HutchFan

John Patton - Accent on the Blues (BN, 1969) Oh yeah.

I wonder... Will the "Great Oscar Peterson Debate" EVER die?!?! People have been flogging this horse -- both pro and con -- for decades.

Ramsey Lewis - Them Changes (Cadet, 1970) with Cleveland Eaton (b) and Morris Jennings (d) -- plus Phil Upchurch (g) R.I.P.

Sad news. R.I.P. I grew up hearing Ramsey Lewis because my father had a few of his LPs and played them regularly. My favorite RL is his music from the late-60s and early-70s -- the second trio with Cleveland Eaton & Maurice White (or Morris Jennings). In other words, the stuff that I grew up on.

Disc 1 - 07/25/69, Juan-les-Pins Awe-inspiring. Hooray for Big George!

Fascinating. Makes me want to read the entire book -- even though I know nothing about Balanchine or dance.

Finished the fifth season of Bosch last night: Two HOLLYWOOD CLASSICS in a row.

Horacee Arnold - Tribe (Columbia/Wounded Bird, 1973) Drums – Horacee Arnold Flute, Alto Flute, Soprano Saxophone – Joe Farrell Tenor Saxophone – Billy Harper Twelve-String Guitar – Ralph Towner Vibraphone, Marimba, Xylophone, Percussion – David Friedman Bass – George Mraz Percussion – Ralph MacDonald Billy Hart, Freddie Waits, Horacee Arnold

I wonder who the farter is !?!? Too many beans!

My favorite Etta Jones is Save Your Love for Me (Muse, 1981): with Houston, Cedar, Duvivier, a.o. It's a very common mistake! IIRC, allmusic.com mixes up their releases too. I've been meaning to get that one!

Now streaming: Louis Armstrong - The Decca Singles: 1949-1958 (Universal, 2017) I've been reading Ricky Riccardi's liner notes, published on his blog -- since this was a digital-only release. It's odd to learn how much this music was denigrated by jazz fans back in the day for being "commercial," lacking jazz bona fides. That's nuts! Sure, there's plenty of pop here -- but it's all Louis Armstrong music, which is to say, it's beyond category.

and

Last week's entries: - Aldo Romano - Ritual (Owl, 1988) - Ray Mantilla Space Station featuring Bobby Watson - Dark Powers (Red, 1989) - Phalanx - In Touch (DIW, 1988)

Now spinning: Etta Jones - Save Your Love for Me (Muse, 1981) with Houston Person (ts); George Devens (vib); Cedar Walton (p); George Duvivier (b); and Frankie Jones (d) Outstanding.

Stanley Turrentine - Common Touch - featuring Shirley Scott (BN, 1968)

Pat Martino - Live at Yoshi's (Blue Note, 2001) R.I.P. - Joey D.

Ray Mantilla Space Station featuring special guest Bobby Watson - Dark Powers (Red, 1988)

I'm wondering... Why is "noticeable production" even a problem? A heavier hand when it comes to production isn't necessarily bad -- especially if the producer knows what he/she is doing. Don't Mess with Mr. T sounds as much like a soul record as it does a jazz record -- and a lot of that has to do with the production. I like that about it. Bitches Brew is a studio artifact. What we hear when we spin the vinyl didn't happen in the studio as we're hearing it. I like that about it. Purists may prefer production that strives for "sounds-like-you're-hearing-it-in-the-club" approach. And that's perfectly fine. Totally, 100% A-OK. But it's just a choice, like any other artistic choice. It's not good vs bad. It's A vs B. I think we should call things preferences or conventions when that's all they are. There's nothing inherently virtuous or serious or better about non-electrified instruments and minimalist production values. Even if most of the music that I love follows that path. IMO.

I agree 100% with that statement.

Buhaina's Delight (and mine too)

I get it. Lion was slick in the best sense of the word. But I know that you understand that the meaning of the word slick is shifty. It depends on the context -- just like the words "bad" or "nasty" or "sick." All of these words can be very positive or very negative, depending on how they're used.

Now spinning -- prompted by the Creed Taylor thread: Earlier:

I guess this is what I get for answering your rhetorical question with a straight-forward answer. OK You win.

You know what he means, Jim. High-touch, hands-on production, i.e., Creed Taylor is slick. Hands-off production, i.e., Alfred Lion is not slick. In the context that Peter used it, it's derogatory. In other contexts, it's a compliment.