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Hank Mobley

Blog

12Próximo
  • Chosen records II: 1960s

    Ago 17 2009, 12h48 por samueljeronimo

    - 13th Floor Elevators, The psychedelic sounds of 13th Floor Elevators (Sunspots, 1966);
    - MC5, Kick out the jams (Wrong, 1969);
    - Adriano Correia de Oliveira, O canto e as armas (Orfeu, 1969);
    - Afterglow, Afterglow (Sundazed, 1968);
    - Al Wilson, Searching for the dolphins (Soul City, 1969);
    - Alexander "Skip" Spence, Oar (Sundazed, 1969);
    - Amon Düül II, Phallus Dei (Liberty, 1969);
    - Andrew Hill, Point of departure (Blue Note, 1964);
    - Andromeda, Andromeda (Angel Air, 1969);
    - António Carlos Jobim, Wave (Polygram, 1967);
    - Arcadium, Breathe awhile (Akarma, 1969);
    - Archie Shepp, Kwanza (Impulse, 1969);
    - Argent, Argent (BSO, 1969);
    - Art, Supernatural fairy tales (Fontana, 1969);
    - Art Blakey and The Jazz Messengers, A night in Tunisia (EMI, 1960);
    - Arthur Brown, The crazy world of Arthur Brown (Polydor, 1967);
    - Arzachel, Arzachel (Akarma, 1969);
    - The Association, Renaissance (Collectors’ Choice Music, 1967);
    - Astrud Gilberto, Beach samba (Verve, 1967);
    - Bakerloo, Bakerloo (Akarma, 1969);
    - The Band, Music from big pink (Capitol, 1968);
    - The Band, The Band (Toshiba, 1969);
    - The Battered Ornaments, A meal we can shake hands with in the dark (Repertoire, 1969);
    - The Beach Boys, Surfin' safari (Capitol, 1962);
    - The Beach Boys, Surfer girl (Capitol, 1963);
    - The Beach Boys, Little deuce coupe (Capitol, 1963);
    - The Beach Boys, Today (Capitol, 1965);
    - The Beach Boys, Pet sounds (Capitol, 1966);
    - The Beach Boys, Smiley smile (Capitol, 1967);
    - The Beach Boys, Wild honey (Capitol, 1968);
    - The Beach Boys, Friends (Capitol, 1968);
    - The Beach Boys, 20/20 (Capitol, 1969);
    - The Beatles, A hard day’s night (Parlophone, 1964);
    - The Beatles, Help! (Parlophone, 1965);
    - The Beatles, Rubber soul (Parlophone, 1965);
    - The Beatles, Revolver (Parlophone, 1966);
    - The Beatles, Sgt.Pepper's Lonely Hearts Club Band (EMIv);
    - The Beatles, Magical mystery tour (EMI, 1967);
    - The Beatles, The Beatles (Apple, 1968);
    - The Beatles, Abbey Road (Apple, 1969);
    - Bee Gees, First (RSO, 1967);
    - Bee Gees, Horizontal (Polydor, 1968);
    - Bee Gees, Odessa (Polydor, 1969);
    - Bert Jansch, Bert Jansch (Transatlantic, 1965);
    - Big Brother & The Holding Company, Cheap thrills (Columbia, 1968);
    - Bill Evans Trio, Sunday at the Village Vanguard (Riverside, 1961);
    - Bill Evans Trio, Waltz for Debby (Riverside, 1961);
    - Billy Nicholls, Would you believe (Castle, 1968);
    - Blind Faith, Blind Faith (Polydor, 1969);
    - Blodwyn Pig, Ahead rings out (BGO, 1969);
    - Blonde on Blonde, Contrasts (Sanctuary, 1969);
    - Blood, Sweat & Tears, Child is father to the man (Columbia, 1968);
    - Blood, Sweat & Tears, Blood, Sweat & Tears (Columbia, 1969);
    - Blue Cheer, Vincebus eruptum (Universal, 1967);
    - Blue Cheer, New! Improved! (Akarma, 1969);
    - Blue Mitchell, The thing to do (Blue Note, 1964);
    - The Blues Magoos, Psychedelic lollipop (Repertoire, 1966);
    - Bob Dylan, Bob Dylan (Columbia, 1962);
    - Bob Dylan, The freewheelin´ Bob Dylan (Columbia, 1963);
    - Bob Dylan, The times they are a-changin' (Columbia, 1964);
    - Bob Dylan, Another side of Bob Dylan (Columbia, 1964);
    - Bob Dylan, Bringing it all back home (Columbia, 1965);
    - Bob Dylan, Highway 61 Revisted (Columbia, 1965);
    - Bob Dylan, Blonde on blonde (Columbia, 1966);
    - Bob Dylan, Nashville skyline (Columbia, 1969);
    - Bobby Hutcherson, Dialogue (Blue Note, 1965);
    - The Bonzo Dog Band, Gorilla (BGO, 1967);
    - Booker T. & The MG's, Green onions (Atlantic, 1962);
    - Brian Auger & The Trinity, Definitely what!... (Disconforme, 1969);
    - Bridget St. John, Ask me no questions (Cherry Red, 1969);
    - Buddy Emmons, Steel guitar jazz (Verve/Mercury, 1963);
    - Buffalo Springfield, Buffalo Springfield (Atco, 1966);
    - Buffalo Springfield, Again (ATCO, 1967);
    - The Byrds, Mr. Tambourine Man (Columbia, 1965);
    - The Byrds, Turn! Turn! Turn! (Columbia, 1965);
    - The Byrds, Fifth dimension (Columbia, 1966);
    - The Byrds, Younger than yesterday (Columbia, 1967);
    - The Byrds, The notorious Byrd brothers (Columbia, 1968);
    - The Byrds, Sweetheart of the rodeo (Columbia, 1968);
    - The Byrds, Dr. Byrds and Mr. Hyde (Columbia, 1969);
    - The Byrds, Ballad of Easy Rider (Columbia, 1969);
    - Can, Monster movie (Spoon, 1969);
    - Canned Heat, Boogie with Canned Heat (EMI, 1968);
    - Canned Heat, Living the blues (Akarma, 1968);
    - Canned Heat, Hallelujah (BGO, 1969);
    - Cannonball Adderley Quintet, Mercy, mercy, mercy! Live at The Club (Capitol, 1967);
    - Captain Beefheart & His Magic Band, Safe as milk (Buddah, 1967);
    - Captain Beefheart & His Magic Band, Strictly personal (Liberty, 1968);
    - Captain Beefheart & His Magic Band, Trout mask replica (Reprise, 1969);
    - Caravan, Caravan (Verve, 1968);
    - Charles Mingus, The black saint and the sinner lady (Impulse!, 1963);
    - Charles Mingus, Mingus, Mingus, Mingus, Mingus (Impulse!, 1963);
    - Charlie Haden, Liberation Music Orchestra (Impulse! , 1969);
    - Chicago, Chicago Transit Authority (Columbia, 1969);
    - Chick Corea, Inner space (Atlantic, 1967);
    - Chick Corea, Sundance (Charly, 1969);
    - Chicken Shack, O.K. Ken? (Blue Horizon, 1969);
    - Count Basie/Sarah Vaughan, Count Basie & Sarah Vaughan (Capitol, 1961);
    - Clark Hutchinson, A=MH2 (Repertoire, 1969);
    - Climax Blues Band, Plays on (C-Five, 1969);
    - Clouds, The clouds scrapbook (BGO, 1969);
    - Colosseum, Those who are about to die salute you (Fontana, 1969);
    - Colosseum, Valentyne Suite (Castle, 1969);
    - Cream, Fresh cream (Polydor, 1966);
    - Cream, Disraeli gears (Polydor, 1967);
    - Cream, Wheels of fire (Polydor, 1968);
    - Creation, We are paintermen (Repertoire, 1967);
    - Creedence Clearwater Revival, Creedence Clearwater Revival (Fantasy, 1968);
    - Crosby, Stills & Nash, Crosby, Stills & Nash (Atlantic, 1969);
    - David Ackles, David Ackles (Elektra, 1968);
    - David Bowie, Space oddity (EMI, 1969);
    - Davy Graham, Folk, blues & beyond... (DECCA, 1964);
    - Davy Graham, Midnight man (Fledgling, 1966);
    - Davy Graham/Shirley Collins, Folk roots, new routes (Fledg'ling UK, 1964);
    - Deep Purple, Shades of Deep Purple (EMI, 1968);
    - Deep Purple, Concerto for Group and Orchestra (Warner Bros., 1969);
    - Deep Purple, Deep Purple (EMI, 1969);
    - Deep Purple, The book of Taliesyn (EMI, 1969);
    - Dexter Gordon, Go (Blue Note, 1962);
    - Dexter Gordon, Our man in Paris (Blue Note, 1963);
    - Dizzy Gillespie, Live at the Village Vanguard (Blue Note, 1967);
    - Donald Byrd, A new perspective (Blue Note, 1963);
    - Donovan, Sunshine superman (PYE, 1966);
    - The Doors, The Doors (Elektra, 1966);
    - The Doors, Strange days (Elektra, 1967);
    - The Doors, Waiting for the sun (Elektra, 1968);
    - The Doors, The soft parade (Elektra, 1969);
    - Duke Ellington, Money jungle (Blue Note, 1962);
    - Duke Ellington/John Coltrane, Duke Ellington & John Coltrane (Impulse, 1962);
    - Duncan Browne, Give me take you (Immidiate, 1968);
    - Dusty Springfield, A girl called Dusty (Philips, 1964);
    - Dusty Springfield, Dusty (Mercury, 1964);
    - Dusty Springfield, Where am I going (Philips, 1967);
    - Dusty Springfield, The look of love (Philips, 1967);
    - Dusty Springfield, Dusty in Memphis (Mercury, 1969);
    - Earth Opera, Earth Opera (Elektra, 1968);
    - East of Eden, Mercator projected (DECCA, 1969);
    - Eire Apparent, Sunrise (Sequel, 1969);
    - The Electric Prunes, I had too much to dream (Last night) (Rhino, 1967);
    - Elmer Gantry’s Velvet Opera, Elmer Gantry’s Velvet Opera (Repertoire, 1967);
    - The End, Introspection (DECCA, 1969)
    - Eric Dolphy, Out there (Universal, 1960);
    - Eric Dolphy, Out to lunch (Blue Note, 1964);
    - Eyes of Blue, In fields of Ardath (Black Rose, 1969);
    - Fairport Convention, Fairport Convention (Polydor, 1968);
    - Fairport Convention, What we did on our holidays (Island, 1969);
    - Fairport Convention, Unhalfbricking (Island, 1969);
    - Fairport Convention, Liege & lief (Island, 1969);
    - Family, Music in a doll's house (Reprise, 1968);
    - Family, Family entertainment (See for Miles, 1969);
    - The Five Day Week Straw People, The Five Day Week Straw People (Akarma, 1968);
    - Fleetwood Mac, Peter Green's Fleetwood Mac (Blue Horizon, 1968);
    - Fleetwood Mac, Mr.Wonderful (Blue Horizon, 1968);
    - Fleetwood Mac, English rose (Epic, 1969);
    - Fleetwood Mac, Then play on (Reprise, 1969);
    - The Flock, The Flock (Sony, 1969);
    - Forest, Forest (BGO, 1969);
    - Frank Zappa,, Absolutely free (Ryko, 1967);
    - Frank Zappa,, Lumpy gravy (Ryko, 1967);
    - Frank Zappa, Uncle Meat (Ryko, 1969);
    - Frank Zappa, Hot rats (Ryko, 1969);
    - Freddie Hubbard, Open Sesame (Blue Note, 1960);
    - Freddie Hubbard, Ready for Freddie (Blue Note, 1961);
    - Freddie Hubbard, The body & the soul (Impulse!, 1963);
    - Free, Free (A&M, 1969);
    - Free, Tons of sobs (Fontana, 1968);
    - The Fugs, The Fugs (Fugs, 1966);
    - Gene Clark, Gene Clark with The Gosdin Brothers (Columbia, 1967);
    - George Benson, It's uptown (Columbia, 1965);
    - George Benson, Shape of things to come (A&M, 1968);
    - George Benson, Giblet gravy (Verve, 1968);
    - George Harrison, Wonderwall music (Apple, 1968);
    - George Harrison, Electronic sounds (Apple, 1969);
    - George Russell Sextet, Ezz-thetics (Riverside, 1961);
    - Giles, Giles & Fripp, The cheerful insanity of Giles, Giles & Fripp (DECCA, 1968);
    - Grachan Moncur III, Some other stuff (Blue Note, 1964);
    - Grant Green, Idle moments (Blue Note, 1964);
    - Grateful Dead, Anthem of the sun (Rhino, 1968);
    - Grateful Dead, Aoxomoxoa (Warner, 1969);
    - Grateful Dead, Live/Dead (Warner, 1969);
    - Hank Mobley, Soul station (Blue Note, 1960);
    - Herbie Hancock, Takin' off (Blue Note, 1962);
    - Herbie Hancock, Inventions and dimensions (Blue Note, 1963);
    - Herbie Hancock, Empyrean isles (Blue Note, 1964);
    - Herbie Hancock, Maiden voyage (Blue Note, 1965);
    - The Herd, Paradise lost (Repertoire, 1968);
    - High Tide, Sea shanties (Repertoire, 1969);
    - Holger Czukay, Canaxis (Spoon, 1969);
    - Horace Parlan, Happy frame of mind (Blue Note, 1963);
    - Horace Silver Quintet, Song for my father (Blue Note, 1964);
    - Horace Silver Quintet/J.J. Johnson, The Cap Verdean blues (Blue Note, 1965);
    - Humble Pie, As safe as yesterday is (Immediate, 1969);
    - Igginbottom, Igginbottom’s wrench (Angel Air, 1969);
    - Ike Quebec, Blue and sentimental (Blue Note, 1962);
    - Ike Quebec, It might a well be spring (Blue Note, 1964);
    - The Incredible String Band, The Incredible String Band (Elektra, 1966);
    - The Incredible String Band, 5000 spirits or the cayers of the onion (Elektra, 1967);
    - The Incredible String Band, The hangman's beautiful daughter (Elektra, 1968);
    - The Incredible String Band, The big huge (Elektra, 1968);
    - The Incredible String Band, Changing horses (Hannibal, 1969);
    - Iron Butterfly, In-a-gadda-da-vida (Atco, 1968);
    - Isaac Hayes, Hot buttered soul (Stax, 1969);
    - Jack McDuff, Down home style (Blue Note, 1969);
    - Jackie McLean, Destination out! (Blue Note, 1963);
    - Jackson C. Frank, Jackson C. Frank (Columbia, 1965);
    - Jefferson Airplane, Takes off (RCA, 1966);
    - Jefferson Airplane, Surrealistic pillow (RCA, 1967);
    - Jefferson Airplane, Crown of creation (RCA, 1968);
    - Jefferson Airplane, Volunteers (RCA, 1969);
    - Jesse Colin Young, The soul of a city boy (Capitol, 1964);
    - Jimi Hendrix Experience, Are you experienced? (Polydor, 1967);
    - Jimi Hendrix Experience, Axis, bold as love (Polydor, 1967);
    - Jimi Hendrix Experience, Electric ladyland (Polydor, 1968);
    - Jimmy McGriff, Electric funk (Blue Note, 1969);
    - Jimmy Smith/Wes Montgomery, The dynamic duo (Verve, 1966);
    - Joe Henderson, Page one (Blue Note, 1963);
    - Joe Henderson, Inner urge (Blue Note, 1964);
    - John Coltrane, Giant steps (Atlantic, 1960);
    - John Coltrane, Coltrane plays the blues (WEA, 1960);
    - John Coltrane, My favorite things (Audiophile, 1960);
    - John Coltrane, Africa/Brass (Impulse!, 1961);
    - John Coltrane, Olé (Atlantic, 1962);
    - John Coltrane, Impressions (Impulse!, 1963);
    - John Coltrane, Stardust (Prestige, 1963);
    - John Coltrane, A love supreme (Impulse!, 1964);
    - John Coltrane, Ascension (Impulse! , 1965);
    - John Coltrane, Meditations (Impulse!, 1966);
    - John Coltrane, A love supreme (Impulse!, 1966);
    - John Coltrane Quartet, Crescent (Impulse!, 1964);
    - John Fahey, The dance of death & other plantation favorites (Takoma, 1964);
    - John Martyn, The tumbler (Fontana, 1969);
    - John Mayall, John Mayall & The Bluesbreakers with Eric Clapton (DECCA, 1966);
    - John Mayall, A hard road (London, 1967);
    - John Mayall, Crusade (DECCA, 1967);
    - John Mayall, The blues alone (DECCA, 1967);
    - John Mayall, Bare wires (London, 1968);
    - John Mayall, Blues from Laurel Canyon (DECCA, 1968);
    - John McLaughlin, Extrapolation (Polygram, 1969);
    - Johnny Cash, Ride this train (Columbia, 1960).
    - Johnny Cash, Orange blossom special (Columbia, 1965);
    - Johnny Cash, Johnny Cash at Folsom prison (Columbia, 1968);
    - Johnny Winter, The progressive blues experiment (BGO, 1969);
    - Joni Mitchell, Song to a seagull (Reprise, 1968);
    - Joni Mitchell, Clouds (Reprise, 1969);
    - José Afonso, Cantares de andarilho (Movieplay, 1968);
    - Kaleidoscope, Side trips (Epic, 1967);
    - Karen Dalton, It's so hard to tell who's going to love you the best (Capitol, 1969);
    - Kenny Burrell, Midnight blue (Blue Note, 1963);
    - Kenny Dorham, Whistle stop (Blue Note, 1961);
    - Kevin Ayers, Joy of a toy (EMI, 1969);
    - King Crimson, In the court of the crimson king (EG, 1969);
    - The Kinks, Face to face (Essential, 1966);
    - The Kinks, Something else (Essential, 1967);
    - The Kinks, The Kinks are Village Green Preservation Society (Essential, 1968);
    - The Kinks, Arthur or the decline and fall of the british empire (Essential, 1969);
    - La Monte Young, The black record (Edition X, 1969);
    - Larry Young, Unity (Blue Note, 1966);
    - Laura Nyro, Eli and the thirteenth confession (Columbia, 1968);
    - Laura Nyro, New York tendaberry (Columbia, 1969);
    - Led Zeppelin, Led Zeppelin (Atlantic, 1969);
    - Led Zeppelin, Led Zeppelin II (Atlantic, 1969);
    - Lee Morgan, The sidewinder (Blue Note, 1963);
    - Lee Morgan, In search of the new land (Blue Note, 1964);
    - Leonard Cohen, Songs of Leonard Cohen (Columbia, 1968);
    - Leonard Cohen, Songs from a room (Columbia, 1969);
    - Love, Da Capo (Elektra, 1966);
    - Love, Forever changes (Elektra, 1967);
    - The Lovin' Spoonful, Daydream (Buddah, 1966);
    - The Lovin' Spoonful, Hums of the Lovin’ Spoonful (Buddah, 1966);
    - Lucky Thompson Quartet, Lucky strikes (Prestige, 1964);
    - Luiz Bonfá, Plays and sings Bossa Nova (Verve, 1963);
    - The Mamas & The Papas, If you can believe your eyes and ears (Dunhill, 1966);
    - Manfred Mann, The five faces of Manfred Mann (EMI, 1964);
    - The Meters, The Meters (Sundazed, 1969);
    - Miles Davis, Someday my prince will come (Columbia, 1961);
    - Miles Davis, ’Round about midnight (Columbia, 1962);
    - Miles Davis, E.S.P. (Columbia, 1965);
    - Miles Davis, Miles smiles (Columbia, 1966);
    - Miles Davis, In Berlin (Sony BMG, 1966);
    - Miles Davis, Filles de Kilimanjaro (Columbia, 1968);
    - Miles Davis, Nefertiti (Columbia, 1968);
    - Miles Davis, In a silent way (Columbia, 1969);
    - Moby Grape, Moby Grape (Sundazed, 1967);
    - The Monks, Black monk time (Repertoire, 1966);
    - The Moody Blues, Days of future passed (DECCA, 1967);
    - The Moody Blues, In search of the lost chord (DECCA, 1968);
    - The Moody Blues, To our children's children's children (DECCA, 1969);
    - The Mothers of Invention, Freak out! (Rykodisc, 1966);
    - The Mothers of Invention, We're only in it for the money (Verve, 1968);
    - The Move, The Move (Repertoire, 1968);
    - Music Emporium, Music Emporium (Sundazed, 1969);
    - The Music Machine, Turn on (Repertoire, 1966);
    - Os Mutantes, Os Mutantes (Omplatten, 1969);
    - Nazz, Nazz (Castle, 1968);
    - Neil Young & Crazy Horse, Everybody knows this is nowhere (Reprise, 1969);
    - The Nice, The thoughts of Emerlist Davjack (Immediate, 1967);
    - The Nice, Ars longa vita brevis (Immediate, 1968);
    - The Nice, The Nice (Essential, 1969);
    - Nick Drake, Five leaves left (Island, 1969);
    - Nico, Chelsea girl (Verve, 1967);
    - Nico, The marble index (Sundazed, 1968);
    - Nirvana (UK), All of us (Island, 1968);
    - Open Mind, Open Mind (Philips, 1969);
    - Ornette Coleman Double Quartet, Free jazz (Atlantic, 1961);
    - Oscar Peterson Trio, Night train (Verve, 1962);
    - Otis Redding, The soul album (Stax/Volt, 1966);
    - Otis Redding, Dock of the bay (Atco, 1968);
    - Paul Desmond, Bossa Antigua (BMG, 1964);
    - Pearls Before Swine, One nation underground (ESP-Disk, 1967);
    - The Pentangle, Basket of light (Sanctuary, 1969);
    - The Pentangle, The Pentangle (Transatlantic, 1968);
    - The Pentangle, Sweet child (Transatlantic, 1968);
    - Peter, Paul & Mary, See what tomorrow brings (Warner Bros. , 1965);
    - Pharoah Sanders, Karma (Impulse! , 1969);
    - Pierre Henry, Le voyage, d'après le livre des morts tibétain (ECM, 1962);
    - Pierre Henry, Messe de Liverpool (Philips, 1967);
    - Pierre Henry, Messe pour le temps présent (Philips, 1967);
    - Pink Floyd, The piper at the gates of dawn (EMI, 1967);
    - Pink Floyd, A saucerful of secrets (EMI, 1968);
    - Pink Floyd, More (EMI, 1969);
    - Pink Floyd, Ummagumma (EMI, 1969);
    - The Pretty Things, S.F. Sorrow (Snapper, 1969);
    - Procol Harum, A whiter shade of pale (Repertoire, 1967);
    - Procol Harum, Shine on brightly (Repertoire, 1968);
    - Procol Harum, A salty dog (Repertoire, 1968);
    - Pussy, Pussy plays (Edsel, 1969);
    - Quicksilver Messenger Service, Happy trails (Repertoire, 1969);
    - Ravi Shankar/Yehudi Menuhin, West meets east (Angel, 1967);
    - Renaissance, Renaissance (Island, 1969);
    - Robert Johnson, King of the delta blues singers (Columbia, 1961);
    - The Rolling Stones, The Rolling Stones (England's newest hitmakers) (Abkco, 1964);
    - The Rolling Stones, 12 X 5 (London Records, 1964);
    - The Rolling Stones, The Rolling Stones N°2 (DECCA, 1965);
    - The Rolling Stones, Now! (Abkco, 1965);
    - The Rolling Stones, Out of our heads (Abkco, 1965);
    - The Rolling Stones, December's Children (And everybody's) (London Records, 1965);
    - The Rolling Stones, Aftermath (DECCA, 1966);
    - The Rolling Stones, Between the buttons (Abkco, 1967);
    - The Rolling Stones, Their satanic majesties request (Abkco, 1967);
    - The Rolling Stones, Beggars banquet (DECCA, 1968);
    - The Rolling Stones, Let it bleed (Abkco, 1969);
    - Roy Harper, Sophisticated beggar (Sundown, 1967);
    - Sam Rivers, Contours (Blue Note, 1965);
    - The Savage Rose, In the plain (Polydor, 1969);
    - Scott Walker, Scott (Fontana, 1967);
    - Scott Walker, Scott 2 (Fontana, 1968);
    - Scott Walker, Scott 3 (Fontana, 1969);
    - Scott Walker, Scott 4 (Fontana, 1969);
    - Silver Apples, Silver Apples (MCA, 1968);
    - Simon & Garfunkel, Sounds of silence (Columbia, 1966);
    - Simon & Garfunkel, Parsley, sage, rosemary and thyme (Columbia, 1966);
    - Simon & Garfunkel, Bookends (Columbia, 1968);
    - Skin Alley, Skin Alley (Akarma, 1969);
    - Sonny Rollins, The bridge (RCA, 1962);
    - The Small Faces, The Small Faces (DECCA, 1966);
    - The Small Faces, From the beginning (DECCA, 1967);
    - The Small Faces, Ogden's nut gone flake (EMI, 1968);
    - Smokey Robinson and the Miracles, Make it happen (Motown, 1963);
    - Soft Machine, Soft Machine (Probe, 1968);
    - Soft Machine, Volume Two (One Way, 1969);
    - Spirit, Spirit (Epic Legacy, 1968);
    - Spirit, The family that plays together (Ode, 1969);
    - Spooky Tooth, It's all about (Edsel, 1968);
    - Spooky Tooth/Pierre Henry, Ceremony, An electronic mass (Edsel, 1969);
    - Stan Getz, Getz Au Go Go (Verve, 1964);
    - Stan Getz/João Gilberto, Getz/Gilberto (Verve, 1963);
    - Status Quo, Picturesque matchstickable messages from the Status Quo (Essential, 1968);
    - Status Quo, Spare parts (Sanctuary, 1968);
    - Steve Miller Band, Children of the future (Capitol, 1968);
    - Steve Miller Band, Sailor (Capitol, 1968);
    - Stevie Wonder, For once in my life (Tamla Motown, 1968);
    - Stevie Wonder, My cherie amour (Tamla Motown, 1969);
    - The Stooges, The Stooges (WEA, 1969);
    - Strawberry Alarm Clock, Incense and peppermints (Big Beat, 1967);
    - Tea & Symphony, An asylum for the musically insane (Si-Wan, 1969);
    - The Temptations, Cloud nine (Tamla Motown, 1969);
    - Terry Riley, Reed streams (Mass Arts, 1966);
    - Terry Riley, A rainbow in curved air (Columbia, 1967);
    - Thelonious Monk, Monk's dream (Columbia, 1962);
    - Thelonious Monk, Big band and quartet in concert (Columbia, 1964);
    - Thelonious Monk, Straight, no chaser (Columbia, 1967);
    - Thelonious Monk, Underground (Columbia, 1968);
    - Them, The angry young Them (DECCA, 1965);
    - Them, Them again (DECCA, 1966);
    - Tim Buckley, Tim Buckley (Elektra, 1966);
    - Tim Buckley, Goodbye and hello (Elektra, 1967);
    - Tim Buckley, Happy sad (Elektra, 1969);
    - Tim Hardin, 1 (Verve, 1966);
    - Tina Brooks, True blue (Blue Note, 1960);
    - Tom Rush, Circle game (Elektra, 1968);
    - Townes Van Zandt, Our mother the mountain (Tomato, 1969);
    - Townes Van Zandt, Townes van Zandt (Tomato, 1969);
    - Traffic, Mr Fantasy (Island, 1967);
    - Traffic, Last exit (Fontana, 1969);
    - Tyrannosaurus Rex, My people were Fair and had sky in their hair... (A&M, 1967);
    - Tyrannosaurus Rex, Prophets, seers & sages, the angels of the ages (A&M, 1968);
    - Tyrannosaurus Rex, Unicorn (A&M, 1969);
    - Ultimate Spinach, Ultimate Spinach (Akarma, 1968);
    - Ultimate Spinach, Behold & see (Akarma, 1968);
    - Ultimate Spinach, Ultimate Spinach III (Akarma, 1969);
    - The United States of America, The United States of America (Edsel, 1968);
    - Van der Graaf Generator, The aerosol grey machine (Fontana, 1969);
    - Van der Graaf Generator, The least we can do is wave to each other (Virgin, 1969);
    - Van Morrison, Blowin' your mind! (Epic/Legacy, 1967);
    - Van Morrison, Astral weeks (Warner Bros. , 1968);
    - Vanilla Fudge, Vanilla Fudge (Atco, 1967);
    - Vanilla Fudge, Near the beginning (Repertoire, 1969);
    - The Velvet Underground, White light/White heat (Polydor, 1968);
    - The Velvet Underground, The Velvet Underground (Polydor, 1969);
    - The Velvet Underground/Nico, The Velvet Underground & Nico (Verve/MGM, 1967);
    - Wayne Shorter, Speak no evil (Blue Note, 1964);
    - Wayne Shorter, Schizophrenia (Blue Notev);
    - White Noise, An electric storm (Island, 1969);
    - The Who, My generation (Brunswick, 1965);
    - The Who, A quick one (Reaction, 1966);
    - The Who, The Who sell out (MCA, 1967);
    - The Who, Tommy (Polydor, 1969);
    - Wooden O, A handful of pleasant delites (Akarma, 1969).
    - Xhol Caravan, Electrip (Garden of Delights, 1969);
    - The Yardbirds, For your love, heart full of soul & others (Sunspots, 1965);
    - The Yardbirds, Roger the engineer (Warner Bros., 1966);
    - The Yardbirds, Little games (EMI, 1967);
    - Yes, Yes (Atlantic, 1969);
    - The Youngbloods, Elephant Mountain (Edsel, 1969);
    - The Zombies, Odessey & oracle (Repertoire, 1967).
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  • Weekly Top Artists 1Q09

    Abr 7 2009, 14h11 por mymusic101

    Here are my weekly top artists for the first quarter of 2009. More than one artist indicates a tie.

    4 Jan 2009 Ella Fitzgerald
    11 Jan 2009 Sheryl Crow, Marvin Gaye
    18 Jan 2009 Tommy Flanagan
    25 Jan 2009 Jimi Hendrix
    1 Feb 2009 Eric Clapton, Genesis, Lee Morgan
    8 Feb 2009 Billy Joel, Dusty Springfield
    15 Feb 2009 Hank Mobley, Gary Puckett & The Union Gap
    22 Feb 2009 Jack Johnson, Bob Marley
    1 Mar 2009 Electric Light Orchestra
    8 Mar 2009 Stevie Wonder
    15 Mar 2009 Trey Anastasio, Chad & Jeremy, Lionel Richie, Johnny Rivers
    22 Mar 2009 The Chieftains, The Corrs, Jack Johnson, Sarah McLachlan, Fiona Wight
    29 Mar 2009 Led Zeppelin

    Comments?
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  • 1958 - 1975 IL FESTIVAL INTERNAZIONALE DEL JAZZ DI BOLOGNA: LE EDIZIONI

    Out 24 2008, 11h20 por pressjazz

    I° FESTIVAL JAZZ

    Nel 1958 Alberti e Foresti avevano organizzato all’Antoniano un concerto con il Kid Ory e la sua Creole Jazz Band, nel corso del quale Kid aveva dedicato un brano alla Dr. Chick Dixieland Orchestra di Pupi Avati con grande disappunto dei concorrenti della Panigal. Il Concerto ebbe grandissimo successo per cui, nel marzo di quello stesso anno, Avati e la Dr. Chick, che avevano come manager Cicci Foresti, decisero di organizzare un nuovo concerto all’Antoniano, questa volta imperniato su una vera e propria sfida tra loro e la Panigal che vedeva finalmente titolare al trombone il giovanissimo e promettentissimo Checco Coniglio.

    Il concerto fu varato come “Festival del Jazz Emiliano”, con il patrocinio di S.E. il cardinale Lercaro. Alla sfida furono invitate la Panigal, la New Emily di Romolo Grande, il Complesso di Amedeo Tommasi, e naturalmente, la Dr. Chick. Panigal ed Emily rifiutarono di partecipare, e furono tacciate di vigliaccheria. Fu così che i due premi in palio (una coppa per il primo classificato, centomila lire per il secondo andarono rispettivamente alla Dr. Chick e ad Amedeo Tommasi.

    II° FESTIVAL JAZZ

    L’anno seguente, dopo la fusione nella Rheno della Panigal e della Dr. Chick, Alberto Alberti e Cicci Foresti rispolverano l’idea del Festival proponendo all’allora Assessore allo Sport Picchi di realizzarne un secondo. L’idea di Alberto Alberti e di Foresti piacque all’assessore (negli anni seguenti sostituito da Renato Zangheri) che si dichiarò convinto di poter dare un carattere internazionale alla manifestazione, incontrando anche l’assenso del responsabile della Cultura della Provincia di Bologna, Carlo Maria Badini. Nelle serate del 2 e 3 ottobre del 1959 si tenne al Palasport il II Festival del Jazz che, aperto dalla Rheno, ebbe come ospite d’onore Chet Baker, accompagnato da Amedeo Tommasi. Il Festival riscosse un successo tanto incondizionato per affluenza e ed entusiasmo di pubblico da rappresentare da allora, per ben 16 anni consecutivi, la manifestazione più importante d’Italia in campo jazzistico e una delle più celebri in Europa e nel mondo intero.


    III° FESTIVAL INTERNAZIONALE DEL JAZZ

    Nel 1960 il III Festival si tenne il 17 – 18 ottobre al Teatro Duse sul cui palcoscenico le “stelle” furono rappresentate dai sax europei di Jacques Pelzer e Flavio Ambrosetti e da quello americano di Barney Wilen. L’organizzazione era curata da Disclub di Alberto Alberti e dal Jazz Club con il patrocinio del Comune.


    IV° FESTIVAL INTERNAZIONALE DEL JAZZ

    Dopo un anno di pausa, dovuto a difficoltà di vatia natura, il 6 e 7 aprile 1962 il Festival, con la sua IV edizione, torna al Palasport, dove rimarrà quasi stabilmente fino al suo termine. Ancora una volta è il Jazz Club ad organizzarlo, sempre con il patrocinio del Comune, quello dell’Ente Turismo, della Provincia e dell’ENAL. Dopo molti complessi italiani ed Europei, l’attenzione di tutti fu polarizzata dalla presenza di due eccezionali solisti, Kenny Drew e René Thomas, pur nel generale disappunto per il mancato arrivo di Kenny Clarke.



    V° FESTIVAL INTERNAZIONALE DEL JAZZ

    Il 30 e 31 maggio 1963 il Jazz Disclub di Alberti propose il V Festival che aveva come motivi di massimo interesse, oltre a René Thomas e Jacques Pelzer, l’organista Lou Bennet, il jazz d’oltre cortina di Andrzej Trazaskowsky, l’ancora sconosciuto Lele Gato Barbieri, e infine, vero trionfatore, l’attesissimo quintetto del grande Kenny Clarke.


    VI° FESTIVAL INTERNAZIONALE DEL JAZZ

    Dal VI Festival, svoltosi ancora in primavera, il 23 e 24 aprile 1964, scompaiono i vari “Jazz Club” come promotori ufficiali, anche se l’organizzazione rimane affidata ad Alberto Alberti e Cicci Foresti. Torna applauditissimo Lou Bennet ma da tutti la grande attesa è riservata alla prima esibizione in Italia di Charlie Mingus, leader dell’avanguardia e della contestazione negro-americana.

    VII° FESTIVAL INTERNAZIONALE DEL JAZZ

    Anche il VII Festival (12 e 13 maggio 1965), offrì al pubblico, che affollava il Teatro Comunale, novità assolute di ascolto: accanto ai sax di Gato Barbieri e di Johnny Griffin si ascoltarono infatti il piano di Mal Waldron e il quartetto capitanato da Don Cherry e Steve Lacy, già in puro stile free (free jazz).


    VIII° FESTIVAL INTERNAZIONALE DEL JAZZ

    Ancora a tarda primavera (12 e 13 maggio 1966) riscaldò gli entusiasmi di migliaia e migliaia di spettatori che, come negli anni precedenti, affollavano parterre e gradinate del Palasport per l’VIII Festival. Dopo Mal Waldron,Paul Bleye Tete Montoliu, il pubblico non si stancò di applaudire il grandissimo Dexter Gordon, decretando ancora una volta il successo di una manifestazione che, anno dopo anno, era divenuta il maggior appuntamento europeo di jazz, fatto sicuramente basato sulle felicissime scelte operate con acuto intuito e notevole gusto da Alberti e Foresti.

    IX° FESTIVAL INTERNAZIONALE DEL JAZZ

    Dal 1967 il Festival si sposta all’autunno e più determinante diviene la presenza come organizzatore dell’Ente Autonomo Teatro Comunale di Bologna il cui nuovo sovrintendente, Carlo Maria Badini, mostra di essere uomo lungimirante e di grande sensibilità, puntando decisamente ad un’ulteriore valorizzazione del Festival, ormai considerato una delle manifestazioni più importanti e qualificanti della nostra città.
    Per la IX edizione si tornò al Duse, dove, in tre sere ( 29-30 settembre, 1 ottobre 1968) il pubblico bolognese potè applaudire il grandeBill Evans, Ted Curson, Jean Luc Ponti, ancora Dexter Gordon e l’allora popolarissimo complesso vocale “The Swingle Singers”.

    X° FESTIVAL INTERNAZIONALE DEL JAZZ

    Il X Festival vide la musica Jazz padrona assoluta per tre giorni (4-5-6 ottobre 1968)dell’esclusivo palcoscenico del Teatro Comunale. Stars di valore già indiscusso come Oscar Peterson,Lee Konitz, Art Farmer, Kenny Drew e Hank Mobley si alternarono a giovani destinati a divenire capiscuola, come Phil Woods, e alla punta più avanzata e discussa del jazz divenuto ormani free jazz, rappresentata dal dissacrante e aggressivo Cecil Taylor .


    XI° FESTIVAL INTERNAZIONALE DEL JAZZ

    Analoghe sensazioni suscitò l’XI Festival del 3-4-5 ottobre del 1969, sempre al Comunale. Ai veterani Lucky Thompson, Kenny Clarke e George Russel si alternarono i giovani futuri capiscuola Keith Jarrete Gary Burton.

    XII° FESTIVAL INTERNAZIONALE DEL JAZZ

    Polemiche e difficoltà di finanzamenti non permisero di realizzare nel 1970 il Festival che, viceversa, fu riproposto al Palasport da Badini, Alberti e Foresti il 15 e 16 ottobre 1971. All’enorme pubblico fu offerto il vecchio, il nuovo, il nuovissimo ed il popolare, in un cocktail estremamente ben dosato. Al clarino creolo di Albert Nicholas rispose il sax bopper ma modernissimo di Yusef Lateef. All’organo irruente di Lou Bennet si oppose l’arte raffinatissima di Stan Getz con il suo inimitabile sax tenore. Al free innovatore e sperimentale di Ornette Coleman rispose l’eleganza e lo swing del mitico bopper Dexter Gordon. E infine, su tutti e per qualsiasi pubblico, la suggestione della voce inimitabile di Ray Charles.


    XIII° FESTIVAL INTERNAZIONALE DEL JAZZ

    Anche la XIII edizione (9-10-11 novembre 1972)ebbe grandi e popolarissimi protagonisti. Sotto le luci del Palasport sfilarono giganti el jazz come Jimmy Smith, Clark Terry, llinois Jacquet, Art Farmer, James Moody, Kenny Burrel, Roy Haines, Dave Brubeck, Gerry Mulligan, Paul Desmond, Charlie Mingus, Elvin Jones, Dizzy Gillespie, Kai Winding, Sonny Stitt, Thelonius Monk, Art Blakey.


    XIV° FESTIVAL INTERNAZIONALE DEL JAZZ

    Nei giorni 8-9-10 novembre 1973 si tenne il XIV Festival che presentò interessanti gruppi di giovani, uno italiano, la Big Band degli allievi del Conservatorio di Bologna, diretta da Ettore Ballotta, l’altro americano, “The Young Giants of Jazz” con Jimmy Owens, Gary Burton, Cedar Walton e Roy Haynes, nonché alcuni dei miti che negli ultimi cinquant’anni avevano fatto grande e reso popolare il jazz: la celebre orchestra di Duke Ellington, B.B. King, Sarah Vaughan, e, infine, Miles Davis.


    XV° FESTIVAL INTERNAZIONALE DEL JAZZ

    La XV Edizione offrì, accanto ai molti e interessanti musicisti italiani, come Marco di Marco, Massimo Urbani,Jimmy Villotti, Vincenzo Corrao, Vittorio Volpe e l’oriundo britannico Alan King, il ritorno del sempre interessante e applauditissimo Gato Barbierie l’esponente più carismatico del nuovo jazz Mc-Coy Tyner, Dizzy Gillespie e Curtis Fuller,Eddie Davis e Sonny Stitt.


    XVI° FESTIVAL INTERNAZIONALE DEL JAZZ

    E siamo al XVI ed ultimo Festival internazionale del Jazz che per tre lustri aveva dettato legge in Europa e aveva imposto all’attenzione mondiale Bologna con nuovi e attualissimi motivi di prestigio internazionale. Contrariamente a quanto annunciato, tutti i concerti si tennero al Palasport. Si trattò di quattro sere (13-14-15-16 novembre 1975) delle quali l’ultima fu riservata ad un tributo a Louis Armstong reso da una Big Band diretta da Dick Hyman . Entusiasmo e consensi suscitarono miti consolidati comeEarl Hines, Carmen Mc rae, Charles Mingus, Roy Haynes e Benny Carter.
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  • Mobley's Book

    Ago 20 2008, 17h07 por McSplivens

    Recently author Derek Ansell wrote a book about the life and music of Hank Mobley. The book has the title of one of Mobley's most famous albums: 'Workout: The Music of Hank Mobley'. I haven't read it (yet), so all I can do is just copy and paste some things.

    Amazon gives a Product Description:
    Among the great American modern jazz saxophonists, Hank Mobley has been the most unjustly neglected - the truly forgotten man. Yet he played and recorderd prolifically with the greatest legends of his era such as Miles Davis, John Coltrane, Dizzy Gilespie, Lee Morgan, Johnny Griffin and Art Blakey, helping to create some of their finest work. His best recordings are classics, characterized by an instantly identifiable sound and style, and constant musical inventiveness. But his loner personality made him his own worst enemy, many of his records remained unissued in his lifetime, and he died forgotten and destitute. Now, at last, most of his recorded legacy is available on CD and he is increasingly recognized as one of the major figures of modern jazz. In this book, the first to be published about Hank Mobley, Derek Ansell provides a detailed critical introduction to his music and a timely reassessment of his contribution to the jazz art.

    Forbes published an interview with Ansell. And for allaboutjazz Nic Jones wrote a book review.

    Another book on my wishlist!
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  • A nice game no. 1

    Ago 14 2008, 13h55 por campbells_soup

    The idea is to go to the page of your number one artist, and follow the link of it's number one similar artist, then repeating that for this artist and so on, noting down each artist as you go. Do this until you've got to 50 artists (not including your number one). If you get any repeats, just go to the second similar artist or the nearest one that you haven't already had.

    Starting with Ścianka:

    1. Something Like Elvis
    2. Ewa Braun
    3. Mordy
    4. Ludzie
    5. 100nka
    6. Sing Sing Penelope
    7. Jerzy Milian
    8. Wojciech Karolak
    9. Jarek Śmietana
    10. chromosomos
    11. Novi Singers
    12. Andrzej Kurylewicz Quintet
    13. Zbigniew Namysłowski
    14. Jan Ptaszyn Wróblewski
    15. Przemek Dyakowski
    16. Oles-Trzaska-Oles
    17. Miłość & Lester Bowie
    18. Miłość
    19. Tymon i Trupy
    20. Czan
    21. NRD
    22. Mikołaj Trzaska
    23. Baaba
    24. Maestro Trytony
    25. ecstasy project trio
    26. Simple Acoustic Trio
    27. Bobo Stenson Trio
    28. Arild Andersen
    29. Jan Garbarek Group
    30. Jan Garbarek
    31. Terje Rypdal
    32. Keith Jarrett
    33. Keith Jarrett Trio
    34. Bill Evans
    35. Bill Evans Trio
    36. Bud Powell
    37. Sonny Clark
    38. Hank Mobley
    39. Dexter Gordon
    40. Joe Henderson
    41. Freddie Hubbard
    42. Lee Morgan
    43. Horace Silver
    44. Donald Byrd
    45. Bobbi Humphrey
    46. Bobby Hutcherson
    47. Duke Pearson
    48. Horace Parlan
    49. McCoy Tyner
    50. Wayne Shorter

    Interesting... I started from experimental alternative band, then I got through some alternative jazz bands, then some Polish jazz musicians, Tymon Tymanski's many projects, Norwegian modern jazz musicians to end on American classic jazz.

    Whew... That was an intriguing trip since I don't listen to jazz music a lot. Only to nu-jazz or Polish yass bands and I don't listen to classic jazz at all. Maybe I should. :-)
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  • McCoy Tyner--Where to start?

    Jul 28 2008, 21h01 por beelzbubba

    Quoth zorzynek:
    McCoy Tyner live was one of the best things that happened to me in past few years. I see You're heavily listening to that guy. I never got into his discography. Any ideas what should I check out first? (Of course, I know his recordings with Trane, it's solo records I'm interested in.) Thanks in advance.



    I'll divide Tyner's magnificent career as a leader into four phases:

    1. Tyner as a leader while still in the Coltrane Quartet
    2. Tyner on Blue Note after the Coltrane Quartet
    3. Tyner on Milestone 1972-1981
    4. Tyner after Milestone/1981 onward


    Tyner's albums on Impulse! are more tentative but also more lyrical and romantic than his middle period recordings. He is still in the Trane quartet at this time and so is not as assertive as he would be as he matured--but he was still in his early 20s at the time, so it is understandable.

    Reaching Fourth is probably my favorite of that period, a trio setting--something he wouldn't record again for another dozen years or so--and it is lovely. The other Impulse! recordings are all good (and Tyner's good is better than many pianist's 'excellent'); Inception is a really nice debut for the young McCoy Tyner. Nights of Ballads and Blues has an intriguing lineup, and we're left to wonder what this band may have put together over time, but John Gilmore took a lot of "outside" jobs in the late 50s/early 60s, not only because he was a cited influence on many of the post-WWII tenors and thus producers wanted to work with him, but also because the Sun Ra band was in transisiton, and I think Gilmore's talents helped bring cash into the Arkestra's coffers. But I go back to Inception and Reaching Fourth more than the others from this period.

    The second period was after leaving Coltrane. Although McCoy played on many, many Blue Note records from 1960 onward--considered by many as one of the Blue Note "house" pianists--there is a curious gap in Tyner's discography as a leader. His last Impulse! record was in 1964, Although he was considered one of the house pianists at Blue Note from 1960 on, his first Blue Note as a leader was 1967's The Real McCoy. From 1960 through 1970, he played piano on albums by Joe Henderson, Lee Morgan, Wayne Shorter, Bobby Hutcherson, Grant Green, Lou Donaldson, Donald Byrd, Hank Mobley, and Stanley Turrentine, to name just a few. Tyner's "sound" helped define what many of us think of as the Blue Note sound of the 60s. There may have been a contract problem with Impulse! that prevented him from being employed as the leader on Blue Note until 1967, but in any case, Wolff & Lion used a collegial structure so that Tyner's "Real Mccoy" sounds a lot like Henderson's, Shorter's, or Hubbard's dates. McCoy was still growing as a composer and a leader. Biographers say that this was a time of struggle for Tyner--he wasn't making much money from recording and had a young and growing family to support. By 1970, he was considering making driving a cab his full time work instead of just using it to supplement his music.

    But during that time, he recorded Expansions, Time for Tyner, Extensions, and Asante. Each one of them has its strengths, Expansions and Extensions are similar to each other in that Tyner uses Gary Bartz and Wayne Shorter on alto & tenor respectively. Extensions, with its national Geographic cover, adds Alice Coltrane on harp. Throughout his Blue Note career, it sounds as if Tyner is trying to remember, recreate and expand on the high points of the modal art of the Coltrane legacy. This is not a bad thing at all, and the music stands the test of time well.

    But in 1972, Tyner was encouraged by Orrin Keepnews to put his all into reviving his recording career. They began their association with the astounding Sahara, and for the next ten years, the two of them, both geniuses in my opinion, shifted the band's personnel, the size and timbre of the band, here focusing on a tight ensemble, there on a big band, with a solo here, and strings there.

    There's hardly ever a false step taken on any of these. And with Milestone, Tyner's percussive left hand (and he is left handed) takes center stage and becomes a driving force. Critics of Tyner point to albums like Song for My Lady and Sahara as evidence that he "plays too many notes." Takes all kinds, I guess. I love this period. Sama Layuca is a rumble in the jungle, Song for the New World shows Tyner's orchestral conception of the jazz big band.

    I saw Tyner many, many times from 1972-1980, including one memorable night from the Enlightenment/Atlantis era when we sat just above Tyner and his keyboard at the old Jazz Showcase when it was in the basement level of the Happy Medium nightclub on Rush Street in Chicago. Tyner held a running banter with us the whole night, clearly enjoying being on top of his game. Azar Lawrence and Ricky Ford were two of his usual saxes during this time, and it's always been a disappointment to me that neither of these horns ever achieved a fraction of the fame they seemed destined for.

    I've got most all of the Blue Note and Milestone recordings up through 1978's The Greeting. Top of the pack of the Milestones are:

    1. Sahara
    2. Sama Layuca
    3. Enlightenment
    4. Focal Point
    5. Echoes Of A Friend
    6. Song for the New World
    7. The Greeting
    8. Atlantis
    9. Song for My Lady

    and yet, others like Fly With The Wind, Horizon, Passion Dance or 13th House are hardly a half-step off any of these. I'm prejudiced more in favor of the ones I've heard over and over. I've never been disappointed with any of those 1978-1982 Milestone recordings either.

    In 1982, Tyner's contract with Milestone expired and he by then he was recognized as one of the finest musicians alive and one with an enviable and lengthy discography. he joined Columbia for a while, but the recording business itself was in flux. He's recorded for a number of labels in a variety of contexts after 1982. I'm not as familiar with a lot of this work--I bought several, but I never warmed to Alex Blake's bass work. He's a fine bassist, but there's something in the sound of his amplified pick up that's never struck my ears just right, and so I avoided Tyner's recordings after that time.

    I've seen him a handful of times since 1980, and he clearly has earned his elder statesman reputation and his playing is still epic. I can't advise on recordings after 13th House, but I am sure there are many that are first rate. For me, Tyner's prime recordings outside of Coltrane's band are on the (seemingly hundreds of) Blue Note recordings where he is either a leader of a sideman, and then the peak is on the Milestone records produced by Keepnews, arranged and directed by Tyner.
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  • My Class of 1965

    Mar 16 2008, 8h45 por mjm716

    Artist - Album


    Abdullah Ibrahim & Dollar Brand - Reflections

    Andrew Hill - Compulsion!
    Andrew Hill - One for One
    Andrew Hill - One for One

    Archie Shepp - Fire Music

    The Beatles - Beatles for Sale EP
    The Beatles - Help! OST
    The Beatles - Miscellaneous EPs
    The Beatles - Rubber Soul
    The Beatles - Rubber Soul [Deluxe - disc 1]
    The Beatles - Rubber Soul [Deluxe - disc 2]
    The Beatles - Rubber Soul [Deluxe - disc 3]

    Blue Mitchell - Complete Blue Note Sessions, 1963-67 (disc 2)

    Bobby Hutcherson - Dialogue
    Bobby Hutcherson - Happenings

    Carmell Jones - Jay Hawk Talk

    Dexter Gordon - Clubhouse
    Dexter Gordon - Gettin' Around

    Freddie Hubbard - The Night of the Cookers: Live at Club La Marchal, CD1
    Freddie Hubbard - The Night of the Cookers: Live at Club La Marchal, CD2

    Grant Green - His Majesty King Funk

    Hank Mobley - Dippin'

    Herb Alpert & The Tijuana Brass - Whipped Cream & Other Delights

    Herbie Hancock - Maiden Voyage

    Horace Silver Quintet plus J.J. Johnson - The Cape Verdean Blues

    Jackie McLean - Consequence
    Jackie McLean - Consequence
    Jackie McLean - Jacknife
    Jackie McLean - Right Now!

    John Coltrane - A Love Supreme (live)

    The Kinks - Kinda Kinks
    The Kinks - The Kink Kontroversy

    Lalo Schifrin - The Liquidator OST

    Lee Morgan - Cornbread
    Lee Morgan - The Rumproller

    Miles Davis - E.S.P.
    Miles Davis - The Complete Live at The Plugged Nickel 1965 (disc 1)
    Miles Davis - The Complete Live at The Plugged Nickel 1965 (disc 2a)
    Miles Davis - The Complete Live at The Plugged Nickel 1965 (Disc 2b)
    Miles Davis - The Complete Live at The Plugged Nickel 1965 (disc 3)
    Miles Davis - The Complete Live at The Plugged Nickel 1965 (disc 4)
    Miles Davis - The Complete Live at The Plugged Nickel 1965 (disc 5)
    Miles Davis - The Complete Live at The Plugged Nickel 1965 (disc 6)
    Miles Davis - The Complete Live at The Plugged Nickel 1965 (disc 7)

    The Monks - Five Upstart Americans

    Pete La Roca - Basra

    The Pretty Things - The Pretty Things

    Rahsaan Roland Kirk - Rip, Rig and Panic (RRK Quartet feat. Elvin Jones)

    Sahib Shihab - And all Those Cats

    Sonny Rollins - on Impulse!

    Stanley Turrentine - Joyride

    Various Artists - Sons of Yma

    Wayne Shorter - Etcetera
    Wayne Shorter - The all Seeing Eye

    Wes Montgomery - Impressions: The Verve Jazz Sides (disc 2)
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  • Collection Vs. Appreciation

    Jul 14 2007, 0h42 por DeeJayB-T

    So my digital music collection just passed 12000 tracks with the addition of some Hank Mobley, Dexter Gordon, and Wayne Shorter. And that got me to thinking about people who collect music versus people who appreciate or love it. I've always thought I straddled the line quite nicely, collection being a gateway to deeper appreciation etc., but then i looked at the playlist I have of things which have not gotten any plays in iTunes, which is at about one thousand. Granted that's somewhat inaccurate as some of that is just stuff I find funny to have (mike jones, abba etc) and sometimes I find ends of songs incredibly tiring so I end up skipping them and it doesn't get logged as a play, but still, it made me think that maybe obsessive music collection can be a barrier to deeper appreciation. As with all branches of knowledge, we have to find the balance between breadth and depth. And as much as I enjoy kicking back with my headphones and listening to songs, that takes a *lot* of time, time I don't neccesarily have. Which could lead to a lot of quality stuff sitting in my crates or on my hard drive, unappreciated. And that makes me sad, honestly. So, what do you think, have I surpassed the tao of music appreciation into pure collector's obsession? What do you think is the right balance?
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  • eclectic score

    Mai 6 2007, 12h57 por cupere

    Take your top 20 artists. For each of these artists, collect the top 5 similar artists. The resulting number of unique artists is your eclectic score. If the score is small (extreme = 5) your musical preferences are very limited, and if it is large (extreme = 100), then you have an eclectic musical preference. You can compute your own score at http://anthony.liekens.net/pub/scripts/last.fm/eclectic.php

    My eclectic score is currently

    79/100



    The 79 related artists for my profile are 10,000 Maniacs 9 Lazy 9 A Tribe Called Quest Aceyalone Afghan Whigs Air Amon Tobin Angel Demar Aphex Twin Band of Horses Bear vs. Shark Beth Orton Björk (2) Blackalicious (3) Boards of Canada (2) Broken Social Scene (2) Cat Power Circa Survive Cursive De La Soul Death Cab for Cutie (2) Destroyer Dexter Gordon DJ Food (2) DJ Krush DJ Shadow DJ Vadim (2) Elliott Smith Emmylou Harris Explosions in the Sky Funki Porcini Galaxie 500 Godspeed You! Black Emperor Grizzly Bear Hank Mobley Jackie McLean Jurassic 5 K.V. Latyrx Lee Morgan Lucinda Williams Lyrics Born (2) M. Ward Mark Lanegan Maroons (AKA Lateef & The Chief) Massive Attack (3) Mazzy Star Mos Def Ms. Triniti My Morning Jacket Pinback Portishead (2) Quannum Radiohead (3) RJD2 (2) Sigur Rós Sonic Youth Sonny Rollins Sufjan Stevens (2) Sunset Rubdown The Album Leaf The Appleseed Cast The Arcade Fire The dB's The Decemberists (2) The Flaming Lips The Gift of Gab (2) The Herbaliser (2) The Mekons The Postal Service The Roots The Shins (2) The Soft Boys Tricky TV on the Radio UNKLE Up, Bustle and Out Wire Yo La Tengo (2)
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  • I Love Lists

    Abr 14 2006, 16h31 por McSplivens

    Miles Davis
    First record heard:Kind of Blue
    Currently loving:My Funny Valentine
    All time fave:Kind of Blue
    Last played:In a Silent Way

    John Coltrane
    First record heard:My Favorite Things
    Currently loving:A Love Supreme
    All time fave:My Favorite Things
    Last played:Ole Coltrane

    Hank Mobley
    First record heard:Workout
    Currently loving:Dippin'
    All time fave:Third Season
    Last played:The Turnaround

    Art Blakey
    First record heard:Moanin'
    Currently loving:At the cafe Bohemia
    All time fave:Moanin'
    Last played:A Night at Birdland

    Charles Mingus
    First record heard:Mingus Ah Um
    Currently loving:Mingus, Mingus, Mingus, Mingus, Mingus
    All time fave:Oh Yeah
    Last played:[album artist=Charles Mingus]The Black Saint And The Sinner Lady/album]

    Dexter Gordon
    First record heard:[album artist=Dexter Gordon]A Jazz Hour With Vol.2[/album]
    Currently loving:[album artist=Dexter Gordon]Dexter Blows Hot And Cool[/album]
    All time fave:[album artist=Dexter Gordon]Doin' Allright[/album]
    Last played:[album artist=Dexter Gordon]Doin' Allright[/album]

    Lee Morgan
    First record heard:[album artist=Lee Morgan]The Sidewinder[/album]
    Currently loving:[album artist=Lee Morgan]Here's Lee Morgan[/album]
    All time fave:[album artist=Lee Morgan]The Sidewinder[/album]
    Last played:[album artist=Lee Morgan]The Rumproller[/album]

    The Modern Jazz Quartet
    First record heard:[album artist=The Modern Jazz Quartet]Django[/album]
    Currently loving:[album artist=The Modern Jazz Quartet]Porgy And Bess[/album]
    All time fave:[album artist=The Modern Jazz Quartet]Django[/album]
    Last played:[album artist=The Modern Jazz Quartet]Fontessa[/album]
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