JSngry

Ok, you're both saying that all/most of the pre-American works are still celebrated locally as German Treaures? Is the article then wrong about that?

Carpenters aren't usually architects, although I don't know if there's a foundational reason for that. Monk was both, swung some mean hammers and created some outstanding blueprints.

I had no idea that he was so ignored there for so long.

Backed by Chambre Symphoniette + Nobuo Hara And His Sharps And Flats, and you know...uh, squeamish, quite often, if not about one thing, then about another....but arranged and conducted by Oliver Nelson, so when all else gets squeamish, hey, good Oliver Nelson charts. Good Oliver Nelson charts, at times, really good. Plus a few alto spots for himself. Not just for Oliver Nelson completists, ONLY for HARDCORE Oliver Nelson completists. I am not yet that, but should I become one, I got this one out of the way now! I do like the record she made with Herbie Hancock, though. Pretty well, in fact. And note how Oliver Nelson took work in Japan and made professional opportunities there.

Recommended, actually, especially for the first two of the three sessions. Evolving contemporaneous discussion here:

How many hands did he have at his disposal for that Christmas record? That worked out well, however many it was.

Everybody's listened to everything there is to hear, so, no further need. Just kidding - looks like we've had another "moderator error". A new thread will be required. I'll take care of that.

Ward Cleaver Paul Beaver Roy Eldridge

I don't think it's Hank that's lacking focus on the third session, I think it's the rhythm section is just not locked in the way that Hank needed and he had to pull on them.

They might have been around for a short time, but they stayed on the shelves forever-ish. They were packaged in such a way that it was hard to tell what they were, in spite of the title. They were all called "Sessions Live" and wtf did THAT mean? Plus, not a lot of general interest in WCJ in the late 70s. Point just being that unless they got tossed on a bonfire, the inventory far exceeded the sales, so somebody somewhere should have them for you to find.

Have to say that Hank with a big band comes out great...in a perfect world, BN would have had Hank do a big band album with Oliver Nelson or Duke Pearson. Until then, this one is dandy, even if it is just two cuts.

https://www.nytimes.com/2017/03/12/business/lloyd-conover-dead-inventor-of-groundbreaking-antibiotic.html?rref=collection%2Fsectioncollection%2Fobituaries&action=click&contentCollection=obituaries&region=rank&module=package&version=highlights&contentPlacement=1&pgtype=sectionfront His interest in chemistry began in childhood when he watched his father mix cement to repair a retaining wall. “There was something about the physical change in matter that really fascinated me,” he said in an interview for this obituary. To feed his curiosity, he devised science projects with items he found around his house. In one instance, he took his mother’s pots and pans and melted down lead left behind by a plumber to make a miniature cannon that fired lead pellets, powered by steam. He entered Amherst College in 1941 to study chemistry, but his education was interrupted by World War II.

Yep. A lot better than the Montmartre club dates for the tour that have been out there for a while now. Those are often scary, and not in the really good way. This stuff is for the most part in the Dippin' zone, that perfect intersection of hipness and passive-aggressiveness. The sense is that of a coiled snake ready to strike, then striking to fullest possible devastating effect and then pulling back into full coil as if nothing had happened. In-freaking-tense, and coming from power rather than nagging disillusionment. The first three cuts are exceptional in this regard, but they all are in that same general zone. I think it a worthy addition to the collection of any Hankologist, Hankophile, and/or Hankcentric Input Selection Specialist. I will say, though, that the Rotterdam rhythm section is not really up to the task. E for Effort, I suppose. But Have No Care, Hank Was There.

https://www.operanews.com/Opera_News_Magazine/2017/3/News/Kurt_Moll_German_Bass_79.html

Rusty Betty Karnigia Spiderhead Rotex-Helken Big Brave Bob Bull Sackker

All the Blakey Limelight albums had different lineups. I wonder if that was the beginning of his "shifting personnel" road band period.

Yeah, it's not like the good old Zenith with the antenna up on the roof was pulling in crystal-clear Channel 6 from75 miles away back in 1959, right? Same thing with commercials, a lot of the Roku PD stations have commercial break. Brenda hates it, but I'm like, hell, if this was 1972 and this Charlie Chan shit was on the Channel 3 Sunday afternoon rotation, there's be a helluva lot more commercials than this, so chill out and go fix a sandwich, like we used to,

The Morgan/Fuller tandem was in place with the soon-to-be-departed Shorter, Walton & Workman for Indestructable. That's my favorite Blakey album.

That Trio is a magnificently slippery work. Op. 1!!!

Fair enough. Too often "technique" is dismissed like it has no meaning apart from "work", and work is such a drag, right, why do all that work anyway, all you get put of it is tecnique, right? Just go with feeling, that's all that matters. Well, yeah. Good luck having a life with that, with no work and all feeling, there's the foundation for building something to pass on. Later on in his life, Sun Ra used to go off on how the demise of big bands was detrimental to the collective character, how it took away the notions of a collective discipline and labor and replaced them with a sole emphasis on individual expression. You need both, Ra said, and I swear, the older and crankier I get, the more it passes me off to think that the work, the focus and discipline, needed to get a real technical fluency in ANYTHING just gets marginalized as some kind of wankery. Getting in touch with my Inner Puritan, I suppose.

You say that like it's a bad thing? Yeah, see, this is why Americans have to work at call centers and bad phone sex, this shit takes work and discipline, like Earl Bostic. Scoff at the results, but respect the process.

Don't follow the classical music buzz machine, but have noticed the good reviews on amazon and other places. All I can really speak for is how they affect me. Seems that the buzz machine is finding plenty of people who say they feel the same way, but...I dunno, I'm skeptical of hype in general, especially when it's in such a niche market as this. What I do like is that they're young, have hung together and seem to be in it for the long haul, and play with a sound that, to me, doesn't replicate other groups of the past. And they really get inside the music. What I don't know is if what I'm hearing is the result of not having a big enough sample size to really know that part about not sounding like other groups.

Would really appreciate somebody/anybody with a longer set of ears for string quartet sounds than my own to at least listen to the samples to see if there's anything "different" about this group's sound. To me, it seems that they speak with an exceptional clarity and individual/group balance. But I really don't have that much to go by, so...help? Well-informed historical perspective opinions much desired!