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So, What Are You Listening To NOW?


JSngry

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10 hours ago, Gheorghe said:

Oh, I never saw this. Sounds like a dream combination. Did they record Burrage properly, I mean is it recorded in a way you HEAR the drums ? 

Not particularly, unfortunately. But Clifford sounds great! 

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18 hours ago, JSngry said:

He began withdrawing in the early-mid 1980s. Played a gig in Albuquerque with a Leroy Jenkins group (that I was lucky enough to attend, also in the group were Byard Lancaster, Tom Varner, and I forget who and what else, it was a chamber group) and fell in love with New Mexico and/or a woman. That led to him setting up some kind of flute institute in Santa Fe, after which one thing led to another, or so it seems. In and out of New Mexico and less and less engaged with the whole visibility thing. 

That's roughly how I remember it. Don't quote me, though. Definitely Santa Fe, though. That happened, and seemed to be some kind of a life pivot. 

He's every bit the conventional virtuoso that Hubert Laws is, with the added attraction (for me) of a total command of the Dolphy via Gazelloni range of "extended techniques".

The issue of the tone of most jazz flutists is a point of spiky contention with a lot of "classical" flutists, which is a real drag of a conversation to have (I have learned not to have it at all!). The only ones who get a pass are Dolphy, Tabackin, and Newton.

To that end, sometimes I find it a bit easy to be lulled away from paying attention to the content of his playing, which is always a huge mistake, because he's usually a very meaty player. That "classical" tone is a decoy (as it can be with Laws), and the flurries of notes are so effortlessly executed that they can seem to be just rote exercises. They're not!

Anyway... I would like to hear what he's doing these days, regardless of idiom. A player of that caliber... 

Newton essentially switched careers from playing to formal composition. Ethan Iverson has written about this music extensively and interviewed Newton. Recommend these:

 

https://ethaniverson.com/2021/10/18/updates-on-james-newton-and-misha-mengleberg/

https://ethaniverson.com/interview-with-james-newton/

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On 5/24/2023 at 3:19 PM, bresna said:

Was this ever issued under a different title? The discogs listing only shows a German LP from 1961 and 2 CD releases from 1999.

My apologies for being so long to respond to this query. The answer is: not as far as I know. It was recorded and issued on LP in Germany, then acquired by Victor and issued on cd as part of that label's accompanying issues to its massive Ellington Centennial set. Those included Cootie Williams in Hi-Fi, the Hodges/Davis collaboration In Atlantic City, and Gonsalves's Ellingtonia, Moods, and Blues.

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5 hours ago, Mark Stryker said:

Newton essentially switched careers from playing to formal composition. Ethan Iverson has written about this music extensively and interviewed Newton. Recommend these:

 

https://ethaniverson.com/2021/10/18/updates-on-james-newton-and-misha-mengleberg/

https://ethaniverson.com/interview-with-james-newton/

Yes!Thank you! 

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eyJidWNrZXQiOiJwcmVzdG8tY292ZXItaW1hZ2Vz

On tracks 1-4 I'm asking myself who's this accomplished tenor player? Hints of Wardell or Stitt, but I can't place him. Turns out it's one Henry Durant. Who? In the company of Blakey, Silver and Percy Heath you'd expect a name! Good blindfold test material?

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