JSngry

Yeah...loved the movie, tolerated the album, and have moved on about most all of what it's about (except the pure orchestra stuff, that still works for me). Waiting to see what they do with the Grand Wazzoo/WakaJawaks material when it reaches the appropriate age. Wondering what might be lurking in there... But "Penis Dimension" and "Half A dozen Provocative Squats", stuff like that is, uh...no more of that, Once was enough.

One of the first two or three Ra albums I bought on impulse! ca. 1974-75 and I have been so lazy about playing LPs lately that I bought this CD. And OH, BTW - extra material! Laziness pays! To top it off, the extra material keeps the groove going past the OG LP material. One of my more favorite Ra records form this period, totally focused, totally straight ahead (in momentum/direction, not in "style"), doesn't lag or drift for a second.

Makes me want to enlist and kiss my gal goodbye so I can go and look out for U-Boats.

Oh my! Instaordered! https://www.amazon.com/Retrospect-Retirement-Delay-Solo-Recordings/dp/B09FCCR6L8/ref=sr_1_1?dchild=1&keywords=Retrospect+In+Retirement+Of+Delay%3A+The+Solo+Recordings&qid=1633438939&sr=8-1 21 previously unissued solo tracks recorded between 1962-1965 . Produced for release by the team who brought you Metaphysics: The Lost Atlantic Album . Packaging contains essays from Matthew Shipp, Alan Sukoenig, and Lewis Porter, plus previously unpublished photos. Pianist Hasaan Ibn Ali was a local Philadelphia legend who had an impact on John Coltrane, McCoy Tyner and many others. He took the larger jazz world by storm in 1965 when was released on Atlantic Records. The label was so impressed, they set Ibn Ali up to record his own album later that year, but it was never mixed or released. Thirteen years later, the tapes went up in flames in a New Jersey warehouse. While the sessions were thought lost forever, copies were believed to exist. And they did! Once located and the audio restored, the acclaimed 2021 release of Metaphysics: The Lost Atlantic Album finally saw the light of day. But Ibn Ali's story has a side not documented on either of those releases. Alan Sukoenig and saxophonist David Shrier were students at the University Of Pennsylvania in 1962, when Shrier told Sukoenig about an incredible pianist he had just heard at a club. It wasn't long before the three became friends. Over the next four years, Shrier and Sukoenig captured their soon-to-be legend friend on tape, playing standards and a few originals. The best of these tapes are now collected on Retrospect In Retirement Of Delay: The Solo Recordings. Produced by the team of Sukoenig, Lewis Porter, and GrammyR-winner Cheryl Pawelski, the 2-CD/Digital set also features restoration and mastering by GrammyR-winner Michael Graves, essays by Sukoenig, Porter and pianist Matthew Shipp, and previously unseen photos taken by Sukoenig. A 4-LP vinyl version is due in 2022. The 21 tracks on Retrospect In Retirement Of Delay: The Solo Recordings now reveal the intimate side of the Hasaan Ibn Ali story with poetic, imaginative, even breathtaking masterpieces that the world didn't know existed. And for the first time, hear the unique magic of jazz legend Hasaan Ibn Ali playing standards! DISC 1 1. Falling In Love With Love 2. Atlantic Ones (Originally known as “Blue Is) 3. Yesterdays 4. Cherokee 5. Body And Soul 6. Off Minor 7. Off My Back Jack 8. They Say It’s Wonderful 9. On Green Dolphin Street 10. How Deep Is The Ocean 11. Arabic Song DISC 2 1. True Train (Part 1) 2. True Train (Part 2) 3. Lover 4. Sweet And Lovely 5. Mean To Me 6. After You’ve Gone 7. It Could Happen To You 8. Untitled Ballad 9. Extemporaneous Prose-Poem 10. Besame Mucho

True, but it doesn't seem that they're leaving room for the 15 foot high walls and the heliports. Oh well, they'll figure it out next time.

The mall of my kids' youth has been razed and new construction has begun on one of these new-fangled mixed use residential/retail jobs that are supposedly the wave of tomorrow's new future. Personally, I think that the wave of tomorrow's new future is going to be pestilence, famine, and a general fascistic violent dystopia, but, hey, I like thier optimism...but maybe this will be what they're hoping for?

And see, that's funny, because " late Basie"...what IS that, really? Yes, there's New & Old Testaments (and a fair amount of Intertestamental) but good lord, there's the first Verve period, which is not the same as the Roulette period, which is not the same as the SECOND Verve period, which is not the same as the Chico O'Farrill stuff that was spread out over several labels, and then those one-offs, and then Dot, which gave us Sammy Nestico, and then Pablo to take it all home. It's kinda all the same, but not really, it's all different, although it's not a blatant difference, still ... My guideposts for anything after the second Verve period is simple - the more Lockjaw the better, regardless, the more Marshall Royal leads the better, never sleep on Norman Jones, and Sammy Nestico can wait, still, probably forever. And, as of recently-ish, now I get why Basie specified to use Ed Shaughnessy where he did, which was usually on the Chico O'Farrill records - it's a thing, a very real THING All the different periods of all the different arrangers, yeah, they sorta do sound alike (and they sorta are), but...not really. Just avoid that Happy Tiger record of Bob Florence doing Beatles tunes ( not to be confused with the Verve record of Chico O'Farrill doing Beatles tunes) that thing...unfortunate. Otherwise, "late Basie" lasted longer than did "early Basie", a lot longer!

It's funny...I love April In Paris, but have never warmed to Atomic, not even slightly. I wonder what that has to do with anything? Probably nothing except, maybe, Hefti's writing never really resonating with me (except early on, First Herd stuff), and Roulette records in general sounding more brittle to me than Verve, at least the older records. Maynard's we're the same way.

Robert Palmer had a lot of interests...

Just so you can have a reality-based baseline, very few things will. That record was a landmark in several ways, and while there were any number of New Testament records that are excellent, THAT one is kinda sui generis...having Lester & Jo onboard made everybody do the right thing.

Foundational indeed. And I often prefer these original performances to the later live ones. Succinctness, and the solos aren't really better, not really. Different, yes. And those OG tempos are perfect, imo. And I also prefer the miking on this one too, Freddie Green IN the house! The Bond thing, it was Lon who talked me into that one, waaaaaayyyyy back when. And I was really skeptical. But dude, Jaws is ALL up in this thing. And Chico O'Farril's work is something of which I'm becoming increasingly fond of, depending on the source material (and that's the tricky part, he would arrange ANYTHING for this band, it seems). I still say that if Woody Herman gets three sets, Basie needs to get at least that many. It is the truly meet, right, and salutary thingadoo.

You have GOT to have the April In Paris record, period, no questions asked. Basie Meets Bond, believe it or not. I too was skeptical, but got talked into it, and I'm glad I did. Broadway Basie's Way, if you can find it without the companion Hollywood record stuck onto it. Pretty much, but the time the band came back to Verve after Roulette, it was a formula band, the "Swing Machine" that everybody complained about, only now some people are finding that they like them some of that. How much at once, that's that question... But peruse this thread if you like, there was a good discussion there.

Robert Palmer did those notes.

Ah.

Hey, at THOSE prices, nobody complains except an idiot!

http://www.deadmalls.com/ Not as "current" as it was a few years ago, but perhaps that's appropriate for the subject.

This. Plus, DDG gave me piss-poor outcomes one too many time.That duck's goose is cooked, imo. If you want privacy the way it used to be commonly understood ...this is not the century for you. So...proceed accordingly it both thought, word, and deed.

Didn't some of this series (some of these items, even?) get done the same thing with a few years ago? I remember ordering some from that Barcalounger out fit.

It was quite different, believe me. Especially when the twofers had put sessions back together that the OJCs then split back apart. Granted, that only sometimes happened, but if you had already bought a lot of this stuff, it was annoying to have to buy it over in inferior collation just because of a cool cover. By that point in time, the music itself was over as "new", so intelligent curation should have been driving the bus, not object fetishism. Not saying that I don't still buy stuff just for the cover, but never do I pay too much for it. Give me a totally plowed record in an ok cover for a price that's right, hey, coming home, baby, we are. But damned if I'm going to get all weird about it and drop the big bills.

Well, there was...now you had to by two records to get two records. And sometimes you lost extra material in the process.

Are you trying to tell me where I should or should not puke? This is still America!

OJC was indeed after the two-fer boom (The Prestiges were the "24000 Series"). The gimmick was "Original", like original packaging. The covers were great, but the liners were (too) often pretty much useless. But it fit in well of the overall cultural trend of "turning back the clock". And now, Concord is doing...exactly what with the catalog? Something, I just can't tell what?

I liked the two-fers because it was (to one degree or another) older music, but packaged in a way that said hey, this is worth listening to now, like, it still has some contemporary relevance. OJCs and such, yeah, ok, cool (sometimes), but still, old mu8sic, old covers, old liner notes, old for the sake of being old.

Audra McDonald