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Archie Shepp & Chet Baker quintet, "Dedication to Bessie Smith's blues", album In memory of, first and last meeting in Frankfurt and Paris 1988 Archie Shepp...
Provided to YouTube by The Orchard EnterprisesTortuga · John Lindberg · Jimmy Lyons · Sunny MurrayJimmy Lyons & Sunny Murray, Trio: Jump Up℗ 2012 Hat Hut Rec...
Tenors Bill Barron and Booker Ervin team up on this frequently exciting quintet outing with pianist Kenny Barron, bassist Larry Ridley and drummer Andrew Cyr...
Provided to YouTube by Universal Music GroupIntrospection (Rudy Van Gelder 24-Bit Mastering / 1998 Digital Remaster) · Thelonious MonkGenius Of Modern Music℗...
Provided to YouTube by Columbia/LegacyOn The Corner (Unedited Master) · Miles DavisThe Complete On The Corner Sessions℗ 2007 SONY BMG MUSIC ENTERTAINMENTRele...
Towards the end of this and, as you can see from the fact that I've started typing this before the end, I would be lying if I said this album had me captivated for its entirety. It's cool and funky for sure, though there is a certain rigidity and repetitiveness - which reminds me of things like techno in a way - particularly in the drums, which is OK on its own terms but I just prefer the more flowing, varied, looser and freer rhythms of Miles's albums that preceded this (and in general). There are textural aspects which are interesting and the bass hook and melody of each piece from Black Satin onwards is catchy and strong - worth repeating, I'd say. It's funny, I used to be of the opinion that the album would have been better had McLaughlin and Lieberman been on the whole thing rather than just the first track, but it didn't seem to matter too much this time. It's not a bad album, in fact it's quite good and it's certainly quite a departure as well as being important and innovative - but for me, while nice to give it a listen every so often, at the same time reinforces by comparison the positive aspects of music I listen to more often. As we know, historical importance sometimes does not coincide with the same extent of aesthetic worth.
Kansas City Stomp" is a jazz standard by Jelly Roll Morton, first recorded in 1923. It has been described as "one of his (Morton's) happiest pieces". Morton ...
Medina - Bobby Hutcherson (vib, marimba), Harold Land (ts), Stanley Cowell (p), Reggie Johnson (b), Joe Chambers (d). Recorded 11 August 1969, which must have been after they got back from the '69 European tour.
all words are trains for moving past what really has no name
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