....between tyranny and indulgence

[aka Calum Da Jazbo]

JRR we trust Alyn is well ..... no sign of playlist on his blog this morning ....

JLU
Blue Notes Special

The original line-up of the legendary band boasted many of Africa's influential and leading lights including Chris McGregor on piano, Mongezi Feza on trumpet, Dudu Pukwana on alto saxophone, Nikele Moyake on tenor saxophone, Johnny Dyani on bass, and Louis Moholo on drums. The majority of these musicians and others such as Julian Bahula, Mervyn Africa, Ernest Mothle, Bheki Mseleku sought refuge and political asylum in Britain to escape the injustice of the apartheid system.
The 2014 version of the band features Bokani Dyer (Piano), Soweto Kinch (Alto Saxophone), Percy Pursglove (Trumpet) , Karl Rasheed (Bass), Mark Sanders (Drums) and former BBC Radio 3 New Generation Jazz Artist Shabaka Hutchings (Tenor Saxophone) who was appointed the role of musical director for the project by original Blue Notes drummer Louis Moholo Moholo.

plus a feature on Courtney Pine and new cd tracks including Gilad Atzmon & The Orient House


Geoffrey covers Carmen McRae

JLU features Motif a Norwegian sextet in concert, plus Kit Downes and Lucy Railton's Tricko

lots of impressionism, and grooves then



and thanks Orrin

[Alyn_Shipton]

Sadly my interviews with Orrin are not available online from the R3 website, but for those of you with long memories or a cupboard full of C60s...http://genome.ch.bbc.co.uk/bf89e3491...b68afadc78a014

[BLUESNIK'S REVOX]

Sadly my interviews with Orrin are not available online from the R3 website, but for those of you with long memories or a cupboard full of C60s...http://genome.ch.bbc.co.uk/bf89e3491...b68afadc78a014

Not just a cupboard but a shipping container and a French dresser that just won't close. I have those excellent programmes and I claim the cash prize of 100 euros, a bottle of Polish vodka (fruit) and an evening with Anna Karina. Cos its Danish Womens Day.

For an alternative view of Orrin and his A&R/actual session contributions chk/out Chris Albertson's memoirs and online thoughts of working for the label to its demise. No love lost. But that's le jazz and its many 'uge h'egos.

BN.

[aka Calum Da Jazbo]

http://stomp-off.blogspot.co.uk/

https://jazzlives.wordpress.com/

are both the work of Chris Albertson El Senor

a review of Enrico Tomasso's album

check the wordpress site for the Whitley Bay 2014 Classic Jazz Party with a “Duke’s Men” set led by trumpeter / vocalist Rico Tomasso - luvverley innit

and check Mingus 2 - 5 -14 post

[BLUESNIK'S REVOX]

http://stomp-off.blogspot.co.uk/

https://jazzlives.wordpress.com/

are both the work of Chris Albertson El Senor

Randy Weston said re OK, " he talks and talks and never listens". I think Monk also had a major falling out with him at the end and refused to go back in the studio despite a good offer. But who now knows? The books were cooked. The era is fini.

All that was solid is now Brian Rust.

BN.

[Serial_Apologist]

Randy Weston said re OK, " he talks and talks and never listens". I think Monk also had a major falling out with him at the end and refused to go back in the studio despite a good offer. But who now knows? The books were cooked. The era is fini.

All that was solid is now Brian Rust.

BN.

But everything would have to be heavy metal, which, thankfully, is not the case.

[Beef Oven!]

But everything would have to be heavy metal, which, thankfully, is not the case.

What's wrong with Heavy Metal?

[Serial_Apologist]

What's wrong with Heavy Metal?

Fascistic/domination tendencies = small penis overcompensation.

[Beef Oven!]

small penis overcompensation.

I've never liked heavy metal, and always wondered what MrGongGong's flirtation with it is all about

[BLUESNIK'S REVOX]

Randy Weston said re OK, " he talks and talks and never listens". I think Monk also had a major falling out with him at the end and refused to go back in the studio despite a good offer. But who now knows? The books were cooked. The era is fini.

All that was solid is now Brian Rust.

BN.

Chris Albertson on Riverside, Organissimo c.2004 -

"If you read the interview B. links to, you will see how Bill Grauer (Co founder) gets no more than a brief mention, and then only because Don Heckman (the interviewer) brought up his name. More glaring, however, is the fact that Orrin makes no mention of Randy Weston, who was instrumental (no pun intended) in Monk signing with Riverside. Also, Orrin makes no mention of why Monk left the label. He refused to go into the studio with Orrin, in spite of a remarkable offer from Bill Grauer, who wanted to do a series of Monk albums that graduated from a solo set to a duo, a trio, and all the way to a big band. When Robin Kelley's Monk biography is published, I think Orrin's gaps and exaggerations will be cleared up--at least as far as Monk is concerned.I was hoping this would not turn into a Orrin bash, so this is all I will say about him, but I had to bring him up in my original response, because Bill Grauer (about whom this thread is, after all) cannot speak for himself."

Orrin refused to be interviewed for the superb Kelly/Monk book....maybe because his son Peter was/is also writing a Monk biog.

The finances of Riverside are "interesting" too. Records sent to dealers who didn't want them just to get an impressive flow thro the books to show the banks. "Plus ca small change, Man"' as the ducks qwaaaaaak.

BN

[Ian Thumwood]

I know little our Orrin keepnews even if the albums on Riverside are familiar. Reading jimmy Heath's account of his time with the label he mentioned the issues with the finances which came to light when Bill Grauer died from a heart attack. The problem with the argument presented by Bluesnik is that it is taken from Randy Weston's point of view whereas other musicians are certain to have been more favourable to Keepnews. Both Jimmy Heath and Bill Evans dedicated compositions to the record producer and he was an important component in establishing their careers. You can also say the same with Cannonball.

The account in Heath's book is clear that there were accounting irregularities that led to the label's demise but this is hardly unique with jazz labels! Heath is adamant that Riverside was a serious contender as rival for Blue Note during the brief 10 or so years of it's existence. As I was saying to a jazz-loving friend of mine on the phone this morning, during the last month I've been listening to a lot of "classic" jazz recordings from the 50's and 60's and it is interesting to hear some records after a period of not playing them. Returning to old favourites is quite interesting and being mid-way through Heath's book really makes you pay attention too after reading his thoughts on some of the music.

Keepnews was involved with both Riverside and Milestone records where I feel he tended to sweep up those artists missed by the more "fashionable" labels like Blue Note and Impulse. I'm talking about the likes of the Adderleys, Evans, Heath, Milt Jackson, Cedar Walton Blue Mitchell, etc who were over missed by Blue Note, refused to sign for Alfred Lions or who only recorded intermittently with the label. By and large Keepnews seemed to be more appreciative of different sizes of ensembles from trios to big bands whereas Blue Note tended to prefer quartets to sextets. I don't think Riverside really had any interest in some of the "commercial" music / Soul Jazz that featured on about 1/3rd of he Blue Note releases. Milestone also appeared to capture those artists who fell away from Blue Note when it was bought by Liberty.

What I've noticed these last few weeks how time changes your perceptions of records. Recent visitors to my CD player have included Freddie Hubbard's "Open sesame", Oliver Nelson's "The blues & the abstract truth", Mingus' "Black Saint and the sinner lady" as well the inevitable Jimmy Heath. It is noticeable how some records stand up more than others so that the Hubbard and Nelson records sound ever better than I had recalled whereas the Mingus includes some of his finest work distorted by the out of place Jay Berliner's guitar. Some of the records I'm starting to appreciate are Jimmy Heath's Riverside efforts. Until I "discovered" his music in 2013 I'd never really appreciated just how good he is. No wonder Blue Note wanted to sign him. Keepnews knew exactly what Heath could bring to his label and until I'd read "I walked with giants" I never appreciate just how much writing Heath did for other sessions on Riverside.

All in all, I'm a bit reluctant to criticize Keepnews or rake over 60 year old arguments as the legacy of his work is clear to see. As I said on the Blue Note thread, Lions' label is an addiction as far as I am concerned but I think there is a danger of seeing it as being The defining record label on the 50's and 60's. There were other records doing an equally sterling job and who didn't share the limited vision of Lions' range of artists. I'd recommend that Bluesnik read Heath's book or even listen to the interview that I linked to. It's really interest to hear what he has to say and maybe appreciate that labels like Riverside did a lot to keep jazz musicians solvent at a time of increasing competition from pop and / or rock.

[BLUESNIK'S REVOX]

I know little our Orrin keepnews even if the albums on Riverside are familiar. Reading jimmy Heath's account of his time with the label he mentioned the issues with the finances which came to light when Bill Grauer died from a heart attack. The problem with the argument presented by Bluesnik is that it is taken from Randy Weston's point of view whereas other musicians are certain to have been more favourable to Keepnews. Both Jimmy Heath and Bill Evans dedicated compositions to the record producer and he was an important component in establishing their careers. You can also say the same with Cannonball.

The account in Heath's book is clear that there were accounting irregularities that led to the label's demise but this is hardly unique with jazz labels! Heath is adamant that Riverside was a serious contender as rival for Blue Note during the brief 10 or so years of it's existence. As I was saying to a jazz-loving friend of mine on the phone this morning, during the last month I've been listening to a lot of "classic" jazz recordings from the 50's and 60's and it is interesting to hear some records after a period of not playing them. Returning to old favourites is quite interesting and being mid-way through Heath's book really makes you pay attention too after reading his thoughts on some of the music.

Keepnews was involved with both Riverside and Milestone records where I feel he tended to sweep up those artists missed by the more "fashionable" labels like Blue Note and Impulse. I'm talking about the likes of the Adderleys, Evans, Heath, Milt Jackson, Cedar Walton Blue Mitchell, etc who were over missed by Blue Note, refused to sign for Alfred Lions or who only recorded intermittently with the label. By and large Keepnews seemed to be more appreciative of different sizes of ensembles from trios to big bands whereas Blue Note tended to prefer quartets to sextets. I don't think Riverside really had any interest in some of the "commercial" music / Soul Jazz that featured on about 1/3rd of he Blue Note releases. Milestone also appeared to capture those artists who fell away from Blue Note when it was bought by Liberty.

What I've noticed these last few weeks how time changes your perceptions of records. Recent visitors to my CD player have included Freddie Hubbard's "Open sesame", Oliver Nelson's "The blues & the abstract truth", Mingus' "Black Saint and the sinner lady" as well the inevitable Jimmy Heath. It is noticeable how some records stand up more than others so that the Hubbard and Nelson records sound ever better than I had recalled whereas the Mingus includes some of his finest work distorted by the out of place Jay Berliner's guitar. Some of the records I'm starting to appreciate are Jimmy Heath's Riverside efforts. Until I "discovered" his music in 2013 I'd never really appreciated just how good he is. No wonder Blue Note wanted to sign him. Keepnews knew exactly what Heath could bring to his label and until I'd read "I walked with giants" I never appreciate just how much writing Heath did for other sessions on Riverside.

All in all, I'm a bit reluctant to criticize Keepnews or rake over 60 year old arguments as the legacy of his work is clear to see. As I said on the Blue Note thread, Lions' label is an addiction as far as I am concerned but I think there is a danger of seeing it as being The defining record label on the 50's and 60's. There were other records doing an equally sterling job and who didn't share the limited vision of Lions' range of artists. I'd recommend that Bluesnik read Heath's book or even listen to the interview that I linked to. It's really interest to hear what he has to say and maybe appreciate that labels like Riverside did a lot to keep jazz musicians solvent at a time of increasing competition from pop and / or rock.

Ian, I obviously have no idea of the full story of Riverside. I merely drew attention to Chris A's recollections as he was very much there in the studio and did also some of the A&R. I doubt there any saints in this or elsewhere. The beef with Keepnews seems to be the ego and the over claiming of his in-studio role. "The guy with stopwatch" someone called him. And it was the label's musicians who very often A&Rd. Weston bringing in Monk, Cannonball bringing in Wes, James Clay, Sonny Red etc etc.

There are great sides on the label. The Heath as you say, the Frank Strozier, Blue Mitchell, Nat, Wes, George Russell, the Griffin sessions..."Way Out! with Drew, Ware and Philly JJ is a real gem, etc. Also a lot of one off minor artists who nonetheless are worthwhile in their way.

Fine by me.

BN.

I've seen the four Jimmy Heath interviews on Youtube in company with Phil Woods. Fascinating and a fascinating contrast.

[Alyn_Shipton]

With the greatest respect to Chris A, who did plenty of fine work for this and other labels, the excerpt BN chose does slightly have the distant sound of axes being ground... When I spoke to Orrin, he readily acknowledged Grauer - indeed spent a lot of time telling me how they had become friends at Columbia University and collaborated on Record Changer Magazine and on the Pictorial History as well as Riverside and Label X. He was generous to a fault, and also recounted evenings spent socially with the Grauers and his family (during one of which the name Riverside was selected for the label). He was also very open about Randy Weston as an early signing. He told me off mike he was heartily sick of doing interviews about Monk and Bill Evans for people who didn't know the music and asked silly questions. He appeared not to put me in that category and gave me the best part of half a day of his time. He told me he felt it made the music flow better if he was a hands-off producer - rather like Bob Weinstock at Prestige. But that didn't stop him being quite interventionist on Brilliant Corners. I liked him. An intelligent, funny, cultured guy who clearly had huge affection for some of the musicians he had worked with.

[BLUESNIK'S REVOX]

With the greatest respect to Chris A, who did plenty of fine work for this and other labels, the excerpt BN chose does slightly have the distant sound of axes being ground... When I spoke to Orrin, he readily acknowledged Grauer - indeed spent a lot of time telling me how they had become friends at Columbia University and collaborated on Record Changer Magazine and on the Pictorial History as well as Riverside and Label X. He was generous to a fault, and also recounted evenings spent socially with the Grauers and his family (during one of which the name Riverside was selected for the label). He was also very open about Randy Weston as an early signing. He told me off mike he was heartily sick of doing interviews about Monk and Bill Evans for people who didn't know the music and asked silly questions. He appeared not to put me in that category and gave me the best part of half a day of his time. He told me he felt it made the music flow better if he was a hands-off producer - rather like Bob Weinstock at Prestige. But that didn't stop him being quite interventionist on Brilliant Corners. I liked him. An intelligent, funny, cultured guy who clearly had huge affection for some of the musicians he had worked with.

Fine Alyn. I like Chris a lot also and he has certainly been around and has opinions. As for Orrin K I thought he actually came over very well in your programmes and in the retrospective intros he did for the Riverside re-issues. He didn't care too much for Chet Baker's "integrity" as I recall but well, yes!

BN.

[aka Calum Da Jazbo]

well clearly Alyn is well and the playlists are up!

sheesh the weekend's programmes are really interesting eh .....

the John Lee Hooker Riverside albums are indispensable ...