Jazz

listening to pharoahs pharoah (yes its because of the pitchfork review but I was already interested from the cover and seeing it as a rare album on jazz sites), this first song is the SHIIIIIIIIT... i love the lofi horn energy where it feels like all the air is coming in and you are just basking in the experience... i mean I liked the fusion stuff I'm trying with miles and herbie and comet is coming well enough (I really liked stretch music by Christian Scott Altunde Adjuah) but this kind of spiritual, where its just the horns going crazy and your mind sinking into it, that's the sound I want... i really want stuff with that kind of horn sound... it sounds AMAZING both on drugs (listening to individual discs of the epic while on spravato show that) and not on drugs
 
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duke86fan said:
listening to pharoahs pharoah (yes its because of the pitchfork review but I was already interested from the cover and seeing it as a rare album on jazz sites), this first song is the SHIIIIIIIIT... i love the lofi horn energy where it feels like all the air is coming in and you are just basking in the experience... i mean I liked the fusion stuff I'm trying with miles and herbie and comet is coming well enough (I really liked stretch music by Christian Scott Altunde Adjuah) but this kind of spiritual, where its just the horns going crazy and your mind sinking into it, that's the sound I want... i really want stuff with that kind of horn sound... it sounds AMAZING both on drugs (listening to individual discs of the epic while on spravato show that) and not on drugs
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Almost bought this box set this weekend, but 50$ was too much for me at this time. Did get a ronald shannon jackson & the decoding society album for $9 though.
 
Russ I said:
Cross-post from the Pre-Order thread. This looks pretty cool, and should be available at local bookshops once it is published in September.

www.kehrerverlag.com

Philip Arneill - Kehrer Verlag

Japanese jazz bars and coffee shops are insular worlds where time ceases to exist, removed from the speed and chaos of the modern urban landscape. Tokyo Jazz Joints is a visual chronicle of this unique culture that captures the transient beaut
www.kehrerverlag.com www.kehrerverlag.com
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Saw this in the wild yesterday. My local bookshop has a copy and it’s pretty stunning in places. 42 English pounds but top, top coffee table dressing foder
 
Rowan said:
Saw this in the wild yesterday. My local bookshop has a copy and it’s pretty stunning in places. 42 English pounds but top, top coffee table dressing foder
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Ah I stupidly haven't shared my copy here yet (I will do tonight if I remember) but just wanted to say its a fantastic project especially if you are already familiar with their website and podcast series. Its been years in the planning and executed perfectly.

I pledged to the kickstarter and got a signed, stamped (Japanese hanko) and numbered copy with a photographic print. It wasn't cheap but its fantastic quality and I have spent quite a bit of time pouring over the pages.
 
Here's a thesis I'm working on: any band Ray Brown played in became a de facto "Ray Brown Trio".

This idea came to me because I used to think Ray Brown Trio albums sound a lot like Oscar Peterson Trio albums, but now I think maybe the reverse true. What I mean by this is that Ray Brown's sound and groove is so strong that bands that he plays in end up sounding as if he's the band leader. To test this silly theory (and as an excuse to buy more records), I got a bunch of Oscar Peterson Trio records that DO NOT have Ray Brown on bass. In Peterson's immense catalogue, there are periods where Ray Brown did not play in his band (while he was doing TV/movie studio work in Hollywood, I think). After listening to them, I'd say that I'm more or less correct in my hypothesis; Oscar Peterson's playing and arrangementds are much freer and more experimental on these non-Ray Brown albums.

What do you guys think?

P9180972.JPG
 
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Straight lifts. That's what I call them anyway. Jazz songs that were appropriated by rockers into songs that became popular with the rock audience. Emerson, Lake and Palmer did the same with classical warhorses way back in the day. We've all heard, well, maybe not @Mather, the intro of Horace Silver's "Song For My Father" being utilized by Steely Dan in "Rikki Don't Lose That Number". Straight lift if there ever was one. Streaming Jazz24 recently, I heard "Autumn Leaves" by Miles Davis and thought it was the beginning of Los Lobo's "Kiko and the Lavender Moon". Another straight lift. Any others that you can think of?
 
OMC said:
Straight lifts. That's what I call them anyway. Jazz songs that were appropriated by rockers into songs that became popular with the rock audience. Emerson, Lake and Palmer did the same with classical warhorses way back in the day. We've all heard, well, maybe not @Mather, the intro of Horace Silver's "Song For My Father" being utilized by Steely Dan in "Rikki Don't Lose That Number". Straight lift if there ever was one. Streaming Jazz24 recently, I heard "Autumn Leaves" by Miles Davis and thought it was the beginning of Los Lobo's "Kiko and the Lavender Moon". Another straight lift. Any others that you can think of?
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Keith Jarrett won a case against the Dan from a sons of this album. I don’t have the time to be specific but it’s pretty obvious.

 
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Dtknuckles said:
Keith Jarrett won a case against the Dan from a sons of this album. I don’t have the time to be specific but it’s pretty obvious.

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Wasn't aware of the lawsuit, but yeah, that definitely qualifies as a straight lift. Good one!
 
So, I was looking to upgrade my older copy of Seven Steps to Heaven by Miles Davis.

Was looking at the MoFi Supervinyl 33 rpm pressing at $60. Then I noticed this morning that Analogue Productions has a 33 rpm version and a 2xLP 45 rpm version. The AP45 is $60.

Mofi is DSD 256, which isnt much of a concern for me, as they have all sounded great to me.

Curious if any of y'all have the AP version of this record or other Supervinyl Mofi pressings. Wondering which may sound the best. I'm sure they're all good, and this post is pointless.

I had a Supervinyl pressing of Kind of Blue and I ended up sending it back to Music Direct because it was extremely noisy. Later found out it was one of a thousand or so pressed on SV. Anyways, I'm not convinced SV sounds any better than regular old PVC on my system.
 
zdkaiser said:
So, I was looking to upgrade my older copy of Seven Steps to Heaven by Miles Davis.

Was looking at the MoFi Supervinyl 33 rpm pressing at $60. Then I noticed this morning that Analogue Productions has a 33 rpm version and a 2xLP 45 rpm version. The AP45 is $60.

Mofi is DSD 256, which isnt much of a concern for me, as they have all sounded great to me.

Curious if any of y'all have the AP version of this record or other Supervinyl Mofi pressings. Wondering which may sound the best. I'm sure they're all good, and this post is pointless.

I had a Supervinyl pressing of Kind of Blue and I ended up sending it back to Music Direct because it was extremely noisy. Later found out it was one of a thousand or so pressed on SV. Anyways, I'm not convinced SV sounds any better than regular old PVC on my system.
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I have this AP 33. Mine is the $30 sale from a few weeks ago. My copy has very minor clicks/pops in a couple spots, but it sounds fantastic. I can’t speak to any other versions bc it’s the only one I’ve owned.
 
zdkaiser said:
So, I was looking to upgrade my older copy of Seven Steps to Heaven by Miles Davis.

Was looking at the MoFi Supervinyl 33 rpm pressing at $60. Then I noticed this morning that Analogue Productions has a 33 rpm version and a 2xLP 45 rpm version. The AP45 is $60.

Mofi is DSD 256, which isnt much of a concern for me, as they have all sounded great to me.

Curious if any of y'all have the AP version of this record or other Supervinyl Mofi pressings. Wondering which may sound the best. I'm sure they're all good, and this post is pointless.

I had a Supervinyl pressing of Kind of Blue and I ended up sending it back to Music Direct because it was extremely noisy. Later found out it was one of a thousand or so pressed on SV. Anyways, I'm not convinced SV sounds any better than regular old PVC on my system.
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I have a few supervinyl records. The MoFi One Steps are all supervinyl. It's pretty much the same formula as what Craft uses for their one steps just by a different name. Apparently the QC process is trickier on supervinyl so there are more rejects and some slip through, but if you get a clean one I think they sound awesome.

With that said, with the price difference between the supervinyl and the 33AP, I'd probably just go for the AP.
 
Jbraswell said:
Anyone pick up Blackstone Legacy?
What a great album! Mastering by BG.
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yep--got mine. haven't had a chance to clean and spin it yet though! i forgot to cancel my amazon order from it since i also ordered it from another shop to package with Pharoah....so gotta decide if i'll just return to amazon or what!
 
Jbraswell said:
Anyone pick up Blackstone Legacy?
What a great album! Mastering by BG.
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It’s excellent. 3 of 4 sides on mine perfectly silent. 4th side and a few scattered pops/clicks but also mostly silent. I saw one comment on Discogs thinks bass is heavy, but I don’t think so. I think it’s great, and I don’t know what it sounds like on OG vinyl so maybe that’s just how it is.
 
Portland Sheriff said:
It’s excellent. 3 of 4 sides on mine perfectly silent. 4th side and a few scattered pops/clicks but also mostly silent. I saw one comment on Discogs thinks bass is heavy, but I don’t think so. I think it’s great, and I don’t know what it sounds like on OG vinyl so maybe that’s just how it is.
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I saw a jazz bum video where the guy compared the new release to the OG and he said it's nearly indistinguishable.
 
Potato-Socks said:
Here's a thesis I'm working on: any band Ray Brown played in became a de facto "Ray Brown Trio".

This idea came to me because I used to think Ray Brown Trio albums sound a lot like Oscar Peterson Trio albums, but now I think maybe the reverse true. What I mean by this is that Ray Brown's sound and groove is so strong that bands that he plays in end up sounding as if he's the band leader. To test this silly theory (and as an excuse to buy more records), I got a bunch of Oscar Peterson Trio records that DO NOT have Ray Brown on bass. In Peterson's immense catalogue, there are periods where Ray Brown did not play in his band (while he was doing TV/movie studio work in Hollywood, I think). After listening to them, I'd say that I'm more or less correct in my hypothesis; Oscar Peterson's playing and arrangementds are much freer and more experimental on these non-Ray Brown albums.

What do you guys think?

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Interesting - a couple of weeks ago I was thinking about something similar when I was listening to some of the "Exclusively for my friends" albums with Sam Jones and Bobby Durham. I played Travellin On first and thought it was boring, but The Way I Really Play and Mellow Mood were much better and closer to the "classic" OP sound with Brown/Thigpen. I always thought it was OP that had the signature sound of being able to swing with a lot of weight but play tons of notes at the same time. But maybe it's more that Brown and OP reinforced each other's tendency for that kind of heavy swing (heavy is not the right word, but something like that)?
 
snowwhat said:
Interesting - a couple of weeks ago I was thinking about something similar when I was listening to some of the "Exclusively for my friends" albums with Sam Jones and Bobby Durham. I played Travellin On first and thought it was boring, but The Way I Really Play and Mellow Mood were much better and closer to the "classic" OP sound with Brown/Thigpen. I always thought it was OP that had the signature sound of being able to swing with a lot of weight but play tons of notes at the same time. But maybe it's more that Brown and OP reinforced each other's tendency for that kind of heavy swing (heavy is not the right word, but something like that)?
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How about grooving swing?
 
Tease from Jazz Dispensary that, for me, is a red hot tease.

Alice Coltrane/Joe Henderson, Blackstone Legacy, and now another relatively deep cut seems to be on the way from Henderson. Don’t be surprised if they also do Joe Chambers’s “The Almoravid” — not bc I know anything but, rather, bc paid for an OG earlier this year (which I’m very happy with, thankfully).

JD is on its way to being my favorite reissue label if they continue to mine 70s catalogs.
IMG_5569.jpeg
 
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