Best track you heard all week

[Steve Reynolds]

'Nova' second track on Jon Irabagon's trio recording with two guys I never heard of: Hernani Faustino on bass and Gabriel Ferrandini on drums.

Irabagon is on alto for the whole recording

Nova is alto with bass and maybe a cymbal or two by the end.

Gorgeous

Fwiw Irabagon's use of circular breathing if I'm hearing what he is doing correctly is quite organic when he employs the technique

But track 2 is maybe most remembered on first listen due to the subtle bass improvisation morphing into a simple repetitive slow vamp by the end

Also note the whole recording is freely improvised

And again the sound quality is way beyond most anything I've heard released on more well known labels over the past few years

On Not Two records

[Peter Friedman]

"Paradise Squat" by Count Basie from the 1950's Verve Studio Recordings reissued on Mosaic

[Steve Reynolds]

Respect Sextet: Fred Anderson's 3 on 2

Great 14 minute version. Very unique take on Fred's great composition

[StarThrower]

Minoat, from Mal Waldron's Enja release Moods. Fantastic cornet solo by Terumasa Hino.

[save0904]

Dusk from Steve Lehmann Quartet Manifold

[Uncle Skid]

"Griff's Groove" from this one. The eponymous G is a gas!

Eponymous G is my favorite rapper.

[BillF]

Not forgetting Hieronymus B!

[Steve Reynolds]

Opening KV penned tune on AALY's Live at The Glenn Miller Cafe

The break at just after the 4 minute mark when they really crank is an absolute scream.

[Mike Schwartz]

Without a shadow of a doubt the tune "Soul Leo" from this album:

Edited June 4, 2013 by Mike Schwartz

[DMP]

"Pyramid," on the MJQ album of the same name.

[BillF]

Tubby Hayes' version of "Tin Tin Deo"

http://www.youtube.com/watch?v=Dvhf0-yj0aU

[Head Man]

Phil Upchurch - Love and Peace from his album "Darkness, Darkness"

http://www.youtube.com/watch?feature=player_detailpage&v=RxvCGRNMWDw&list=ALBTKoXRg38BATYeWHlrXTmPNJiXlqWr_n

Edited August 27, 2013 by Head Man

[John Tapscott]

From the Mobley Mosaic Disc 5, track 1

"Don't Get Too Hip"

Sonny Clark's solo is just about the "hippest" piano solo I've ever heard!

[Steve Reynolds]

Joe Maneri Quartet: The Love You Are Giving Us

second long improvised track on the recording, "Dahabenzapple" with Joe starting on piano - and switiching off to some or all of his horns throughout - alto sax, tenor sax and clarinet.

with Mat Maneri on violin, Cecil McBee on bass and Randy Peterson on drums

includes a stunning solo by Peterson where we can hear the crowd erupt and explosive improvisational interplay by all throughout the 21 minutes

[erwbol]

Track 1, Catfish. Part of Andrew's first recording after his first association with Blue Note ended. A very haunting tune, it stayed with me for days after first hearing it. Lots of energy and momentum, quite complex, rewarding of repeated listening. This is why I sort of worship Andrew Hill.

[Steve Reynolds]

From the Mobley Mosaic Disc 5, track 1

"Don't Get Too Hip"

Sonny Clark's solo is just about the "hippest" piano solo I've ever heard!

from which original album?

[Head Man]

From the Mobley Mosaic Disc 5, track 1

"Don't Get Too Hip"

Sonny Clark's solo is just about the "hippest" piano solo I've ever heard!

from which original album?

Curtain Call

[Steve Reynolds]

From the Mobley Mosaic Disc 5, track 1

"Don't Get Too Hip"

Sonny Clark's solo is just about the "hippest" piano solo I've ever heard!

from which original album?

Curtain Call

thanks

was looking for the CD with Sonny Calrk @ a shop in NYC on Saturday

I will seek this one out elsewhere

[JohnS]

From the Mobley Mosaic Disc 5, track 1

"Don't Get Too Hip"

Sonny Clark's solo is just about the "hippest" piano solo I've ever heard!

Just got around to playing it now John. Sonny was invariably hip and groovy. Never better than at this time imo.

[JSngry]

Carl Neilsen - Symphony #6, conducted by Horenstein w/the Halle Orchestra)...the leaping 5-1 intervals stir memories of Coltrane's Medifations and the overall objective, logical bizarreness puts me in mind of Wayne Shorter.

It's a "track" because it's presented with no real pause between movements. Really striking music.

[A Lark Ascending]

Carl Neilsen - Symphony #6, conducted by Horenstein w/the Halle Orchestra)...the leaping 5-1 intervals stir memories of Coltrane's Medifations and the overall objective, logical bizarreness puts me in mind of Wayne Shorter.

It's a "track" because it's presented with no real pause between movements. Really striking music.

Strange how differently we relate to music. I've been listening to Nielsen since the late 70's and love 2-4. But 1 and 6 still have me flumoxed. Interesting how a completely different listening experience carries you into 6 straight away.

[TedR]

Easy choice. The saxophone quartet version of Nonaah. I was adjusting to the piece during the first part. Then the second section just blew me away with it's contrast to the first while the third had me laughing in amazement. Extraordinary! (Thanks to Chuck for making this available again for listeners like myself who have never heard this before.)

[JSngry]

Carl Neilsen - Symphony #6, conducted by Horenstein w/the Halle Orchestra)...the leaping 5-1 intervals stir memories of Coltrane's Medifations and the overall objective, logical bizarreness puts me in mind of Wayne Shorter.

It's a "track" because it's presented with no real pause between movements. Really striking music.

Strange how differently we relate to music. I've been listening to Nielsen since the late 70's and love 2-4. But 1 and 6 still have me flumoxed. Interesting how a completely different listening experience carries you into 6 straight away.

I'm sorta following Horenstein right now, not composers per se. The repertoire is varied, and the clarity of the music itself is always crystal clear. I can easily see how something like this 6th could get lost in the hands of a different conductor, one who didn't hear/feel it the way Horenstein did, I mean, there's a LOT going on there, a lot of transitioning in a lot of layers, as well as a lot of opportunities for the whole thing to crash and burn, so blend and phrasing are critical to making it speak, and those are Horenstein's strengths, I believe, getting everything to speak, the pieces to speak for themselves.

In that sense, it's the exact opposite of "interpretation", no "translation" needed, just a clear(est) understanding, but in the real world, any group of one or more musicians can deliver the music any different number of ways, and when you have an orchestra and a score, you pretty much have to have that conductor to decide What Are We Saying Here, And How Are We Going To Do It. For whatever reasons, Horenstien is getting the music to speak to me with incredible clarity. So, I'm just checking him out, and wherever that leads is where it leads.

But yeah, coming to it from where I'm coming from it, a lot of it is like hearing from an unknown cousin (or more appropriately in chronological terms, uncle) from a foreign land, so to speak, something where you hear it and say, oh yeah, THAT, I know what THAT'S talking about, that's folks. The guy seems kind of darkly serious-funny to me, not at all unlike Wayne Shorter...quite similar actually, not as much in terms of devices (although, perhaps some...) as in terms of being a very...layered person in their music, especially in terms of being batshit crazy and seriously right all at once, can't accept the one without accepting the other. I love it when that happens.

The same CD that has the 6th also has the 3rd, and to me, that's some tough sledding, not in terms of hearing it, but in terms of liking it, at least to this point. I hear a lot of the same devices in the 3rd as I do the 6th, but not put to as deft a use. But I'll give it a few more gos before deciding. The 6th, however, is going on my iPod to serve as walking music.

What I don't know (and at this point don't care about too much) is if these devices were sort of a running thing with him, like what he made his symphonies "about" in some way, like how a novelist will create a set of characters and keep coming back to them over the years, have them age, grow, change, etc. If that's the case, then perhaps a complete set would be nice. But maybe not...like I said, I can hear plenty of ways for this music to "go wrong" in interpretation. So...we shall se. I got time, at least until I don't, and the "complete all at once" thing is not something I'm gonna do just to do.

[A Lark Ascending]

Nielsen's big thing was 'progressive tonality' - where symphonies traditionally start at the tonic, go on a journey and come back to the tonic, he starts in one key and then sets out to end somewhere else.

I love the Third - but then that's locked into my mindset. I find it the most 'pastoral' of the six - especially the point where the voices flood in. I'm a sucker for pastoral.

4 + 5 have much more of feel of conflict - an almost dialectical crashing of opposing forces bringing a new world into being.

I've been trying to read Robert Simpson's book on Nielsen's symphonies - a bit heavy on the 'flyshit' for me but I'll persevere!

Edited September 14, 2013 by A Lark Ascending

[JSngry]

Yeah, I know about the "progressive tonality"...really no different a concept than people like Wayne Shorter (again!) who write pieces for improvisation that move across tonalities rather than remaining more or less diatonic from start to finish. Very conducive to "story telling" rather than "blowing"...although in the end, it's all "story telling" of one sort or another, right? You start a Point A, end up at Point Wherever, and in between is how you get there. That's not the hard part!

By "devices", the things I was wondering were like a novelists "characters", I was more referring to specific intervallic concerns, rhythmic patterns, and timbral/orchestraion practices...there's a certain "slashing" thing that he uses that I swear is the same as Bernard Herrmann used in Psycho, it sounds like the exact instrumentation and voicing...maybe Nielsen got it from somebody else...this is not my field to quote deep historical specifics, obviously...but it's pretty LOL whenever I hear it, like, oh, THAT! (and not in a bad way, either).

You mention Simpson, I mention Horenstein, and we both mention Nielsen...here's the zeitgeist of all that, then, recently brought to my attention by a friend who's puling my coattails to some very interesting things that I'd otherwise be completely unaware of.

Never mind the yacking over the music...Simpson brings interesting-enough banter (although "wild"/etc. is relative to background, and...sorry, no, that's not the word I would use, not at all, but..onward!), and Horenstein brings a magnificently lucid performance.