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Posted

Listened to this one again, Jimmy Smith with Stanley Turrentine, Prayer Meetin'--the new cd from Blue Note Japan. Wow.
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Followed by Peggy Connelly Peggy Connelly on Bethlehem, Verse Music Group cd. Nice band and arrangements but overall. .. meh.
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Finally, Lonnie Smith, Live at Club Mozambique, a Blue Note Rare Groove cd.
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Posted
7 hours ago, erwbol said:

:tup The music is of course genius, but the sound is surprisingly good as well (for a home recording).

Not that surprising at all. The person doing the "home recording" was Ray Heindorf, music director at Warner Bros. One would think that Heindorf's home would have rather sophisticated recording equipment in place.

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Posted

Since this was the first Ornette Coleman Album I could purchase, it allways will have a Special meaning . It was my first "guide" to so called "free jazz" and anyway it´s easy listenin free jazz since Maybe on Alfred Lions insistence they had to Play also some swing pieces like you see on "Good Old Days" . 

And for the difference of others I allways found Ornettes violin playing quite good and interesting. I don´t have classical trained ears and a violin for my own happiness must not Sound like Mozart or Beethoven. But here it sounds like the stuff some 20th century classical compositions from Eastern Europe, mostly from Hungary did it, I think Gyorgye Ligeti was his Name. 

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Posted

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Paul Bryant & Earl Palmer ready-made for airplay, not necessarily "funky" in any but the most vocabularyistically limited circles, but  still, not bullshit in any way. Color him/them pretty badassty fluent.

Posted (edited)

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Louis Armstrong & His Orchestra - Pocketful of Dreams, Vol. III (Decca/GRP)
In the photo above, the way that Louis is looking down & spreading his arms makes me think that he's about to take a cartoon-like swan-dive off a very high stage. ;) 

 

 

5 hours ago, EKE BBB said:

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I've never seen that one, EKE. 

What do you think of it?

 

Edited by HutchFan
Posted
37 minutes ago, JSngry said:

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Nostalgia is ephemeral, skills are forever.

and Charles Stepney was a baaaaaaaaaaaaaad man!

Has anybody really, really analyzed/broken this album down in terms of musical/lyrical thematic development/continuity? Seems like there's a real "concept album", or even an actual by-god "suite" to be had here, maybe.

Stepney taking Bacharach seriously as musical inspiration, not just commercial motivation (the irony is all too real).

Can you imagine the sessions for this record? November 24-26, 1969, three days to get this made. Skills!

 

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