GA Russell

Looks like something for Your Music!

Anybody know what year the Kenton was issued? I prefer his 50s work. I picked up the Cannonball in college for $1.99. IMO, it's not that great.

I don't understand this negativity at all. I think you guys are nuts!!! First of all, I'm sure we all will agree that we would like to see more good music reissued. But I think that every label that recorded jazz between 1945 and 1980 is guilty of sitting on good material. Why pick on Milestone? This would be a boring website if every thread on jazz included a rant about a record label that hadn't reissued something. Second of all, the compilations. If you don't like compilations, don't buy 'em. I too usually prefer the original albums intact over a compilation. But I for one don't have the money to buy every album ever made. Take the Jimmy Smith for example. I'm not interested enough in the guy to purchase five Milestone albums of his, even if they were all available. And I don't have the money to buy them and everything else that appeals to me. But I'd like to hear a sampler of what he did for the label because I am unfamiliar with it. When I was in college, I knew rich kids from New York City for whom apparently money was no object. They would often sneer at anything that was not the best, without ever considering the price and the value. I found them tiresome. Finally, I am assuming (I have no inside knowledge, but I think that it is a fair assumption) that Concord/Fantasy is issuing this Milestone series because the Prestige series was financially successful. Think about what that means. The company is successfully persuading the people of America to fork over their hard cash FOR GOOD MUSIC. More power to them for that! Rant over.

A Love Supreme has never been one of my favorite Coltranes, let alone one of my favorite jazz albums. On the other hand, I think that ever since jazz became listening music, as opposed to dance music, Birth of the Cool is one of the most listenable albums (listenable to the most people). edit for typo

Apparently the Prestige Profiles series out last Christmastime was a success, because Concord/Fantasy is going to put out five "Best of" Milestones called Milestone Profiles on June 6. I'm looking really looking forward to the Joe Henderson, and almost as much to the Sonny Rollins and McCoy Tyner. It may be blasphemy to say this here, but I've been listening to Joey DeFrancesco's Organic Vibes so much the past few weeks that I'm not sure that I'm going to be ready for another organ album, even if it is Jimmy Smith. I can't say that Jimmy Scott has ever appealed to me, and I plan to give that one a pass. Each of the Prestige Profiles came with its own bonus disc. It looks like all of the Milestone Profiles will come with the same bonus disc. Here's the press release I received yesterday: Founded in New York by producer Orrin Keepnews in 1966, two years after the demise of his earlier label Riverside, Milestone Records quickly established itself as a forward-thinking company that attracted major artists such as McCoy Tyner, Sonny Rollins, Lee Konitz, and Gary Bartz. It was acquired by Fantasy, Inc. in 1972 (Keepnews joined Fantasy that same year) and continued to record a wide array of jazz, Latin, and world artists--Flora Purim, Ron Carter, Jerry Gonzalez and the Fort Apache Band, and Hank Crawford, to name just a few. Single-disc retrospectives of five artists' work for the label will be released next month (6/6) in the MILESTONE PROFILES series, in celebration of the venerable imprint's 40th anniversary. The CDs were compiled by Nick Phillips, Vice President, Artist & Catalog Development for the Concord Music Group, which acquired Milestone in November 2004. ============ JOE HENDERSON, an early Milestone signing, was a mainstay of its roster for nearly a decade. His new Profiles CD draws from classic albums such as Power to the People (1969), In Japan (1971), and In Pursuit of Blackness (1972), which feature the saxophonist with Herbie Hancock, Ron Carter, Woody Shaw, Jack DeJohnette, and many others. McCOY TYNER's long and prolific relationship with Milestone and producer Orrin Keepnews began in 1972 with his Grammy-nominated Sahara. Over the next ten years, Tyner recorded in a multitude of settings--from solo to big band, live and in the studio, with working groups and all-star aggregations. His new Profiles CD offers a rich sampling. The SONNY ROLLINS disc includes material from his very first Milestone release (Next Album's "Skylark," 1972) and his latest (the 2006 Grammy winner "Why Was I Born?," from Without a Song). In between are seven other exceptional tracks, among them the live "Autumn Nocturne" (1978), "Duke of Iron" (1987), and "Biji" (1995). JIMMY SMITH's Milestone discography is comprised of two studio dates (1989's Prime Time; '93's Sum Serious Blues, arranged by Johnny Pate), and three live albums (two cut in 1990 with Stanley Turrentine and Kenny Burrell; a 1981 Keystone Korner recording with Eddie Harris). Selections from each appear on the Smith Profile. Balladeer JIMMY SCOTT joined Milestone in 2000 in the midst of a busy comeback. His new set offers 11 highlights from his four Todd Barkan-produced CDs for the label--Mood Indigo, Over the Rainbow, But Beautiful, Moon Glow--with empathic support from a cast including Hank Crawford, George Mraz, and Cyrus Chestnut. A 45-minute bonus disc--with tracks by Hank Crawford/Jimmy McGriff, Flora Purim, and Jim Hall/Ron Carter as well as the five Profiled artists--is packaged with each set. ============ Orrin Keepnews, when reminded that his second label had hit the 40-year mark, recalled early Milestone as "a fragile, drastically underfinanced independent jazz label." While Riverside "had flourished during the 1950s Golden Age of jazz," he noted, "Milestone began life at a time when many people were firmly convinced that jazz was dead--or at least badly wounded by the defection of much of its audience in the direction of the Beatles, the Kingston Trio, and/or assorted other upstarts." After Riverside’s shuttering, and almost two years of "freelance scuffling," Keepnews "joined forces with a young pianist/producer named Dick Katz (who was able to supply enough capital to finance a couple of projects) and jumped back into the whirlpool with a new label. Actually, the times were still 'golden' enough for us to assemble a rather formidable roster of future stars and underappreciated veterans. Early New York-based Milestone meant a lot of impressive work by Joe Henderson, Gary Bartz, and Lee Konitz, reunions with such ex-Riverside associates as Wynton Kelly, Bobby Timmons, and Nat Adderley, and--as we picked up the pace entering the '70s--the addition of young McCoy Tyner (then still best-known for his historic association with John Coltrane) and the wonderful, ageless Sonny Rollins (who has remained Milestone's brightest star for more than three decades)." ============ 6/27 edit subtitle 6/29 edit subtitle 7/1 edit subtitle 7/2 edit subtitle 7/3 edit subtitle

Running low - The Best of Bill Evans 14 tracks, one from each of his Riverside albums. I ordered it today.

Thanks for the suggestions, Adam. I've never heard of Jenny Scheinman before. This goes on sale Tuesday. I see that CD Universe now has sound samples of it up on their website.

This goes on sale Tuesday. I see that CD Universe now has sound samples of it up on their website.

Larry, I had that one in college! Maybe I still have it around somewhere. I remember there was one song that took off, but eventually went over the edge for me. I saw a picture of Hampel not too many years ago. He looked terrible. The years really got to his face.

Yesterday being Cinco de Mayo, I recalled that it was the anniversary of Cal's passing, so I put on Cuban Fantasy. For music not released until 25 years after its recording, it's a great album! edit for typo

Next up for me is Blue Mitchell - Boss Horn. I've been curious for many years to hear something from Chick Corea's time with Blue Mitchell. Not so curious as to shell out for the Mosaic box, but wondering nevertheless. It's been a while since I got a 60s Blue Note, so now's the time.

I've probably played Herbie Mann's recording of Footprints from his Windows Open album than I have any of Wayne's recording of it.

Patrick, I had a similar thought. Of the four acts mentioned to give the reader an idea of what the two companies have to offer, I have heard the music of only one (Madonna)!!!

I don't think that Concord/Fantasy has contributed anything to BMG/Your Music since Concord acquired the material. I don't count on seeing new Fantasy material there anymore.

Weizen, the first DVD-A issued was Gordon Goodwin's Big Phat Band - Swinging for the Fences. I don't have that one, but I have the follow up called XXL. I enjoyed it quite a bit when it came out two years ago. I play it on my computer. I have no opinion of the quality of the sound for your system, but I bet it's pretty good because apparently the company takes it seriously. I believe that I have read recently that the record label has now issued a two-sided disc of XXL, with CD on one side and DVD-A on the other.

I don't think it was a joke. Robert Wyatt was a Communist who later recorded Stalin Wasn't Stallin'. By the way, perhaps you know that the French for Soft Machine is Machine Molle; thus anglicized into Matching Mole. There's the joke!

Here's Gauthier's bio: The Jeff Gauthier Goatette “Gauthier's compositions are quirky and offbeat, bubbling with unexpected rhythms and occasional warm lyricism.” – Don Heckman, L.A. Times One and the Same is violinist Jeff Gauthier’s fourth CD as a leader. He calls his ensemble The Jeff Gauthier Goatette to institutionalize the lifelong humiliation of his childhood nickname. Gauthier’s musical universe was exploded at an early age by influences as diverse as J.S. Bach, Igor Stravinsky, Olivier Messiaen, Miles Davis, John Coltrane, Bill Evans, Keith Jarrett, Ralph Towner, John McLaughlin, and King Crimson. The core of the Goatette has been together since 1991, and Gauthier has been performing and recording with brothers Nels and Alex Cline since 1979. This new CD features works by Gauthier, Nels Cline, Bennie Maupin, and former band member Eric von Essen. Violinist, composer and producer Jeff Gauthier has been named a Downbeat “Rising Star” as both an instrumentalist and producer for the last two years running. He has worked with many prominent musicians in a variety of creative contexts during a career that has spanned over 20 years. As an improvising violinist he has performed and recorded with Yusef Lateef and Adam Rudolph for Meta Records, The Alex Cline Ensemble for ECM, Nine Winds & Cryptogramophone Records, the Cline Gauthier Stinson trio for Cryptogramophone and Nine Winds Records, and The Vinny Golia Large Ensemble and Quartetto Stig for Nine Winds Records. His own ensemble, the Jeff Gauthier Goatette has recorded four CDs including Internal Memo and The Present for Nine Winds and Mask for Cryptogramophone. Gauthier has also performed in ensembles with bassist Mark Dresser (Banquet) and drummer/percussionist Gregg Bendian (Bone Structure). As a founding member of the ensemble Quartet Music (with Nels Cline, Alex Cline and Eric von Essen) in the late 70s, Gauthier recorded four albums, received two NEA grants, toured with the California Arts Council touring roster, and performed twice as soloist with the Milwaukee Symphony. Gauthier also founded and produced the Cryptonight and Inner Ear new music concert series in Los Angeles. In demand as a producer of jazz and new music recordings, Gauthier has worked with such jazz luminaries as Alan Broadbent, Nels Cline, Mark Dresser, Peter Erskine, Bill Frisell, Lou Levy, Bennie Maupin, Myra Melford, Jimmy Rowles, Stacy Rowles, Alan Pasqua, Don Preston, and many others, having produced CDs for Cryptogramophone, Delos and Nine Winds Records. In a former life as a concert violinist, Gauthier has performed with the Los Angeles Chamber Orchestra, Los Angeles Music Center Opera, Los Angeles Master Chorale, Long Beach Symphony, the Oregon Bach Festival and the Carmel Bach Festival. He performed on the 2000 Grammy Award winning CD Credo, by Krzysztof Penderecki with the Oregon Bach Festival Orchestra and Chorus. Gauthier is a graduate of California Institute of the Arts.

Here are the liner notes: One and the Same by The Jeff Gauthier Goatette One and the Same is violinist Jeff Gauthier’s fourth CD as a leader, and features guitarist Nels Cline of Wilco. Gauthier has been named a Downbeat Critics Poll Rising Star for two years in a row as both instrumentalist and producer. One and the Same features music by Gauthier, Nels Cline, Eric von Essen, and Bennie Maupin. “Gauthier and his group show how it should be done, rooting themselves solidly in the jazz tradition while at the same time extending and revitalizing it.” -Bill Tilland, BBC Online. Notes on the compositions: 1. Ahfufat – for Wan - This piece was written by Jeff Gauthier and is dedicated to Naomi Xinwan, Padma Cline, the lovely 3 year-old daughter of Alex and Karen Cline. When Wan, (as she is known) was younger, she called Gauthier “Ahfufat,” which was her way of saying “Uncle Jeff.” The composed part of this piece harkens back to a sound reminiscent of the band Quartet Music (1979 – 1991) Gauthier’s ensemble with the Cline brothers and bassist Eric von Essen. The piece begins with an “A” section that is rhythmically displaced to give an open, improvised impression. The “A” section is stated again, only straight through in time, and then the “B” section which develops the ideas stated in the “A” section, is introduced. A “space-jam” ensues highlighting the electronic improvisations of guitarist Nels Cline, and keyboardist David Witham. This breaks down to a free duo-improvisation between Gauthier and drummer Alex Cline. The duet evolves into more “space-jam” involving all of the musicians until the “A” and “B” sections of the tune are played again. 2. Solflicka – This piece is by the late Eric von Essen, the great composer and original bass player of Quartet Music, and the Goatette. It was one of the pieces discovered by Gauthier after von Essen’s death, and was considered for inclusion of The Music of Eric von Essen series on Cryptogramophone. Von Essen spent the last 2 years of his life in Sweden where this tune was written, and Solflicka means “a ray of sunshine” in Swedish. The “A” section of the tune justaposes a two-chord vamp in 4/4 time which moves through some interesting modulations, with a running eighth-note figure that extends the underlying harmony in interesting ways. The bridge is in 3/4 time and is repeated twice. It features a rhythmic and melodic anticipation that imparts a feeling of breathlessness, which is resolved when an abbreviated “A” section returns. The solos alternate between improvisations on the intricate chord changes, with open blowing on the vamp. 3. Water Torture – This piece is by bass clarinet legend Bennie Maupin, and was featured on the album Crossings by Herbie Hancock’s Mwandishi band of the early seventies. This band was of particular influence to all the members of the Goatette, so much so that Gauthier organized a performance of the albums Crossings and Mwandishi in Los Angeles in 2004. Since then some of the material has remained in the Goatette’s repertoire. This piece is an excellent vehicle for improvisation featuring the electronic effects of Gauthier, Nels Cline, and David Witham. These improvisations alternate with statements of the head. Of particular note is an improvised bass/violin duet by Gauthier and Hamilton. Echoes of the original recording can be heard by those familiar with the album Crossings by Herbie Hancock. 4. Don’t Answer That – This Nels Cline composition was offered for the session to fill the need for another “blowing tune”. Here’s what Nels says about it. “Don’t Answer That is intentionally playful, an excuse to attempt some free soloing/counterpoint, with a little vamping thrown in for good measure.” 5. Heart Wisdom – for Thelma - Heart Wisdom came into being as a duo improvisation by Gauthier and David Witham. It emerged almost fully formed one day while Jeff and David were improvising and rolling tape. All that was required was to add a few repeats and create a form around it. It is dedicated to Thelma Cline, mother of Alex and Nels. We thought about her a lot during the recording session, and her loving presence was felt by all. 6. Rina Pt. I – This is an Eric von Essen piece that was part of Quartet Music’s regular repertoire. It was recorded by QM in the late 80s for a now out of print CD on Delos entitled Summer Night. When the Goatette became the ensemble in residence at the Cryptnight series at the Club Tropical in Los Angeles, they started playing Rina because it seemed well suited to the electric piano that they were forced to use for the lack of a real piano at the club. The tune fit so well with the group, that it is now in the regular repertoire of the Goatette. Interestingly, those gigs at the Club Tropical were where the new, more electronic voice of the Goatette was discovered. 7. A Corner of Morning – Nels Cline says of his music: “In my dreams, this piece has something to do with the music/compositions of Keith Jarrett in the mid-1970s. It also has a lot to do with the players involved: their styles, their predilections, their sensitivities. It endeavors to be both wistfully poignant and rather uplifting, just as those moments between darkness and dawn can be delicately intoxicating and/or slightly scary. Mortality in all its awesome fragility.” Liner Notes I would like to thank the lads o’ the Goatette: Alex Cline, Nels Cline, David Witham, and Joel Hamilton. Alex, Nels, and I have been playing music together since 1979. I’ve played with David since 1991, and Joel since 1994. I could not ask for any more accomplished musicians, or more supportive friends. This recording was truly a group effort. Listening to it in the context of our three previous releases, I’m amazed at how the overall sound of our group has changed and grown over the years, while our individual voices have become even more our own. Special thanks to Rich, Walter, Bennie, Denny, Tyler, Crouch, Etan, QC, Catherine, Carlos, Thelma, Naomi, Karen, and my 98 year-young Aunt Helen, who was my very first violin teacher, and who continues to inspre me today. JG Produced by Jeff Gauthier Recorded April 9-10, 2005 at O’Henry Studios – Burbank, CA Recorded and mixed by Rich Breen Mastered by Dave Collins Paintings “connections” by Deanne Belinoff Photo by Yvonne Suter Graphic design by Gareth Jiffeau

At the same time that I was given an advance copy of the new Bennie Maupin album, I was also given an advance copy of another Cryptogramophone CD by The Jeff Gauthier Goatette entitled One and the Same. Gautier is a violinist. In the 70s I got a couple of Jean-Luc Ponty things, and in the 80s a couple of albums by Didier Lockwood. But it's been that long since I've heard a new violin record. The personnel is Gauthier on violin, Nels Cline on guitar, David Witham on piano, Joel Hamilton on bass and Alex Cline on drums. It took me a few days to remember what this reminds me of, and then it clicked. In the early 80s I was a regular customer of a mail order house called Wayside Music, which was operated by Steve Feigenbaum. Today Feigenbaum is known as the head honcho of Cuneiform Records. At that time, Wayside dealt solely with cutouts from the last half of the 70s of either jazz or prog rock. But the jazz was not fusion or anything that I have seen rereleased since. It was by bands of young white musicians who apparently were being marketed to those who liked Soft Machine, Caravan and the other Canterbury prog rock groups. By the way, as I recall many of these LPs were on major labels like Atlantic and Arista. One and the Same fits right into that mold. It is jazz without much blues or black sound. There are seven songs totalling 72 minutes of music. Some of the pieces have a little of the non-ethereal ECM sound from the late 70s and early 80s. But much of the album has that Wayside Music sound. I like it. It's laid back without being tranquil. Much of its appeal is in the harmony provided by Nels Cline on guitar, or in the interplay between Gauthier and Joel Hamilton on bass. Those of you who are Blue Note hard boppers might not go for this, but those who would like something different would probably enjoy it. Like the Maupin album, this goes on sale May 9. CD Universe says: List Price $17.98; Their Price $14.29; Pre-Order Price $12.59.

I received an email today which makes clear that the five LPs are on three CDs, and the eight new sides are on a fourth CD.

This board is my #1 source for recommendations of people whose taste I trust. For example, I have seen Vijay Iyer praised elsewhere, but I decided to pick up his latest CD because of what I read here. Much of my purchasing is from Your Music, and I found out about that here, although I would have seen it elsewhere had I not visited here. But here we have a couple of threads devoted to Your Music, and I have found the discussions helpful. I wish more people would post about their new purchases. I'm always on the lookout for artists whose work I don't already have, and judging from the What Did You Purchase Today thread, there are many of you who are buying albums I am unaware of, but not posting comments or recommendations about said albums. I enjoy posting mini-reviews about my new CDs, and I appreciate all who comment on the albums and the artists in the threads I start.

Happy Birthday!

My most played album since the first of the year has been the Coltrane Prestige Profiles.

Stop the presses! I agree with Chris about something. The Concord Music Group now operates many labels. Concord is an adult pop label, while Concord Jazz handles the sort of music we might be interested in. As long as Concord Jazz puts out good stuff like the new Karrin Allyson Footprints, I won't care if Concord sells lots of pop that doesn't appeal to me.

It's been only seven months since Without a Song (The 9/11 Concert) came out. If this was in the works, I'm surprised they bothered to go through the hassle they apparently did to get that one out. I guess Sonny was really behind in his contractual obligations.