Jazz for aficionados

Latest Acquisitions:

Horace Silver -- Paris Blues
Includes: Tokyo Blues - Filthy McNasty - Sayonara Blues
all tracks over 10 minutes long. Exquistie playing By Silver on Sayonara Blues. The extra track lengths gives all the players time to really develope their solos.
Live in Paris, but the sound is first rate! Blue Mitchell on trumpet.

Thelonious Monk -- The Unique Thelonious Monk
Monk playing standards. The liner notes says, this was done to try and widen his audience, instead of his 'frightening' originals. hahahaha As Fats Waller said, they like Jazz, but in small doses. He, waller, was speaking of uptown or downtown NYC. I guess the part where Harlem ain't! Blakey and pettiford appear.

Charles Mingus -- Mingus In Europe
Recorded while on tour in Europe in 1968. I think this is a complilation of several concerts on that tour. Released by his estate. A few glitches with the sound, but not a constant thing. Great playing. Eric Dolphy is on board. They go crazy on the tune 'So Long Eric'

Roland Kirk -- The Inflated Tea
Please do not think of this player as some sort of show off or clown. This guy can play! If you don't have any of his stuff, better hurry. A lot of it is already in the hands of 'these sellers'. A unique talent.

Most of the music I talk about here was recorded almost 50 years ago. O-10 touched on this, and I agree. There is so much genuine Jazz out there that I have not heard. Why worry about the latest 'genuis' out of Bangladesh!

Cheers

Check out Roland Kirk !!

Inflated Tear. sorry

****Why should they? Nothing new about this. The soloist always gets top billing. Miles did the playing. Evenas arranged and conducted the orchestra. He did not conduct Miles!

Think of Anne-Sophie Mutter playing with the Berliners. Who gets top billing? Not the conductor nor the orchestra. The person the public is paying to hear. ****

Not a relevant comparison; and I think you miss the point of my comment. I would argue that the reason that "The Birth Of The Cool" is important is the arranging and overall concept, not Miles' playing; Mulligan plays his ass off as well on those sessions, btw. Those sessions were seminal in the evolution of jazz. When Mutter puts out yet one more version of the Beethoven concerto, it does nothing to shape the direction of the music nor of the place of that concerto in the history of classical music; that place is already well established.

Besides, how is this relevant to the bigger issue of Miles' constant search and change? That's the more important point I was making.

And BTW, clearly, I was not there, but I would bet you my copy of that LP that Evans DID "conduct Miles" quite a bit.

" but I would bet you my copy of that LP that Evans DID "conduct Miles" quite a bit."

I'll call that bet, and raise you my rare and prized copy of ' Corky Siegel's Chamber Blues ' That should show you how strongly I feel about this!

Cheers

****" When Mutter puts out yet one more version of the Beethoven concerto, it does nothing to shape the direction of the music "*****

You are correct, but,

When I used a similar argument when we fought about errr.... I mean discussed, the 'influence' of various cultures on Jazz. You dissed it then.

BTW, Your post was excellent.

Cheers