Rabshakeh

I grew up with an ex-jazz fan dad and a mum who never ever listened to music and didn't tolerate it in the house. The first jazz record I owned was John Coltrane and Jonny Hartman, which was bought for me when I first left home by a friend of the family, as what I assume was a joke baby-making record. It's a great record. My first purchases for myself were the usual Kind of Blue; plus Freedom Suite and Concert by the Sea, both of which were favourites of my dad and aunt, but which at that point I had never heard. First jazz record that I fell in love with was My Favourite Things. Then I randomly bought Sounds by Roscoe Mitchell and that was me done.

Anouar Brahem – Blue Maqams (ECM, 2017)

Two questions: What did Creed Taylor do after losing CTI the first time and the weird 90s comeback? Upthread talk about Milt Jackson on Pablo. I like Nightmist a lot. Are there any others that really stand out? This one's pretty interesting and I enjoy it when I listen to it.

Done as well.

Alone Together on Milestone's the only solo record of his to which I return.

Any good?

I now realise that this is a thread about jazz singer Etta Jones, and not blues singer Etta James. Je suis un idiot.

Slickness can signify in two ways, I guess. People often complain about Blue Note post-Sidewinder having a formula. It's only half the story (sadly, no Grachan Moncur boogaloo grinders out there). But certainly, a lot of Blue Note records from that era are quite 'formulaic', and sometimes can feel like so much product. On the other hand, the production choices are much more noticeable on CTI's records than Blue Note's or Prestige's or even Mr Taylor's productions at Verve. Much more noticeable and much more noticeably expensive. On a record-by-record level, CTI is surely the "slicker" sounding product, even if Messrs Lion and Wolff, arguably, had their own slick approach to business.

Various – Gittin' To Know Y'All (MPS, 1970)

That's interesting. I always assumed they were cheap, because that's how they look. Not my favourite covers but at least it's a unified look and vibe.

Thanks!

Anyone? I'm a big Etta fan and like Houston Person a lot, including his later day records like Live In Paris, but hadn't until recently noticed that they released records together.

Oh. So this wasn't just rock / funk / soul bands thinking it would be cool to have funk horn sections? There were some concerted efforts to market jazz dudes as rock? Never really understood Maynard Ferguson's career, although I like that Jimmy's record a lot. He just seems to pop up out of nowhere.

The Ides Of March – Vehicle (Warner, 1970)

Thanks! Ted Goia's on/off substack has an article on horn bands today, but I don't subscribe to it so couldn't read it. I was wondering what they were, when I came across the above. Sorry - one more question: is Top Forty Horn Bands a term that a non jazz fan would use? Or would your average rock/pop/funk lover just think Tower or Power was a psychedelic soul group whereas Blood Sweat and Tears were whatever they were (never listened to them)?

That's how I read it. I am just not familiar with the term. I'm not particularly familiar with the groups or their music either. I'm not sure whether they made it in the UK, but if they did at the time they were pretty forgotten when I started getting into music in the 1990s.

How is this one?

Sorry to ask a dumb question, but what are these? Like the band Chicago?

Red Rodney Featuring Ira Sullivan – Live At The Village Vanguard (Muse, 1980)

Have we mentioned Jim Hall's Concierto? I've noticed that it rarely shows up in the Listening To thread here.

Sam Rivers & Mario Schiano – Rendez-Vous (Vedette, 1977)

Carlos Niño & Friends – Extra Presence (International Anthem, 2022) My two favourites by each of them. RIP.

Michael Formanek Ensemble Kolossus – The Distance (ECM, 2016)

I was going to say that.

Lee Wiley, Bobby Hackett With Joe Bushkin And His Swinging Strings – Night In Manhattan (Columbia, 1951)