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Dorothy Ashbly: It was Ok. Bad recordings, but that's not her fault. I had to google Jazz Harpist to see how common they are. Came up with this: https://myspace.com/loriandrews/video/the-pluckin-blues-music-video-/109771551In my opinion, the timbre is all wrong for Jazz. Something like Bags on Vibes would have been better. But the real question is, why? Borders on gimmickry. Wanna play Jazz, play a Jazz instrument. Cheers |
Here he is, Alan Pasqua with the "Anti Social-Club"; https://www.youtube.com/watch?v=DFa7FZm9wMQGenuine Bona Fide fusion, electrical to the bone, it's even got a little echo, that reminds me of reverb, back in the day; sounded like you were in a cave in an automobile. That was first rate Ghosthouse, what else you got? Enjoy the music. |
Gents - If you haven't heard it, check out Alan Pasqua's "The Antisocial Club". You might find it pertinent to your fusion "discussion" and enjoyable too. |
Rok, I have discovered some music that's new to me, it's Dorothy's harp. https://www.youtube.com/watch?v=J78y1zpHhMcI have never before seen or heard of this album, which is rather strange since I'm a Dorothy Ashby fan from way back. I'm going to continnue to look; this CD is just over 30 minutes and cost's $24.61. That's better than $240. for one CD I looked into, but it adds up. Enjoy the music. |
Unfortunately I kind of understand what you mean; I'm looking at two tall stacks of records at this very moment, the reason they're stacked in a wrong manner is because I ran out of room, and don't know what to do with them. I understand exactly what you mean about the CD test.
Frogman's leading this parade, and I'm going to do what I can to add to it. The problem I'm having is that I don't seem to be able to add anything new, or discover anything new like we did in "Hard Bop". I was hoping you would come up with something I overlooked during that time.
My frame of mind has changed so much since then; that's the only thing I can think of that would alter my taste so much from that time until now. But we are all a part of a "Magagopolis" and when it changes so do we. It has changed drastically since then, and it hasn't been in the slow normal fashion. When I step back on to the moon and look down, I can see changes people are unaware of; especially economically.
Since how we are affected by economic changes would change the subject drastically I'll let it rest till everybody is ready.
Enjoy the music.
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Fusion did / does not pass the 'CD TEST'. IOW, I replaced all my favorite LPs with CDs. Fusion did not make that cut. I have all the Weather Report and Crusaders and all that stuff on LP. None of it on CD. That is the best way to find out what you really like.
There are exceptions, like 'Bitches Brew'. It's noise, but it's significant noise, from an important player in Jazz.
If the word 'electric' appears in the notes, don't click on "place your order"!!
I have Santana's big three. They were very big on the German / European disco scene. But, disco is gone, so is my interest in Santana.
And Lastly, what exactly, is the point of 'fusion'? Why weren't other types of music 'fused'?
If it was a way for artists to make more money, then those days / artists are gone also. There is no longer any reason to buy it.
Cheers |
Rok, here's one of your favorite artists Chick Corea, him and "Return To Forever" put out some good music that I still listen to. Flora Purim – vocals, percussion Joe Farrell – soprano saxophone, flute Chick Corea – electric piano, Fender Rhodes Stanley Clarke – acoustic bass, electric bass Airto Moreira – drums, percussion https://www.youtube.com/watch?v=qAYUfuJW18UFlora Purim never sounded better. Here's another one by "Return to Forever" https://www.youtube.com/watch?v=DHVNIqbncrMIt was a girl who told me to buy three albums: "Hymn of The Seventh Galaxy"; "Sextant" by Herby Hancock, and "Black Market" by Weather Report. I had never heard "fusion" before then; this music was astounding, like nothing I had ever heard, and to think "a girl" recommended this, wonders never cease. Enjoy the music. |
Santana and "Abraxas" took over the world of music in 1970; this music could be heard everywhere I went; jazz, rock, blues establishments, no matter what the dominant genre of music in that particular lounge, something from "Abraxas" was on the jukebox. (never went to a hillbilly lounge) Rok, you have to go back to what was happening at that time in order to re-discover fusion; I'm sure you bought at least 2 or 3 fusion albums. "The Beatles" music was popular at that time, and since I didn't care for "The Beatles" I didn't know I was listening to their music recorded by another artist; everybody recorded their music. So many things were happening in the music world in general, that "jazz-Jazz" was pushed completely out of the picture. I use this music to audition just about everything when I'm going to make a new audio purchase. https://www.youtube.com/watch?v=Xskk5q1DL6AEnjoy the music |
The Frogman:
Thanks for the Ted Nash clip. I was not that familiar with Joe Temperley. I do have him playing on Wynton's CD "Crescent City Christmas Card".
He played with Ellington and Marsalis. Not a bad career.
I will sign up for his mailing list.
Cheers |
I've got some really good earphones, not the kind I assume someone would buy for the computer, that sound so much better than cheap speakers, is the reason I mention this. If you have some good earphones gathering dust, try hooking them up to your computer.
Enjoy the music.
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Frogman, although I've heard Miles mention "In a Silent Way", it was one of his albums that eluded me. That album was released at about the same time I saw Miles live in Chicago. This wasn't in a club setting, but in a huge auditorium, and somebody bought the cheap seats, consequently I don't remember the personnel on that performance, but I'm assuming they were similar to the record. Nina Simone and Herby Mann were on the same bill, that's why it was in such a huge place.
Miles Davis – trumpet
Wayne Shorter – soprano saxophone
John McLaughlin – electric guitar
Chick Corea – electric piano
Herbie Hancock – electric piano
Joe Zawinul – organ
Dave Holland – double bass
Tony Williams – drums
However, I do remember the sound of that performance and it was what the above cast would produce; electric piano, Tony Williams on drums, Wayne Shorter, John Mclaughlin, electric guitar. That sound coming from Miles Davis was a shock that I wasn't prepared for, but my New Yorker friend clued me in.
Musicians at the clubs I went to began to duplicate that "electric sound". By that time the shock had worn off and I kind of liked it.
Enjoy the music
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And, btw, I highly recommend signing up for Ted's mailing list for very interesting jazz news, commentary and peeks into JALC. |
A slight (☺️) detour before getting back to fusion. I thought some, and Rok in particular, would appreciate this. Ted Nash of JALC, friend and one of the biggest young(er) talents on the scene today writes about Joe Temperley, longtime baritone saxophone in Wynton's band and who passed away recently. http://tednash.com/blog/celebrating-joe-temperley |
****are you ready to go into fusion in depth; I mean to cover it to your hearts content, rather than just skim over it?**** Sure, and I’m glad to see that you want to cover it in depth, because all too often "skim over it" is exactly what has happened with other topics. For me, "in depth" means that, for starters, things have to be put in a chronological or historical perspective. How did it all began? Where did "fusion" come from? What are the earliest examples of it? How did it evolve? By the mid sixties traditional Jazz was considered to be practically commercially dead by record producers, while rock and pop where increasing in popularity and young musicians who were growing up with this music started experimenting with mixing elements of jazz in rock projects and vise versa. The increasing use of electric instruments was a major force in all this. Early fusion projects sound very different from what "fusion" would become, but the lineage is clear and interesting. Guitarist Larry Corryell’s band "The Free Spirits" is considered by many to be the first jazz "fusion" band (1966): https://m.youtube.com/watch?list=PLa7DwXF9n16EYojdIWL-PFQc_be9iUzvp¶ms=OAFIAVgG&v=Zf95lF...Formed around 1968 the band "Dreams" with the Brecker brothers on horns and Billy Cobham on drums was on the forefront of the fusion movement: https://m.youtube.com/watch?v=UFK_S-ILmGoIn 1969 Frank Zappa released "Hot Rats" which predated much of what fusion would become: https://m.youtube.com/watch?v=FFNQQpsOMF4Acman3 already mentioned and posted Tony Williams’ "Lifetime"; classic early fusion band and VERY influential. That same year Miles Davis would release "In A Silent Way", his first fusion record and first record from his electric period: https://m.youtube.com/watch?list=PL407832509983DB72&v=AOy-pJ1xQe0One year later (1970) Miles would release "Bitches Brew" and would blow things wide open for the fusion genre; it was here to stay. Hugely influential record: https://m.youtube.com/watch?v=1a1Ph-ioxoA |
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Here's "Weather Report" live. https://www.youtube.com/watch?v=5bIk1Wl21YkHere's "Black Market" by weather report; that cover looks just like a market place in Haiti. There is no way you can believe someplace as close as Haiti could be so far away otherwise. That music always took me far away. https://www.youtube.com/watch?v=U7_vNpVXubAIn order to enjoy this trip, you have to turn on your time machine, and duplicate everything that went on when you were buying and listening to this music. Enjoy the journey. |
Acman, now it's coming back to me; to the uninitiated, that sounds like noise, but, if you have special musical receptors in your brain that are tuned to "Fusion", it's music from another planet.
Somehow, that music was always best live with black lights that made ladies stockings glow, when they had the right kind of pastel hot pink kind.
The music was best live because no recording was ever clear enough to catch all the little sounds at high frequencies that made that kind of music work. And to be perfectly honest, I had always inhaled some kind of musical enhancement fumes; they really clarified the sound; not to be confused with what's going on today.
Enjoy the music.
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Frogman, are you ready to go into fusion in depth; I mean to cover it to your hearts content, rather than just skim over it?
Enjoy the music.
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Frogman, the first time I heard Grant Green was in 58 before he became a professional, which means I heard him far beyond his discography, that means I'm very well acquainted with just about everything about his music.
Review by Stephen Thomas Erlewine [-]
Mosaic released a four-disc box set titled The Complete Blue Note With Sonny Clark in 1991, rounding up everything that the guitarist and pianist recorded together between 1961 and 1962. Blue Note's 1997 version of the set, The Complete Quartets With Sonny Clark, trims Mosaic's collection by two discs, offering only the quartet sessions (the Ike Quebec sessions, Born to Be Blue and Blue and Sentimental, are available on individual discs). In some ways, this actually results in a more unified set, since it puts Green and Clark directly in the spotlight, with no saxophone to complete for solos, but it doesn't really matter if the music is presented as this double-disc set, the four-disc box, or the individual albums -- this is superb music, showcasing the guitarist and pianist at their very best. All of the sessions are straight-ahead bop but the music has a gentle, relaxed vibe that makes it warm, intimate, and accessible. Grant and Clark's mastery is subtle -- the music is so enjoyable, you may not notice the deftness of their improvisation and technique -- but that invests the music with the grace, style, and emotion that distinguishes The Complete Quartets. Small group hard bop rarely comes any better than this.
There is a possibility that I'm not accustomed to this "gentle relaxed vibe that makes it warm and intimate". Since I prefer his driving hard bop, it's just a matter of taste and opinion.
Enjoy the music.
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****but not near the level I have been accustomed from by either artist.****
How so? Could you expound on that please. Thanks. |
Green & Clark::
The Amazon reviewers beg to disagree.
Cheers |
Orpheus - Very pleased you liked Sugarcane's Keyzop. He was part of the duo, Don & Dewey way back. His is another sad story of a musician. https://en.wikipedia.org/wiki/Don_%22Sugarcane%22_HarrisSome of his discography is available on CD...but not that much. See how little Amazon has vs his output. Keyzop isn't on CD but I was fortunate enough to find a good vinyl copy and at a decent price. I have a few other of his recordings on vinyl. Among others, Harris played in Zappa's band. http://www.united-mutations.com/h/sugarcane_harris.htmDon't be put off by the FZ name. Try to ignore the (deserved) stereotype image based around juvenile bathroom humor. Don is on several Zappa albums. As a good example of how Zappa used him, I love his solo during"Little House I Used to Live In" on Burnt Weenie Sandwich. Track starts at 19:13 at link here. Harris' solo starts at 24:28. It soars. https://www.youtube.com/watch?v=NBRUcElxhJUAs you say, enjoy the music. |
Many times when discussing an era of music in the past, most of the participants in that discussion are unable to put themselves back into that time frame; who were your friends, what kind of clothes did you wear, since you were probably into "Stereo Review", what was your rig like? Did you like this music when it came out? If presently we're into "Hard Bop", and you compare that music with what we're into now, "Fusion" will probably flunk. I would like to go back to "Fusion". Herby Hancock has never flunked, no matter what the genre of music. If it's OK with the rest of the "Aficionados" I would like to go back to that time when Herby Hancock's "Sextant" was the latest in this genre. https://www.youtube.com/watch?v=spnjTzuVBO0Take your time, and really get into this, I would like to spend some time in this genre if it's OK with you? Enjoy the music. |
I just received The Grant Green and Sonny Clark Quartets, here's the scoop; they made real good music, but not near the level I have been accustomed from by either artist. I'm glad I bought the music, but I didn't hear the Grant Green I'm so familiar with from way back; do not add or subtract anything from that statement, I said what was mathematically and scientifically accurate Frogman.
Enjoy the music.
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Ghosthouse, Although I never heard of "Sugar Cane Harris", he will be added to my collection; that guy is fantastic, I listened to the whole 40 minutes.
If I'm lucky enough to find an LP he'll be added, but you say he's not on CD?
Are there new LP's available?
Enjoy the music.
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Thanks for the recommendation Orpheus. Enjoying the piano solo around the 3 minute mark on Capra Black. Lee is certainly looking Miles-ish in that photo. Least it looks that way to me. I do still buy vinyl though most music purchase are CD. Hear something really good on Spotify or YouTube and get it. Burn it to hard drive. Would be hard pressed to explain why and when I buy vinyl...as the spirit moves, I guess. Mostly buy used. Somethings aren't available on CD (e.g., Sugarcane Harris - Keyzop). Have a few of the so-called audiophile re-issues but enjoy finding an old copy of something from back in the day. There's something about listening to music from and holding in your hands something made 40-50 years ago...especially when it still sounds so good. I get it about the snails and raw oysters...I don't have a problem with 'em but then, don't ask me to eat liver or beets. See if you like this: https://www.youtube.com/watch?v=UDxf6WtbMY8Salve |
I enjoy a little "Lee Way" myself. |
The Last Session. Studio album by Lee Morgan Released May 1972 Recorded September 17-18, 1971 Van Gelder Studio, Englewood Cliffs The Last Session (also released as Lee Morgan) is the final studio album by jazz trumpeter Lee Morgan before his death in 1972. It was originally released on the Blue Note label in 1972 as a double LP, and features performances by Morgan, Grachan Moncur III, Bobbi Humphrey, Billy Harper, Harold Mabern, Reggie Workman, Jymie Merritt and Freddie Waits. The Allmusic review by Michael G. Nastos awarded the album 4 stars stating "It is unfortunate that the brilliant and forward-thinking Morgan was cut down at such a young age, for as the music was changing, he would have adapted, as this final statement valiantly suggests. https://www.youtube.com/watch?v=XZEKscACnlw&list=PL1D7B1AA9A8561D27&index=2Ghosthouse, this is another boss album I don't have. Out of curiosity, are you still into LP's, I bet this wax would be nice. Enjoy the music. |
Ghosthouse, one of my friends like's free jazz, and every time these musicians come to town, he gives me a ring; fortunately, we've been friends for a very long time, so I go pick him up, with earplugs; but "free Jazz" should be free, you shouldn't have to pay for it.
I've been through what you're talking about in regard to that musician, and I always say the "politically correct things one should say in order not to offend" (it's easier that way), but I still don't like snails and raw oysters, nor will I make an attempt to eat them. Music I don't like is no different than snails or raw oysters.
Enjoy the music.
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"If Eric Dolphy's "Out To Lunch" ain't abstract, grits ain't grocery, eggs ain't poultry, and Mona Lisa was a man."
O - Okay! So Out to Lunch is a good example of "abstract" to both of us.
"Some of my favorite musicians are crazy about 'Eric Dolphy'; it must have been his personality. If I owned this record, I would leave it at a friends house, and give him a ring when I wanted to hear it."
That's pretty funny. And I appreciate your candor.
I want to like Dolphy because people I think know more than I do say there's something there. BUT he's a real tough listen for me. Something I have to work at. Eventually (maybe) with enough listening what he's doing will start to sink in - but not without work. The opposite of accessible! And time being short, got to ask...is it worth the effort?That's rhetorical.
My bro-in-law is a gifted musician. Runs a "boutique" studio blah blah blah. Bottom line...I respect his o-pinion. Long time ago he had this Brecker Bros. album. Don't recall the name but it sure wasn't the Beatles Love Me Do. Weird time signatures and complex rhythms. I remember him describing it to me as "musician's music". High technical content...not too much for the layperson to grab onto right away. That's kind of how I see (hear) Dolphy. By the way though, sound quality on the Rudy Van Gelder remastered version on Spotify is really good. Some very interesting percussion sounds. I'm guessing it was a very good recording from the get go.
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If Eric Dolphy's "Out To Lunch" ain't abstract, grits ain't grocery, eggs ain't poultry, and Mona Lisa was a man. Some of my favorite musicians are crazy about "Eric Dolphy"; it must have been his personality. If I owned this record, I would leave it at a friends house, and give him a ring when I wanted to hear it. https://www.youtube.com/watch?v=B09BWkpVv74That guy can mess up anything; that was one of my favorite tunes, and look what he done did to it. Enjoy the music. |
Although abstract may seem to be an easy word to describe, it's not. The definition can only be agreed on by the people using the word. I'm going to find jazz that I call abstract, and see if it fits your definition as well, and you can do likewise, and between all of us, we will know what we're talking about when we say "abstract jazz". Grachan, calls this "New Africa", since I don't hear "Africa", it must be abstract. I don't hear Art Blakey's Africa with the talking drums, therefore it's not concrete, so it must be "abstract". https://www.youtube.com/watch?v=-Xo0mzj-lg4The first cut is "Queen Tamam"; jazzy African Queen; "you go girl, strut your stuff"; somehow I can not picture an African Queen; therefore it's got to be "abstract" This is definitely abstract because it's beyond my facility's to comprehend it as coherent jazz. https://www.youtube.com/watch?v=SJRcWW0R44YWhile that's not a precise definition, it's good enough for me. Enjoy the music. |
Gotcha Orpheus. Good point about the contrast between Sidewinder and Search. Have to remember to also view these things in the context of the times in which they were released.
I'll give a listen to the music on the link you provided. Also, found "Evolution" on Spotify and will listen more to that later. Interesting that on track 1/Air Raid I swear I heard a melody or progression that sounded like something from a Steely Dan or maybe a Donald Fagen solo recording. Will listen again. Would not surprise me at all if that pair borrowed something.
Do you consider Dolphy's "Out to Lunch" abstract?
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This is what I was referring to by Grachun Moncur III, as being abstract, although this particular cut is quite accessible for me, but there are other cuts on this same LP that are abstract. I was going through his music, since I don't have anything by him as leader. In general some of his music is quite abstract as I would define it. https://www.youtube.com/watch?v=BiHdgDK3LpE&list=RDBiHdgDK3LpEThis is a fine tune on this album which I will order. Enjoy the music. |
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Ghosthouse, I found "Search For The New Land" accessible as well, if I said it I'm getting ahead of myself, when I meant "Evolution" with Grachun Moncur. "Search For The New Land" I suppose was abstract when compared to "Side Winder". No Ghosthouse, you're not mixing anything up; having said that, I think we should go into what I consider "abstract" and it would indeed include Grachun Moncur's music as leader. Frogman, I'm not writing for "Down Beat" I'm writing for my taste, and how it sounded to me. Music is not "objective" like science or mathematics, it's very subjective, and whether one is a professor of music, or just a casual listener, that doesn't change. I can easily declare the work too abstract for me. Let us all address "The Olatunji Concert" which my statement was specifically based on. I said this is what Trane sounded like in 63, after he had carried the tune beyond what it was on the album. https://www.youtube.com/watch?v=kjDrkTmqxQkEnjoy the music. |
I completely agree with your sentiments, comments and examples, ghosthouse; and they go precisely to what I was saying with my comment about not being able to draw the line. You also used two key words and considerations around the issue of "abstract": structure and dissonance. While it could be said that "Search For T N L" is "more abstract" than, say, "The Sidewinder" it is not a record that I personally would put on the "abstract" shelf in my record cabinet. The point is simply that to draw the line as an absolute is pointless; it is different for every listener and where we each draw it is not necessarily an indication of the ultimate value of the music. As Rok said, of course we can and do draw the line, but it serves little purpose to draw the line as an absolute other than to help us validate our individual biases and limitations as listeners. It is much more productive to keep the door open to more growth as a listener. Not necessarily to accept or like the music, but to not shut the door to the possibility of being able to understand it and maybe even like it one day; and to better appreciate certain aspects of the music we already like. |
Grachun Moncur III is an artist I can only vaguely remember; he could only be found in "aficionados" collections that were so deep into the music, that they functioned as libraries, no, not mine; although I have heard of him. He is an American trombonist that was born in New York. When he was 11 he attended a private school where Dizzy Gillespie had studied. While still at school he began sitting in with touring jazz musicians on their way through town, including Art Blakey and Jackie McLean, with whom he formed a lasting friendship. https://en.wikipedia.org/wiki/Grachan_Moncur_IISometime when I can't find anything that appeals to me with a musician as leader, I do a whole lot better looking him up as a sideman. Herbie Hancock. "My Point of View" "Blind Man, Blind Man" – 8:19 "A Tribute to Someone" – 8:45 "King Cobra" – 6:55 "The Pleasure Is Mine" – 4:03 "And What If I Don't" – Personnel Herbie Hancock – piano Donald Byrd – trumpet Grachan Moncur III – trombone Hank Mobley – tenor saxophone Grant Green – guitar Chuck Israels – bass Tony Williams – drums https://www.youtube.com/watch?v=x9UZWDAoUZkAs well as I like Pepper Adams baritone sax, I don't have anything with him as leader that I like; it might be the same way with Grachun Moncur, that's why if you like this tune, you can help me look. Enjoy the music. |
Hello again Orpheus (regards to Frogman and Rok)...
I listened to Lee’s "Search for The New Land". I was glad to see this concept of "abstract" getting a little discussion before I responded to you here. I do think we have different things in mind when using or hearing the word, "abstract". For me Search was immediately accessible...not a painful or tedious exercise at all. More structured, melodic and rewarding than I expected.
I might be mixing things together inappropriately (probably am). When I hear abstract I expect a less/loosely structured composition possibly with elements of dissonance, and "free jazz"; sometimes a "difficult" listen.
I admittedly lack the music theory training to better describe what "abstract" means to me, so I’ll give a few examples of things that I consider abstract. (A number of things on the ECM label, as it turns out). Look forward to comments from yourself and others if this topic (how to define abstract as applied to jazz) seems worth pursuing. Maybe you won’t even think some of what I’ve listed qualifies (A) As Jazz and (B) As abstract! That’s OK too...I’m interested in other points of view.
In A Silent Way
Love Supreme
Out to Lunch
Rheomusi (Fabiano Araujo et al)
Dis (Jan Garbarek & Ralph Towner)
Magico (Garbarek w/Haden & Gismonti)
Sol Do Meio Dea (Gismonti)
I’m not saying I’m right and you’re wrong applying "abstract" to Search - please don’t misunderstand - but given my expectations for the word, Search for a New Land didn’t seem all that abstract to me.
BTW - quite the stellar group of musicians on that record. I really liked Wayne Shorter’s solo right before and through the 4 minute mark on Pirate Morgan.
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The real question is: where do we draw the line and declare that the work is too abstract? We can't.*****
Aficionados can't, but we of the Great Unwashed Can. And do.
Cheers |
****I said it once, and I'll say it again, he should have stopped before he got this far out because he was pleasing no one but himself as far as I can see; but I know you being the "alpha musician", scratch that "the consummate musician" can enlighten us farther, and explain how this was the way to go.**** - O-10
This question re Coltrane was asked by O-10. We can skip the "alpha" and "consummate" parts; I am neither and have no interest in more rancor. I bring this up ONLY in the interest of interesting discussion. I never answered the question because I felt it was laced with sarcasm; we can skip that part too, it's ok. I bring it up to answer the question; actually, to point out that O-10, himself, has answered it:
****more abstract jazz is not for the casual listener, but those who can go into another zone with the musician. As a rule those albums don't sell well, but musicians make them for artistic sake, or their own soul satisfaction.**** - O-10
The real question is: where do we draw the line and declare that the work is too abstract? We can't.
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Ghosthouse, more abstract jazz is not for the casual listener, but those who can go into another zone with the musician. As a rule those albums don't sell well, but musicians make them for artistic sake, or their own soul satisfaction.
For example, "Search For The New Land", could easily be set to choreography; you can even visualize movement as they search for a new life, which is the deeper meaning.
lee Morgan was not a mental lightweight, and the even more abstract music he made with Grachan Moncur III was an indication of his deeper search in his music; in this case Grachan Moncur's music.
Grachan Moncur's "Evolution" is for those who listen intently, and become involved in the music, the lineup gives an indication of this: Grachan Moncur III (trombone); Jackie McLean (alto saxophone); Lee Morgan (trumpet); Bobby Hutcherson (vibraphone); Bob Cranshaw (bass); Tony Williams (drums).
Enjoy the music.
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Thanks, Rok. Thanks Frogman.
What I remember is closer to the photo Frogman found (used on Disc 3 of the box set, I guess) though I don’t recall the funky Hawaiian shirt he’s wearing. I looked at the release versions listed in AllMusic (and on Discogs) but did not see a vinyl version that matched that photo. Maybe my memory of the album cover is faulty. I am certain it was Live at the Lighthouse and something I had on vinyl.
Rok interesting to note there were 2 different Lee Morgan albums called, "Live at the Lighthouse" but one has ’70 in the title. The one with ’70 in the title is kind of bogus. It was NOT actually recorded at the Lighthouse but rather at another SanFran club ("Both/And" according to a reviewer on Amazon) some weeks before the Lighthouse dates. That is the $20 CD on A’zon but it is NOT the one to get, apparently. Sound quality is reportedly bad. 3CD box set from the Lighthouse dates is the one to get...used for around $60. (I see that $587 version...maybe it’s a typo!...misplaced decimal).
FWIW - Spotify has the 3 CD box set version. They also have "Search for the New Land" Orpheus mentioned. Gonna be checking that later. The "more abstract" comment he made is intriguing.
Thanks to you both for looking.
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Ghosthouse:
It's on Amazon. Both LP covers. One CD is offered for a measly $587 dollars, US. No wonder I don't have it. But there is a 20 dollar CD.
Cheers |
Hope you will allow me, a jazz dilettante (and not an aficionado!) to jump in with a question on Lee Morgan. Years ago (70s/80s)I recall enjoying an LP of his, "Live At The Lighthouse". Confusing me now is that when I look at cover photos for this record, most seem to show him sitting (in sand under a boardwalk?). My recollection of that LP was a black and white photo of him on an all black cover. Might have been playing into a microphone...not sure. Anyone know what I might be talking about? Do I picture correctly The Lighthouse LP? or is there something else by him that looked the way I remember?? THANKS in advance for any attention you might care to give this bit of trivia/nostalgia. I'm looking on line and yet to see the album that I seem to recall.
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Learsfool, "Sidewinder" is a classic and probably his most famous recording; a great way for your brother to be introduced to Morgan. I think that to get a good overview of Lee Morgan that at least one of his early (50s) recordings needs to be included. One of my favorites (and from any period) is "Candy". It is also a recording that preceded the "bugaloo" feel jazz thing that he got into in the 60's and which, personally, I'm a little mixed about. He was 19 (!) when he recorded the record. Lots of youthful energy and is the probably the first record that shows a clearer personal style: https://m.youtube.com/watch?list=PLEED06302C1D6F617¶ms=OAFIAVgG&v=q8Fam5Gc50c&mode=NORMAL
I love that personal style. He had it all; great technique, range, rich and warm tone and all that great use of half-valving and grea combination of slurs and tonguing within the same phrase. And that swagger! I love the way he would play a great phrase with blinding speed and then lay back right at the end of the phrase and pull the time back. One of the truly distinctive stylists. Of the 60s recordings, "Cornbread" is one of my favorites, if anything, for this tune alone; although I confess to a bias as it was one of the first jazz tunes I learned. Hank Mobley's presence usually makes a record special: https://m.youtube.com/watch?v=ECw3WAX41OAOf his recordings as sideman the first that comes to mind is, of course, Coltrane's "Blue Trane"; a must-have record if ever there was one and one of my favorite Lee Morgan solos: https://m.youtube.com/watch?v=S1GrP6thz-kFor Lee Morgan in a larger ensemble setting this is a very interesting recording: https://m.youtube.com/watch?list=PL7712663461AF2184&v=r6-LxABMbKE |
