So, What Are You Listening To NOW?

[kinuta]

[xybert]

 

Antônio Carlos Jobim - The Composer Of Desafinado, Plays

I apparently didn't make that much of an effort, but i've always wanted to get the Antônio Carlos Jobim album with the version of Insensatez that was used on David Lynch's Lost Highway soundtrack. Finally i have it. Maybe it's partly the familiarity from listening to it for 20 years, but i think it's a perfect piece of music. 

 

 

 

[Peter Friedman]

[John Tapscott]

[paul secor]

Scrapper Blackwell: Mr. Scrapper's Blues (Bluesville/OBC)

[Morganized]

[kinuta]

Complete Mercury Max Roach Plus Four Mosaic  Disc 7

[xybert]

Clifford Brown - The Beginning and The End

[soulpope]

10 hours ago, BillF said:

Excellent ....

[BillF]

[erwbol]

1 hour ago, BillF said:

[soulpope]

1 hour ago, erwbol said:

Do understand your rating still - to throw in some positive perspective - the cover pic reminds me of the times when this platter was a new release, some excellent "neo-traditionalist" sessions were issued and even some expectations regarding the future of Wynton M. were feasible ....

Edited April 20, 2017 by soulpope

[optatio]

1 hour ago, soulpope said:

Do understand your rating still - to throw in some positive perspective - the cover pic reminds me of the times when this platter was a new release, some excellent "neo-traditionalist" sessions were issued and even some expectations regarding the future of Wynton M. were feasible ....

He was 19! I also bought this LP when it was released in 1982 ---

Edited April 20, 2017 by optatio

[soulpope]

1 hour ago, optatio said:

He was 19! I also bought this LP when it was released in 1982 ---

Selfimposed excessive expectations btw self-adulations aside albums with the Herbie Hancock Quartet or "Black Codes From The Underground" were (IMO) quite hearworthy ....

[Big Beat Steve]

2 hours ago, soulpope said:

Do understand your rating still - to throw in some positive perspective - the cover pic reminds me of the times when this platter was a new release, some excellent "neo-traditionalist" sessions were issued and even some expectations regarding the future of Wynton M. were feasible ....

Like Optatio said - this was young Wynton. A far cry from JALC bigwigdom.

I guess most evaluations of this kind of record made today are based on what people tend to project into him TODAY (and do not like about him TODAY), maybe as another variation on the theme of "oh that self-proclaimed moldy fig has reaped all the rewards and occupies all the key positions where he can pull all the strings whereas oh so many oh so deserving (avantgarde etc.) musicians barely eke out a living in jazz though THEY ought to receive all the honors because they are much more valuable artists". Understandable sentiments but beside the point ... Making your art appeal is part of the game too.

Reminds me somehow of quite a few of those 50s/60s/70s musicians who rode the "swing mainstream train" even as new artists on the scene and did not embrace all the latest fads in far-outness (and therefore came under heavy fire from the critics in many places - a bit unfairly IMO).

Edited April 20, 2017 by Big Beat Steve

[erwbol]

3 hours ago, optatio said:

He was 19! I also bought this LP when it was released in 1982 ---

I guess I'm firmly on the would-have-driven-over-todler-Wynton train. 

[BillF]

 

Edited April 20, 2017 by BillF

[soulpope]

[soulpope]

[alankin]

Ricardo Gallo’s Tierra de Nadie – The Great Fine Line (Clean Feed Records)
— Dan Blake (soprano & tenor sax), Mark Helias (bass), Ray Anderson (trombone), Ricardo Gallo (piano), Satoshi Takeishi (drums & percussion), Pheeroan Aklaff (drums)

 

[David Ayers]

 

[alankin]

Art Farmer Quintet featuring Gig Gryce (Prestige Records / ZYX Music - Germany)
— Art Farmer – trumpet Gigi Gryce – alto saxophone Duke Jordan – piano Addison Farmer – bass Philly Joe Jones – drums; five tune by Gryce and one by Jordan; remastered by Phil De Lancie.

[HutchFan]

Shirley Horn Trio - A Lazy Afternoon (SteepleChase)

[soulpope]

51 minutes ago, HutchFan said:

Shirley Horn Trio - A Lazy Afternoon (SteepleChase)

Recurringly eulogised here - and rightly so ....

[Larry Kart]

6 hours ago, Big Beat Steve said:

Like Optatio said - this was young Wynton. A far cry from JALC bigwigdom.

I guess most evaluations of this kind of record made today are based on what people tend to project into him TODAY (and do not like about him TODAY), maybe as another variation on the theme of "oh that self-proclaimed moldy fig has reaped all the rewards and occupies all the key positions where he can pull all the strings whereas oh so many oh so deserving (avantgarde etc.) musicians barely eke out a living in jazz though THEY ought to receive all the honors because they are much more valuable artists". Understandable sentiments but beside the point ... Making your art appeal is part of the game too.

Reminds me somehow of quite a few of those 50s/60s/70s musicians who rode the "swing mainstream train" even as new artists on the scene and did not embrace all the latest fads in far-outness (and therefore came under heavy fire from the critics in many places - a bit unfairly IMO).

To quote something I posted on FB yesterday (see from sentence two to the end)

"Wynton came to be quite a jerk, and a dangerous one at that, given his and his advocates' drive to reshape the course of the music; but when I met him fairly early on (when he was with Blakey and shortly thereafter) he was undeniably talented and a nice guy. One of the odd and perhaps semi-forgotten aspects of his career is the way he distorted his own genuine musical gifts in an attempt to play like the Noble Young Prince of the Realm he was touted to be, when in fact (and/or IMO) his temperament was more or less that of a virtuosic trickster/imp -- a la, say, Charlie Shavers. A few recordings capture him in that mode -- as a sideman on Chico Freeman's "Destiny's Dance" (1981) and on "Jazz at the Opera House," from 1982, in a band with Wayne Shorter, Bobby Hutcherson, Herbie Hancock, Charlie Haden, and Tony Williams. As for Wynton's pompous, empty, and often technically inept work as a long-form composer -- don't get me started.