JSngry

The Budapest 78s are also on CD...I'm not at all averse to hearing as many different versions of these as possible, especially the late ones. I like listening to older classical records for many reasons, not the least of which is hearing how understandings about works evolve over time, especially as the works become more familiar to the players adn what was once a challenge becomes the new common, how do the real artists go from there. The two Right Of Spring centennial boxes are marvelous for that. We take it for granted in somebody like Ellington, but really, this tradition evolves too, time changes some things, reinforces others, and all along the way, players jsut get better as the challenges get bmet by their predecessors. So yeah, I can immerse myself in a buttload of different groups & their Beethoven cycles. At some point I'd likely cull, but there's so much "there" there in that music, right now, the only wrong answers are the ones that are more or less phoned in...if there's not an element of fear in the performances, then I don't want to hear it/. Not "scared" fear, just realizing what's at stake. To that end, if you need a good excuse to go to a chamber music concert that features some of the younger quartets, check the program and see what's playing. I've heard a few of the late quartets played live by a few such groups and, you know, DAMN.The bar is so high for recording, maybe they got other priorities as far as creating product, but to hear young people getting engaged in this music and still confronting it on its own terms as well as theirs, hey, that's a lovely way to spend an evening, can't think of anything I'd rather do. So, Leonard Rose?

I have a Bley/Parker ECM and was taken aback by he had an almost Ben Webster-ish quality to his tone there.

So...Leonard Rose, is this somebody it would behoove me to rush to? Hey, the stereo Budapest is here for a quite good price! https://www.amazon.com/Beethoven-Quartets-Complete-Classical-Masters/dp/B0042GNDN4

Looks like the first crack in the Billy Eckstine/Mosaic barrier! Too bad about the some of the Pete Rugolo, but oh well, it happened, just have to deal with it. "As Long As I Live, listen to that live studio sound, there's something to hear! And Rugolo shows that he can write a chart that doesn't negate that.

There ya' go.

Ok, yeah, it was a Horixon job, at least in name. The packaging was not Horizon-like at all.

Absolutely, this is not one and done music!

Dude, if you're into "objects", not in general, but when they're really worth it, try to score a really cheap copy of the Mingus Revisited reissue of this on Limelight (not Trip, b/c that's some jacked up shit right there, the do a Trip job on the reissue, not the original, what did they care?). The more fucked up the vinyl is, the better, because lower price. But man, that packaging...one of the best Limelight jobs I've seen, and that's saying a lot. It's worthy of Mingus, and not that many things from the time really were. I try to imagine a parallel universe where Limelight was the OG label for Let My Children Hear Music and cry tears of awestruck wonder for something that never happened or could happen. I don't care that Leonard Feather wrote the line notes, I just look at the thing, feel it, touch it, and that's enough. For once, somebody gave Mingus regal packaging, impulse! worked it, but they were deluxe with a budget, if you know what I mean. Limelight seems like they didn't give a damn about no stinkin' budget until they apparently had no choice.

Is there a "last word" on the late quartets? Not sure that that's possible? Hope not! Anyway, I do have that UA set and also enjoy it. I'll hope for a better mastering from the original owners and will find the old set a new home if so, or the new one if not.

Don’t know enough to have a really informed opinion, but with what I do know, I would , and may well be, all over the two quartets. Those are no-brainers for me right now. Just what kind of reasonable price are we talking about here? Also, not familiar with Leonard Rose, but am in the grips of an ongoingly slow but inevitable seduction by cellists, so yeah, would also like some opinions about that and all the others, really.

Oh hell yeah!!!!!!!!!

All that Ben Sidran but not the one with a Joe Henrson cameo?

Falls just a little short for me, but maybe b/c Sammy, who I continue to appreciate more as time passes, but mostly in the aggregate. You can do a contrast/compare with this one and the one he did with Buddy Rich. God knows, Sammy was old-school in ways that are on the verge of being totally forgotten, and I now have nothing but disdain for the easy criticisms that came out of everybody’s mouths, mine included, that motherfucker WORKED in a no-shortcut physical/mental multi-disciplinarian paradigm that not even athletes have to go through today except outside of their institutional support systems, if even then, this dude knew all the ropes, all the angles, learned them from as a baby and worked them all his life. Whatever the results along the.way, hey, process was always going back to that old-school work angle, RIP. So it’s kind of a cruel irony that Sinatra made a better record with Basie than did Sammy ( it might as well be swing, the other two are overrated imo). otoh, has anybody made a suck version of “My Shining Hour”? That’s one of those songs that seems to be intrinsically....interesting ( forgive me, but it’s built with good science, it’s movments are all developed past the real of the reflexive even though they result in pleasurable inevitability, which is NOT the same as predictability...rambling now, story). Would that the all were.

I picked up that Lungs reissue when it came out, loved it immediately, it sounded lick radical DJ chopping, only, hey, real time playing. Not just anybody can do that, even today.

I still need to engage more fully with Evan Parker. I've been totally captivated every time I've heard him, but for whatever reason that has not translated into record buying, which just doesn't make sense to me...yet I continue to let it happen. I guess it's not to late for him to make a record with Billy Joel?

But you like Billboard charts! This one, I don't know how they segregated their jazz charts and their R&B charts back then, but my anecdotal history suggests that that one crossed over both ways, both on the radio and on the turntable.

If you can believe it, you can wear it and it works. I totally believe that Herbie is believing what he's wearing. Herbie is one of those guys who seems like he can believe anything as long as it doesn't hurt him, and he also seems to be the type of guy who will not let anything hurt him for too terribly long. He looks great to me in that picture, and I assume that once he comes inside he'll adjust accordingly. That last one is Roy Haynes? Nothing there I would or COULD wear, but them shoes is 1000% badass, for sure.

Walking In Space was a big chart record (by the time I got around to buying a copy, it had that "Gold Record" sticker on it), surprised you've not checked it out yet! It's actually pretty good, imo, and "Killer Joe" is pretty much the definite version imo (I'll stand by that if anybody thinks I'm just profilin'). I don't know how thing were in your town, but I used to hear it on the radio quite a bit. Hurt me slow, please Joe. That's some pimp fantasy lyrics for a song about a pimp, and check out Ray Brown, cool joe, mean joe. I mean, with the enlightenment we've had about female empowerments and pimp mental brutalities in the last half century or so, this thing is pretty brutally anachronistic, but you know, it was a hit and people liked it a lot. And ok, talk about painting through music, the way this thing starts out in one way and then works its way into Eric Gale (and I think we all love Eric Gale to one degree or another) & then Hubert Laws' tenor solo (the Yang to his flute Yin) and then back again...talk about serving markets and keeping the standards hig, hey, CreedTaylor & Quincy Jones, a long history, and rightly so. CTI

Vegetables!

Thinking back to high school stage band days, we did this Benny Golson tune that I think he wrote just for stage band sales. And really, as small town high-schooly as we were, I think we played it better than these guys (whoever they are). If you really want to dig into history (and I don't), I think you might find some more of these type things, charts written for the market but never really performed outside of that market. Don Sebesky had a deal with Alfred Music and had all kinds of titles, but maybe all of them had been recorded, no matter how obscurely, like Meet A Cheeta, finding this was a toall "wh knew" for be, becuase we found it corny even back then, neer figured it was a "real" chart, but there it was.. Oh yeah, we played on by John LaPorta called "Diggin' ", can't find a trace of it on the internets, at least not quickly. Published through Berklee, iirc.

Quincy Jones. https://en.wikipedia.org/wiki/Bob_James_(musician)

Not certain, but pretty sure that you can find composed music from the last 50 or so years that uses most of the instruments refr need above. Might not be considered “classical” music by the more traditional minded categorizers, but if people gonna get upset about labels to the point of erasing lineages altogether, oh well. categorizers

I'm trying to think of an instrument that hasn't been used in "classical music"...

If I was literally forced at gunpoint to keep just one, it would be Sunflower. But only with the original packaging, bigass shiny yellow record cover. Because yeah, CTI was about more than just music so hell yeah packaging enters into the decision. If you say CTI without also saying Pete Turner...

https://www.theglobeandmail.com/life/christopher-foss-grew-up-with-glenn-gould-but-never-got-to-say-goodbye/article4294730/ https://www.thestar.com/news/insight/2007/08/25/the_secret_life_of_glenn_gould.html