So, What Are You Listening To NOW?

[Peter Friedman]

[alankin]

John Surman – Flashpoint: NDR Jazz Workshop – April '69 (Cuneiform Records)

Personnel: 
John Surman: soprano and baritone saxophones; Alan Skidmore: tenor saxophone, flute; Ronnie Scott: tenor saxophone; Mike Osborne: alto saxophone; Malcolm Griffiths: trombone; Erich Kleinschuster: trombone; Kenny Wheeler: trumpet, flugelhorn; Fritz Pauer: piano; Harry Miller: bass; Alan Jackson: drums.
 

[John Tapscott]

[sidewinder]

[HutchFan]

Martial Solal Trio with Peter Erskine & Marc Johnson - Triangle (JMS) 

 

 

2 hours ago, sidewinder said:

I wish that CD was still available.  It's now fetching absurdly high prices from resellers.

Edited August 8, 2017 by HutchFan

[soulpope]

Mesmerizing performances from a Montmatre/Copenhagen stint in 1979 ....

[JSngry]

Still seems like an unlikely partnership to me, unlikely as hell, but Warne seems really comfortable and good things always happen when that happens.

[jazzbo]

[Chuck Nessa]

Yves Charuest - alto, Agustin Fernandez - piano, Nicolas Caloia - bass and Peter Valsamis - drums.

 

[JSngry]

2 hours ago, JSngry said:

Still seems like an unlikely partnership to me, unlikely as hell, but Warne seems really comfortable and good things always happen when that happens.

Going again. Warne...that guy was a master, not a "master", a master. And if you just listen for sweat, you'll probably not hear any of it. But if it's water you're looking for, you'll have drinks forever.

[HutchFan]

Sir Roland Hanna - Solo Piano: Free Spirit (Storyville)
Disc 1 

[jazzbo]

Listened to this on the way to and from my Dad's in Avon.

Just finished: 
The SHM-CD

Just started:
The Beat Goes Public edition:

[Peter Friedman]

[BillF]

[duaneiac]

 

[JSngry]

Warne is still Warne, but this Pete Christlieb guy, there's always been something that puts me off him,  and hearing him besides Warne finally brought it into focus - the motherfucker sounds like a tenor version of Phil Woods, not the earlier Phil Woods, but the later one, the one that I have to respect but I don't have to like, which is good, because I don't like it, not from Phil Woods, nor from Pete Christlieb. No sir, I don't like it, not one bit.

But Warne, Warne is as close to omniscient as anybody can be. Warne does not sound at all like Phil Woods, early, middle, or later. Warne did not have time for that.

 

[Larry Kart]

1 hour ago, JSngry said:

Warne is still Warne, but this Pete Christlieb guy, there's always been something that puts me off him,  and hearing him besides Warne finally brought it into focus - the motherfucker sounds like a tenor version of Phil Woods, not the earlier Phil Woods, but the later one, the one that I have to respect but I don't have to like, which is good, because I don't like it, not from Phil Woods, nor from Pete Christlieb. No sir, I don't like it, not one bit.

But Warne, Warne is as close to omniscient as anybody can be. Warne does not sound at all like Phil Woods, early, middle, or later. Warne did not have time for that.

 

The Christlieb/Woods linkage -- he shoots, he scores.

BTW, I was listening today to some of the Benny Carter/Wloods album "My Man Benny, My Man Phil" (MusicMasters, 1989). Carter, at age 82, is in great form, but when Woods starts to growl, chortle, etc., I'm at a loss. What happened to the excellent Woods of 1957 and earlier and why did it happen? I guess we'll never know. (BTW, some of the Woods solo work on the Oliver Nelson Mosaic set is relatively  sober and quite good. In those instances, I suspect, the lucid complexity of Nelson's writing served as a guiding, restraining influence.

[John Tapscott]

[HutchFan]

Genesis - Seconds Out (Atlantic)

[duaneiac]

[JSngry]

3 hours ago, Larry Kart said:

. (BTW, some of the Woods solo work on the Oliver Nelson Mosaic set is relatively  sober and quite good. In those instances, I suspect, the lucid complexity of Nelson's writing served as a guiding, restraining influence.

Woods also turns in some truly excellent lead playing on those sessions. The artistry of that part of his craft never left him. As for the soloing, it seems that after he repatriated, after he did the L.A. thing with the Pete Robinson band and it got cold-shouldered, perhaps that was his Pet Sounds or River Deep, Mountain High, some kind of bruise that he never got over. Seems like he realized that he was not going to be accepted as hip/forward thinking (and I think it was not so much that he thought he would be, just that he wanted to be given credit for making a serious and sincere effort to keep moving ahead instead of people saying hey Phil Woods, why are you playing all this weird electronic shit?), so he became kinda passive-aggressive retro-hipster, which certainly served him well in terms of stability and reputation of a certain sort, but geez, such a lead player, always! But the soloing...maybe there's a bitterness there that was being redirected so as not to appear as bitter as it was?

But yeah, Nelson touched a lot of people, both through his writing, his life, and woefully abrupt ending of all of that.

[Peter Friedman]

[danasgoodstuff]

8 hours ago, duaneiac said:

https://www.amazon.com/Second-Star-Right-Salute-Disney/dp/B0000281VF

[jazzbo]

CD from Warner Japan.

[paul secor]

Hawkins! Alive! At the Village Gate