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Posted

I'm on a spy kick lately (I know, I'm "Teasing the Korean").

Sometimes disposable artifacts say more about a culture than its "art." Right now, I'm really interested in the Bond/spy knockoff LPs and am surprised at how good some of them are, especially the non-soundtrack stuff.

Currently spinning:

The Zero Zero Seven Band - James Bond Thrillers - Somerset (stereo)

Arranged by the two main 101 Strings guys, Lowden and Kuhn.

This one is hit or miss, but it has its moments.

Posted

Dave Burrell: High Won-High Two (Arista Freedom)

Seeing this post reminded that I have a lot of these Arista/Freedom reissues that I need to spin. I bought almost the entire series used for cheap at local stores in the past year or two. Great stuff. Thanks to Michael Cuscuna. Starting at the beginning...

Albert Ayler - Vibrations (AL 1000)

Marion Brown - Porto Novo (AL 1001)

Posted

That series is good and cheap. I have most of the reissued titles in other formats (i.e., Polydor UK, Fontana, Spiegeli, Black Lion, etc.) but you could get in the door cheap with Arista-Freedom. I think Cadence used to have them for $1.99 or $1.49 in their catalog back in the late 80s, well before I knew there was jazz other than Miles and Coltrane.

Posted

Hampton Hawes' "Here and Now" (Contemporary), with Chuck Israels and Donald Bailey, from 1965.

A somewhat unusual and interesting record -- fairly free-ish (in terms of rhythmic and harmonic looseness) versions of pop-ish material of that general era: "Fly Me to the Moon," "What Kind of Fool Am I?" "The Girl From Ipanema," Mancini's "Dear Heart," "People," "Chim Chim Cher-ee," "Days of Wine and Roses," plus a Hawes original "Rhonda."

For some strange reason Hawes' reading of "Dear Heart" kind of obsesses me; at first it sounds like he's just playing the melody (an obsessive one by nature) over and over again, with only the slightest of variations, but that's not quite it -- he's going for something different that I can't really describe, maybe a much more edgy, active version of the same kind of near-hypnotic stasis that Red Garland achieved on "Mr. Wonderful." In part it's like Hawes is trying to emphasize or even isolate the elements of touch and attack, to the exclusion of other factors; and the album is very consistent in approach and mood, along those lines. Does anyone else know and like it?

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