mjzee

"Medley: Time/Tenderly" by Sarah Vaughan, from Linger Awhile: The velvet satin of her voice, her timing, her playfulness...the way she's utterly in command of the songs...it's a voice you can fall in love with.

I marvel at the '50's. So Yusef Lateef, who had never led a date before, recorded NINE albums in 1957 alone??? My gosh, what a vibrant market. This is off topic, but I often wonder: at a time when so many jazz albums were released, how many could the average buyer buy at one time?

Does anyone know why Ray is holding an Oscar? Did he win one at the time?

Mary Lou Williams - Live At The Cookery Sonny Rollins - The Way I Feel Milt Jackson - At The Kosei Nenkin Barry Harris - Preminado Dexter Gordon - L.T.D. Dexter Gordon - Jazz At Highschool John Fahey - The Dance of Death Albert Ayler - Spiritual Unity Albert Ayler - Spirits Rejoice Albert Ayler - New York Eye and Ear Control Red Garland - Red Alert

From the 4/28/08 issue of The Forward: The Hardest Working Men in Soul Business Music By Joseph Leichman Thu. Apr 24, 2008 Perhaps it was inevitable that David Krakauer, the virtuosic clarinetist and klezmer artist, would team up with Fred Wesley, a funk legend who played trombone and arranged for James Brown in the 1960s and ’70s. After all, Wesley rose to stardom playing on such hits as “Super Bad,” and Krakauer continues to garner equal helpings of adulation and derision for his off-beat compositions. Together with Wesley — who moved on to Parliament-Funkadelic and then a solo career after leaving Brown — and Canadian multi-instrumentalist Josh Dolgin (aka DJ Socalled), Krakauer recently formed Abraham Inc. The 10-piece group (abrahamincmusic.com) is a polyglot mash-up of several styles, but most notably klezmer, funk and hip hop. With its debut record set for a fall release, Abraham Inc. will perform the album’s material May 3 for the first time, at New York’s famed Apollo Theater in Harlem. “David came to me with the idea for Abraham Inc., and I didn’t really see how it could work,” said Wesley, who lives in South Carolina. “But the more I got into it, the more I realized that all music was the same; it’s just where you put the emphasis. Funk and klezmer are very much alike if you slow it down or speed it up, and it’s worked really well for us.” Krakauer and Dolgin have collaborated for years; Dolgin is a member of Klezmer Madness! and the two have long experimented with transcribing Jewish music into other styles. Socalled is especially steeped in hip hop, while Krakauer’s roots lie in classical music and klezmer. “Socalled and I were on tour a few years ago, and we were talking about what would be our next step,” Krakauer said. “Fred Wesley’s name came up, and we both said that would be cool, and he was interested.” Abraham Inc. performed its first concert to a sold-out audience at Carnegie Hall, and then at festivals in France and Austria. According to both Krakauer and Wesley, this is the first band to synthesize funk and klezmer, and they had to troubleshoot in order to find common ground. Wesley said that when Krakauer brought him material, “I was trying to do klezmer, and it didn’t work. Then I did funk in the klezmer style, and it didn’t work.” Finally, Wesley said, “David explained to me to not worry about the klezmer and to just do my [style]. I took some of the same licks we use in jazz and in funk and applied it to the klezmer, and it worked real good.” Listeners can get a sampling of that cohesion on the video section of Abraham Inc.’s Web site. The first clip, a live performance of “TweetTweet,” sounds exactly as Wesley described: a klezmer standard layered directly on top of a funk foundation. Instead of compromising either style, Abraham Inc. simply melded the two together. “On a philosophical level, I hope it will bring some people together who never thought they’d be together,” Wesley added. “I guess you’d say I’m the funk expert and he’s the klezmer expert, but we kind of do each other’s thing. He does what he thinks is funkier, and a lot of times he’s right, and I do what I think is klezmer-ier, and a lot of times I’m right.”

That's the album with all the politically-incorrect songs, er, correct? I think it was originally released on Adelphi, but I don't remember anything about the label. IIRC, the tapes were floating around for awhile, because Sky couldn't get a label to release it. Guess he predated Howard Stern by a couple of decades. Pat Sky was part of the folk boomlet in the mid-60's, had a couple of albums on Verve Forecast. One favorite song: "Reality is bad enough, why should I tell the truth?" Other artists on Verve Forecast: Janis Ian, Richie Havens, The Blues Project, and Sandy Hurvitz (aka Essra Mohawk).

I found this flyer in my vinyl copy of Anthony Braxton Derek Bailey Duo 1:

So, here's an oddity: Amazon currently has this download set at both $9.99: Box set 1 and at $24.99: Box set 2 I guess for $24.99 you get the long box!

I have very fond memories of this exact band, as I put them on at my college in Spring 1975. I remember hanging out with Bob Cranshaw before the show.

What's the best method these days for joining BMG?

RIP. IIRC, in the liner notes for 1961, Manfred Eicher stated that it was this music that inspired him to start ECM. The Jimmy Giuffre 3 (Atlantic) is one of my favorite albums: Free Fall, sadly, is not, but I acknowledge that it has moved a lot of people.

90 for $19.99/month, 75 for $19.99/month (but I paid for a full year).

As per the Cuscuna/Ruppli BN Discography (2001), in the Album Numerical Listings section, BLP 4234 is listed as "nr" (not released), with a reference to pages 167 and 171. Page 167 lists "In Memory Of," and the note at the bottom of the session states "Takes 2 (Fried Pies), 5 (In Memory Of) & 30 (Make Someone Happy) were first scheduled on BN BLP4234/BST84234, which were never released." Page 171 lists "Mr. Natural," and a similar note states "Takes 1 (Shirley) and 14 (Tacos) were first scheduled on BN BLP4234/BST84234, which were never released."

All right, a few more:

Another photo from the CD booklet:

Some random thoughts: 1) One show biz axiom (not confined to musical performers) is "Leave 'em wanting more." Hard to do that on a 60 - 70 minute CD. 2) While Blue Note often put a "Sidewinder"-type tune as the first track, they also often had an odd habit of ending the album with a ballad. To my ears, this often left the album feeling unfinished.

Richter 858

I've just downloaded it. No idea why it's this price. Why ask why?

Good ol' YouTube: Miller Lite commercial All to commemorate the memory of Jutta Hipp!

And Bob Dylan immortalized it in his song "Gotta Serve Somebody": "You can call me Zimmy You can call me RJ You can call me Ray You can call me anythin' No matter what you say You gonna have to serve somebody..."

I can't speak to his later work, but: Public Image Ltd: Second Edition (Metal Box) Public Image Ltd: Paris au Printemps

Saunders / Garcia at Keystone (3 vols) Jazz Modes (Charlie Rouse), 2 vols Arnett Cobb - Deep Purple Brunswick Finger Lickin' Soul, Vol. 1 Dizzy Reece - Asia Minor Dave McKenna - An Intimate Evening Miles Davis - Call It Anything from Live Jazz Vol. 3 Bob Dylan - various non-Columbia tracks: "Lonesome River" on Clinch Mountain Country by Ralph Stanley & Friends; "Dreadful Day," "Ballad of Donald White," "Ballad of Emmett Till," and "Train A-Travelin'" on Broadside Ballads vol. 6; "Only A Hobo," "Talkin Devil," and "John Brown" on Broadside Ballads, vol 1 Moondog - Elpmas

I think it's Stanley, from the shoulders.

Who is the fellow in the upper left corner?