mjzee

Release date May 31:

Release date June 15:

Release date June 28: Abdullah Ibrahim (who has also recorded as Dollar Brand) is one of South Africa's most famous musicians. His music is often referred to as representing freedom. His major anti-apartheid anthem 'Mannenberg' (released as 'Capetown Fringe' in the US) thas come to be regarded as an unofficial national anthem in South Africa. He even performed at Nelson Mandela's inauguration, where Mandela referred to him as our Mozart. He's played with everyone from Duke Ellington to Max Roach, John Coltrane to Ornette Coleman, and is the father of underground rapper Jean Grae. Encompassing Township-Jazz, solo piano, Highlife and plentiful modern jazz styles, this brand new studio album (recorded with his band Ekaya at RAK Studios in London,) is a major return for a genuine living Jazz legend.On April 15th 2019 Abdullah will be received into the NEA Jazz Masters fellowship, the highest honour the United States bestows upon jazz musicians.There are few musicians in jazz that can make you feel that all is right in the world like Ibrahim. See: https://www.amazon.com/Balance-Abdullah-Ibrahim/dp/B07QQHLWV1/ref=sr_1_33?fst=as%3Aoff&qid=1556233453&refinements=p_n_date%3A1249114011&rnid=1249111011&s=music&sr=1-33

Reissue release date May 10:

Release date May 10:

Release date May 17:

Release date May 17: (2-CD set) This live concert from 2003 brings together four giants in jazz for an evening of tribute to Lee Konitz, Warne Marsh and Lennie Tristano. Most of the music is seldom heard today and comes from a vibrant era when modern innovations were changing the way jazz was played. Mark Turner's tenor sax and Gary Foster's alto sax carry the melodies with no chordal instruments, relying purely on the rhythmic backing of Putter Smith's bass and Joe La Barbara's drums. It is spontaneity on the highest level filled with humor and joyful interactions.

They also did it at the Dylan 30th Anniversary concert:

Just noticed that this album is getting a re-release in Japan on May 22: http://www.cdjapan.co.jp/product/CDSOL-46302

On Japanese reissues, there seems to be a different serial # on the spine and on the disc itself. Which is "correct" in referring to the copy I own? Example: Tubby Hayes - Down In The Village. On the spine of the CD jewel case of the copy I recently received from CDJapan, it says UCCU-9777. At the bottom of the disc itself, it says UCCU-90383. Which is the # that most people use to refer to their copy?

Any thoughts on the two Malachi Thompson albums on Delmark?

I ordered the Ed Blackwell, Art Farmer, Chico Hamilton, Mal Waldron and Kenny Wheeler. Looking forward to some great music. Fantastic pricing.

Release date May 17:

Where did you find it? What's the track listing?

Just got an email from Da Camera (Houston), announcing their 2019/2020 season. John Scofield Quartet on Friday, October 9! Also, "Blue Note Records 80th Birthday Celebration" (whatever that is) on Saturday, November 2, and Vijay Iyer Sextet on Saturday, February 29.

Speaking of... What’s the status of migrating to updated forum software?

It's an Apple thing. There was a change with the latest operating system update. See: https://support.apple.com/en-us/HT208672 I have no idea whether this is something the forum's web administrator needs to address.

A lot of great titles there. I'm interested in the following, and would appreciate opinions: Cliff Jordan, Sonny Red - Out Of The Blue, The 3 Sounds - Vibrations, Donald Byrd - Blackjack, McCoy Tyner - Tender Moments, Sheila Jordan - Portrait of Sheila.

There was an interesting discussion about this in the liner notes (by William Ruhlmann) to "The Complete Ella Fitzgerald & Louis Armstrong On Verve": "By 1957, interest in Porgy and Bess was increasing, in part because the nascent civil rights movement made an opera about African-Americans more attractive, and in part because movie producer Samuel Goldwyn, in May of that year, had obtained the film rights to it from Ira Gershwin, beating out dozens of others. "Granz denies that he intended any tie-in with the upcoming film, and it is true that Goldwyn was just embarking on what turned out to be a two-year effort to make his film when Fitzgerald and Armstrong went in the studio. It is also true, however, that their finished album was held back from release until April 1959, two months prior to the opening of the film, at which time it found itself competing against at least ten other newly released versions, several of them jazz renditions."

Dylan interviewed by Alan Lomax in 1963: http://research.culturalequity.org/get-audio-ix.do?ix=recording&id=10912&idType=sessionId&sortBy=abc

Can't speak to the piano or bass, but Tony Inzalaco was drummer on Dex's "Stable Mable" album, recorded 3/10/75. So if Dex played with him 1 1/2 years later, he probably liked him.

Reminds me of when I saw Springsteen in 1978. I was working in a record store and someone gave me a free ticket, but all around me were Wall St./hedge fund types who you know paid top dollar and then some to get tickets, singing along with Bruce: "Tramps like us, baby we were born to run!" Uh huh.

RIP.

Listening now to disc 2. A little slice of heaven.

I bought Ummagumma when it came out (I was always attracted to those "two for the price of one" packages; also, there was a big "buzz" about them from Rolling Stone and similar); really liked the live disc, rarely played the other (I remember an endless drum solo). Never got to see the multimedia shows, which I've heard were great (Carnegie Hall, anyone?). Also had the soundtrack to "More" and the earlier Syd Barrett releases. This all obviously changed with DSOTM. You couldn't get away from that in the college dorms, and I can't picture the music without an accompanying haze of pot smoke. DSOTM was OK as a listening experience; I remember that was the album that people used to show off their stereos. When WYWH came out, I saw the formula: reeeeeely slow songs (the better to get high to), stretching out the more minimal melodic ideas. I lost interest in them after that, even though you couldn't get away from The Wall, as it was everywhere. Roger Waters's politics...yecch (although David Gilmour's isn't much better). Oh yeah: I had a few live bootlegs which were great. Check out this (supposedly from Rainbow Theatre, February 1972):