J.A.W. Posted April 15, 2012 Report Posted April 15, 2012 I am looking for this Mosaic CD-set in excellent or better condition: Freddie Redd - The Complete Blue Note Recordings - Mosaic MD2-124, 2CD-set PayPal is my only payment option. Please PM me if you're selling one. Thanks.
golfcrazy1984 Posted April 15, 2012 Report Posted April 15, 2012 I am looking for this Mosaic CD-set in excellent or better condition: Freddie Redd - The Complete Blue Note Recordings - Mosaic MD2-124, 2CD-set PayPal is my only payment option. Please PM me if you're selling one. Thanks. There is one on eBay now.
J.A.W. Posted April 15, 2012 Author Report Posted April 15, 2012 (edited) I am looking for this Mosaic CD-set in excellent or better condition: Freddie Redd - The Complete Blue Note Recordings - Mosaic MD2-124, 2CD-set PayPal is my only payment option. Please PM me if you're selling one. Thanks. There is one on eBay now. Thanks, I noticed that, but thought I'd try here first. Edited April 15, 2012 by J.A.W.
mikeweil Posted April 28, 2012 Report Posted April 28, 2012 I'm willing to part with mine - I think today was the second or third time I played it since I got it - just won't grab me. Bought it for Tina Brooks, but Redd's strange comping and McLeans flat intonation will never be to my taste. I bought it second hand myself, it is # 486, except for minor shelf wear the box is in excellent condition, CDs do not show any signs fo use, the booklet has one half inch crease on the front that is not annoying. Send me a PM with an offer - shipping charges will be around € 15, I'm afraid ....
Rooster_Ties Posted April 28, 2012 Report Posted April 28, 2012 ...and McLeans flat intonation... Flat?
JETman Posted April 29, 2012 Report Posted April 29, 2012 ...and McLeans flat intonation... Flat? I think he may mean "tart". Jackie's playing from this period is my favorite. His Mosaic and the Redd are two of my favorite Mosaics, period.
colinmce Posted April 29, 2012 Report Posted April 29, 2012 I also love the music on this set, but it is of course available on CD if you ever want to try again.
J.A.W. Posted April 29, 2012 Author Report Posted April 29, 2012 Earlier today I listened to most of the music that's included in the set for the first time in years (I still have the individual CDs) and decided not to take Mike up on his offer, so if anyone's interested, go ahead and contact him. I agree with Mike. On the January 17, 1961 session that was later issued as Redd's Blues the playing is sloppy; it's not a very good date, no wonder Blue Note didn't originally release it. The August 13, 1960 date which was released as Shades of Redd is the best of all the sessions in the set, even though, as Mike said, Redd's comping leaves quite a bit to be desired. McLean's tone certainly is an acquired taste and it took me a long time to get used to it, but now I don't have problems with it anymore.
mikeweil Posted April 29, 2012 Report Posted April 29, 2012 Flat or sharp, I gave up on trying to like McLean's sax tone ... If anybody is interested in the set, please PM me with an offer, shipping at actual cost.
Chuck Nessa Posted April 29, 2012 Report Posted April 29, 2012 The sound of Jackie McLean's alto is one of the "signature sounds" making jazz important for me.
marcello Posted April 29, 2012 Report Posted April 29, 2012 I remember that the vinyl lp was the Holy Grail for collectors. Maybe the original still is. To me, it was always "Jackie's record", if you know what I mean.
mikeweil Posted April 30, 2012 Report Posted April 30, 2012 If you're talking about The Connection, that sure was Jackie's record. His playing on that album is convincing, it's just that it's not my taste of alto sax sound. I respect it, for sure, and see that it's intentional.
David Ayers Posted April 30, 2012 Report Posted April 30, 2012 Tend to agree with Hans on the Redd dates - he's not really very interesting. Agree with Mike on McLean, whose playing I know well. The sour playing is an annoying gimmick, and add to that my other dislike which is that he repeats himself so much. I can listen past those things, and have done so for years, but ...Oh but I would still want to have these dates around, for reference
jlhoots Posted April 30, 2012 Report Posted April 30, 2012 The sound of Jackie McLean's alto is one of the "signature sounds" making jazz important for me. I agree with Chuck instead of with many of the others of you. In fact I'm shocked by some of the comments.
JSngry Posted April 30, 2012 Report Posted April 30, 2012 The sour playing is an annoying gimmick... Ok, as a subjective reaction, I can give you "annoying" (and let you keep it! ) but gimmick? How does that work, exactly?
David Ayers Posted April 30, 2012 Report Posted April 30, 2012 The sour playing is an annoying gimmick... Ok, as a subjective reaction, I can give you "annoying" (and let you keep it! ) but gimmick? How does that work, exactly? To me it is like a novelty device that stuck - as if he began to use it to cut through but stayed with it to the point of excess. Like - but not as impressive as - Maynard's top register playing. You might disagree. I'll grant him one thing though - it is certainly memorable!
JSngry Posted April 30, 2012 Report Posted April 30, 2012 Hmmm...at what point does somebody's voice become a gimmick? I'd not even say that about Arnold Stang or Don Messick (although the latter's wheezy dog-laugh, yeah, that's a gimmick. but it's not his voice). Now those rotating bow ties that the Spike Jones band wore, that was a gimmick (and a nifty one, at that...). Jackie McLean's tone...that's just another way to play the alto. Blow an alto like a tenor and that's where it starts going. Refine it to where you hear it, and there it is. Time, place, people, intent, all that factors into it. "Gimmick" seems to me a bit dismissive of all of that. I've know alto players over the years who really, really don't like McLean, but it's always because of something like "he blows the alto like a tenor". To which I say, hey, too bad. It's a horn, period. Blow it like you feel it. Same thing with the poeple who bitched about Warne MArsh sounding like an alto instead of a tenor (yeah, if that sounds like an alto to you...please don't drive while blind, I don't trust your hearing);. But that comes down to esthetics, and the various prissy finickries therein (damn alto players...). This is the very first time I've ever heard him accused of gimmickry.
David Ayers Posted April 30, 2012 Report Posted April 30, 2012 If he played like that at certain times for certain reasons, that would be one thing, but all the time and for no particular reason... To me it has that 'make a jackie-mclean noise here' feel to it, if you know what I mean.
JSngry Posted April 30, 2012 Report Posted April 30, 2012 I think I do know what you mean, and if I'm right, it's one of the more silly ( or clueless, maybe?) things I've ever heard anybody say about anything! Or is this just David Ayers "making a David Ayers noise" here?
JSngry Posted April 30, 2012 Report Posted April 30, 2012 Besides, his tone did evolve over the years, as did his intonation. But it always kept its basic character. "all the time and for no particular reason"...are you serious?
David Ayers Posted April 30, 2012 Report Posted April 30, 2012 I've just got bored by it. If you want to say he's up there with Coltrane, Coleman, Rollins, Mingus - but you don't and no-one does.
JSngry Posted April 30, 2012 Report Posted April 30, 2012 Ok, maybe I'm getting a little...aggressive on this. Don't want to get uncivil and/or impestuous (sic). But...tone is so very personal, and to accuse an obviously serious musician of "gimmickry" in something so fundamental to their expression just strikes me as waaaaaayyyyyy off the wall. Not liking it is one thing, but geez...
_forumlogo.png.a607ef20a6e0c299ab2aa6443aa1f32e.png)
Recommended Posts