cannonball-addict

I don't have the album in question. But I disagree with the idea of liking one format more than another. What I mean is that we are bickering over what the goddamn thing actually sounded like - not whether you like one or the other. Which format gets closer to the actual sound the instrument made that day? What was the balance like? Often times things get recorded poorly and its hard to salvage a recording that was recorded poorly to begin with. You can mess with levels all you want but sometimes you're simply starting with an unbalancable bunch of sound. I am only a youngster (yet an avid LP/78 collector) and I very much prefer CDs to vinyl for sound quality. Neither CD or LP is ever gonna be as good as live for a whole number of sensory reasons, too many to list here. But I think it's pretty fair to say generally that CD's get closer. Why do I buy vinyl? It makes me feel badass. P.S. A good/interesting exercise is to buy something on CD recorded by Mapleshade Records (a current small record company based in Maryland) which doesn't record digitally, mix or master as a matter of principle. Go to their website for a better explanation. Mapleshade Records

Ultimate album: Keith Jarrett with Branford. Liner notes written by Bob Blumenthal. (anyone who was at IAJE last year)

Well, if "hip" comes from the alleged "hepi," you must be "keepin' it real."

Used: Charles Pillow - In This World (Summit) - $4 Mark Turner - Dharma Days (Warner Bros.) - $4 Kenny Garrett - Simply Said (Warner Bros.) - $4 Prinsens Orkester - i 508 farver (Cope) - $4 Allan Holdsworth - All Night Wrong (Favored Nations) - $4 Like New: Randy Sandke - Cliffhanger (Nagel-Heyer) - $6 Wayne Shorter - Footprints Live (Verve) - $6 Ned Otter - Powder Keg (Two And Four) - $6 Brand New: Jean-Luc Ponty - Live in Concert (Self-Released) - $9 Kenny Dorham - The Complete Savoy Recordings (Definitive) - $9

Gotta disagree. I don't have anything approaching a "complete" Joe Henderson collection, but out of ten CDs of him as a leader, this one is easily the weakest. Guy His playing is not as confident as some of the other sessions mentioned here. Albeit there are a few memorable heads from this one that have become standard jam session fare. If anything, Joe's tunes have pretty much been universally accepted as classics or staples in the practicing musician's daily/nightly vocabulary. Like Bird's or Monk's. Yet he doesn't share the name recognition that the latter two do because he was that background sideman for so many years. Has anyone counted how many original BN sides he appears on besides his own stuff. I'm sure some of the rhythm section regulars outdo him in this respect (such as Butch Warren) but he is certainly up there as a dependable session guy. P.S. My personal favorite is his playing on Kenny Dorham's "Una Mas."

I heard this album recently. It didn't do much for me then but I was listening to it in a stack of stuff I was sent to review and I only reviewed the ones that immediately caught my attention. I usually try to listen blindly. I avoid eye-contact with the disc after I put them in the pile and I put them in the CD player randomly one after another. At this moment, it didn't catch me but I'll have another listen. Isn't it with all European (possibly Norwegian) musicians? I recall seeing a lot of unpronounceable names in the lineup.

Jam session + eighth-note rest = missed opportunity. Jam session + (quarter-note rest or greater) = band on break. ......

I am having a really hard time getting turned on to Liebman though my sax teacher totally worships the guy. It seems he's done like 60 tributes to Trane. I DO like his recent big band CD but mostly for the other cats on it. On the new Saxophone Summit CD, he seems to play mostly soprano. Why is this? Why not play tenor like the other guys? Can anyone share their feelings on this dude. He often plays too much like a technician; without soul. Any recommended recordings? Early stuff? New stuff?

I thought this ground had disbanded.....

Not given this: Though, I would like to see Keith Jarrett duo with Herbie Hancock or with Renee Rosnes.

Ever since I saw the movie and I think of Bird, I think of this face:

Glenn Miller - Little Brown Jug

This is possibly the best/most moving track on that album. That band w/ Chris Potter, Uri Caine, Clarence Penn, and Adam Rogers is BAD.

There's a new trio CD on Summit Records by the Chad Lawson Trio and they do a Sting tune, a Beatles tune, and a grunge classic/radio staple, "Black Hole Sun" by Seattle-based Soundgarden. Unforeseen

http://www.citypages.com/databank/25/1250/article12679.asp

I don't think he does much besides play every night of the week with the Tonight Show Band. Not a bad gig if you ask me.

I wouldn't call this obscure. Everybody has heard this record, just not with the original title. cba

What the hell has he been doing the past 19 years?

Wow. I was sure someone would have said: Bill Mays w/ Matt Wilson, drums; Martin Wind, bass James Williams Magical Trio w/ Ray Brown & Elvin Jones

I get a kick out of the photographers in the background snapping away. http://exoticdancer.com/fanfair/bikini/ED-Fan%20Fair002.jpg

Didn't know until recently that he was on NAGEL-HEYER. This is a GOOD FUCKING label. I can't believe the cats who are recording on this label. AND they have new young lions too - like Monk Institute graduate and former underwear model, tenor saxophonist Wayne Escoffery - a veritable new talent I saw Donald "Duck" in Pittsburgh two weeks ago. He was really good. I got him to sign one of my old Concord Record album covers to one of the LPs he did with Terrence Blanchard.

me too................

Nonexistant!

I understand this is the case for every show there these days. The club is wildly popular for locals, students, and visitors. Everybody who plays there sells out regardless of who it is. Probably the major hotels are plugging the place. A good flute-playing friend of mine used to sit in with Captain Jack McDuff there (when he was a masters student at University of Minnesota) in the Captain's later years and they would have jam sessions. P.S. This flute player is an even better piano player - plays entirely by ear. He's from Russia. But he's been in Pittsburgh the past 6 years (PhD candidate in computer science).

Aside from the fact that they're intelligent black guys and their rap is socially conscious, what's the difference. They still sample and the point of posting that link was to show a well-articulated argument on a very similar issue.