JSngry

Close. It's all about gettin' the checks.

When it comes to penguins and jazz, make mine...

That Plas connection is devious!

Greetings from Pi Recordings, To coincide with the release of our tenth CD, Wadada Leo Smith and Anthony Braxton's Saturn Conjunct the Grand Canyon in a Sweet Embrace, Pi Recordings has launched a redesign of our website. New features to the site include an events section, featured artist section, and steaming MP3s. We hope that you will find the new design easier to navigate and the information more accessible. In 2004 we will release five new CDs. Pi10 Wadada Leo Smith and Anthony Braxton's Saturn Conjunct the Grand Canyon in a Sweet Embrace, is the second set and the follow up to last year's Organic Resonance, which was set one from Wadada and Braxton's live performance in the spring of 2003 at Tonic in NYC. Both CDs capture the sets unedited just as they happened that night. Pi11 The Art Ensemble of Chicago's Sirius Calling, is the last recording by Malachi Favors Maghostut. Malachi's passing January 30th of this year, came as a shock to everyone. We had already mixed and mastered this CD, but it was not until Malachi's passing that we realized the significance of the title, chosen by Malachi. The album was recorded in the same sessions that produced last year's The Meeting, but the results are startlingly different. The quartet returns to fire off fourteen tracks of duo, trio and of course quartet Art Ensemble music. Pi12 Various Artists Juncture is released in conjunction with SofkSkull Press' release of a collection of 25 short stories called Juncture. The book with 12 accompanying illustrations, photos and paintings features work by some of the most recognized names in art today. The CD follows suit with tracks by Vernon Reid, Mike Ladd, Vijay Iyer, High Priest and DJ Spooky amongst others. The music in many cases is meant as an accompaniment to the stories and in some instances is purely inspired by the writing. Liner noted by Carl Hancock Rux detail this. Later in October we will release Pi13 a new recording by The Revolutionary Ensemble, And Now... The Revolutionary Ensemble release is their first in 27 years and features all new work by the band that was recorded shortly after their standing room only show at this year's Vision Festival. We will also release our first recording with Rudresh Mahanthappa Mother Tongue, Pi14. Rudresh's CD is the second by his quartet, and the follow up to 2002's Black Water. We will send out more information about these releases once they are available. We hope that your summer has been a good one and that you enjoy our new 2004 releases as well as the site. Thank you all again for your continuing support of the label and the musician's work. - Seth Rosner and Yulun Wang _______________________ http://www.pirecordings.com 212-222-6140 PO Box 1849 Cathedral Station New York, NY 10025 Glad to see The Revolutionary Ensemble back together. Hope the magic is still there.

Cancel that - Plas appears on MONTARA. So a connection to Blue Note can be made to at least one player or composition on every cut.

I can make a BN connection to every cut save the Plas Johnson. What am I missing there?

Is the theme based on the players or the songs? The players, right? I'm almost able to make a Kenny Burrell connection to each cut, but not quite. same with Jimmy smith & Stanley Turrentine.

Serendipity-Doo!

Every cut has at least one player who has recorded on or with organ. (Parlan played organ on Turrentine's SALT SONG; Paul Humphrey's & George Bohannon's studio credits cover this as well).

I'm in!

He bows and hums simultaneously.

And get a bottle of Jack to go with it. That's one of the darkest records anybody's ever made. The epitome of Sinatra as interpretive singer, afaic.

Yeah, me too. Shoulda put that one on the list.

Everyware!

Yes, Wilbur Ware IS cool!

It'll take some doin', but the doin' can get done.

Read Gene Lees Singers and the Song. Lees as a jazz critic is somebody I'm on a case-by-case basis with, but this book really helped focus my appreciation of so called "adult pop" singers of that era.

Oh yeah, trpod has some sort of image blocking deal. Sorry. But your guess is correct, so you must know what she looks like, right? She's PURTY!

Nah, it's an old one. But I saw the new one and thought that the woman looked like the same one from the 70s. She's PURTY!

Yeah. A pack of Certs!

Thanks, Rachel! Yeah, she's had it for as long as I can remember, too, which is somehere in the early 1970s.

Welllllll.... I knew that it was first on Elektra w/o consulting AMG. Don't ask me how, probably some blurb on Board Krypton. The important stuff I forget, but THIS kind of stuff I remember. But as for Elektra, it's an old(er) label. Started out doing a lot of folk and stuff, mid-50s, maybe, along with late 60s things like Butterfield, Tim Buckley, and, of course, The Doors. Not really sure how the Blakey side got made, or how it got sold to Savoy. Sounds like there's a story on both ends, maybe. Check this out: http://www.bsnpubs.com/elektra/elektrastory.html

Glad you're ok!

No, it's definitely the "difference" between Golson's and Henderson's Harmon-muted intonation. W/o going off on a pontificatory plane, I'm not a stickler, or necessarily even a believer, in "in tune" as an absolute. The idea of "correct" intonation is a useful tool, but that's all it is - a tool to reach a specific end. If it serves the ends of the player(s) to vary from "correct" pitch, even in ensemble, so be it. The only thing I listen for is if the results sound sincere, controlled, and, at some level, "intentional". Now, the difference in pitch between Golson and Henderson would most likely have not bothered me in the least if Henderson was on open horn. But the Harmon really plays games with the overtones, and itself creates intonation challenges for a trumpeter (minor challenges, to be sure, but there is a difference nevertheless). The clash between the two doesn't sound "right" to me, it sounds like nobody really thought too much of it and let it slide, when it could have easily been fixed and things could have gone about naturally afterwards. It doesn't sound like an intentional expressive device, it just sounds like somebody (and the ultimate blame rests w/the producer, I think, especially since it's Concord - the label that has veritably REEKED of "control" of some form or fashion over the years) got lazy. But that's just my opinion. I'm no producer. On top of that, tenor, perhaps above all instruments, is an instrument that THRIVES on being played a bit eithr above or below "correct" pitch. Show me a tenorist of any note who's always perfectly in tune, and I'll show you somebody who makes up for it some other way.