JSngry

Have you ever experimented with recording audio onto videotape at high speed? FRIGHTENINGLY good sound with the right equipment, especially for recording a live gig. Too bad it's totally impractical in every regard...

Be thankful for small favors!

Well, CVB is the only 60s/70s Horace BN I don't have on a fairly clean LP (as far as I know -hell, I thought I had it! ), so unless Rudy & Alfred did something really different with it back then, I dunno... You know, it's not just this one. I mean, Belden's habit of de-reverbing some sessions REALLY unsettles me on first listen too. I know why he does it, to remove the "cloud" and to give greater detail to the specifics of the instruments and the room sound, but I gotta tell you, it's a HUGE for me the first few times through a lot of times. I'm not even sure if it's the same record sometimes! It all comes down to "familiarity", I suppose, and for every THE INDIVIDUALISM OF GIL EVANS, where the LP hid more than it revealed, there's something like this, where I hear things that I know weren't there in the first place (ok, not having this specific LP, things that I highly doubt were there in the first place). It's not really a complaint, it's just a.... Ok - it IS a complaint. But it's not one that I expect to get much (if any) sympathy for, and it's one that I'm perfectly willing to admit is entirely personal and not relevant to the world at large. Nobody likes it when somebody else buys the house you grew in and turns your old room into a sewing area replete with lace curtains and shit, but whatcha' gonna do about it, buy it back from them and put all the crap back up on the walls? Nah...

Guess I need to put my tenor in the shop then! All I'm saying is that the idea of turning somebody on to jazz by saying "this is what you need to hear" may or may not work, and even if it does, the risk is run of somebody having an intellectual appreciation of what jazz "is" without getting a feel for same. I think it's a great idea for people to know what the cornerstones are, less of a great one to encourage them to go there when their natural inclinations are not yet going to some or all of it. You can't stop running water, like the Neville brothers so aptly pointed out, and as the periodic flodding of the Mississippi shows, even if you can forcibly redirect it, eventually it's gonna go back to where it wants to be, if only for a little while. So make the knowledge of the cornerstones readily available, sure, but let it go at that unless otherwise appropriate. Which may or may not be germane to the original post. In all honesty, I forget. Sorry if I'm missing the point altogether. But dig - there's a whole group of younger people out there now who dig the free jazz of the ESP-and-beyond ilk, really, REALLY dig the shit out of it, for whom Louis Armstrong is just not releveant now. And then there's the people who dig the "post-bop and beyond" inside stuff and nothing else now. You try to hip them to Coleman Hawkins when they're not ready for it, and it will fall on deaf ears, most likely, until THEY'RE ready for it (if they ever are, and I hope that they would be, some day, but if not, hey...). It's a wonderful idea, a veritable civic and cosmic responsibility as a good citizen of the universe, to let these folks know what else is out there, but if they're not ready for it.... If somebody sincerely digs the shit out of Ayler or Pharoah and doesn't want to be bothered with Fletcher Henderson, so be it. Or if somebody goes apeshit over Roy Eldridge but thinks that Don Cherry is worse than incompetent, whatcha' gonna do? That music has personal meaning for them, and I think you got to respect that connection as more than an uninformed or less-than-fully-informed enthusiasm. If they want to go somewhere else, by all means, take them there. But if not, let it be. I think it's better to have a deep relationship to part of the music, no matter how small/narrow/whatever, and be ignorant of the rest of it than it is to be aware of all of it and not have a deep relationship to any of it. Unless they're in the booking business, in which case they should like everything I like and every type of music I play. KILL them if they don't and put somebody in the gig who does! Of course, I personally think that the ideal is to have an ongoing relationship with ALL of it, but you got to be a special kind of freak to get THAT heavy into this shit, and as much as most of us, including myself, would like to think otherwise, most people ain't that kind of freak.

Don't get me wrong - I don't think it sounds BAD. It doesn't, not at all. All I'm saying is that THIS one doesn't sound like a 1965 Blue Note. It's got the "Lion factor" removed from the sound, if you know what I mean (and for those who don't, it's easy - Lion personally supervised/directed the mixing and mastering of his releases, and is probably the real source of the "Blue Note Sound" audiowise). That's cool, I really AM happy to finally have this album, and I'll buy more RVGs when they have extra material and/or when my LP is in less than adequate condition. For something like GOING WEST, though, if I want/need a CD copy, I think I'll make an LP burn now that I got a decent turntable. It'll save me money AND the risk of discombobulation! If most of the RVGs are as "different" sounding as this one is (and I really have nothing to go by to say if they are or not, so I have no preset opinion), then I understand the "controversy" that surrounds them in some quarters. By this stage of the game, Lion & Rudy had gotten their shit sounding DAMN fine, so it's not like some of those Verve things that sound all muddy on LP and genuinely need "fixing". Getting it into the digital realm the way it originally sounded would do just dandy in most instances. You can't improve on perfection, you can only change it. Not that ALL BNs were "perfect" sounding, but most of them from this era and this genre were. Yeah, I was fortunate to come up in the LP age, and even more fortunate to be aware of all the good stuff on BN and to buy a bunch of the LPs when they were readily (and not so readily) available. So that's the "sound" that I hear with this stuff, and when it's this radically changed, I can't help but notice it. I've got no problem with the concept of recordings as raw materials to be manipulated at will, from something as simple as this remastering to something altogether different as all the various DJ remixes. It's all fair game as far as I'm concerned. And for those who never/hardly ever heard the originals, hey, it's FAR better to have this than nothing, no question. All I'm saying is that this is my first real exposure to the RVG series, and audiowise, this is NOT the "real" "Blue Note Sound", no way! Let me rephrase that - this is not the ORIGINAL "Blue Note Sound". What is "real" to the individual is what they know, and if this is what they know, hey, it's as real to them as what I know is to me. Besides, it's going to be real for the forseeable future, since what's done is done. Of course, that's really not that big of a deal in the big picture. It's the music that is the true essence of that sound, not how it was recorded/remastered/etc, and whatever it takes to get that music available is a good thing. I'd rather hear CAPE VERDIAN BLUES with anachronistic reverb and disembodied hi-hats than not hear it at all, unquestionably! However, the next time I hear the old folks talk about how food doesn't taste like it used to, I'll not automatically assume that they're getting senile or that their tastebuds are shot!

It sounds "great", sure. But it does sound "different" as well. BN records did NOT sound like this in their original incarnation, which is cool, what with progress and all, but still, it's not like they sounded BAD in the first place (and I really have heard the original LPs on excellent systems over the years- including ones that I've owned - more than often enough to have a good concept of that original sound), so I'm still a little discombobulated as to why all this is happening in the first place. Replicating the original sound of the LPs as closely as possible is one thing, but when you start "improving" things, well, the possibilities are endless, and some of them are better than others in where they eventually lead. Let's do the Hot Fives in multi-channel suroundsound. NOT! This "RVG" stuff is indeed "good", but its also revisionist history audiowise, at least sometimes (the other RVGs I've ordered from this batch aren't as obviously "differerent"). I guess I'm getting old and cranky. Is there hope for me? I hope not!!!

I think it's interesting to contrast/compare the tenor/trombone front line here with the Period date w/Jimmy Cleveland. Newk had a really interesting group sound happening there for a quick minute. In fact, he STILL uses the instrumentation today, so there must be something there that gets to him. As for why it's not mentioned more, it's easier to assume that the default status for a Rollins session from the 50s is "great", that's why.

Your world is wrong!

Wierd shit happems when you think for yourself.

As well as that Frank Hewitt thing on Smalls. The samples intrigued me.

The Miles tribute is back in stock, and in my cart.

So howsabout Chris catching Adrianna snithching (her shit is not together enough to go on undetected forever) and getting ready to wack her when she tells him that Tony was lying, that he really DID try to fuck her that night? He believes it, because he believes it now, dep down, all apearances to the contrary. So Chris turns snitch to get back at tony, only both him and Adriana get caught. Blood flows and tears are shed. Tony again destroys the things he loves and inches a another step closer to incurable madness.

You're only liable if the injury occurs outsise your proerty. If the fences are high enough and the dogs put up before the area's open, nobody gets hurt unledd they're where they have no business being. But yeah - if you do dogsm you gotta have them under control at all times, no room for carelessness.

The Babs stuff used to be on a BN CD. Seek and you can probably find. Babs, Bud & JJ is all I can think of pre-1951, including airshots w/Miles or anybody else. The guy didn't go through the usual route of coming up in big bnads or coming to NY from somewhere else and having to break in. He was already there and playing by the time he got record dates (that's a really mangled sentence, but you know what I mean).

Sorry to hear about this, btw. It does indeed suck.

Get some dogs. Half-rabid dobermans should do the trick.

Love that Baby Elephant Walk!

Early 80's Austin Punk Band: The Hugh Beaumont Experience Late 80s Dallas Southern Rock Cover band: Booster Cable & The Jump Starts Band name I fantasized about someday using when I was 14 and digging Ayler & Hendrix simultaneously: The Aardvaark Kiddie Fascist Toy Store Avant-Garde Jazz Acid Rock Combo. I might still use that one someday, so don't nobody get any ideas, ok?

Blame the careless handling of Norah Jones specimens.

I'm still agahst at image of the profits from 18 million Norah Jones specimens being redistributed on the whole of the house. That's a LOT of lab work, and if even one beaker breaks in the wrong room... Maybe THAT'S why their server's down.

THIS lays it all out, I think. As for the $5 thing, the CD Baby site is pretty quirky in this regard, or so it seemed when I ordered. I finally gave up looking within the $5 sale searches and just searched by "Teo Macero" and added everything that came up to my cart. A few were not going for the fiver, and I deleted them. The ones I mention here all went for $5 when I ordered them. I was so pleased by what I heard here that I went back last week & ordered the Monk & Ellington tribute discs at regular price, and I'll order the Miles tribute when it comes back in stock. At $15 per disc, they're not cheap, but they're not outrageous either, and I think I will be pleased. Along those lines, keeping in mind the very diverse styles covered, I'd think that #s 1-5 & 7-8 would be safe bets at regular price for those who are into the styles covered on each one, and that #s 6 & 9 would be worth it for those who don't mind CDs that have some really strong stuff mixed in with slightly lesser material. All told, I must say that this purchase has really made me aware of just how comprehensive Teo Macero's skills truly are. Frankly, I've always thought of him as a one-time "contender" who kinda gave it all up to be a producer, an "industry guy". Such is not the case, obviously. Can't say that I hear any indication that he's remained a particularly strong player per se, but his writing has definitely remained vital, his tastes broad and true, and as THE DARK KNIGHT shows, he's not afraid to keep moving ahead. THAT side could pass for one of Matthew Shipp's recent experiments in spots!

I bought these 13 discs having no idea what to expect, and by and large was delightfully surprised. Macero functions mostly as writer/arranger/bandleader/producer on all but the older material (with one possible exception), not playing very much (again, with a few exceptions). He reveals himself as incredibly eclectic, highly skilled in all genres, and somebody who delights in performances that are full of vigor. Few of these CDs are "perfect", packaging on all is amateurish, with horrible artwork and minimal/incomplete/no liner notes, and some of it has "demo" sound quality. But the music is another story altogether... 1)THE BEST OF TEO MACERO - apparently this one has been out before on Stash, and maybe American Clave. It's an eye/ear opening collection of material from the 50s & 60s (including Macero's Debut session w/Mingus). The music is very cutting edge, and reflects a strong "20th Century Classical" influence. But there's jazz, REAL jazz running through all of it, which makes it something else altogether. Of particular note is Macero's use of accordian as a textural instrument. It's almost "electronic" sounding in spots. Besides Mingus, Art Farmer, Bill Evans, Lee Konitz, Clark Terry, & Eddie Costa are among the many "name players" on these sessions. Not for every taste, to be sure, but this is a disc I'll be returning to for a good long time. 2)POP JAZZ - EXACTLY what it says it is, and SUPERB in every regard. Quite possibly one of the best records of its type ever made, even if the "demo" quality of the sound runs throughout. Big whoop. A little "smooth", a little "disco", a little "fusion", and a poppy reworking of "Danny Boy", all of it working within the boundaries of expectations but throwing in more than enough curveballs to keep it interesting for those who are paying attention. Extra nice surprises - a straight-ahead Lee Konitz 4tet piece w/Fred Hersch, Mike Richmond, & Adam Nussbaum, as well as an appearance by Sal Salvador's Crystal Image group. This is a truly great record, "pop jazz" or not. It is what it is, it does what it sets out to do, and it does it better than anybody would have a right to expect. 3)DARK STAR - another great one. Uncredited personnel most likely includes Dave Liebman, Bill Evans (sax), Lew Soloff, Larry Coryell, Harold Danko and/or & Jimmy Madison, a.o. (there are no liner notes, but a similar sounding band turns up on another selection on another CD where personnel IS listed). This is spirited, complex-yet-accessible material that exists in the netherworld between advanced post-bop and "fusion", Liebman is on fire throughout, and the cut "So Long Miles" works up a near-frightening head of steam, venturing into late-Gil Evans territory. This one was the real surprise of the batch, as none of these players are on my "high priority" list, if you know what I mean, but this is a first-class date, defintely. 4)THE BLACK KNIGHT - Another surprise, and a major recording, in my opinion. Dark, moody, and sinister, the recording features a pianist (presumably Macero, although he himself weaves a tale of meeting a pianist on a street corner, recording him, and never hearing from him again. Yeah, right...) playing heavy handed forboding melodies, with guest musicians (including Joe Maineri, DJ Logic, Vernon Reid, & Dave Liebman) accompanying/interacting. There are no cliches, and the music is consistently surprising and gripping. Another one not for everybody's tastes, but if you're into "this kind of thing", don't miss it. 5)IMPRESSIONS OF CHARLES MINGUS - originally issued on Palo Alto, and a collection of groups of various sizes. The material is bold and brash, and the players respond in kind. Not a lot of subtlety, but a lot of emotion and musical color. Fetured players include John Stubblefiel, Pepper Adams, Lee Konitz (in particularly fine form), and many more. Maybe not "essential", but WAY above-average. 6)SAX 5TH AVENUE - a "tribute" to the Elling Rainbow Room bands, this one features a six-man sax section (Macero, Phil Woods, Lee Konitz, Al Cohn, George Young, & Pepper Adams) with a rhythm section of Benny Aranov, Joe Beck, Michael Moore, & Jimmy Madison. It's marred by three vocals by Teddi King, a singer I've never warmed to at all, on MAcero originals that all have nice melodies (especially "The Girl From Sad County") but absolutely horrible, sophomoric lyrics. These cuts are redeemed(or almost redeemed) by Marcero's scoring for the saxes, which is luminous, thick, colorful, and altogether outstanding. Plus, there's two extended jams where the "names" get to blow at length, and they don't mess around. Cohn in particular surprises, sounding at times all the world like Yusef Lateef! The rhythm section refuses to play it safe, even on the vocal numbers, and that's a joy to hear as well. A very mixed bag, but if you can dig getting a side for a few numbers and ignoring the rest, this is one of those. 7)FUSION - yet another eye/ear opener. A collection of Macero's orchestral compositions, most from the early 1950s, but two from the early 1980s, performed by The London Philharmonic, and augmented in a few spots by The Lounge Lizards and Ryo Kawasaki. I'm not well-enough versed in this idiom to comment authoritatively, but the music sounds interesting, and not particularly imitative. Derivitave, perhaps, but not imitative. It consistently held my interest, and I expect to return to it over the years. 8)FOR A DREAM - a collection of Pop/R&B material. But there are some REALLY left-of-center touches throught. Macero thinks nothing of taking the same harmonic turns in a straight R&B production as he does in his Classical and Jazz work, the playing is ultra-top-notch, "New York Slick" at it's best, and the result is a few certified potential off-the-wall "cult classics", if only anybody would ever hear them! Fans of eccentric pop are STRONGLY encouraged to drop a fin on this baby! 9)THE SPIRIT - a mixed bag, half on the level of DARK STAR, the other half being pastoral ruminations that don't do all that much for me. When it's good, it's great, and when it's not, my attention wanders. Still, well worth the Five Spot for the good parts. 10)BUMPS IN THE ROAD - sounds to me like the DARK STAR band w/Lou Soloff as the sole horn. The material's good, but Soloff is a better "role player" than frontman if this side is any indication. Nice, but far from gripping. 11)THE ECLECTICISM OF TEO MACERO - more "concert" music, some of it very good, some of it sounding like things written just to be written. Enough good stuff to be a worthy $5 purchase, though, easily. Macero's ventures into dissonance and microtonality more than hold my interest here. It's the other stuff that doesn't. 12)A DREAM - JOSHUA PIERCE, PIANIST - a collection of Macero's "light classical" piano pieces. Light indeed, but not offensively so. 13)JAMBOREE - Yuck. "A Ballet Entertainment". A faux-"southwestern" pastiche of no merit as far as I'm concerned. Some great music at even greater prices. Carpe Diem!

Sonata priority.

Yeah. Right.

FOR THE PEOPLE - Jerome Cooper/Oliver Lake. Very nice.