JSngry

I love that cover.

I only know of See's sponsoring of Riverwalk Jazz...this sounds like something, uh, altogether different. Was it syndicated at all?

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It's beautiful. Crazy, and/but beautiful.

A quick search would seem to imply that Dick Whittington had bought the house and then opened it for public concerts. I would think that Whittington had enough of a name and reputation to network with Jefferson and get that deal done.

Good point about the Maybecks. And the McPartland Piano Jazz broadcast releases, that was a good series. Rightly or wrongly, though, I don't think of those as "Concord records" as much as I do Concord side projects.

There was something about Concord's mixing that took the punch out, especially in the drums. Not the presence, just the punch. And given the drummers they often used, that was not something that they could afford to do. It's like the old Woody Allen joke about his mom ran all her cooking through the "flavor remover". That's the #1 problem for Concord records with me. But they did it anyway and now they own everything, so...if it's a bad choice and it succeeds, maybe it's not a bad choice after all. That bad taste can be a good choice...there's a pattern there across time..."life is not fair", I think it's called?

Works for me as an imagining of Muddy being the logos from which sprang both Hendrix, Funkadelic, all the REAL (ie - BLACK) post-"rock and roll" "rock". Of course, it's just a concept (but hell, the label was Cadet Concept!), but it's one that resonates strongly for me. So much psychedelic and "blues-rock" was lacking in chops and/or DEEP feeling, a lot of it was over-dosed on stupidity and gullibility. Well, this does not have that problem. Not even a speck of it. It helped me to stop listening to it as a "Muddy Waters record" and to just imagine it as some lysergic macro-deity coming out of the infinite ether to let you know what was there, whether you and the rest of the world wanted to accept it or not.

Carl Jefferson as a stealth Don Schlitten? A fanciful notion indeed!

Ok. I can argue against the rest of the band, but not against Al Cohn (even on Concord, which was never up to his Xanadu standard, imo). Ross will now give you the cue to get to the commercial break. Years later, I started hearing that, contrary to how straight he looked, he was actually kind of a wild guy. Definitely a case of "who knew?!

Hell, I heard it when it was new! I understand why you like it, hell, I like it. But "best of decade"? Even if for Al Cohn...

Indeed. the OGs: Hear any Jimmy Heath in there, to go with the Grofe?

Ross Tompkins? Fine player, and Al Cohn, of course, but best of the decade?

And Ahmad Jamal did a cover of that one in 1955. Not saying that Coltrane would not have heard the Faure piece, and if he had that it would not have caught his ear. Just saying that there was surely a lot more that went into it (Giant steps) than just that. A lot more.

I don't think it's a stretch to not see that either. The tune itself is stretch enough!

So you think he built the first part of the tune to have something to go with the second part? Seriously? I mean, possibly, but the scholarship indicates that his interest in moving in 3rds was a long one (cf Sandole), and the Slonimsky thing is well documented from many sources...I think it's was probably a lot more holistic a process than just grabbing something and finding something to fit with it. And there's also the whole "Have You Met Mis Jones" bridge thing, there's a contingent that claims that as part of the mix as well.

Electric Mud in particular just works. I get the objections/reservation of all parties (including Muddy), but Muddy Waters singing is going to carry damn near anything, any time, this being no exception.

It's a doctoral dissertation...too much math for R&B, imo. But it documents (ie - repeats what is already known), the Slonimsky foundations of the tune. The Faure thing is there, obviously, but I hardly thing it's a fundamental element of the overall piece. It's more like a happy secondary element.

Have fun with this: http://www.scottlernermusic.com/ftp/coltrane%2520dissertation.pdf

Did Faure invent moving keys in 3rd?

When were the first Mosaic CDs? If we're talking about the first Monk set, CDs were still then very much a developing format, in no way a commercially viable product yet.

It's like how in a crunch you could get your Chevy serviced at a Ford dealership and vice-versa. They weren't happy about it, but everybody knew where all the parts were and there was money to be made in the end, so it got done.

Besides, we already had ECM with r&b! American. It was called MPS and it's over with.

ECM has stayed active and in business with the same owner longer than any jazz label. Ever. So I don't know that they really "need"anything. Or I don't know, maybe they aren't a jazz label. Oh well! Kind of beside the point at this juncture. Lol!