mjzee

I like the Blue Note cover. Can you imagine if this was released on ECM?

No advance tickets? So we could make the trip and not get in.

Randy Weston is very interesting, I'll grant you that. A true giant of jazz (in more ways than one!). I'm not familiar with Nicole Mitchell's work; any relation to Roscoe? I'm told that true Texans think nothing of hopping in the car (or Ford F-150, more likely) and driving 5 to 7 hours to get somewhere. I am not yet a true Texan.

I still think of Houston and Dallas as two different worlds - 5 hrs apart.

Jorma Kaukonen speaks about Jefferson Airplane’s 50th anniversary and his renewed relationship with Judaism The Times Of Israel

I'm in too; may as well take the plunge and hear some of Allen's music. Will send Paypal info later tonight.

I agree. I had Stand Up and Benefit back in the day; my LP of Stand Up had the stand up in the foldout. I never had This Was, but remember "My Sunday Feeling" from one of those Warner Bros. samplers back in the day. I figured this 3-pack is all I'd need.

Just got this at a really low price:

Jazzmessengers.com now has Jazz Icons Box Set - Series 1 for 41.31 eur, which is currently $43.80. Shipping to the U.S. is an extra 9 eur.

They've announced the next Meet-Up At The Movies. It's "A big screen presentation of the previously unreleased Alpine Valley concert from 7/19/89." It'll be shown on May 4. More info here: http://www.fathomevents.com/event/grateful-dead-meet-up-at-the-movies-2015/more-info/details

This is also on my list of things to someday watch. As an Amazon reviewer put it: "This is an excellent documentary that offers a rare glimpse into the private life of an artist infamous for avoiding the spotlight - indeed, the "Argerich mystique" has probably helped make her extraordinary playing all the more intriguing. Listen to her recording of Prokofiev's 3rd Piano Concerto, or watch one of her performances; one can't help but seek to learn more about her. In this intimate documentary emerges a deeply private account that could have only been made by her daughter. It is a complicated story of a daughter seeking to learn more about a mother who is in some ways as mysterious to her own family as she is to her fans. We see Argerich - an invincible giant of the piano - at her most vulnerable moments: backstage, pacing nervously before a performance, outside her daughter's hospital room and in the privacy of her home. This film reveals what is likely true about all great artists: they are most happy, they are the most comfortable, when deeply immersed in their craft."

What is "mjcd"?

The only Argerich I have is an LP of Chopin piano sonatas #2 & 3; very nice.

I found an app in the Apple App store that does exactly what I'm looking for. It's called DxO Perspective. Getting promising results right now.

Thanks for reminding me. https://youtu.be/aCeFWueOVsg (I'm never sure why sometimes a video will embed and sometimes it won't. This is Stories doing Please, Please.)

Ralph Sharon, Tony Bennett’s longtime accompanist, who in the early 1960s persuaded Mr. Bennett to sing a song originally written for a Wagnerian contralto — about the fond intersection of a large muscle in the chest with a Northern California city — and in so doing created a Grammy-winning standard, died on March 31 at his home in Boulder, Colo. He was 91. NYT obituary

Curious about the opinions of our esteemed listeners here about Martha Argerich. Liked? Disliked? Strengths? Weaknesses? Accurate? Exuberant? Place in the pantheon? Best performances?

Only 3 of the 9 sold. See: http://www.ebay.com/sch/i.html?_nkw=&_sacat=0&_udlo=&_udhi=&_ftrt=901&_ftrv=1&_sabdlo=&_sabdhi=&_samilow=&_samihi=&_sadis=15&_stpos=&_fss=1&_fsradio=%26LH_SpecificSeller%3D1&_saslop=1&_sasl=bluenotesound&_sop=12&_dmd=1&_ipg=50&LH_Complete=1&rt=nc

WSJ had a review: http://www.wsj.com/articles/book-review-billie-holiday-the-musician-and-the-myth-by-john-szwed-1428085956

Here's an interview with Jewel Brown. It touches on her career, her days with Louis Armstrong, and the Houston scene: Local Houston Magazine

Listening now to disc one of the Joe Pass Mosaic, and I'm struck by Clare Fischer's comping in the background. It's really interesting stuff to listen to. While it's very different from, say, Sonny Clark's comping, it's similar in that he takes what's essentially a support role and makes listening to a quartet a much richer experience. His solos, too: trenchant, never obtrusive, but lets you think there's a heavyweight mind behind those fingers. Really enjoyable (Pass is an MF too).

When I was in Manhattan in December, I found the December 2014 issue of Jazz Inside magazine. It had a long interview with Charles McPherson. Among other things, he talked about growing up in Detroit. This section about how he met Barry Harris when he was 15 really grabbed me: CM: Barry Harris would see me at the Blue Bird all the time, and I met him. Then I started going over to his house, and he started showing me about harmony and theory. JI: Did he show you things on piano? CM: Yeah. He showed me everything about two-five-one's - that whole thing: chords, scales, what it means. Then, I started listening to and transcribing music from records. He would write out little solos and say, "You should listen to this record...listen to that." He really just took me under his wing and would write out tunes—easy tunes at first, like blues, rhythm, "Perdido," and things without a bunch of [chord] changes. Then, he slowly brought me on to playing standards, and pretty soon, more complicated tunes that had a bunch of changes, like "All or Nothing at All." Then I got turned on to Bud Powell, Bird, Dizzy, Miles and those people. And another thing, too—this has nothing to do with music, but it's a very important part of my life. When I started going over to Barry's house, I was about fifteen. I was over his house every other day. I lived two minutes away, around the corner. One day, he said, "When do you get your report card, Charles?" I said, "Uh, well I'll get it this week or something." Report card day came, and I went over his house, and he said, "Did you get your report card?" I said, "Yeah." So, I gave him my report card. Now, this changed my life—from this moment on, other than the music part. He looked at the card and he said, "Oh, you're quite an average student, you know." I said, "What do you mean?" He said, "I just see C's on here. I don't see the A's or B's." In those days, A's were great, B's were wonderful and C's were kind of average. And that was true of me. I just had C's—maybe a B somewhere, but mostly C's. Barry said, "Well, Charles, I must say to you, it's okay. At least it's average. But the kind of musicians and the people that you actually like—Charlie Parker—those people are not average at all. They're actually spectacular. I don't know if you'll really be able to play this kind of music, and actually be average in the brain." When he said that, my whole world changed about school, the importance of it. I said, "Well, what do you mean?" He told me about Bird because he knew I love Charlie Parker. Barry said: "I must say to you that Charlie Parker is probably a genius, man. And even though he's not a good boy in society— you know, with his habits—intellectually, Charlie Parker could sit down with anybody and talk about the planet; talk about anything." He's a book reader, and do you read?" I said, "No." Barry said, "Well, then I don't know if you're going to be able to play this music. This music is not real easy." And from that point on, my whole attitude about school, about getting good marks, totally changed. When I started reading about Bird, about how Bird was really a brilliant guy, then, all of a sudden, just to be in school and be average just to get along—I changed. From that point on, I started doing homework. I started to bring it over to Barry's house and he would look at it. Barry was very smart, you know, in terms of book-learning.

So how would a non-musician know what is the correct pitch? I have the software to do so (Amadeus), but if I were to buy, say, the new Japanese reissue of One Night At Birdland, how would I know where the correct pitch would lie? One could compare a track to its studio counterpart, but they might have played it differently live. It would be great if someone could give specific instructions: "on these tracks, make the pitch correction x.xx slower" or some such. Also, on the pitch-corrected version of the Rockland Palace material, Doug Pomeroy makes a point of saying that there can be speed variations within a track, so the remastered versions need to be corrected throughout each track. Sounds like a lot of work.

My conclusion is One Night In Birdland is not, see post #41. Yeah judging by the track times. Would love to hear an A/B comparison to see how much difference it makes. Slightly disappointing but at the same time that's how i've heard it and fallen in love with it. hmv.co.jp has sound samples of the new reissue. Can someone who has a previous issue compare and tell us if they corrected the speed? http://www.hmv.co.jp/en/artist_Charlie-Parker_000000000003816/item_One-Night-In-Birdland_5620291