Jump to content

Search the Community

Showing results for tags 'jazz contemporaries - reasons in tonality'.

  • Search By Tags

    Type tags separated by commas.
  • Search By Author

Content Type


Forums

  • About organissimo...
    • Announcements
    • organissimo - The Band Discussion
    • Forums Discussion
  • Music Discussion
    • Album Of The Week
    • Artists
    • Audio Talk
    • Blindfold Test
    • Classical Discussion
    • Discography
    • Jazz In Print - Periodicals, Books, Newspapers, etc...
    • Jazz Radio & Podcasts
    • Live Shows & Festivals
    • Mosaic and other box sets...
    • Miscellaneous Music
    • Musician's Forum
    • New Releases
    • Offering and Looking For...
    • Recommendations
    • Re-issues
    • The Vinyl Frontier
  • General Discussion
    • Hammond Zone
    • Miscellaneous - Non-Political

Calendars

  • Community Calendar
  • Gigs Calendar

Blogs

  • Bright Moments' Blog
  • Noj's Blog
  • Jim Alfredson's Blog
  • ALOC
  • Tom Storer's Blog
  • JDSG's Blog
  • JDSG's Blog
  • Sun Ras
  • Soemtime's the Cheese Is Not Good
  • Who Dat Music Productions
  • Keeping The Idiom Alive
  • Ringtones
  • Dzwoneknatelefon
  • Uptomods
  • PlayStation Portable ROMs
  • Ringtones For Your Phone
  • Soundcloudtomp3downloader

Find results in...

Find results that contain...


Date Created

  • Start

    End


Last Updated

  • Start

    End


Filter by number of...

Joined

  • Start

    End


Group


AIM


MSN


Website URL


ICQ


Yahoo


Jabber


Skype


Location


Interests

Found 1 result

  1. One of the most interesting early Strata-East recordings (that label was a monster when it started, then fell off a cliff). Two long cuts, provocative front line of Coleman/Jordan/Watkins, the inimitable Harold Mabern on piano. Larry Ridley and Keno Duke holding down the rhythm duties. Two very long (20+ minutes each) tracks giving everyone more room to stretch out than they were likely accustomed to. Not without its flaws, but it has always been a very invigorating listen for me, and I have returned to it often over the 40+ years I've had it, always experiencing substantial pleasure. Great joy of talented players pushing forward rather than looking back, seeking inspiration here ahead of exhibiting craft, which is the opposite of what the principals seemed to do later in their careers. As such, it holds a magic for me beyond what maybe its pure musical merits are (though those also are substantial). Jordan had a great period from the early 60'ss (when he seemed to find his voice with Roach and Mingus) to the late 70's (the great Magic Triangle recordings with Walton/Jones/Higgins), then seemed to start mailing it in to me. Coleman also at some point seemed to give up the quest in favor of the craft, say, late 80's-early 90's. I've always thought his work with Miles Davis was underestimated because of him preceding Wayne Shorter. I'm glad Mabern experienced increased appreciation later in his career, I love his work with Eric Alexander (who is a monster to my ears). Thoughts?
×
×
  • Create New...