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Everything posted by Shrdlu
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I've always liked Mr Sting - he has a feel to his voice that only the top singers have. Check him out with Gil Evans! Stewart Copeland is a musical genius, and I don't think his Police recordings give much of an idea of just how talented the guy is. His scores for "The Equalizer" are where it's at. Those just blow me away. I was delighted to find an ultra rare CD of some of those in a used CD store in Huntsville, Alabama, of all places. I wish they would do what they have just done with Gary McFarland's "13" movie score, and put out a CD of all the music bites from the TV series.
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AotW - Stan Getz & Charlie Byrd - Jazz Samba
Shrdlu replied to GA Russell's topic in Album Of The Week
That sure was big, and well exposed on the radio. It had a big influence on me. But I don't think I'd want to hear that album anymore. It's a story that's been told too often. Years later, I got Jobim's Verve album "The Composer Plays" and found out how Desafinado should really be played. Stan plays several wrong notes in the melody, and I have no doubt that Tom would not have approved, as he said that he recorded his songs to set them down correctly. -
Brian sure has written some excellent liner notes over the years! Such albums as the U.K. two-LP issue of Gil Evans's "Individualism" sessions, and at least one of the Black Lion Monk albums (recorded in London, 1971).
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Priceless, Noj! Beyond the call of duty ........
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Great deal!! Bill Evans: The Last Waltz
Shrdlu replied to mikelz777's topic in Mosaic and other box sets...
Not very smart of them, cos people then won't buy them. -
There's a choice Milt performance on the dailymotion.com site - "For All We Know". That's Milt in top form, with superb backing from Oscar Peterson, NHOP and Martin Drew. There are a few blips in the film, but it's still a listenable copy. Nils-Henning's sensitive bass playing, the timing especially, is a marvel. [i don't usually like Oscar's playing, but he is perfect for Milt.]
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Just as well it wasn't two gay guys! That asshole sheriff would have blown them away. What a racist place the U.S. still is, and the U.K. also! [i was chatting to a Canadian DJ who works in England, and he says he is sick of all the racism there. He's from BC, where there are so many people of Chinese descent, but there, they are called Canadians. In England, he says, they could have been there for several generations, but are still called Chinese, or even Chinkies, Likewise people of Indian descent.]
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Oh, if only! My neighbors are all old fogey schmucks - not in numerical age, but mentally. (Some are only in their 30s, and I'm 60.) Only music you will hear from them is radio chart stuff, if any music at all. My immediate neighbors absolutely hate my jazz and electro/house - even though I usually use my headphones and seldom put my speakers on. Sadly, the two of my kids that still live with me hate my music too. But, when I was a teenager, I had a very hip neighbor who used to come over with such goodies as "Miles Ahead", "Bags and Trane", "Coltrane Live At The Village Vanguard" and "The Cannonball Adderley Sextet Live In New York" (the Riverside LP). These were not on the radio where I lived, and I owe a lot to that guy.
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Did he make anything useful, lol?
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"The Waiting Game" (Impulse) did come out on a CD - one of those jewel case Japanese Impulses, now as rare as hen's teeth. (How sad that pretty much all the Japanese CD reissues disappear so fast. I sure would love to have all of the Impulse reissues in that series.) I really like the album, though the recording engineer leaves a little to be desired. One highlight is the appearance of the excellent British harpist, David Snell, also to be heard on the recent CD issue of Gary McFarland's "13" movie soundtrack. Someone mentioned that Zoot didn't put on any airs. I remember being shocked at the sight of his tenor at Ronnie Scott's in London, England, in 1974. It was an old "balanced action" (i.e pre Mark VI) Selmer, with nearly all of the lacquer worn off. He must have felt that as it still blew O.K., why bother to change it, whereas other famous soloists, such as Sonny Rollins, would have gotten a new one. He also just had the simple plastic mouthpiece that comes with a Selmer and is usually tossed out and replaced with something like an Otto Link. I guess when you are at Zoot's level, you don't need any assistance like that.
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I have never heard a Milt recording that I didn't like. He's been one of my top favorite players ever since a neighbor came around with a copy of "Bags and Trane" for my young ears to hear. Always very soulful. To answer one question, "The Jazz and Samba" (Impulse) is a fantastic album. I have the LP, but the jewel case Japanese CD, which would now be very hard to find, has superb sound. The opening, where Richard Davis kicks straight in, is an unforgettable music moment. To get Richard with Milt is a huge bonus. And Milt is with a favorite side-kick, Jimmy Heath, so the sessions are very relaxed.
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Nice though that demo LP would be, the TOCJ CD of that album sounds great. It's one of my favorite albums, and it's a pity that it was not originally released. I love the guy shouting in the background on the opening track. (As so often happens with Blue Note CDs, the U.S. version sounds dull and masks the quality of the album.)
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I once read a lineup that had Ron Carter with Dave Brubeck. Clark Terry would have had no trouble playing with Wayne Shorter. And, they would have dug each other, no question. Clark can do anything.
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Bird was a "windy loudmouth"??? Yes, Jimmy's style was very different from Bird's, but there's no need for such sour grapes. Ludicrous.
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That really IS good, Allen. I used to copy it on my alto in my teens.
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No, lol, that site does not have live webcams. The procedure is to start there and then go to msn. That's what the hormonal kids do - frequently at an alarmingly young age. Personally, I do NOT want to see the 9 incher, lol.
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Sorry for the duplication. Should have done a search I guess. As I listened to the opening track, where the lovely main theme is presented by David Snell on the harp, it made me wish that Bill Evans had recorded it. It would have been perfect for him. The group gets into a slightly jazzy section here, and Snell sounds a bit like Bill.
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So glad he's still around. One of the very fastest sax players, up there with Bird and Cannonball for speed, and it isn't just a lot of technical exercises, unlike a lot of horn players. There is a parallel with trumpeters who play very high, and someone said on a tribute to Louis Armstrong that when he played high, he did it very musically and with an excellent tone. Likewise, Johnny's playing (on that excellent Youtube clip, for a superb example) remains musical at speed. He was definitely one of the best horns with Monk - one critic said the best one of all, and he might be right, even though Trane had the gig at one time.
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XTC Radio London - online only (needs Winamp). SS Radio, at http://ssradiouk.com/ Those are both house/trance/whatever. You mean they also have jazz on the radio? lol
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Would be a great idea. I love the Faceparty chat room, and no, I'm not going to tell you my profile name there. There does tend to be a lot of stuff like "Who wants a fuck in Manchester?", "See my 9" cock on cam", and so on, but there is often some good convo.
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I love Gabor! I totally missed out on him the first time around (the 60s, that is), but over the last few years I've acquired most of his recordings under his own name, and with Chico Hamilton, Gary McFarland and so on, and I've thoroughly enjoyed them. Most are LPs, as a lot have not been reissued on CD, but it has not been hard to find good copies of the LPs. He is a true original, and I love his rather tart sound (hard to describe it in words really). He was consistently good.
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His radio show sucked, though. Trad, and similar old fogey stuff. Time the BBC got some new blood, not that they devote much time to jazz.
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Just having a read through this again today! The contributions have been outstanding, and I'm real glad that I started the thread. My latest recommendation is "Musica Batida Sol", by Rez, aka Ernst Berlin. You can get it here, if you click on the title and then do a CTRL S to download it: http://www.trugroovez.com/forums/rez-compl...alog-t5120.html This is a fantastic Latino house set, very tasty. I was delighted to find that a version of "Corcovado" is included in the mix - hardly what you might expect to find. I really don't see why a jazz or Latino fan could dislike this set. Someone mentioned the Dutch mixer, Tiesto. He is fantastic, and a big draw at Ibiza during the summer. I'm still enjoying the house clubs, and am on the point of DJ-ing it now, as well as some funky jazz. The predominant variety is clearly electro/house. It is fun to keep the beat going seamlessly on a pair of Pioneer CDJ 1000 decks with a Pioneer DJM 800 mixer. Favorite BPM is in the range 128-132, though slower can be quite funky. Although you DO get your share of hormonal, substance-influenced people in the clubs, there are a number of discriminating listeners in some places, and you get very little pop there. For the record, I don't drink alcohol or drop E's or other pills, lol.
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I have a hott Showstopper Trilby hat from Newurban. It's the navy one: http://www.newurbanhats.com/p300/showstopp...oduct_info.html
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I'm going to bend the rules a little, and say "favorite Monk performance of one of his tunes". Straight No Chaser, from the 1959 Riverside album "Five By Monk By Five". The piano accompaniment for the horns is absolutely amazing, and has stuck vividly in my mind ever since I first heard it (on LP) - generations ago, lol. When I play this, Monk always draws my attention away from the horn solos (which are not exactly shabby, being by Charlie Rouse and Thad Jones). But, of course, he wrote so many wonderful tunes and made so many fantastic recordings. [i just read the thread about people who saw Trane live. Well I got to see Monk live. It was in 1971 on that "Giants of Jazz" tour. Art Blakey was right, it was a bad idea, though I'm glad I got to see all those great players. At least the tour led to those superb trio recordings in London, which, sadly, turned out to be Monk's last. Monk was mentally a mess on that tour. He played purely by reflex, and when I saw him backstage, he seemed to have lost all motor control. His eyes were rolling around in a weird way, poor guy. Diz was looking after him and getting ice cream for him.]