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Joe
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I almost mentioned the Bill Perkins / John Lewis / Jim Hall / Percy Heath / Chico Hamilton GRAND ENCOUNTER. If you can find it, get it.
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3 recommended OJCs in this "cooler" vein:
Paul Horn, SOMETHING BLUE
PRESENTING RED MITCHELL (w/ Lorraine Geller, James Clay and Billy Higgins)
MUSIC TO LISTEN TO RED NORVO BY
PS -- for something a bit warmer, check out the Conte Candoli Quintet dates with Bill Holman (POWERHOUSE TRUMPET and WEST COAST WAILERS)
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I don't participate much even when I commit to these, but I am curious about track 6. Tenor started out sounding like Dex but I realized its not. Definitely enjoyed the track.
Could it be a relatively straightahead performance by someone that Chuck recorded?
Glad you enjoyed that track; a particular favorite of mine.
To be honest, I'm not sure Chuck ever worked with said tenor... though I'd be curious to have his thoughts on said tenor, once all is revealed.
So I guess I'm right that its someone who tends toward the A/G in a more restrained performance.
It is what your ears say it is.
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I don't participate much even when I commit to these, but I am curious about track 6. Tenor started out sounding like Dex but I realized its not. Definitely enjoyed the track.
Could it be a relatively straightahead performance by someone that Chuck recorded?
Glad you enjoyed that track; a particular favorite of mine.
To be honest, I'm not sure Chuck ever worked with said tenor... though I'd be curious to have his thoughts on said tenor, once all is revealed.
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We're ready to roll.
http://www.slowstudies.net/bft68/
2 dozen tracks + a bonus selection. Listen online (thanks, Flash), or download the entire BFT, whichever your connection speed prefers.
No over-arching theme or conceit here, other than the power of association as applied to a jazz record collection. In other words: this is just an assemblage of some things I like that, as I enjoyed hearing them again, seemed more or less to fit together in a mix-tape kind of way.
Answers will arrive in the first week of November.
Enjoy.
Ciao,
Joe
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Another hearty recommendation, though do please be aware of the rather brief playing time (more of an issue, I guess, in those days when we were all very aware of and sensitive to the 80 minute capacity of the CD).
And... hard for me to place this recording "back when", or when I wrote this up for One Final Note in 2001 as belonging now to some distant past.
Meant "back when" it was released. I guess if I were 18, 2001 would truly be "back when".
And I should have said... "but you're right, Paul: 2001 actually was quite a long time ago. Especially culturally.
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Another hearty recommendation, though do please be aware of the rather brief playing time (more of an issue, I guess, in those days when we were all very aware of and sensitive to the 80 minute capacity of the CD).
And... hard for me to place this recording "back when", or when I wrote this up for One Final Note in 2001 as belonging now to some distant past.
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Hi all.
Afraid I don't have time to burn and mail out a slew of CDRs, so I plan to make an MP3 playlist available for a limited time via "the tubes".
Let me know if you'd like to participate so I can send you the eventual URL. (ETA: next 2 weeks).
Thanks; ciao.
* Thanks, Alex, for the serial correction.*
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According to my notes, I'm scheduled for October ... #70... look for something from me in the next couple of weeks...
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+ ELMO HOPE TRIO (Hi-Fi / Contemporary)
+ Dizzy Reece, SOUNDIN' OFF
+ MINGUS AT THE BOHEMIA
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Is this a weekly engagement? I had to work late last night and couldn't attend a concert.
It has been a "third Wednesday" of every month arrangement. The crowds have been all but non existent, but then again it is an anything goes deal. We have fun.
Part of the problem with attendance is the location. It is the west end of the Dallas design district, but it looks a little spooky out there at night. Nothing but galleries and warehouses.
I talked to a few people who had intended to come by. When they came down Levee street, they looked around and decided to just keep driving.
Ironically it is probably safer than anywhere in Dallas. It is just deserted at night.
By the way, Organissimo's own Big Al was in attendance and he stepped up to the plate! There was an acoustic bass in the back room and he offered to play.
Check his fingers for blisters this morning! He is a trooper!
Thanks Al...you were great!
That's a cool area of town, IMO... and up-and-coming, I think.
Kepp us posted on this; would love to see youse guys next time around.
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Heard a track from this self-released disc today on local radio (KNTU, for those in the area): "My Brother Melton". Had to say I liked what I heard, especially from the leader, who appears to be based in Miami. Heavy Cannonball influence, and I could swear I heard some Sam Rivers-esque "slipperiness" here and there. But, ultimately, there's a dancing quality to his lines that strikes me as all Jesse Jones Jr.
You can preview tracks at CDBaby (vocals alert):
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And, on another note, any opinions on this date?
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Just have felt -- and it is that intuitive -- that recordings served him poorly in his bop-era prime. Even a later 50's dates like JAZZ AT HOTCHKISS (an RVG recording?) finds him sounding strangely watered-down, from what I recall.
RVG was the engineer on the Hotchkiss date, but I thought the Nippon cd edition sounded good enough (don't know who mastered the cd's). But I also don't have the original Savoy record to compare it with either.
I really don't know what you are trying to get at with these "watered down" remarks. How do you EXPECT him to sound?
Couldn't it be that what you hear really was Wallington's style at that particular moment, including his melodic side that may be too "easy" to listen to for some?
Do you expect 50s jazz piano to be a hard, hard, hard bop attack all the way, or even Bud Powell-like (in his more disturbed moments
)? Listen to his Prestige recordings and you will find that overall there is a straight line in his recordings, with some obvious variations (like with everybody else). I also find he was best served in trio settings, and horns tended to overshadow him a bit (including on the Bohemia date) but still he was his own man IMO.
At any rate, among bop pianists, I'd rank George Wallington in a class of his own (along with Al Haig and Dodo Marmarosa) quite apart from the Bud Powell school. And there is AMPLE room for pianists off the Bud Powell tracks IMO.
(BTW: If George Wallington isn't percussive enough for you, try some Eddie Costa for a change
).I meant only that, as recorded / served by engineers, he sounds a bit watered-down to me. Or, as you note, a bit overwhelmed by the horns. I did not mean to say I think of Wallington as a watered-down player... as I thought was clear from my earlier comments.
(BTW, I am quite familiar with GW's Prestige trios, and the early BN's; less so the Savoy sides.)
One of the aspects of Wallington's work that fascinates me -- and deserves greater attention, I believe -- is that he made important early contributions to the hard bop style, beyond working with young musicians who went on to be major voices in that idiom, without himself ever compromising or losing the distinctive touch and tone he could get from his instrument.
Maybe it would help if I posed a general question. Could it be that certain pianists from this era simply did not "show up" on tape as well as others because the recording technology and proclivities of the time did them less favors than other pianists? And could it be that Wallington, a superb and historically significant player, was one of these pianists? (That's all.)
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I really wonder what he sounded like in person.
Why would you wonder that about him, in particular?
On the other hand (perhaps), Wallington's approach, especially in terms of touch and attack, changed a good deal from his early trio days (brilliant and attractively brittle) to the more rounded, mellow, almost Hank Jones-like approach of '56 and the next few years (perhaps a bit "dumpy" rhythmically, even a tad cocktail-ish at times, if you don't dig that kind of thing), and then, after a long gap (I believe) away from recording, on those late solo albums his approach is very rich and full and two-handed strong -- absolutely gorgeous from a pianistic point of view IIRC.
Just have felt -- and it is that intuitive -- that recordings served him poorly in his bop-era prime. Even a later 50's dates like JAZZ AT HOTCHKISS (an RVG recording?) finds him sounding strangely watered-down, from what I recall.
The 80s date with which I'm familiar is THE SYMPHONY OF A JAZZ PIANO (Denon) and I agree... there's a puissance there -- but also a calm -- that I don't recall from earlier performances.
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I really wonder what he sounded like in person.
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Wallington is a fascinating pianist IMO. Fleet, with that Powell-esque intensity (and not so much of Al Haig's precision) but -- then again -- leavened by what sounds to me like a rather light touch. Sometimes in listening to his recordings I've felt like they've lacked a certain "body"... but closer listening has tended to reveal a pianist with a unique sense of the lyrical. He gets lost a bit in mix on this recording (1955 and location recording = many vagaries).
McLean and Byrd play well here, doing their "pecking" thing to probably its bet results on record. Yet I like this date primarily for the extended view it provides of Wallington's work.
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Yes, yes, it is a BN cover, but its a Miles design I'd not seen before, and -- typographical play aside -- so uncharacteristic of the work for which he's best known...
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Webster Young, FOR LADY
I believe this is the same location used for the cover photo of Joe Henderson's PAGE ONE -- anyone know where this is (more likely, "was")?
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When did the Rollins WORKTIME design go from being magenta to light green?
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Digging the conga.
Annd the next day, as it turned out... it really was morning in America after all.
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See, I don't see where, how, and why dancing, partying, and LISTENING are of necessity mutally exclusive...never have, really.
That's the Western canonical / concert music-as-ideal tradition: listening requires a certain kind of attention, is essentially intellectual in nature: listening as a gateway to being awed.
But one of the things about jazz that made it vital was its offering an alternative to and commentary on -- and not even consciously -- to the dualism implied by Western art music (and, really, only a gradual and late-arriving development in the history of same). You can and do listen with your entire body; sensation and perception are not wholly brain activities; not every profound experience needs to be sublime and eternal and rational.
The jazz I still enjoy, and listen to, is still in the spirit of these alternatives. As long as there is "true" improvising going on, I'm down. The great thing about the contemporary music scene, IMO, is that improvisation is so highly valued in it, and across a whole range of genres and practices.
Jazz, then -- only not as Teachout understands it = victim of its own influence.
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Apple seems to be working on adding this content to their digital music offerings...
http://www.ft.com/cms/s/0/28129982-7a18-11...144feabdc0.html
Kenny Dorham
in Artists
Posted
This description courtesy Worlds Records...
"Kenny Dorham and Joe Henderson recorded six albums for Blue Note betweem April 1963 and September 1964. This Cd presents a previously unknown broadcast that predates the pair's Blue Note collaborations. In January 1963, the Dorham-Henderson quintet appeared at The Flamboyan located in Queens and named after the casino in Puerto Rico, the club was only open for about a year, but the music lives on."
KD was playing at a very high level during this period, IMO: taking risks, moving towards a more "vocal" style (with a tone sometimes throaty, sometimes almost strangulated)... but without sacrificing the lyricism that was essential to his style. That we get an early glimpse of Henderson is a big bonus.