mjzee

The inimitable and distinctive personal and collective sound of Ray Gallon, Ron Carter and Lewis Nash has transparency and clarity, where every note and gesture mean something. Ray Gallon's music is informed, passionate, and personal. He possesses a unique rhythmic imagination and a wrought iron vocabulary. Grand Company is a milestone. Bill Charlap

Release date November 10: This never-heard- before recording of the legendary tenor sax "Little Giant" Johnny Griffin playing at Ronnie Scott's Jazz Club and backed by members of Ronnie's House Band (Stan Tracey, Malcolm Cecil and Jackie Dougan) sees a AAA vinyl release. The album was mastered at Gearbox Records using an all-analogue signal chain and cut directly from the original tapes, which were recorded at the club by Les Tomkins in 1964. The sleeve features photography by the esteemed Val Wilmer and liner notes by Richard Williams.

Release date November 10: • 11 previously unissued tracks from the rediscovered, legendary Hasaan Ibn Ali • Available on CD, Digital, and double-LP • Packaging includes new essay from pianist, composer & writer, Ethan Iverson The Max Roach Trio Featuring The Legendary Hasaan arrived in early 1965, and instantly became a jazz classic. Atlantic Records recorded Hasaan later that year, and the resulting album was shelved, and then thought lost, until it was restored from tape copies of acetates and issued nearly a half century later as Metaphysics: The Lost Atlantic Album. Metaphysics was a critical sensation, and furthered the legend and legacy of Hasaan’s innovative, exhilarating and inventive playing and songs. Retrospect In Retirement Of Delay: The Solo Recordings, another collection of previously unissued performances, followed – promoting The New Yorker to say that it “…reveals his profundity, his overwhelming power, his mighty virtuosity. It does more than put him on the map of jazz history — it expands the map to include the vast expanse of his musical achievement.” Now, Omnivore Recordings presents Reaching For The Stars: Trios / Duos / Solos featuring eleven more previously unissued recordings. The Trios feature Henry Grimes (Thelonious Monk, McCoy Tyner, Sonny Rollins) and Kalil Madi (Freddie McCoy, Mongo Santamaria – as well as Hasaan’s Metaphysics), performing six tracks (four of which appeared in their studio versions on The Max Roach Trio Featuring The Legendary Hasaan.) It also adds three songs with vocalist Muriel Gilliam, aka Muriel Winston, and a pair of solo portraits of the master pianist. Produced for release by Grammy®award-winning producer Cheryl Pawelski and ASCAP award-winning writer Alan Sukoenig, Reaching For The Stars features a new essay from pianist, composer & writer, Ethan Iverson. As with the previous Omnivore Hasaan Ibn Ali releases, this collection has been painstakingly restored and mastered by Grammy®award-winning engineer Michael Graves. This collection is another look into the previously unheard recordings of Hasaan Ibn Ali whose lost recorded work proves he was Reaching For The Stars and touching them all.

Release date October 20: Product Description Pianist Art Hirahara resounds with unstoppable melodic sensibility and a wide palette of colors and sounds on his latest effort "Echo Canyon." Joining Hirahara on this piano trio date are his familiar collaborators bassist Boris Kozlov and drummer Rudy Royston, both of whom contribute exciting ideas and add a solid foundation to the session. “Echo Canyon” unfolds steadily as an engaging program of original compositions where Hirahara seeks to combine his inner reflections with moments of humble reverence for the greater and ineffable depths of our collective experiences. Whether one is already familiar with the music of Hirahara or discovering him for the first time, his latest effort is certain to bring insights and bright moments to jazz fans and serious listeners everywhere. About the Artist Art Hirahara is a jazz keyboardist and composer based in New York, NY. Originally from the San Francisco Bay Area, Hirahara moved to New York in 2003 to be challenged by its pool of world-class musicians. There, he has honed his craft while performing in a wide range of musical situations, ranging from straight-ahead standards to time cycle-based progressive jazz to free improvisation. From the traditional to the avant-garde, Hirahara has found a sound of his own that cuts across genres and boundaries. Hirahara’s latest album, titled “Echo Canyon,” perseveres steadily along his personal journey of musical unfolding. With a steady hand, Hirahara displays a clear sense of creative continuity and succeeds in creating a bold, impassioned statement with significant and meaningful contributions from his trusted collaborators: bassist Boris Kozlov and drummer Rudy Royston. Hirahara’s previous Posi-Tone albums are “Noble Path” (2011), “Libations & Meditations” (2015), “Central Line” (2017), “Sunward Bound” (2018), “Balance Point” (2020), “Open Sky” (2021), “Ascent” (2022), and “Verdant Valley” (2022). Hirahara was awakened to jazz during his studies at the Oberlin Conservatory of Music, where he earned a degree in Electronic and Computer Music. During his junior year, he began jazz piano studies with the Cleveland jazz giant, Neal Creque. He then continued at California Institute of the Arts, where he was mentored by David Roitstein, Charlie Haden and Wadada Leo Smith. It was there that he immersed himself in world music, focusing on West African drumming and dance, Balinese gamelan and North Indian tabla. In August of 2000, Hirahara self-released his debut record "Edge Of This Earth" to critical acclaim. After his move to New York, Hirahara studied at the Banff Workshop in Jazz and Creative Music program with Dave Douglas in 2004. Hirahara has had the privilege to perform with Stacey Kent, Don Braden, Freddy Cole, Akira Tana, Rufus Reid, Dave Douglas, Vincent Herring, Victor Lewis, Travis Sullivan's Bjorkestra, Jenny Scheinman, Fred Ho, royal hartigan and Hafez Modirzadeh. He has performed around the world in Europe, Asia, Africa, South America, the Middle East and extensively around the United States. Hirahara’s piano and compositional sound are an amalgamation of the varied musical influences he has studied and the wide range of leaders he has worked for. Hirahara is constantly seeking new situations to challenge his musicality. Hirahara has also worked as a producer and musical director for various artists of different genres.

Release date November 24:

Release date November 3: This recording captures two distinct musical moments in time. Separated by some twenty years and showcasing two bands with Senensky at the helm, the album is a testimony to the pianist's ability to band lead across generations and borders with intensity and aplomb. Featuring Eric Alexander on tenor saxophone, Kieran Overs and Dave Young on bass, and Joe Farnsworth and Morgan Childs on drums. Michael Weiss' new album affords us one of the most intimate and sustained views of his artistry to date. 'Homage' is a collection of compositions and arrangements that his trio have been developing and refining organically on the bandstand over many years. Featuring Weiss on piano, Paul Sikivie on bass and Pete Van Nostrand on drums and showcasing their subtle chemistry and rhythmic precision. Release date November 17: Produced by Hellmeier's mentor, drummer Joe Farnsworth, this album features 4 of the greatest jazz musicians on the planet today. Trumpeter Jeremy Pelt, pianist David Hazeltine, bassist Peter Washington & saxophonist Eric Alexander anchored by the young drummer convened at the legendary RVG studios and recorded a few of Hellmeier's thoughtful originals and some unique takes on jazz classics.

Release date October 20:

Release date October 13:

Release date November 3: "The Dave Brubeck Quartet - Live from the Northwest, 1959" is the newest release from Brubeck Editions, the family-run label that only puts out music of the highest musical and technical quality. These exciting performances were recorded by the trailblazing and iconic audio engineer, Wally Heider, who pioneered the art of remote recording from his "studio on wheels." The sound he achieved is stellar, and this is perhaps the best live recording you can hear of one the most popular jazz groups of all time. The tapes were recorded in April, 1959 at the Multnomah Jazz Club and Clark College, both in the Portland, Oregon area. On this recording you can hear the Quartet's mastery of spontaneous counterpoint improvisation. Four months later, the Dave Brubeck Quartet's focus shifted to polytonal and polyrhythmic approaches when the group recorded the legendary "Time Out", and changed the course of jazz forever. The CD contains 2 tracks not found on the LP. Track Listing: When the Saints Go Marching In Basin Street Blues These Foolish Things (Bonus Track - Not on LP) Gone With the Wind Multnomah Blues (Bonus Track - Not on LP) Two Part Contention The Lonesome Road

Release date November 10: Wes Montgomery - "The Complete Full House Recordings". Released to celebrate influential jazz guitarist Wes Montgomery's centennial, The Complete Full House Recordings brings together all the recordings from the Full House sessions with two previously unreleased performances. Featuring Johnny Griffin, Wynton Kelly, Paul Chambers and Jimmy Cobb, this collection has new liner notes by journalist Bill Milkowski and is mastered from the original analog tapes by Joe Tarantino.

Claudio Scimone Vivaldi box - disc 5.

Nice rendition. But it was a great song to begin with.

Kurt Masur - The Complete Warner Classics Edition, disc 5: Liszt Weimar Symphonic Poems #1-4.

Disc 8.

The Decca Sound - The Piano Edition, disc 15. Also includes the Poulenc, Milhaud, and Lutosławski from this:

Decca - The Mono Years, disc 42. Also includes:

Disc 2. Not at all connected to the Mosaic box, this is a compilation (done by Castle Communications) of various releases you used to find in the remainder bins, from Lionel Hampton's Who's Who In Jazz label, "Live At Midem" releases, "Live At Bubba's" releases, and the like. Won't make anyone's Best Of list, but very pleasant background listening with a few surprises. This disc contains: 1. Art Blakey & The Jazz Messengers - Moanin'. Bubba's Restaurant, Ft. Lauderdale, Florida, 10/11/80. 2. Dave Brubeck - Lover Man. Riviera Concert, Cannes, France, 1/28/83. 3. Gerry Mulligan - Walking Shoes. Lionel Hampton session, 10/25/77. 4. Johnny Griffin - Hush-A-Bye. No location listed, 5//88. 5. Wynton Marsalis (really Blakey's band, same date as track 1) - One By One. Bubba's Restaurant, Ft. Lauderdale, Florida, 10/11/80. 6. Stan Getz - Billie's Bounce. Riviera Concert, Cannes, France, 1/23/80. 7. Groove Holmes - Groove's Groove. No location listed, 2/28/91. 8. Michal Urbaniak - Softly As The Morning Sunrise. Village Vanguard, 1993. 9. Dizzy Gillespie - Slew Foot. "Recording date unknown" (I think this was originally on the Perception label). 10. Ahmad Jamal - It's The Good Life. Live at Midem, 3/20/80. 11. Wynton Marsalis (again, same date as track 1) - Jodi. Bubba's Restaurant, Ft. Lauderdale, Florida, 11/11/81.

Claudio Scimone Vivaldi box - disc 4.

Kurt Masur - The Complete Warner Classics Edition, disc 4.

Disc 7.

There was that, and also there were format wars - much like VHS and Beta, there were incompatible formats marketed from different labels. Quadraphonic records were only marketed for a short time (1974-75). The interesting thing about these Warner releases is they're using the original quad mixes, so presumably the quad Mingus Moves is the mix Mingus approved.

The Decca Sound - The Piano Edition, disc 14. Also includes Le Carnaval des animaux from this:

I've read a few articles recently about the new economics of the music business. Here's one, which is long but which I found really interesting: https://www.newyorker.com/magazine/2022/12/12/so-you-want-to-be-a-tiktok-star Here's what's relevant to your question: Swift built her career during the file-sharing era, which changed the business model for many artists, shifting the main source of revenue away from recorded music, which can be pirated, and toward ticket sales to live events. The pandemic ended the touring economy almost overnight. Live-streamed concerts tried to fill the void, but they were pale substitutes for the real thing. With everyone stuck at home, TikTok became the show. Tours returned in full force in 2022, but the TikTok algorithm has remained the sun around which the music industry orbits, and the arbiter-in-chief of what’s hot. Top Ten songs on radio and streaming charts often start trending first on TikTok. As many as a hundred thousand new tracks are now released by record labels and individual musicians every day on any number of platforms. Having a viral video attached to part of a song is one of the few ways to capture anyone’s attention. Virality also tilts the arcane economics of streaming in the copyright holders’ favor, because the worth of any single stream is based on the percentage of a streaming platform’s total monthly streams that the song commands. In other words, a lot of listens in a short amount of time will make you more money per stream than a slow-burner will. In a nutshell: People make TikTok videos. They're short, but they still need music. If the TikTok creator uses Waters's version rather than Pink Floyd's, Waters will earn the royalties from that TikTok view. Each view's earnings might be minimal, but it can add up, especially if the algorithm pushes the video to people who might not otherwise see it. Here's another fascinating article, but you may encounter a firewall: https://www.wsj.com/arts-culture/music/streaming-is-changing-the-sound-of-music-182dc907?mod=Searchresults_pos12&page=1 This will be relevant if Waters rearranged any of the DSOTM songs to move the hook or chorus to the initial 30 seconds of the song.

Decca - The Mono Years, disc 41 (disc 3 of 3). Also includes: