HutchFan

Aldo Romano - To Be Ornette To Be (Owl, 1989) with Franco D'Andrea, Paolo Fresu, and Furio Di Castri

Outstanding. All the tunes are old war-horses, but Grappelli & Disley play the hell out of them. Plus, it features QHCF-like instrumentation: one violin, two guitars (one lead, one rhythm), and a bass.

Give it a listen. It's very good -- at times excellent -- but not a typical jazz record. I understand that Trovaioli was primarily a film composer (although Rugantino was a live show), and you can tell. I imagine that anyone who enjoys Pieranunzi's take on Morricone's or Fellini's music would like it. (I do.) But this is a shade more arranged than those albums.

Disc 1 - originally released as Out of This World Good deal. Thanks! I'll give it a listen.

That photo caught my eye too. There's something that's both appealing and ridiculous about it. It makes me smile. As for the music, it's very much a product of the 1970s: Billowy strings & concerto-like shape, hip in slightly cheesy way (much like the photo) with one foot in jazz (mostly because of the soloists) and the other in amorphously "sophisticated" music. Not mind-blowing. But I enjoy it for what it is.

Next up:

Next, more of CT's BIG B-A-D Band: I dig CT's Wichita Festival LP, but I think this one from Buddy's Place is even better. It hits harder, and it's more intense -- a nightclub vibe rather than a festival gig. Also, the AQ is more vivid on this LP.

Now spinning: Tremendous. Weather Report before Weather Report.

Roberto Gatto Plays Rugantino (CAM, 2000) Music by Armando Trovaioli arranged by Paolo Silvestri for jazz ensemble; soloists include Enrico Rava, Enrico Pieranunzi, Gabriele Mirabassi, Rosario Giuliani, and others

I don't have those CDs either. Only emusic.com downloads, IIRC. Broadbent's three recent Savant trio CDs (with Harvie S & Billy Mintz) have been darn impressive. I think they're the best he's released in a long while. Seems like his move Back East has been a shot in the arm, musically speaking.

Game 2: Braves 5, NYY 0

That looks interesting, Peter. Are you enjoying it?

A ride on a rocket ship or a slog through the muck. You never quite know what you're gonna get with Chick.

Now streaming: Quarteto Em Cy (Odeon Brazil, 1972); reissued by Elemental Although they're very different, I think learning to get inside The Singers Unlimited's music laid the groundwork for my understanding of this group. . . . Coming out of bossa nova, this quartet taps into that early-70s Euro-sophistication/decadence vibe, but -- paradoxically -- there's also a strain (maybe even more prominent) of late-60s idealism/pop-innocence. Naturally, they're locked in on that delicious, distinctively Brazilian sway & sinuousness too. Since I don't know Portuguese, I have no idea what they're saying. Regardless, from a purely musical point of view, it's an intoxicating mix. (Im)pure Pop for Now (no-longer-young) People.

Terrific!

Nice! Quite a rarity. I was aware of that LP, but I've never seen a copy in the wild.

Game 1: Braves 11, NYY 3

Two albums by Baden Powell: Canto on Guitar (MPS, 1971) and Solitude on Guitar (Columbia, 1973)

2-LP collection of Barclay cuts

Arman Ratip - The Spy from Istanbul (Regal Zonophone UK, rec. 1970) with Marc Charig, Harry Miller, and Keith Bailey This is a Mad About Records reissue that I snagged in Barcelona earlier this summer.

Next up: I think this was the first Tom Harrell record (as a leader) that I ever heard. Loved it straight off. Still do.

That's cool. We all pursue the music that appeals to our ears. I happen to enjoy instruments like the Fender Rhodes piano, clavinets, electric basses, or whatever in jazz -- as long as the music is good. Of course, I wouldn't want to hear it all the time. . . but that 70s-electric jazz sound -- like on Waves of Dreams -- appeals to me a great deal & doesn't sound dated to me at all. OTOH, I know there are plenty of folks who have an aversion to any electric instruments. I can't say that I "get" that, ear-wise. But I understand that some (maybe even most?) jazz-lovers have that perspective. In fact, that's probably why the Blue Note sound from the 50s and 60s continues be most folks' idea of what jazz is "supposed" to sound like. And that's why BN reissue programs continue -- and why Sonny Fortune LPs from the 70s are available in the used bins for peanuts.

Oh wow. I strongly disagree. I think Waves of Dreams is Fortune's best record. But we all hear things differently, no?