JSngry

And of course, the Internet Archive has it: https://BarKchive.org/details/lp_string-quartet_elliott-carter-the-walden-string-quartet

Perhaps not the most sympathetic of interpretations? These works both sound like they need a hug (esp. #13) and none are forthcoming.

Belve it or not, what does that for me is the electric period wah-wah-as-plunger-mute.

And this performance has yet to be reissued in any form on any label? Unbelievable...

What happened that they named their band that?

As discussed, there are still shockingly few Carter cycles on record (the first 4 or all 5). I don't find them particularly "difficult" to listen to...except for when I listen as a player... No matter, wonderful music. Hopefully there will be new, young quartets in the 21st Century who will pick them up and fill the gap.

Vicky Dump - OUCH!!!

HOLD THAT FUCKER UP!!!

Here he is, popping up out of someplace else wearing a Harmon mask: This was my first exposure to Sweets and I had a hard time reconciling this guy with somebody who supposedly played in the 30s Basie band. Time took care of that, of course, but it goes to show you to pay attention to everybody who's on a record, because by god, there WILL be a test later!

There certainly are a lot of choices, even more as time goes by! Have you tried Dover Quartet? We've seen them in person twice and they convinced me! They've recently released a Beethoven cycle that I have on tap for when I finish the Juilliard project.

I like the hype stickers and keep them, just because. And I don't let it ruin my day if they get lost or something.

Rumored to be the only man to have recorded with both Billie Holiday & Frank Sinatra! He was not limited to his trademark style or sparse interjections. He could ramp it up with the best of them!

I think his best trumpet playing was with the Lost Quintet. I also think that if Coleman had stuck around, Tony and Herbie might have left sooner than they did.

Let me put it this way - if the lack of an OBI results in a significant price break, then the OBI's loss is my gain!

Originally a 3-LP set, here on 2 CDs. The Harp Quartet has never been a particular favorite, to be honest. Clever, yes, but...oh well. It fits, time-wise. Otoh, the Rasumovsky Quartets are endlessly fascinating (composition & performance). Unexpected/extreme cadences/modulations, dynamic extremes, and more fake endings than anything I can think of offhand. I don't know if Beethoven was trying to impress and dazzle Count Rasumovsky or was kinda putting him on. In the end it doesn't matter because it all holds together. Dazzlingly so. The only thing that keeps this one being every bit the equal of the Late Quartets is...the Late Quartets. And the JSQ is in the pocket. Jeezuz what a band. I don't see how there could be better. Different, yes. But better?

So happy to hear that you're enjoying the posts and, especially, the music. I'm certainly no expert about any of this, but I do know what I do and don't like (and usually why, LOL). Certainly open to other perspectives though. Always happy to learn new things! The diversity was exactly what drove me to these boxes to begin with, A lot of different musics can be heard, and although their interpretations are not always the favored ones in some circles, there's never going to be any question about execution (at least not until much later on...). And I VERY much like how they dial back the sweetness! Again, thank you for your enjoyment, and stay tuned. I'm extending the summer with some recent additions!

It is terrific. But in terms of the history of that band, it was transitional.. Where they went with Wayne they couldn't have gone with George, but that's got nothing to do with him being or not being terrific, which he was.

No idea what that means, but have fun!

Does that say "Bill"?

Have an event!

The only recordings by this group. The Ravel & Milhaud were recorded under the supervision of their composers, and this the very first recording of the Berg.

Well, it's not that exactly...but probably the root.

I thought the programming sabotaged their (the Lincoln Center albums) effectiveness, breaking them up into ballads on one, up tunes on the other. Just too damn much of the same thing on each record. The complete concert CD was a lot better in that regard, but by then, I was less interested in the whole thing. In Europe is more or less the same thing, but with more fresheners and variety. Imo.

Politeness is an admirable and often desirable quality in social intercourse. But when in comes to getting Tony Williams to open up to his full un-polite self...maybe not so much.

You can probably reverse-engineer it back to "Equinox" quicker than it would take to think of an exact answer?