_forumlogo.png.a607ef20a6e0c299ab2aa6443aa1f32e.png)
medjuck
-
Posts
7,088 -
Joined
-
Last visited
-
Days Won
1 -
Donations
0.00 USD
Content Type
Profiles
Forums
Events
Blogs
Posts posted by medjuck
-
-
38 minutes ago, JSngry said:
W
TRACK TWO - This is sick. The second tenor is Warne, so I'm going to guess that the first is Pete Christlieb. Is this from Apogee? If so, this is a drier mix than I'm used to hearing it with, and that's ok with me. Not my favorite Warne overall,, but it's always good to hear him in different settings, such as a fire-breathing tenor duel. As always he rises to the challenge by going counter to it. What a genius he was, one of the real ones.
If it is Apogee, I remember that I thought it was an electric piano. Someone responded that the Steely Dan guys who produced it liked dry mixes.
-
The cut is called Need to be Loved and is credited to all 3 as composer. The bass player is Essiet Okun Essiet. I got it because I'm a fan of Mac (BTW I really like his Ellington cd) and was surprised to see him with Blakey and Newman.
-
I've looked at this photo so often I think I could name a large percentage if the photo was enlarged, but even at this size it's interesting how many people jump out because of their distinctive physiognomy or clothing: Art Farmer, Dizzy, Monk, Sonny Greer, Prez, Sonny Rollins, Marion McPartland, Mary Lou Willams, Oscar Pettiford, Gerry Mulligan, Oscar Pettiford, Pee We Russell, Coleman Hawkins and Rex Stewart (because of his body shape-- and of course he's got his horn).
-
Last week I went to the local art museum for what was advertised as "An Evening of West Coast Jazz". which described as follows:
"The work of acclaimed Los Angeles-based artist Janna Ireland, currently on view at SBMA and MCASB, includes her photographic interpretation of the architecture of Paul R. Williams, the renowned 20th-century Black architect who designed many of Southern California’s iconic buildings. A gifted designer across genres, Williams transformed the face of Los Angeles, including the Beverly Hills Hotel’s Polo Lounge, the Ambassador Hotel’s Coconut Grove, and the cool jazz corridors of Central Avenue.
In a nod to those favored night spots and the music of the jazz greats, Ben Allison, Steve Cardenas, and Ted Nash perform against a backdrop of images of Williams’ mid-century Los Angeles world and photographs from Ireland’s Regarding Paul R. Williams."
I wasn't that familiar with the musicians (I had Ted Nash confused with his uncle) but it took place in a small theater/lecture hall with very good sound and I'm interested in both West Coast Jazz and West Coast architecture.
When we entered there was one architectural photo projected on the stage's back wall. The trio appeared and began playing Jimmy Giuffre's "The Train and the River". Made sense as they were a trio of sax, bass and guitar and Giuffre was a mainstay of West Coast Jazz. I was relieved that the photos weren't being changed during the music and was trying to guess what they'd play next; Gerry Mulligan maybe.
Well the same photo never changed and Ted Nash announced that they were going to play something by the great unknown composer: Herbie Nichols. They then played 3 Nichols numbers introducing each with a bit more about Nichol's biography.
They followed that with Carla Bley's "Lawns". (They also suggested that she was fairly unknown.), then ended the concert with a very nice piece by Jim Hall. Apparently the trio albums dedicated to each of them.
I guess the West Coast might claim Carla Bley in that she was with Paul at the Hillcrest when they met Ornette Coleman, and that Jim Hall did spend time here and recorded for Pacific Jazz but Herbie Nichols?
However, despite the bait and switch (maybe because of it) this was a great concert. And I especially liked that it was presented with no amplification except for the amp of the guitar.
-
You can go a little crazy searching for the best possible sound for the recordings. I have the RCA Box but because I hear some distortion on Jack the Bear and Koko, I've gried to find other transfers. I now discover that I have four other sets that have much of the best sides from this era. My favorite is from France, the Dreyfus cd entitled "Koko". Dreyfus did an additional cd called "Take the A Train" which has 21 cuts from 1938 to 1950.
I also have a 2cd set from Avid, "Highlights of the Great 1940-1942 Band". They claim to use "Advanced Transfer Technology" but add a riders saying the quality of the sound depends on which studio (Chicago is best, LA worst) was used and you need to compare it to other reissues to understand why they advertise "remarkable sound".
Another Avid cd "Jack the Bear" containing recordings from '27-'45 claims to be in "3 Dimensional Sound" which produces a stereo effect".
Finally there's Robert Parker's "Jazz Classics in Surround Sound. Duke Ellington the Great Bands of the 1940s".
I haven't listened to these in years but I hope to do some comparisons this week and will report back . (I'm not really an audiophile and have 81 year old ears. )
-
As I often argue about movies: the greatest year for culture was whenever you were 18.
-
1 hour ago, Ken Dryden said:
I wonder if a Capitol boxed set of Cannonball Adderley would have any appeal? The CDs are pretty much out of print.
If they are indeed out of print this is a good idea.
-
On 3/12/2024 at 1:45 AM, JSngry said:
There's literally decades of such recordings!
Any recommendations?
-
All those showing their love for Buddy and Illinois over on the BFT thread should be interested in this: https://storyvillerecords.bandcamp.com/album/count-basie-at-the-aquarium-1946?from=fanpub_fb
-
Didn't Miles do the same thing? If so, that explains it.
-
4 hours ago, mikeweil said:
Turns out I bought that Jacquet album a few months ago, but listened only once or twice to it until now. His Clef/Verve albums are a cause of neglect - they deserve the Mosaic treatment! I thought of Jo Jones, but wanted to listen once more to confirm ....
I should probably try to hear more Jacquet in non-JATP settings.
-
1 hour ago, clifford_thornton said:
Ha, interesting cover by Pee Wee Russell. I assume it's credited to Dolphy here?
It's credited to Coltrane and the liner notes explain that it's also known as "Miles' Mode".
-
7 minutes ago, felser said:
It's great, you'll love it, Mark. I grab anything by her I can find that's not outrageously expensive. Saw her live at the Philadelphia Art Museum several years ago along with my wife, board member LWayne, and some other board members. Amazing show.
There's a very nice selection of Kurt Weil songs on the 2nd disc.
-
2 hours ago, JSngry said:
The Mosaic is what bumped my appreciation up to the next level. I was expecting to need a break before listening to it all, but that need never arose.
Which Mosaic? This is great cut and seems to me to be rather subdued by their standards.
-
9 hours ago, Brad said:
He’s a conspiracy theorist and he’s not a credible source. Nothing more need be said.
Never trust anyone who puts Ph.D.after their name. (Says Joe Medjuck, Ph.D.)
-
Luna, Luna in downtown LA. (DTLA as they like to label it.)
-
52 minutes ago, John L said:
Count Basie, Freddie Green, Walter Page, Jo Jones
The winner and still champion! I remember Milt Hinton, Osie Johnson and Barry Galbraith being the New York go-to rhythm section. (Often with Hank Jones?)
-
1 hour ago, JSngry said:
Those 1964 dates were a cut above, though. Imo. It was like a Messenger supernova, a torrent of energy amped up and unleashed one last time.
I saw that group in '64. Remember being really impressed by Workman.
-
3 hours ago, JamesAHarrod said:
If by "release date" you mean when a record was available in retail stores, I am guessing it varied across the country. Pacific Jazz releases were available earliest in Los Angeles where the local distributor, California Record Distributors, received stock from the pressing plant and filled orders from local stores. CRD would then ship to 30+ other distributors across the country. Down Beat was probably the best source regarding availability as Bock would place ads to promote new releases anticipating that records would be in the stores when the ad appeared or shortly thereafter. The Gerry Mulligan Songbook was recorded in New York in December of 1957. Woody Woodward dated the test pressing when he received it, January 29, 1958. The LP was included in a fullpage display ad in Down Beat on April 17, 1958. The Mulligan Songbook was the first stereo release in the new ST-1000 series. Woody dated the test pressing on June 30, 1958. The stereo version was featured in a display ad in Down Beat on September 2, 1958.
And there was always the Schwan's Record Catalogue but I've heard almost no person or institution has a complete run.
-
2 hours ago, felser said:
How good is it?
I read it a long time ago. IIRC (and I often don't) it connects KOB to many other movements in the arts. I liked it. BTW I really liked the first chapter of the new book which was quoted above. Even though I've claimed I'm not going to buy any more books about either Miles or Dylan (I am still buying nearly everything about Ellington) I'll probably get this book. KOB has a special place in my heart. I got it from the Columbia Record Club when it was first issued and I thought that if this was jazz, I loved jazz.
-
15 minutes ago, jazzbo said:
I've been surprised that not only are there more albums than I thought I would find with a wikipedia page, but also that they generally/most of the time do reveal the release date.
Yes and sometimes for a musician's complete output. There's a Miles Davis discography on Wikipedia from which you can see that in 1957 Miles had five great albums released: Walkin', Cookin', Bag's Groove, Miles Ahead and the first Lp actually titled Birth of the Cool. What kind of impact must that have had?
-
-
I'd like to be able to find release dates of records. That gives an understanding of when a recording might have had its earliest influence.
-
1 hour ago, felser said:
Cut 4 from this is what we are discussing then. I have never checked out that album - my bad I guess? Easily remedied on the used market.
I can't get the "Show more credits" to work. In case anyone else is as clueless as me: It's Fathead, Art Blakey, and Dr. John. All three get writing credits for the song, which is a bit simple for my taste but I love Mac's piano solo. He does sing on some cuts and on one Blakey plays piano!
Sarah Vaughan Centenary
in Artists
Posted
I'm surprised no one's mentioned Sara Vaughn in Hi-Fi where she's backed by -- amongst others-- Miles Davis and Budd Johnson. There's also some early sides with Freddie Webster in Tadd Dameron's band.