_forumlogo.png.a607ef20a6e0c299ab2aa6443aa1f32e.png)
Spontooneous
-
Posts
2,359 -
Joined
-
Last visited
-
Donations
0.00 USD
Content Type
Profiles
Forums
Events
Blogs
Posts posted by Spontooneous
-
-
2. A La-Bridges.(Written by Harlan Leonard and Tadd Dameron) Harlan Leonard and his Rockets. July 15th, 1940 Henry Bridges, Tenor. Fred Beckett, Trombone. Harlan Leonard. Alto. More relaxed but never boring Tenor….Like Fred Beckett’s trombone as well…another name I don’t know. [\quote]
Bridges mainly stuck around Kansas City. I think he's on some Julia Lee records. But that's about all.
Beckett joined Lionel Hampton later, and recorded with Hamp -- but died young, a TB victim, I think. J.J. Johnson cited him as an influence. His solo on "My Gal Sal" with Leonard is da bomb.
-
My old home town to get 30 years worth of GD archives.
http://www.sfgate.com/cgi-bin/article.cgi?.../DDML109ACN.DTL
Grateful Dead archives going to UC Santa Cruz
On Friday, Bob Weir and Mickey Hart are scheduled to announce that the archives of the legendary band - 30 years worth of correspondence, business records, merchandise and memorabilia, including stage backdrops, a large "Blues for Allah" stained-glass artwork a fan gave the band in 1978 and some of the life-size skeletons of the band members for the 1987 "Touch of Grey" video shoot - will be donated to the UC Santa Cruz archives.
Wonder if the letter I wrote in '76 is included.
(Note that they're getting support from the CEO of Seagate. Dead downloads take up a huge part of my hard drive. Now I know, it's a plot!)
-
The opera is pretty bleak, for its subject matter but not its musical invention. Dallapiccola's works at large are definitely not bleak.
(The staged "Ode to Napoleon" the reviewer describes kinda bothers me, though. As does the reviewer's plea at the end for some Puccini.)
-
I have the Bridge recording that the article references. Its great. So is the recording of Perle's wind quintets.
Have the wind quintets on New World and love it. Have a piano concerto on Harmonia Mundi that I don't like as much. Will put the Bridge on my list.
-
This was probably the biggest chance George Perle had to receive space in The New York Times this year (unless of course he dies). And The Times blew it by publishing this self-indulgent ramble. Yeccch.
-
I'll second what Claude said about RVGs.
Interesting selection of titles too. Heavy on the bluesiser stuff (not surprising for Analogue), but some nice surprises there.
-
What, no singer-songwriter out front?
-
//Music Producer Cadena Dies at 83//(Los Angeles)
By Jocelyn Y. Stewart
© 2008, Los Angeles Times
LOS ANGELES -- Ozzie Cadena, a producer and A&R man for famed Savoy Records, who played a key role in recording a long list of jazz luminaries and later led an effort to commemorate the role of Hermosa Beach in the history of West Coast jazz, has died. He was 83.
Cadena, who suffered a stroke last year, died of pneumonia Wednesday at Little Company of Mary Hospital in Torrance, said his daughter, Lori Cadena.
The height of his career in recording came during the 1950 and ’60s, but Cadena later owned record stores and booked acts for several clubs in Southern California, including the legendary Lighthouse Cafe in Hermosa Beach and the Sangria restaurant -- a role he continued to play until shortly before his death.
“I think Ozzie must have lived and breathed jazz every day of his life,” jazz writer Don Heckman said. “He obviously had an impact via his production work for Savoy. ... But his biggest contribution was the love and support of jazz that impacted everyone who knew or had any contact with him.”
(Begin optional trim)
Born Oscar Cadena on Sept., 26, 1924, in Oklahoma City, Cadena moved with his family to Newark, N.J., where he spent his childhood. As a kid, he shined shoes on the street and made weekly trips to Harlem in New York to hear music. Cadena’s love for music also led him to make regular visit to black churches.
After graduating from high school, Cadena enlisted in the Marines and served from 1941 to 1945, in the South Pacific. After World War II, he studied bass and piano at a music school in New York.
(End optional trim)
In the early 1950s, Cadena was working with a jazz radio show in Newark when the owner of Savoy hired him. Savoy Records has a storied role in jazz history. The label was the early recording home of Charlie Parker, Miles Davis and Dizzy Gillespie.
The owner of Savoy was a businessman with a spotty reputation among musicians who claimed his contracts were unfair. Cadena took a philosophic view: “Whether you like the cat or not, at least he made the music available,” Cadena said in a 2002 article in the Star-Ledger.
At Savoy from 1951 to 1959, Cadena was responsible for the early recordings of Cal Tjader, McCoy Tyner, Bill Evans, Donald Byrd, Cannonball Adderley, Nat Adderley, Donald Byrd and many others, according to his resume.
He also recorded or produced Kenny Clarke, Gillespie, Davis, Fats Navarro, John Coltrane and Charles Mingus.
Cadena also played a key role in the careers of artists working in other genres. He recorded vocalists Little Jimmy Scott, Esther Phillips and John Lee Hooker. In the world of gospel he recorded Clara Ward, Roberta Ward, James Cleveland and a group that included Cissy Houston, the mother of Whitney Houston.
After leaving Savoy, Cadena worked for other labels, including Prestige and Blue Note, and Fantasy Records. In 1974 he and his family relocated to Hermosa Beach, which he began visiting in the late 1940s.
(Begin optional trim)
“It was such a perfect place,” he said, in a 2005 issue of South Bay People. “I could have the beach and the sunshine by day and jazz during the night.”
In Southern California he promoted jazz and booked talent at clubs like the Hyatt on Sunset. Since the 70s he promoted jazz and became involved with the Lighthouse, a club that is renowned for its role in the birth of West Coast Jazz. In 2000 he began organizing free concerts on the plaza in Hermosa Beach every Wednesday. He also led the effort to place plaques on the city’s Pier Avenue Plaza honoring the Lighthouse and the musicians who played there.
(End optional trim)
In addition to his daughter Lori, Cadena is survived by his wife, Gloria, of Redondo Beach; two sons, Pru Cadena, of Madison, N.J., and Dez Cadena, of Newark, N.J., who is a musician, and member of the punk band The Misfits; two grandsons, Kyle Cadena and Bret Cadena, of Madison, N.J.; and two sisters Victoria Shear and Beatrice Festagallo, of Union, N.J. A daughter, Janus Cadena, died in 1959.
-
I'm fascinated by the programming logic of putting Sam onstage at 5 p.m. and following him with two local acts.
Maybe they stuck the crazy 'free-jazz'-leaning guy on during the dinner hour, so all the "regular" jazz fans can slip out and grab a bite, and not miss a beat.
I started typing his half in jest, but the more I think of it -- that may well be their actual thinking.
Yep.
I could say more, but not on the Internet.
-
It makes sense when you know that Sam's bedtime is 7:30 SHARP.
So that's why he doesn't tour much. That and the contract rider requiring milk, cookies and a bedtime story.
-
I'm fascinated by the programming logic of putting Sam onstage at 5 p.m. and following him with two local acts.
-
Calt's book on Skip James stands as one of the most unrelenting negative rants I have ever read.
After many pages of his bleak world view, I may have been punch drunk, but I found the following anecdote strange and humorous: Skip James was invited by a group of adoring young hippie fans to a boat ride. He declined, as he believed that the hippies intended to take him out on the water, throw him overboard and drown him.
The review copy just arrived. Sounds like the pick-me-up I need. Can't wait!
-
Here goes. Written without looking at the previous guesses, so kindly pardon any horses that are already beaten to death. Sorry I'm so slow. Been away from home most of the last two weeks.
1. Someone grabbed onto the sound of the Goodman Sextet with Charlie Christian and Hamp and made an earnest attempt to keep it going. Nice twists in the chord changes. The guitarist sounds more interested in Django than Christian. I’m going to guess it’s European. And maybe an electrified violin?
2. Wrote just two words on my notepad while listening to this: “Rex – Menelik”. Very nice-sounding transfer.
3. Beginning sounds kinda like Raymond Scott. Then again, the blowing suggests it isn’t. Especially enjoyed the alto solo. Novel use of the bass clarinet. No further idea what it is, but I like.
4. A decent boogie-woogie circa 1941. Trumpeter reads from the Cootie Williams book but doesn’t have anything new to say about it. Maybe Harry James?
5. I love this chromatically restless swing-to-bop stuff. Interesting piano. A truly great trombone solo; Bill Harris? Followed by Charlie Ventura? Circa 1945.
6. Then we jump back to about 1933. Lovely. Teagarden? Nice guitar work throughout. Hard to tell on the computer speakers -- is that tuba or bowed bass? The violin spot is a letdown. Still a darned good record overall.
7. Doesn’t do much for me, but then Tea for Two hardly ever does unless it’s Tatum. Frou-frou piano. But the tenor puts some muscle into it. A not-so-simple arrangement, well played. Do I detect the Lunceford band here?
8. But this does quite a bit for me. A great big band from circa 1931, maybe Mills Blue Rhythm Band or Don Redman? Maybe the Calloway band with the leader out of earshot? Luis Russell? The bass and drums are captured beautifully by some forgotten recording engineer who knew what he was doing. The whole thing swings like a mofo at a time when swing was really new. Strong solos all around – the altoist is a star. Consider my world rocked by this one. Is the tune “Milenburg Joys”?
9. I recognize “Shanghai Shuffle” from a ‘20s Fletcher Henderson record. But this is later. The arrangement seems to match the version Fletcher recorded in 1934 for Decca. But this is 45 seconds longer. A Fletcher broadcast?
10. The frantic place continues. Sounds like we’ve stepped back to about 1936. The ensemble brilliance suggests Lunceford again. If I keep saying that I’ll be right one of these times, won’t I?
11. Oh, shoot, I’ve heard this. Same changes as Basie’s “Easy Does It”; which came first? Maybe this is Erskine Hawkins, with nice muted Dud Bascomb for contrast?
12. I thought Andy Kirk for the first minute, but then the pianist relinquishes control and the boogie-woogie turns kinda clunky. That long clarinet bridge is a trip. The track doesn’t quite click, but it’s another interesting example of swing outgrowing the old clothes.
13. Sounds like the real Tatum, for a sec, then sounds like a wannabe. The guitar solo has an uneasy combination of Hawaiian and Django elements. Afterward, the pianist sounds more Teddy Wilson-esque. A hybrid all around. Please tell me it isn’t the King Cole Trio.
14. Circa 1930. Decent solos all around, but the trombonist steals the show, and nobody tries particularly hard to steal it back.
15. Roy! Title cut here. The alto ain’t bad either. Love the slightly awkward tenor spot – it could pass for a Ben Webster spot on one of those 1932 Moten records.
16. Fascinating variegated performance. An arranger’s tour de force. And then the trumpet coda! Don’t know what it is, but I like.
17. Cootie plays Topsy? Naw, it can’t be him. Clarinet must be Artie Shaw, because it’s too suave for BG. Then a new theme! This is off the hook. Really beautiful.
18. Back a few years, circa ‘31. Riffs are borrowed from “Chant of the Weed,” as is some of the attitude in the alto solo. Mills or Calloway?
19. Spirits of Rhythm? The pseudo-Hawaiian lyrics are a hoot, and the Hawaiian guitar is downright pretty. Amazing control in the trumpet throughout (Zat chew, Charlie Shavers?).
20. The Latin tinge, but in this performance it’s more like a Latin stain that the band wants removed from its uniforms. They don’t sound too interested. The only track so far that doesn’t make me happy.
-
Look up the two compositions by Dick on Hilton Ruiz's "El Camino." Wonderful stuff.
-
The stuff isn't made from baby baboons, is it?
-
What's worse, I thought of Monty Waters (70's loft jazz scene altoist) and not Muddy.
And next. Bo Diddley will be mistaken for Bonaparte Diddleyokovich, a long-lost Polish bebop sax player from the 50's. Where else but on Organissimo? And the mind boggles at what "Elvis" would be mistaken for!
So do you have the Bonaparte Diddleyokovich box on Ogun available too?
-
-
Yeah, but everybody already knows there's no difference between Monster Cable and coat hangers.
-
There's a way around the delay in downloading for free at Rap*dsh*re.
Download one file for free. Then delete your browser's cookies and reset your modem (just click it off and back on).
Your modem will probably reconnect in less than five minutes. Then you can download another file.
Repeat process for each new download until you're done.
Take that, Rap*dsh*are!
-
Oh, dear. Just "The Music of Hank Mobley." Not "The Life and Music of Hank Mobley." Another entry in the burgeoning field of guy-writes-about-his-record-collection books that are passing for real jazz scholarship at presses that should know better?
-
Kubelik is probably a "safe" deal but I have huge problems with No. 1. Way too speedy. Horenstein is a favorite (Vox/mono first, Unicorn/stereo next).
Might come back and complain about others later but the first caught my attention.
I like the tempi in the Kubelik First. His speedboat Sixth is the one that's too fast for me.
-
Hey, bringing Donna into the band was a pretty good idea in theory.
They were always looking to tighten up the high harmonies. Wasn't practical to have Phil singing them, assigning the highest part to the guy with the deepest voice.
But Donna wasn't comfortable on the higher parts either -- her voice wasn't really much higher than Garcia's. Factor in lots of cocaine and allow for some crazy personal circumstances ... and there ya go.
Hey, later on Brent's voice got pretty burnt out on those higher parts too.
Casting voices was not Garcia's forte. Listen to the out-of-tune backup singers in the latter-day Jerry Garcia Band. Just about as bad as 1970s Donna.
-
With the Walter set you've got versions of 3 and 4 that are among the best. The First in Walter's stereo set isn't up to the rest, though.
Walter did a mono set in the '50s with the New York Philharmonic that's often even better than the stereo set. The LPs turn up at Goodwill now and then, and they're well worth watching for.
-
I'll take a download too.
Unusual Pairings
in Live Shows & Festivals
Posted
...and I think of it every time I hear a leaf blower.