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Posted
36 minutes ago, Pim said:

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This afternoons playlist before going out for a walk with my two boys. 
 

This Cookers album is so freakin good. I hate the fact that I had to miss these guys in Rotterdam. They were about to perform there and then there was COVID. I never got the chance to see them :(

@david weissif you ever got the chance please visit us in Holland! Belgium or the western part of German would be fine as well. I’d take a long ride to see you guys perform. 

'Patterns', you lucky man you! Hope it's a nice walk

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Posted

Now on my turntable:

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Lee Konitz Quartet - Ideal Scene (Soul Note, 1986)
with Harold Danko, Rufus Reid, and Al Harewood

Killer band, killer record.

 

48 minutes ago, sidewinder said:

Strangely enough, the one time I saw Strozier play, he was in a lineup including Danny Moore. Same tour perhaps?

Very possible.  

Moore plays impressively on both of Strozier's SteepleChase albums. 

 

Posted
41 minutes ago, sidewinder said:

Next up -

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Atlantic black label.

Great record. Must dig out my CDcopy. How is the pressing? I have a few Atlantic black labels, including the Teddy Charles Tentet and found them powerful but noisy, even those that look good and have been through a cleaner.

Anthony

7 hours ago, sidewinder said:

Brilliant find !  Those were the days - needless to say I paid a bit more than that.

With regard to Honest Jon’s in Ladbroke Grove - I bought an original Harold Vick ‘Steppin’ Out’ mono from there, a couple of decades ago. It was hanging out at the back of the counter and the price was pretty fair. That was also where I got my Duke Pearson ‘Sweet Honey Bee’, which they said was a US warehouse find, apparently unplayed. I think staff from there used to go on occasional US trips to source LPs.

Yes, they used to have regular trips to the States to stock the shop. More recently, well last year,  the Kings Cross shop was selling LPs from one of the owner’s collection. Some choice items. I wonder if True Blue was from this collection. 

Posted (edited)
10 minutes ago, adh1907 said:

Great record. Must dig out my CDcopy. How is the pressing? I have a few Atlantic black labels, including the Teddy Charles Tentet and found them powerful but noisy, even those that look good and have been through a cleaner.

Anthony

Yes, great example of early third-stream. Interesting that Hall Overton is included in the lineup and Mingus appears on a few tracks. This mono copy has a pristine sleeve and looks flawless but yes, there is some background noise. I put the mono switch on the amp and it is significantly less intrusive. Suprisingly so.

I have the ‘Tentet’ album somewhere and will have to dig it out. Another really good one.

Interesting to read from the sleeve that ‘Word’ was written for the Stuttgart Light-Music Festival In 1956. The music reminds me in terms of style a bit of Andre Hodeir’s piece written for Donaueschingen around the same time. Gunther Schuller was also covering similar territory.

Edited by sidewinder
Posted
29 minutes ago, sidewinder said:

Yes, great example of early third-stream. Interesting that Hall Overton is included in the lineup and Mingus appears on a few tracks. This mono copy has a pristine sleeve and looks flawless but yes, there is some background noise. I put the mono switch on the amp and it is significantly less intrusive. Suprisingly so.

I have the ‘Tentet’ album somewhere and will have to dig it out. Another really good one.

Interesting to read from the sleeve that ‘Word’ was written for the Stuttgart Light-Music Festival In 1956. The music reminds me in terms of style a bit of Andre Hodeir’s piece written for Donaueschingen around the same time. Gunther Schuller was also covering similar territory.

Yes those mono switches can be useful! Dug it off the rack, ‘Word’ sounds incredibly modern for 1956.

Posted

Just pulled two jazz LPs from my shelf that feature large ensembles.

Now playing:

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Mike Gibbs - Directs The only Chrome-Waterfall Orchestra (Bronze UK, 1975)

 

Next it will be:

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Quincy Jones - Gula Matari (A&M, 1970)

 

Posted
7 hours ago, HutchFan said:

 

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Quincy Jones - Gula Matari (A&M, 1970)

 

Walking In Space was such a big hit, and I totally get why, but from a "jazz" perspective...this one is better? 

Posted (edited)
2 hours ago, JSngry said:

Walking In Space was such a big hit, and I totally get why, but from a "jazz" perspective...this one is better? 

I don't think Gula Matari is an especially "jazzy" -- as in jazz solos -- sort of record, even though the band is stocked with ridiculously good soloists and there's some terrific soloing.  The music is fundamentally about Quincy's skills as an arranger.

It's been a long time since I listened to Walking in Space -- but I think both records work similarly. Both are reminiscent of his soundtrack work as much as they're about "Jazz." 

For example, the way Quincy re-imagines "Bridge Over Troubled Water" as something coming out of a southern church reminds me (at times) of his music for In the Heat of the Night.

In any case, it's terrific music -- even if it's more about vibe than about soloists. And, while I'm listening, Quincy can (and often does!) make me think things like: "Damn, the way Q blends those four trombones togther sounds soooo good!  Is there a bass trombone in there?!?!  Because I've never heard nothin' like that!"

I suppose I didn't answer your question!  I'm not sure which record I prefer more or which is jazzier. I'd need to revisit Walking in Space.

 

EDIT: I just finished re-listening to Walking in Space.  My impressions: Gula Matari is a more ambitious (and more interesting) record; it aims much higher than WiS.  Quincy wrote "Gula Matari," a 13-minute long piece inspired by Africa for the album. There's nothing comparable on WiS.

So Gula Matari . . . less pop vibes. More ambitious in scope. Not necessarily more jazz (well, maybe some more), but a better, more satisfying record -- in this listener's opinion.

My 2 cents. :)

 

Edited by HutchFan
Posted
19 hours ago, Pim said:

I'm a bit too late in the hole vinyl race. I don't have any original Blue Note record and I am curious to hear one in good condition. I am not in the financial position to pay a thousand euros for a single LP nor am I interested in doing so. The 3000 pounds True Blue copy: that's what I spend on vinyl in 3 years..... The two single LP's I spent most money on were Nathan Davis' Jazz Concert at a Benedictine Monastery and Mal Waldron's Spanish Bitch.

I do have some older Blue Note records: a Liberty pressing of Jackie McLean's 'Bout Soul and an early 70's copy of Lee Morgan's last album. I have to say they sound amazing. Also a near mint copy of Lee Morgan's The Gigolo early 70's US press that sounds flawless. I do love the idea that something that old could still sound so beautiful. My oldest LP is a Gerry Mulligan mono pressing from the Netherlands from 1956. I always think: my mom and dad were 5 and 6 years old when this was pressed. And who has owned it since then?

But with Blue Note vinyl I mostly own Japanese versions and those pressings sound so incredibly good to me. Especially those King pressings are really up into that Tone Poet league. I bought most of those Japanese pressings for something around 30 euros a piece which is of course more expensive than a cd but I am more a vinyl than a cd guy (though I still own more cd's than lp's).

I am also not a pressing fetishist or real audiphile. One pressing is good enough for me (as it sounds good of course). Not interested in buying multiple pressings from the same record as there's so much music yet to explore. One exception are my Blue Note 75th series of which I really dislike the sound. I gladly sold my copies of Bobby Hutcherson's Happenings and Hendersons Mode for Joe for 50 euros combined and be happy to replace them. I only have one of them left: Free for All by Art Blakey which sounds louzy as well.

I´m not a collector just a listener when I´m not playing , so I´m not really conscious about the provenience of the stuff I own. I have BN-LP´s that I bought while I was a youngster, so I have both Ornette Coleman "Golden Circle Vol 1 and 2", I have Coltrane´s "Blue Train" and  I have the Bud Powell´s Vol. 1,2, 4 and 5 all as old BN LP´s but never thought about it as something special. They just there. 
But BN was slowly disappearing then. I had heard that at some point Horace Silver remained the only active recording musician for BN and each year dozens of classic albums went OOP. There were sometimes those hidous big instrumentation crap that BN made after 1972 or so, but it didn´t sell well and who wanted to hear electric jazz had better artists and labels for that style. 

I love a lot of classic BN albums but one thing I might say is that there were too many records of certain styles that are quite similar , I mean hundreds of typical hard bop albums in the 50´s and early 60´s , and of the typical 60´s trademark with Boogaloo and Organ, too many Grant Green albums, but in any case really important albums of the modernists of the 60´s , young Freddie, Wayne, Herbie, Tony, McCoy and so, and all the "Free Jazz" albums of Ornette, Don Cherry, Cecil Taylor..... and Sam Rivers of course....., that´s what I want to hear from BN. 

17 hours ago, Pim said:

IMG-4383.jpg

IMG-4384.jpg

IMG-4385.jpg

This afternoons playlist before going out for a walk with my two boys. 
 

This Cookers album is so freakin good. I hate the fact that I had to miss these guys in Rotterdam. They were about to perform there and then there was COVID. I never got the chance to see them :(

@david weissif you ever got the chance please visit us in Holland! Belgium or the western part of German would be fine as well. I’d take a long ride to see you guys perform. 

Yeah, those first two are BN albums I can enjoy (no Alligator Boogaloo type stuff 😉 ) , and I´m also angry I could not see the Cookers. 

14 hours ago, sidewinder said:

Next up -

Word_from_Bird.jpg

Atlantic black label.

Teddy Charles was really fascinating for me from a very early age on. I thought he is black like the players he played with (the Wardell Gray album, the Miles Davis/Lee Konitz album, and above all a stuff I had on a strange Davis Sampler when I was a kid, which had the Collector´s Items session and the Debut Session "Blue Moods". I loved that Blue Moods allthough it is more a dark, brooding sound record, but with three of my SUPER-HEROES of my early youth: MILES, MINGUS, ELVIN,,,

Is Word from Bird something dedicated to Bird, is it Charles´ compositions or is it Bird tunes. Teddy Charles I think had a very very short active recording career, I think all I know from his was in the first half of the fifties. 

His vibe solos in the double time part of "The Man I Love" and his solo on "Tunisia" on Side B of the "Miles Davis/Lee Konitz" are genial........incredible !

Posted (edited)

Track 1 ‘Word From Bird’ is not a dedication to Parker but is apparently inspired by something of a recurrent obsession with the motif to ‘Parker’s Mood’ which apparently came out of the blue to Charles and lingered on. The full story is in the sleeve notes. The rest of the album is unrelated to this.

Edited by sidewinder
Posted
15 hours ago, HutchFan said:

Just pulled two jazz LPs from my shelf that feature large ensembles.

Now playing:

Mi5qcGVn.jpeg

Mike Gibbs - Directs The only Chrome-Waterfall Orchestra (Bronze UK, 1975)

 

Next it will be:

Mi0yMzM4LmpwZWc.jpeg

Quincy Jones - Gula Matari (A&M, 1970)

 

I have some of the tracks from that one on a budget UK Quincy Jones A&M compilation. Also ‘Smackwater Jack’. Didn’t Jones farm out his arrangements at that time to Billy Byers and others?

The Mike Gibbs, I recall, got pretty good critical reception here in the UK when it came out and also sold quite well. 

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