medjuck

The "hype and publicity" doesn't seem to have been very effective-- at least in my case. I'd never heard of her before this thread started.

Thanks I have that one and also the "corrected" release that matches the Lp (It has the overdubbed cut), but didn't realize that it was unedited. I dthought it might become a rarity.

Actually it wasn't that easy to pick the good guys from the bad in Spanish Civil War either. The communists turned on the other leftists-- especially the Trotskyites.

Is that on a cd? IIRC there were two different cd releases of that material.

None of this is that new. I remember complaining 50 years ago that the most fascistic thing I'd heard on campus was the chant of "No free speech for fascists". And what's any of this have to do with Rear Window?

Allen Toussaint strikes again. Who was that masked man?!

Find it. If for nothing else: Body and Soul.

Happy International Woman's Day.

Right. And I have them. As I said "I don't remember a lot fo things these days".

I can think of a couple but not a lot. (But I can't remember a lot of things nowadays.) I'm surprised nobody has mentioned Glen Gould yet. He gave up live performances for the recording studio. Mingus didn't just record more than would fit on a record but on Tijuana Moods at least recorded the compositions in bits and pieces. And did he ever play them again?

Funny I was listening to the Blackhawk cds the other day and noticing how often Miles was muted. (Though I wasn't always sure, since even unmuted his sound was often "pinched"-- I don't mean that in any derogatory sense, I just can't come up with a better word right now.)

I believe that there only a couple of complete takes done for Tijuana Moods. Most cuts were put together via editing. Not sure how involved Mingus was.

Who?

What is this? Is it a cd? Where can I hear it?

Interesting. I definitely thought he meant he got no royalties from them (in the interview I read 50 years ago and will never be able to find) but he may have meant that he got more royalties from RCA. I vaguely remember him saying something about it being better to be with a big company but Columbia was a big company.

I remember an interview where he said RCA was the first label to actually pay him royalties when they finally released Tijuana Moods. At the time I presumed that he was taking a shot at Columbia and Atlantic.

For me the archetypical Mingus album was Mingus Ah Um but it was the first one I owned.

I dunno, seems to capture 2018 pretty well:

OK 6 is from a cd called "Duke Ellington, An Intimate Piano Session". It's one of the versions of Le Sucrier Velours done on August 25, 1972. (There are two takes and I haven't compared them to this yet.) I know about the session because a friend of mine told me he was present at an Ellington recording at which his brother was the engineer. He described it in detail and it didn't sound like anything I knew of. I contacted the brother, Jeff Lesser, who said it was never released but he remembered the studio and the approximate dates. After some research I was able to get the exact recording info and discovered that it was on a Duke Ellington Music Society tape that the late great Sjef Hoefsmit had sent out. With some difficulty I got a copy and made a digital version for Jeff and his brother. Shortly afterwards, of course, the cd appeared but it gives no credit to Jeff and in fact makes it sound like the engineer was the guy who I suspect engineered the "bonus tracks" which are from Rotterdam 1969. I'm going on about this just to give some credit to Jeff Lesser. BTW Sjef's tape has even more "dialogue" than is found on the cd. And Track 1 sounds like a live session by the Lincoln Center Jazz band, or someone of that ilk, with a guest pianist. (That's not meant to be a put down-- I've at times enjoyed them. )

6 Sure sounds like latter-day solo Ellington to me and 7 like Ben Webster.

Has anyone mentioned the Charlie Parker sides with vocal backings arranged by Gil Evans?

I highly recommend watching the Bley section of the film "Imagine the Sound" which you can see on iTunes. The rest of the film (Archie Shepp, Cecil Taylor and Bill Dixon) is awfully good too.

Wow. I didn't even know they'd played there.

But Tim Hardin probably did. (And I think Richie Havens was on Verve too.)

Bill Frisell: Either "Guitar in the Space Age" or "When You Wish Upon a Star".