurly piano. haha. like the bud shank qt. ever used THAT!

    That cover sure is funny!

    But the record is great! A very good companion to the Shank Mosaic. Shank gets in some very good solos on "How about You" and particularly the extended "Ambassador Blues" and "Miles Sign Off".

    Then his version of "Lover Man" is sublime!

    Nothing lightweight, foot-patting, if you ask me. Rather, a master at work! And dig Chuck Flores - he has one solo (can't remember on which track) that's absolutely stunning, in my opinion.

    ubu

  10. I do like the Changes albums, also Moves, but somehow Mingus seems muted to me. And the sound of the recordings clearly show of what decade they are - and I think not for the benefit of the music in any way! Anyone has similar feelings? I think the fire in Mingus, his atrocity, his ferocity or whatever, is not present anymore.

    Cumbia Jazz Fusion is good, too, although somehow I would like to hear the complete session (even if it consisted only of snippets edited together later). How 'bout a nice 2CD set, disc one containing nice remastered versions of the original album (and give us that liner notes! - they did not print them on the Rhino reissue!) and disc two having the complete session, chatter included.

    ubu

  11. Once you get bitten by the infamous Mosaic-bug, you'll want to have as many of them as possible... (speaking from experience).

    If money is a point (and therefore. time), get the J.J. first - it was one of those sets which for me was a real surprise. I didn't know much by Johnson, except for some early bebop sides and the BlueNotes with Brownie and Miles. The Mosaic has hours of great music.

    Otherwise, I don't know the Hodges and the Stitt yet, but will sometimes get both of'em.

    ubu

  12. I have several of these Dameron sides. Some featuring Fats Navarro, some Allen Eager and Kai Winding, some later ones are by the "Big Ten". Why does no one bring that stuff on CD? Such great music! Those Dameron bands are (as far as I know) otherwise only documented by their Blue Note sides (love that 2CD set!) and some more on Savoy.

    There can't be enough Dameron out there!

    And what's the deal about that Miles Davis CD to be reissued on Blue Note? Will that contain some of the 49/50 broadcasts featuring Konitz/Rollins/J.J./Big Nick/Lockjaw? Those same ones that were on two Charly/LeJazz discs?

    ubu

  13. In my opinion Ubu, yes, especially the earliest material, which is quite transformed and sounds dead to me on the box set. And there is a Superbit TOCJ of the Roost material with much better sound (by McMaster) which makes replacing the box set possible. I no longer listen to the box set. The RVGs are clearly better (to my tastes, on my system I must say.)

    Thanks, Lon! I got "Bud! ... Vol. 3" out of a sales bin yesterday and made a quick comparison. You seem to be right.

    And yes, I noted that the sequencing on the RVGs is completely differing from the box. What's the reason for this?

    The TOCJ might be impossible to find (unless for horrendous prices...) so I'll have to keep the box.

    ubu

  14. Love Kamuca too! The only recording of his as leader I have is "Richie Kamuca Quartet" (VSOP 17CD, reissue of Mode MOD-LP 102, rec. 1957). Great record, with a great band featuring unsung Carl Perkins on piano along with Leroy Vinnegar and Stan Levey.

    ubu

  15. If we can go back in time to apply our dislike to players we once liked but no longer do, I'd list the first Dreams album. I really don't care too much for either old or new Michael Brecker these days, but that opening solo on Side Two is one for the ages, even today.

    Simularily, I'd put Horace Silver's ...27TH MAN on the list. Not TOO many players on that album that I dig too much anywhere else, but that's a damn fine record. A credit to the strength of Horace's musical personality, no doubt.

    I never cared much about Michael Brecker either. But Jaco's "Birthday Concert" and that Silver album are two I like nevertheless.

    And Wynton cannot lessen the pleasure of Shirley Horn's "You Won't Forget Me".

    ubu

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