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Why is it


Son-of-a-Weizen

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I'm with Chuck on this one. Lonely Town is cool. . . but. . . well. . . boring after a few spins. There is better Flanagan with Elveen.

I'm looking forward to the Hill. I can almost guarantee that the Hill will entertain me more. . I've not heard a second of it yet but I'm intrigued.

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For my own tastes, all the Hills mentioned are more interesting than the unissued UA date from 1959.

So, you DO have it in your collection then, yes? Fine that it's not your cup of tea....it is mine....and I'm sure that, in the vast universe of 'hungry for unissued material' souls out there, more than 700 could be counted on to pony up the requisite funds to have a listen for themselves and bypass your and my weighty reviews. :)

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The one that EMI has tentacles in that makes me go "Why is it" is the Golden Boy Art Blakey lp.

Okay, Reiner tells us the original tapes are lost. Didn't stop the powers that EMI-be from releasing a few Blue Note cds among others. It's an interesting date. Would turn a few heads I think.

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ZZZZZZZZZZZZ

I feel like a fish swimming hard upstream here.....but I'll not be deterred. :g

I'm not real big on musical adaptations and own very few, yet, I've grown to like this 'West Side Story' one a good bit. I rather enjoy Benjamen's bowed bass on "Lonely Town" as well as Flanagan's lovely spirited playing. That particular number has a lively bounce to it and is nice to listen to when you're out on your porch having an early evening glass of wine with your spouse. "Tonite" is another pleasant moderately swinging number with Elvin working the brushes and TF playing with some zip. Some excellent trio interplay imho. Side B is a good bit slower, and with the exception of the lightly swinging "Lucky to be Me" and "Glitter And Be Gay" it's definitely leaning more toward the laid-back late nite trio category --- but Flanagan consistently plays with a good deal of emotion on numbers like "It's Love" and "Make Our Garden Grow" (one track I actually don't much care for) and Jones brush work is excellent, as it is throughout the entire LP.

Anyway, it was just a suggestion. I was just curious as to why it had been ping-ponging around in the Japanese jazz market for many years, but not available here. That's rather unusual for a BN TOCJ title. Here's what it looks like for those who might be curious (the LP cover is blue w/silhouette of the Manhattan skyline).

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Well, I guess I would be one of the 700 to buy this if it came out, I happen to dig TF very much -- especially his work on the JJ Mosaic is very cool. Sorry, at this point, I've lost all interest in Hill.

I'd buy it too, as I also dig TF's work around this time--but I'm also buying the Hill material as well. The new house is starting to fill up already... :ph34r:

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I'm a Tommy, Joe and Elvin fan. . . .But this one I find unexciting.

It was not released until 20 years after recording. Who initially produced this session? Was it a Blue Note production. . . . I have a memory of this being a UA session, but I don't have it any longer and don't trust those memory cells.

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It is a fairly boring date and wouldn't sell much over 700 copies in the US.

Most fascinating aspect of the whole thread to me is the sales #'s. Had no idea stuff would sell so poorly. What are "normal" sales figures for like a Blue Note Jackie McLean reissue on the high end, a Blue Note Horace Parlan reissue, say, on the low end? What does an OJC reissue of a good but not immortalized Sonny Rollins set (say, 'Sonny Boy') sell? What will something like the Lou Blackburn sell? What does a new release by someone like Billy Harper sell? What does a given Delmark release sell? Thx for the education!

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