mjzee

There's a new 3-CD box from Ace, stating that it is "John Lee Hooker's 1948-1952 recordings made in Detroit, Michigan by Bernard Besman; includes 19 previously unissued versions." I bought it because I've been intrigued by these sessions since I saw reissues on United Artists in the early '70's. Sad to say, Ace was a little loosy-goosy with their wording and promotion. The accompanying booklet reveals "These three CDs do not contain any sides that appeared in this form on either the United Artist or Greene Bottle releases." I remembered the Detroit recordings being reissued in a 1-LP, 2-LP, and 3-LP form, with no duplications. The 1-LP and 3-LP were issued by United Artists; the 2-LP was on Greene Bottle. This was the 1-LP on UA, "Anywhere, Anytime, Anyplace": This was the 3-LP on UA, "John Lee Hooker's Detroit": Both of these LP sets were reissued on this 3-CD set, "Alternative Boogie": The 2-LP set on Greene Bottle was titled "Johnny Lee"; best I can tell, it has never been issued on CD: So in order to have the complete Sensation recordings 1948-52, you'd need to have the Ace, "Alternative Boogie," and the Greene Bottle LP. Ace included a sessionography in their booklet, but only of the titles included in their box. No clue how the UA or Greene titles fit in there.

How do your symphonies and operas sound when heard through headphones?

I had never heard this Schoenberg before (I never want to hear it again, but that's another story). But I was intrigued by the back story and did a Web search. I found this; start with the section "Schoenberg's Seranade" (yes, it's misspelled): http://preparedguitar.blogspot.com/2014/12/johnny-smith-interview.html

I also think of Benson as a reliable booster of real jazz, however that's defined. He would regularly come down to the Village in NYC just to jam. I got word one night in the mid-80's that he would be sitting in with Blakey's Jazz Messengers at the Village Gate. I went, and it was a great night of music. In the '90's, I think he regularly jammed with Ron Affif at the Zinc Bar. He seems like a genuine guy. Some guys fall into the honey pot, and I don't fault him for that.

There's an article in today's Wall St Journal titled "A Scientist Turned the Coronavirus Into Music - Here's What It Sounds Like." From the article: "Scientists are translating genes into melodies, by creating a musical scale based on the amino acids of proteins generated by DNA. Even a lethal virus has provided scientists something to hum. "Bioengineer Markus Buehler at the Massachusetts Institute of Technology recently turned the SARS-CoV-2 coronavirus into music, playing the molecular code of the spike protein that makes it so contagious. (It allows the virus to penetrate healthy cells.) "Variations in protein structures usually are too small to be seen, but they can be heard, he says. The music of the coronavirus is an eerie yet oddly soothing medley of plucked strings, resonant reeds and harmonizing horns. “I’m hypnotised” one online listener posted. It’s “a little like Zappa,” posted another. "Dr. Buehler and his colleagues devised the musical scale based on proteins, the building blocks of all living things. The music arises from the interplay of each protein’s amino acid sequence, its curling corkscrew structure and intricate folds—the elements of which have variously been assigned pitch, volume, tempo and rhythm." WSJ won't allow me to post the entire article here. However, Buehler posts these compositions on SoundCloud. It can be heard here: https://soundcloud.com/user-275864738/viral-counterpoint-of-the-coronavirus-spike-protein-2019-ncov The illustration at the top right of the web page is a rendering of the spike protein of the coronavirus, with its amino acid chains depicted in distinct colors, used by Buehler as he developed his music composition.

Thanks for posting that. His point is reasonable and cogent, especially when not taken out of context. Coincidentally, I recently reheard his Talking Jazz interview with Ben Sidran. He seems like a very nice, down to earth guy. You can hear it here: http://bensidran.com/conversation/talking-jazz-george-benson

Buzz Gardner, tp; Henri Renaud, p; Rene Thomas, g; Jean-Marie Ingrand, b; Jean-Louis Viale, d. 5/5/54.

Correct. I have no knowledge, or interest, in June Christy the person. There were a number of other songs with this type of ambiguity. Two that come to mind: Abbey Lincoln did a Kern/Harbach song called "She Didn't Say Yes." "Do Nothing Till You Hear From Me."

I always thought the intentions of the singer were more ambiguous, perhaps even to herself. She also struck me as a Blanche DuBois-type.

I took a chance on the Knuffke; ordered it from DG. Not sure I'll like it, but it looks interesting. Bob Stewart on tuba...I know his work from Arthur Blythe's albums, and aside from the novelty factor, would probably have preferred a bass to his tuba. I assumed it was a friendship thing. We'll see how Knuffke deals with it.

Release date September 15:

That was yet another version. It was based on a Japanese release. The logic behind the running order is it presents the tracks (including non-LP single releases) in chronological order. Some of the juxtapositions can be jarring, and it certainly ruins the "concept album" quality of the original album.

There are people who think the stereo version is sunnier and more wholesome than the mono, negating the almost noir-ish atmosphere of the original. They think the change is due to Christy's singing approach; I can't speak to whether the arrangements are also intentionally different. It's interesting to compare the two covers: They can both be found on this release:

Did they ever appear on The Gerry Todd Show?

Larry, I love that phrase "airless mechanical comping." That describes so much of OP's work: airless (not leaving room between the phrases for the notes and ideas to connect with the listener) and mechanical (just keep banging out the notes until your time is done). I think the differences between his good performances and the others can be attributed to inspiration. Some artists can be in touch with it fairly consistently, others only occasionally; some days the well is dry, but you still have to work.

I've bought a few box sets from them, mostly classical. I wouldn't say they arrive in perfect condition. One had a pushed-in corner, another had a lid with a tear in the corner. I never received one in damaged condition, more like disappointing condition. I don't think they take the greatest care with padding the inside of the shipping box. Still, their prices can be great.

Desmond is now in my home. Great liner notes. Jim: It was delivered in a regular brown UPS truck.

Release date July 17:

Paul Horn had an interesting career. I recently picked up a used copy of his 1965 RCA album Cycle. It's really nice: contemplative, moody, at times swinging. Great accompaniment from Lynn Blessing, Mike Lang, Bill Plummer and Bill Goodwin. Great sound, too, on this mono Dynagroove LP. My first album of his was A Special Edition (1974, on Island). I thought it was so interesting that Island would release a double LP by a jazz musician. There's a great version there of Freedom Jazz Dance. I then became aware of 1969's Inside, really a classic of the genre. Although it might have helped launch the New Age category, the music really does transport me to another place. I wish I didn't have such a noisy vinyl copy. Dips into his catalog show a restless mind and a desire to mix up different genres, with consistently rewarding results. What do people here think about his music?

It looks like the original release. Original marketing stickers on the shrink wrap on the back cover.

On The Corner is In The House. Gorgeous package.

This might have been on one of cable's public access channels. Per Ethan Iverson, the bassist is Charles Fambrough.

Made my inaugural brisket in the Weber Smokey Mountain. A 2 1/4 lb. brisket, smoked for 7 hours. It's a learning curve: I soaked the mesquite wood chunks beforehand, and a lot of it never burned. In a WSM, you don't need to soak the wood chunks beforehand.

Release date July 3: In 1999, Niels-Henning Ørsted Pedersen and Mulgrew Miller came together in a unique and unlikely pairing to pay tribute to Duke Ellington on the 100th anniversary of his birth. The result was a passionate and long-lived musical partnership between two masters of their respective instruments, but the original recordings were never released. For the first time ever, more than 20 years after its recording, this lost treasure is finally made available to the public. The duo was initially brought together by Bang & Olufsen and set out to celebrate Ellington and his partnership with bassist Jimmy Blanton. With the help of Per Arnoldi, who is also credited with the albums artwork, NHØP was approached to take part and tapped Mulgrew Miller to tackle a series of Ellingtons classic themes and a couple of their own. He saw the opportunity to work with Mulgrew Miller, a pianist whom he admired and had not yet had the opportunity to work with, and this decision paid off greatly for both of them. A great musical and personal partnership was born, and the duos captivating chemistry is obvious from the first notes.

Release date August 15: