‘Groovin' High’ - Booker Ervin
with Carmell Jones, Jaki Byard, Gildo Mahones, Richard Davis & Alan Dawson
Prestige (1963/64)
with Carmell Jones, Jaki Byard, Gildo Mahones, Richard Davis & Alan Dawson
Prestige (1963/64)
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‘A Sure Thing’ - Blue Mitchell
with Clark Terry, Julius Watkins, Jerome Richardson, Jimmy Heath, Wynton Kelly, Sam Jones & Albert Heath
Riverside (1962)Comment
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The rest of this - or at least some more, only listened to the first tune before...Originally posted by Joseph K View PostComment
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'Solid' - Grant Green
with James Spaulding, Joe Henderson, McCoy Tyner, Bob Cranshaw & Elvin Jones
Blue Note (1964)Comment
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Art Pepper with George Cables, David Williams & Carl Burnett playing a magnificent version of 'Everything Happens To Me' from the 1981 live album 'Roadgame':
JRComment
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Here's a bit of Fun : Jaimie Branch / Fly or Die....https://intlanthem.bandcamp.com/album/fly-or-die
....reminds me of Chris McGregors Brotherhood of Breath...bong chingComment
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Disk 2 of this abovementioned collection featuring the albums 'Moving Out' and 'Work Time'.Originally posted by Joseph K View PostAh ok.
Thanks for this.
Now I've started listening to the collection 'Sonny Rollins - The Prestige Years', the first two cuts of which, on the first disk, are from 'Thelonious Monk and Sonny Rollins' - I'd like to have this whole album!Comment
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Two of my favourite Sonny Rollins dates and "Work Time" is up there with Saxophone Collosus. Miles played the acetate down the phone to anyone who would listen when Sonny was in his band..."My saxophone player"Originally posted by Joseph K View PostComment
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J.R. Monterose with Dale Oehler(piano); Gary Allen(bass) & Joe Abodeely(drums) playing 'Lover Man' in Rock Island, Illinois, 1964:
JRComment
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I have this record but passed up on the second volume. The first volume is good although struck me as an exercise in ensuring that some of her music was put out there in the public in that it appears to have been culled from various live sessions. As a result, I think it is not totally cohesive as an album but the music should be commended for it's bravery. I don't think she is really interested in issuing anything other than what the co-commentator on the local football broadcasts would describe as "honest." It is an album I like although I have to say that I also like cornetist Josh Berman who also appears on the record. He appears to have totally vanished after issuing some excellent albums on Delmark during the 2010's. There are no new releases by him since "A dance and a hop" which was a trio session that picked up the baton from players like Bobby Bradford. An earlier tribute to the Austin High School band is even better and shatters some Dixieland war-horses almost in to new pieces.Originally posted by eighthobstruction View Post
During the late 2000s / 2010s, there was so much good music coming out of Chicago but I think many of the players Iliked such as Frank Rosaly have moved away or, as in the case of players such as Nicole Mitchell, Tomeka Reid and Jeff Parker, emerged as some of the most significant musicians on the contemporary scene. Still, it would be good to hear more of the likes of Rosaly, Keefe Jackson, Adam Adasiewizc, Paul Giallorenzo and Josh Berman.Comment
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But not ex-pat Chicagoan Matana Roberts, who seemed in for some criticism from certain members last time her name came up here, if I'm not mistaken? I've recently been re-listening to the stuff of hers that I have, and have not resiled from my opinion that she remains a considerable player for today.Originally posted by Ian Thumwood View Post
I've been making the most of the poor weather yesterday and today to re-watch Ken Burns' 2000 documentary series for the first time, and finding myself to be a lot less critical of it than I was when it was originally broadcast. True, the 1960s and 1970s get seriously sidelined, but Wynton's thoughtful commentary in earlier parts of the series offer wonderful summations of the humanistic virtues embodied in the music which, he and others rightly pointed out, give an overwhelmingly black American perspective its rightful emphasis, while at the same time putting across and explaining well the individualistic/collective duality that imbues the music's spirit. There is little in Marsalis's viewpoint to prepare the viewer for the breakdown in assumed consensus regarding what the definition of jazz actually is, with this remaining somehow implied without being elaborated in the earlier episodes. The doubts tacitly expressed by the voiceover first emerge at the point at which Louis Armstrong's bass player clearly backs up his leader's belittlement of the leading lights of bebop; but the criticisms amount to little more than parodies of stage mannerisms, and are of little substance. At some point in the penultimate episode (I think) Wynton argues one of the strong points of jazz being its capacity to accommodate musicians with multiple attitudes into the playing fold, yet the pace of criticism seems already to have taken off at the point at which bebop and pre-bebop musicians defend jazz's vaunted creative freedoms as already encrypted into pre-free era conventions and practices, thereby admitting a "straw man" argument claiming the new jazz of the 1960s to be formless, in this way minimising the impact of black power movements, which are brushed off as the responses of some musicians to the grip of white power, which had already been referred to in hostility towards Miles's taking on Bill Evans being seen as exemplifying white musicians usurping black musicians in prominent influential bands. Given the inordinate proportion of the series devoted to Swing, the limitation of Fusion and its comparable role in the 1970s to Miles's Bitches Brew, the final episode, introducing a young generation at the Millennium and extolling their openness to pan-global influences, comes in the manner of a rabbit pulled from a hat in the light of earlier praise from Hentoff and Crouch for non-compromise with trappings of commercial success among the earlier pace-makers.
If one supports as given the primary parti pris established by the disproportionately largest part of the series, namely the period from Ragtime to the late 1950s, centreing on jazz as a American musical art form - and America's primary musical art form of the 2oth century at that - then jazz, as a gift to the world insofar as it subsequently evolved, through publicity worldwide congruent with America's prime place as defender of Western capitalist values, into an internationalised means of musical practice and expression; and if one sees the latter as a plus for human progress as a whole, then the Ken Burns shrinking historical model fixated for all time on the American context can only be seen as an impoverished and impoverishing angle on the music.Comment
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Yes, S_A I hated watching that documentary, not least the fact that all the music they extoll in the earlier parts is used continuously as background music! Also I disliked how the Beatles are portrayed as evil foreigners stealing American audiences away from Jazz; and - obviously - fusion and other forms of Jazz from the 60s and 70s are given short shrift.
I mean it's probably ok on Jazz as a cultural phenomenon in the earlier parts, 20s and 30s...Comment
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Yes, all that too!!! The eulogisation (?) of pre-1960s jazz by the series made me think of my late father's view of jazz, based on his having heard Ambrose's band perform at the tea dances held at top London hotels in the 1930s for would-be social parvenues such as himself. There the rigmarole of meeting "the right sort of girls" was one of a piece with the idea of jazz being light entertainment, so it was significant that that was how he interpreted the main messages behind the Burns series. Dad's musical tastes were not unsophisticated - he had been taken by my grand dad to see Diaghilev's Ballets Russes and seen Nijinsky in the leading role of Petrushchka at age 11 on their London visit in 1919 - yet his idea of jazz being primarily light entertainment for dancing to, as in many ways epitomised by the programme, made him hostile to jazz evolving into something more sophisticated.Originally posted by Joseph K View Post
A lovely anecdote, slightly off-topic. I would always inform my father what I proposed to play from my recordings. One of the CDs was of Keith Tippett's quartet Mujician, and I explained that he might be surprised to know that the music he was about to hear was totally improvised, from start to finish. Afterwards I turned to Dad and asked what he thought about what he'd just heard. He answered that he could not understand the music because he didn't see any point to jazz if it was not made up of tunes being improvised on. That was his definition of jazz, he insisted, and there wasn't much more to say about the matter. Subsequently I told this story to Keith, and Julie, who was sat next to him, said "Well why did you have to say anything to him about the music being improvised? You should have just put the music on, and then asked for his opinion". And so, the next time I played Dad some free jazz I did as Julie had suggested. It so happened to be another of my Mujician recordings. At the end, Dad exclaimed, "Well, that was marvellous, whatever it was! By the way, what was it?"
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Originally posted by Serial_Apologist View PostYes, all that too!!! The eulogisation (?) of pre-1960s jazz by the series made me think of my late father's view of jazz, based on his having heard Ambrose's band perform at the tea dances held at top London hotels in the 1930s for would-be social parvenues such as himself. There the rigmarole of meeting "the right sort of girls" was one of a piece with the idea of jazz being light entertainment, so it was significant that that was how he interpreted the main messages behind the Burns series. Dad's musical tastes were not unsophisticated - he had been taken by my grand dad to see Diaghilev's Ballets Russes and seen Nijinsky in the leading role of Petrushchka at age 11 on their London visit in 1919 - yet his idea of jazz being primarily light entertainment for dancing to, as in many ways epitomised by the programme, made him hostile to jazz evolving into something more sophisticated.
A lovely anecdote, slightly off-topic. I would always inform my father what I proposed to play from my recordings. One of the CDs was of Keith Tippett's quartet Mujician, and I explained that he might be surprised to know that the music he was about to hear was totally improvised, from start to finish. Afterwards I turned to Dad and asked what he thought about what he'd just heard. He answered that he could not understand the music because he didn't see any point to jazz if it was not made up of tunes being improvised on. That was his definition of jazz, he insisted, and there wasn't much more to say about the matter. Subsequently I told this story to Keith, and Julie, who was sat next to him, said "Well why did you have to say anything to him about the music being improvised? You should have just put the music on, and then asked for his opinion". And so, the next time I played Dad some free jazz I did as Julie had suggested. It so happened to be another of my Mujician recordings. At the end, Dad exclaimed, "Well, that was marvellous, whatever it was! By the way, what was it?"
Now playing here: Emily Remler - East to WesComment
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