So, What Are You Listening To NOW?

[BillyBatts]

Prince Lasha and Sonny Simmons - Firebirds

[mikeweil]

2 hours ago, HutchFan said:

That's stinkin' fantastic! THANK YOU for sharing!!! So cool to SEE them perform!

Has this entire concert ever been released on DVD?

No, I don't think so. The source for this is obscure, it is strange there are no videos of the other tracks, and the visual and audio quality sucks, like that of the existing videos of the performance by Les McCann & Eddie Harris from Montreux. Probably bootleg copies of Swiss TV tapes.

Edited August 21, 2017 by mikeweil

[HutchFan]

1 hour ago, BillyBatts said:

Prince Lasha and Sonny Simmons - Firebirds

Great music!!!

[alankin]

Ivo Perelman featuring Louis Sclavis – The Ventriloquist (Leo Records)
— Ivo Perelman (tenor sax), Louis Sclavis (bass clarinet), Christine Wodrascka (piano), Paul Rogers (bass), Ramon Lopez (drums)

[HutchFan]

2 hours ago, mikeweil said:

No, I don't think so. The source for this is obscure, it is strange there are no videos of the other tracks, and the visual and audio quality sucks, like that of the existing videos of the performance by Les McCann & Eddie Harris from Montreux. Probably bootleg copies of Swiss TV tapes.

Thanks for the info, mike.  Bummer that it's not available. 

 

 

NP:

A Night with Poncho Sanchez Live: Bailar (Concord Picante)

[Buddha the Magnificent]

Bob Degen and Harvie Swartz - Chartreuse (Enja 3015, 1978).  Bob Degen - piano; Harvie Swartz - bass.

[alankin]

Tete Montoliu – Songs for Love (Enja Records / MW) — solo piano

[soulpope]

[HutchFan]

soulpope mentioned Carter Jefferson earlier today. . . 

Carter Jefferson - The Rise of Atlantis (Timeless)

[soulpope]

 

[medjuck]

3 hours ago, JSngry said:

I've found that I've tended to receive the "received wisdom" that has best fit my emotional bent of whatever time I'm in. Trying now do separate emotion from objectivity in order to fully value things on their own terms, not on my. A lot of times, that means going back to things I've rejected for emotional rather than purely empirical means. And once that gets cleared up, it's so much easier to identify the emotional connections and rejections as such. Some of the things I've had no use forI've embraced fully or at least in part, and some I still have no use for. But just examining "fact vs. fiction" is a fun thing to do. There's been a lot of "guilty pleasures" as well as "irrational fears" in my engagement of musics over the years, and I don't know that I believe that guilt or fear are building blocks. Irrationality sure as hell isn't!

Another thing - the socio-political climate keeps evolving. The resentment I felt against, say, "Stan Kenton" still remains, I mean, the "big thing" that he had made around him as a Leader Into The future and all that bullshit was just that - bullshit. But for me it's now balanced out (or at least reconsidered) by all the really good, occasionally great(!) music that people other than Stan Kenton can now be more clearly received as NOT being "Stan Kenton". "Stan Kenton" no longer means shit one way or the other because that world has evolved into a whole other one with new enemies, new battles, the more things change, etc. Agendas, always, but real creativity, not always.

Just looking at old music of any type (including Duke!)...you can't "receive" the wisdom of the mythologies alone, you need (imo) to look at all of this in terms of people/place/time/etc, sure, but also as plain, simple, human activity, shaped by chrono-specific forces but not immune from eternal human impulses and verities . "Stan Kenton" was marketing, but Stan Kenton himself was a dude who believed in that concept, and in true manner of his time/place/etc. he set about hiring people to flesh it out - a LOT of people, and some of THOSE people actually found a personal voice there and made truly unique music. " Some played to the image, but such is life, right? Not just music, life. There will be those who seek and find, those who at least seek, those who find accidentally and then either do or don't take it someplace, and those who just don't bother. If there's a truly universal truth about all this, that's probably gonna be it.

That, and yes - individuality is the ultimate enemy of the generalization.

Received opinion keeps changing too.  When I started really listening to jazz in 1961 received opinion was that  Ahmad Jamal was a cocktail pianist, post army Prez was much inferior to his earlier work, Pops' big band work was unworthy of him, Stan Kenton was head of some sort of overblown cult, and after Moanin', Art Blakey had become a cliche. (I'm embarrassed to admit that I once wrote a club review of the 2nd great Miles quintet in which I referred to Wayne Shorter having "escaped the confines of The Jazz Messengers".)  

Received opinion now disagrees with all of this except Kenton.   (And btw I still agree with  some of the old opinions.) 

 

 

 

 

 

 

 

 

 

[soulpope]

[jazzbo]

Blu-Spec CD2

Herbie and Tony are really talking to each other in this performance.

[soulpope]

1 hour ago, jazzbo said:

Blu-Spec CD2

Herbie and Tony are really talking to each other in this performance.

Is this Blu-Spec SICP-20056 from 2009 ?

[jazzbo]

1 hour ago, soulpope said:

Is this Blu-Spec SICP-20056 from 2009 ?

Yes, I thought it was a Blu-Spec CD2 as I bought it recently but it's SICP-20056 using 2004 DSD mastering.

http://www.kind-of-blue.de/seiten/disco/miles_in_tokyo_blu_spec.htm

Edited August 21, 2017 by jazzbo

[BillF]

1 hour ago, soulpope said:

Sidewinder and I were there. Unfortunately not together. 

2 hours ago, medjuck said:

Received opinion keeps changing too.  When I started really listening to jazz in 1961 received opinion was that  Ahmad Jamal was a cocktail pianist, post army Prez was much inferior to his earlier work, Pops' big band work was unworthy of him, Stan Kenton was head of some sort of overblown cult, and after Moanin', Art Blakey had become a cliche. (I'm embarrassed to admit that I once wrote a club review of the 2nd great Miles quintet in which I referred to Wayne Shorter having "escaped the confines of The Jazz Messengers".)  

Received opinion now disagrees with all of this except Kenton.   (And btw I still agree with  some of the old opinions.) 

 

 

 

 

 

 

 

 

 

Yes, those were the days. Electronic instruments such as organ - and possibly vibes - were suspect, too.

However, let's not even look into the opinions of dyed-in-the-wool British traddies, who considered that anything without a banjo was too modern and that Ellington ceased to be a jazz musician after c.1935. 

[jazzbo]

I guess this is then a non-jazz Ellington release.

[soulpope]

1 hour ago, jazzbo said:

Yes, I thought it was a Blu-Spec CD2 as I bought it recently but it's SICP-20056 using 2004 DSD mastering.

http://www.kind-of-blue.de/seiten/disco/miles_in_tokyo_blu_spec.htm

Thnx for confirming ....

[HutchFan]

Bud Shank, Bill Mays, Alan Broadbent - Crystal Comment (Concord)

[soulpope]

2 hours ago, BillF said:

Sidewinder and I were there. Unfortunately not together. 

I`m full of envy  ....

[Cyril]

[duaneiac]

[JSngry]

Slow. Shirley Horn-type slow. The slower the better for hearing the inner parts and the bass/tuba interaction.

Let's talk about how the absence of vibrato is a really effective way to change the perception of time, how vibrato is usually almost always faster than the tempo, so when yoiu take it away, you have fewer anticipation points of where the next beat goes. Let's also talk about how the tenisons that result from a really tight voicing can create an illusion of vibrato, and how natural overtone bumpings are NOT vibrato, and then let's talk about being a smart enough writer to realize that, and then to get the band to play it just so. And let's also talk about how high brass is definitely a color to paint with, was is vibrato and all sorts of other things.

And really, I don't think that much of either "Stan Kenton" OR Stan Kenton, but writers, that's something else entirely, and give a dog his bone on the day it's due for him to have it, this piece of Made-For-MOR tickles me pink the way it fuses  Ahmad Jamal, clockmaking, Gepetto-like will-imposition, and an overall sense of story arc with some pretty lightweight source material...darkness where there should be light, BIGHT BLINDING FUTURE LIGHT, to sell the record and/or the image.

Is it neurotic? Oh hell yeah, but it's a neurosis that is happy within itself and makes no attempt to overcompensate. Would that all Stan Kenton music was this way, and there is enough "Stan Kenton" music from various writers over the years that I'm no longer going to be the blatant reflexively RUN AWAY! NOW! that I was for a good long while. I have done the work, listened to the music (a damn whole lot of it, a few years ago, had to do it just to get closure) and have realized that although Stan Kenton was pretty much a guru for a cult that had to create itself, he sure couldn't do it just by himself,. within "Stan Kenton" (I refuse to say The Creative World Of Stan Kenton, that's part of the deal, non-negotiable), there is enough (some days more than enough) delightful music to be found, sometimes in spite of itself, sometimes, as with Willie Maiden, just because that was where that greatness was living at the time) hey, I'll take it and like it.

And sometimes, the goofiness is too rich to ignore!

 

1941 Kenton, the guy crtainly sounds like he means business, as does his band. Howard Rumsey on bass, iirc, and he was playing amped iirc. However much Kenton had to go to other writers to create the tree, I think it's fair to say that the notion of faster/louder/higher, nos a stunt, but as a real expression of whatever it was he had going on inside himself, that was Kenton, and damned if it still doesn't get my attention for willing to be that much....that.

 

[JSngry]

Impositional!

[duaneiac]