erwbol

I saw Scofield and Lovano at the Bimhuis tonight. The 10 song set list was made up of compositions from the new album and three Lovano compositions (Cymbalism, Ettenro, Full Sun (new?)). The material from the 90s BN albums was definitely not missed, but they did do Chariots from Meant To Be as a second encore. To me this concert did capture the essence of what is great about recordings like the Live in Montreal DVD and the Quartet Plays Live bootleg on Jazz Door. Lovano was terrific tonight, as were Scofield and Bill Stewart. I'm definetly going to see Lovano again in March with his own quartet.

In my experience the sound samples on CD Japan are reliable and can give you a rough idea of what the CDs sound like. You could plug a nice pare of Sennheisers into your computer and determine if the original album tracks on disc 1 have extreme stereo separation or are near mono like the RVGs. In this way I was able to determine that the two bonus tracks on the Cool Struttin' SHM were stereo like the album and not mono like the same tracks on Sonny Clark Quintets SHM (or the Cool Struttin' XRCD24). I hope more late period complete studio sessions like Sun Ship. For example February 2, 1966 and March 7, 1967. Expression always sounded bad on digital (and perhaps also vinyl?) and the Stellar Regions SHM (February 2, 1967) shows how much better it could sound.

You could try listening to the samples at CD Japan. The RVG contained the wrong version of Big Nick (with Duke Ellington).

Another vote for Ghost Loop on For Tune, the trio live in Poland. Great concert and recording.

Use Google instead. site:organissimo.org search terms

Kalaparusha - S.T. (CMC, Trio Records, POCS-9302) contains a bonus track called Tanuki (according to CD Japan) not on the original LP. It is only mentioned on the back of the OBI. It's 8:55 long.

The 2014 reissue of Kalaparusha - S.T. (CMC, Trio Records, POCS-9302) on SHM-CD contains a bonus track called Tanuki (according to CD Japan) not on the original LP. It is only mentioned on the back of the OBI. It's 8:55 long.

Could you make a small list of players past and present guilty of starting slow and building to a screech? The worst offenders ...

The worst thing I can say about the Blackhawk recordings and the talk in the press about Miles dissing Hank is that it kept me from exploring Mobley's early 60s Blue Note masterpieces for some years.

I haven't seriously listened to the Carnegie Hall concert in a long time and don't recall how I ranked it against the Blackhawk material, but I always preferred the recordings of the spring 1960 tour, like 20 March at the Olympia.

I've always somewhat neglected the Blackhawk recordings, but after considerable time has passed since the 4CD set's release and my jazz horizons have widened, I find them even harder to enjoy.

Compared to Compression, the Schlippenbach portion of the 50th Birthday Concert lacks detail in the highs and does not have a lot of bottom end. That's not a criticism of the music, of course.

It's what mjazzg said it was. Details culled from elsewhere.

Jazzwerkstatt 026, a reissue of Cecil Taylor's Leaf Palm Hand (FMP CD 6), looks legit, credits are given. The Cover artwork is by Tony Oxley, I presume created or selected by the artist for this reissue.

Oh. I did a Google search (site:organissimo.org searchterm) and got zero results. The fact that a/l/l was short lived must explain why there are so many new copies still available through German sellers on amazon.de.

Compression, Live at Total Music Meeting 2002 (All/FMP), released late 2004. Listening to it now. Excellent recording, great concert, highly recommended. From the liner notes by Schlippenbach: "The whole set (51 minutes) was played and recorded in real time, without any interruption, and can be heard here in it's entirety. This is the unadulterated original. The twelve titled numbers have been individually cued on the CD." I'm really surprised there was no mention of this release anywhere on Organissimo until my recent post.

Miles Davis invented the Twitter hashtag in the eighties! BBC The closing credits feature Cheadle’s Miles in concert during the early ‘80s, wearing a leather jacket with an insignia that says #SocialMusic. “Social music” is the term that Miles thinks should be used instead of jazz (“a made-up word,” he says derisively), but all I could think was: nothing was marked with a hashtag in the ‘80s! Surely Cheadle knows this, but the idea seems to be that as a filmmaker, he can be as loose and improvisatory as he wants to be. He may even think that he’s working in the spirit of jazz. But biographical dramas, unlike jazz, need to be grounded in reality. And Cheadle’s performance, while it makes Miles Ahead worth seeing, should have been grounded in a more focused and tough-minded movie. ★★☆☆☆

I'm a Bad Plus fan, but aren't some of their own albums a bit overproduced? I don't just mean the Columbia studio albums. A recent studio album like Made Possible contains an overwhelming amount of bass. Christ! That said, I love all their trio albums and look forward to seeing them at the Bimhuis next month.

There are two affordable copies left at amazon.de. I bought a new old stock copy on Discogs.

Thanks for the feedback. The album consists of twelve short tracks, the longest 6:34 in length. Do you remember if these pieces were played as one long, continuous performance, or is this more like Elf Bagatellen?

Is anybody familiar with this Schlippenbach Trio album? Compression, Live at Total Music Meeting 2002 (All/FMP)

Besides the album with Joe Henderson, which was already in my CD Japan cart, I thought Ginkai (Silver World) was most interesting. If you hadn't started this thread, I probably would not have ordered Ginkai. Shakuhachi – Hozan YamamotoPiano – Masabumi KikuchiBass – Gary PeacockDrums – Hiroshi Murakami

Whole different tunes, or just alternate takes? Four complete alternate takes, one previously unknown tune. http://www.discogs.com/Eric-Dolphy-Muses/release/6187302

The Snake Decides is once again available from Psi/Emanem.