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Ja, höchst fragwürdig … zudem ja auch gar nicht die Duke Pearson Big Band sondern einfach verschiedene typische mittelgrosse Besetzungen. Ziemlicher Etikettenschwindel!
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"Don't play what the public want. You play what you want and let the public pick up on what you doin' -- even if it take them fifteen, twenty years." (Thelonious Monk) | Meine Sendungen auf Radio StoneFM: gypsy goes jazz, #151: Neuheiten aus dem Archiv – 09.04., 22:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tbaHighlights von Rolling-Stone.deHuey Lewis im Interview: „Die Mundharmonika ist die Antithese zum Techno“
Xavier Naidoo: Das „Ich bin Rassist“-Interview in voller Länge
„Westworld“-Schlusskritik: Tschüss, bin wohl zu blöd für die Serie
Rolling Stone Playlist: 10 Song-Schätze auf Single-B-Seiten
Courtney Love: „Kurt wollte sich jeden Tag umbringen“
Video: „Tagesthemen“ berichtet 1994 über den Tod von Kurt Cobain
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Betty Carter – The Music Never Stops
Blue Engine Records (Jazz at Lincoln Center), März 2019—
Monday, January 28th, 2019
Blue Engine Records Announces Betty Carter’s The Music Never StopsNever-Before-Released Live Recording of Betty Carter’s Jazz at Lincoln Center 1992 Performance
Available in stores, online, and streaming on March 29, 2019New York, NY – January 29, 2019 – Blue Engine Records announces the release of some of the earliest material ever recorded by Jazz at Lincoln Center–jazz trailblazer and vocalist Betty Carter’s The Music Never Stops. This live performance at New York’s Aaron Davis Hall was recorded in 1992, six years before Carter’s untimely passing and during the early days of Jazz at Lincoln Center. The Music Never Stops marks Carter’s first posthumous album as well as the artist’s first release composed entirely of previously unheard material in 22 years (the last being “I’m Yours, You’re Mine” in 1997). The first single from The Music Never Stops,“Tight! / Mr. Gentleman,” is available for streaming and download on all mass-market digital platforms on Friday, February 1. Betty Carter’s The Music Never Stops will be released, 27 years to the date of the historic performance, on March 29, 2019, is available for preorder on Amazon today.
The long-running debate over what defines a jazz singer simply dissolves when Betty Carter’s name comes up. She transcended the entire category and took her place in the music pantheon as one of jazz’s most profound and game-changing innovators. Her impact was pervasive: not only did she influence a wide range of artists with her music, but the “University of Betty Carter” stands alongside Art Blakey’s Jazz Messengers as one of the jazz world’s elite finishing schools, training many of today’s most acclaimed jazz artists.
Carter challenged herself throughout her entire career, but the concert captured on The Music Never Stops represents perhaps the pinnacle of her musical ambitions. Harnessing a full jazz orchestra, a string section, and three distinct piano trios, Carter delivered a stunning tour-de-force performance that until now only lived in the memories of the enthralled and highly responsive audience members who were fortunate enough to have been there.
The orchestra Carter enlisted include such stalwarts as Robin Eubanks, Art Baron, Jerry Dodgion, Alex Foster, and Lew Soloff. Pianists John Hicks, Geri Allen, and Cyrus Chestnut; bassists Lisle Atkinson and Ariel Roland; and drummers Kenny Washington, Greg Hutchinson, and Clarence Pennfilled out the three swinging rhythm sections. Many of the participants were Carter’s former students, and all of the rhythm section players were members of her various trios.
Carter’s magnificent performance was a massive and ambitious undertaking. The Music Never Stops proved to be an apt title, as over the course of two hours it never did. She darted back and forth between the different ensembles, transitioning seamlessly and effortlessly between burning bebop and deeply felt ballads, wearing out the musicians with her stamina. The album highlights the legendary Carter’s many talents: mesmerizing balladry, exhilarating swing, impeccable lyricism, stunning improvisation, and her unparalleled ability to build both a narrative and a mood by spontaneously weaving jazz standards and her own genius material together. For example, a 16-minute medley of what Carter calls “question songs”—“Why Him?”, “Where or When”, and “What’s New?”—takes three seemingly disparate standards and crafts a seamless, epic narrative of love found, lost, and (maybe) found again. Carter’s originals like “30 Years” and “Make Him Believe” offer up inventive and unsparing treatments of modern love, challenging gender norms and constructing narrative tapestries in a way that’s still visionary today.
THE MUSIC NEVER STOPSTRACK LISTING:
1. “Ms. B.C.”
Written by Pamela Watson
Arranged by Bobby Watson
Personnel: The Big Band*
Soloists: Alex Foster (tenor saxophone), Kamau Adilifu (trumpet)2. “Make It Last”
Written by Dick Haymes
Arranged by Melba Liston
Personnel: Betty Carter (vocals), The Big Band*, The Strings**3. “30 Years”
Written by Betty Carter
Personnel: Betty Carter (vocals), Cyrus Chestnut (piano), Ariel Roland (bass), Greg Hutchinson (drums)
4. “Why Him? / Where or When / What’s New?
Why Him?”
Written by Burton Lane & Alan Jay Lerner
Personnel: Betty Carter (vocals), Cyrus Chestnut (piano), Ariel Roland (bass), Greg Hutchinson (drums)“Where or When”
Written by Lorenz Hart & Richard Rodgers
Personnel: Betty Carter (vocals), Cyrus Chestnut (piano), Ariel Roland (bass), Greg Hutchinson (drums)“What’s New?”
Written by Bob Haggart & Johnny Burke
Personnel: Betty Carter (vocals), Cyrus Chestnut (piano), Ariel Roland (bass), Greg Hutchinson (drums)5. “Tight! / Mr. Gentleman”
Written by Betty Carter
Personnel: Betty Carter (vocals), Cyrus Chestnut (piano), Ariel Roland (bass), Greg Hutchinson (drums)6. “Social Call”
Written by Qusim Basheer & Jon Hendricks
Arranged by Gigi Gryce
Personnel: Betty Carter (vocals), The Big Band*
Soloists: Lou Marini (tenor saxophone)7. “Moonlight in Vermont”
Written by John M Blackburn & Karl Suessdorf
Personnel: Betty Carter (vocals), The Big Band*8. “The Good Life”
Written by Sacha Distel, Jean Broussolle & Jack Reardon
Personnel: Betty Carter (vocals), Cyrus Chestnut (piano), Ariel Roland (bass), Clarence Penn (drums)9. “Bridges”
Written by Betty Carter
Personnel: Betty Carter (vocals), Cyrus Chestnut (piano), Ariel Roland (bass), Clarence Penn (drums)10. “If I Should Lose You”
Written by Leo Robin & Ralph Rainger
Personnel: Betty Carter (vocals), Geri Allen (piano)11. “Most Gentlemen Don’t Like Love”
Written by Cole Porter
Personnel: Betty Carter (vocals), Cyrus Chestnut (piano), Ariel Roland (bass), Clarence Penn (drums)Includes interpolation of:
“Everything I Have Is Yours”
Written by Harold Adamson & Burton Lane
Personnel: Betty Carter (vocals), Cyrus Chestnut (piano), Ariel Roland (bass), Clarence Penn (drums)12. “Make Him Believe”
Written by Betty Carter
Personnel: Betty Carter (vocals), Cyrus Chestnut (piano), The Strings**, Geri Allen (conductor)13. “Frenesi”
Written by Alberto Dominguez & Leonard Whitcup
Arranged by Gigi Gryce
Personnel: Betty Carter (vocals), The Big Band*PERSONNEL:
The Trios
Cyrus Chestnut – piano
Ariel Roland – bass
Clarence Penn – drums
John Hicks – piano
Lisle Atkinson – bass
Kenny Washington – drumsFeaturing
Geri Allen – piano
Greg Hutchinson – drumsThe Big Band*
Jerry Dodgion – alto saxophone
Rick Wald – alto saxophone
Alex Foster – tenor saxophone
Lou Marini – tenor saxophone
Joe Temperley – baritone saxophone
Art Baron – trombone
Robin Eubanks – trombone
Joe Randazzo – trombone
Lew Soloff – trumpet
Earl Gardner – trumpet
Ron Tooley – trumpet
Kamau Adilifu – trumpet
John Hicks – piano
Lisle Atkinson – bass
Kenny Washington – drumsThe Strings**
Jeanne LeBlanc – cello
Akua Dixon – cello
Julie Green – cello
Bruce Wang – cello
John Beal – bass
Dave Finck – bassQuelle:
https://www.jazz.org/press/blue-engine-records-announces-betty-carters-the-music-never-stops/—
Die New York Times berichtete damals über das Konzert:
https://www.nytimes.com/1992/03/30/arts/review-jazz-nonstop-improvisation-with-a-big-band-backup.html--
"Don't play what the public want. You play what you want and let the public pick up on what you doin' -- even if it take them fifteen, twenty years." (Thelonious Monk) | Meine Sendungen auf Radio StoneFM: gypsy goes jazz, #151: Neuheiten aus dem Archiv – 09.04., 22:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tba
soulpope "Ever Since The World Ended, I Don`t Get Out As Much"Registriert seit: 02.12.2013
Beiträge: 56,361
gypsy-tail-wind
Betty Carter – The Music Never Stops Blue Engine Records (Jazz at Lincoln Center), März 2019 — Monday, January 28th, 2019 Blue Engine Records Announces Betty Carter’s The Music Never Stops Never-Before-Released Live Recording of Betty Carter’s Jazz at Lincoln Center 1992Schon schon guad aus …
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"Kunst ist schön, macht aber viel Arbeit" (K. Valentin)
Wes Montgomery – Back on Indiana Avenue: The Carroll DeCamp Recordings
(2 CD / RSD 2 LP)RESONANCE HEADS BACK ON INDIANA AVENUE WITH NEW RELEASE OF WES MONTGOMERY RARITIES
Label’s sixth collection of jazz guitar great’s unheard work arrives as limited edition
two-LP Record Store Day exclusive April 13; two-CD/Digital sets due April 19Montgomery’s early career in Indianapolis revealed in studio and live recordings by Indianapolis pianist and arranger Carroll DeCamp
Deluxe package includes essay by jazz scholar Lewis Porter and exclusive interviews with guitar giants George Benson and John Scofield
Los Angeles, Calif.—Resonance Records, the leading outlet for high-quality, previously unissued archival jazz releases, delves deeper into the early, unheard work of the innovative and influential guitarist Wes Montgomery with its April 13 (LP) and April 19 (CD) release, Back on Indiana Avenue: The Carroll DeCamp Recordings.
Maintaining its tradition of support for independent retailers, the label will initially issue the set — its sixth devoted to unreleased official Montgomery performances — as an exclusive limited edition 180-gram two-LP set on Record Store Day, the annual independent record store event. The vinyl edition is mastered by Bernie Grundman at Bernie Grundman Mastering in Hollywood and pressed at Record Technology, Inc. (RTI). Deluxe two-CD and digital configurations will be available April 19.
All iterations of the collection will include essays by jazz scholar Lewis Porter and Resonance co-president and producer Zev Feldman; plus interviews with master jazz guitarists George Benson and John Scofield; saxophonist, educator, and publisher Jamey Aebersold; and guitarist Royce Campbell, nephew of Carroll DeCamp, the late Indiana musician and arranger who captured the revelatory music heard on the new album.
Resonance’s most recent releases devoted to Montgomery have garnered widespread acclaim. Both 2018’s Wes Montgomery in Paris, a set of 1965 concert recordings from France’s Office of French Radio and Television archives, and 2017’s Smokin’ in Seattle, drawn from 1966 radio dates by the guitarist with pianist Wynton Kelly’s combo, were named among the top archival releases of the year by DownBeat, JazzTimes, and NPR Music’s Jazz Critics Poll.
Like Echoes of Indiana Avenue (2012), In the Beginning (2015), and the live One Night in Indy (2016), Back on Indiana Avenue surveys the music Montgomery made in his hometown during the years before he rocketed to fame after signing with Riverside Records in 1959.
Feldman – known in the industry as “the Jazz Detective” for his ability to ferret out previously unheard music — says, “In many ways, this is another case of Resonance solving a mystery. When we released Echoes of Indiana Avenue, we didn’t know the story of where the tapes had come from, but now with Back on Indiana Avenue we know they came from the great composer/pianist Carroll DeCamp. This release is another ‘holy grail’ find for Wes Montgomery fans.”
In his essay, historian Porter says the provenance of the material on that first Resonance collection became evident after he struck up a friendship with DeCamp, a noted arranger and musician who had been based in Indianapolis for many years. At Porter’s suggestion, DeCamp’s protégé Brook Reindollar contacted Feldman about this precious store of buried recordings — some cut by Montgomery in a studio, some captured informally in “live” settings by DeCamp.
“Eventually,” Porter writes, “with the help of our mutual friend Jamey Aebersold, we tracked down Carroll’s cache of unissued Wes Montgomery recordings — almost three hours worth! You’ve heard some on Echoes of Indiana Avenue, but we did not know that those tapes came from DeCamp’s collection. This album rectifies that situation by giving Carroll full credit. Even better, it gives you and the world two more excellent hours of never-heard Wes!”
On the DeCamp recordings, Montgomery is heard in full flight in a variety of settings — piano quartets, organ trios, sextets, and drummer-less Nat “King” Cole-style trios. Though DeCamp made no notes on the personnel, dedicated research and listening by Porter and the late musician and educator David Baker suggests that the players included such close associates as Montgomery’s brother Buddy, the guitarist’s longtime organist Melvin Rhyne, pianist John Bunch, and even the legendary Indianapolis-born pianist Carl Perkins just to name a few.
The 22 selections on Back on Indiana Avenue include embryonic versions of several of the numbers Montgomery would record at his early sessions for Riverside, including “Round Midnight,” “Jingles,” “Whisper Not,” “The End of a Love Affair,” “Ecaroh,” “West Coast Blues,” “Four On Six,” “Mister Walker,” “Tune-Up,” and “Sandu.”
Feldman says, “These are very exciting recordings that Resonance is honored to present in conjunction with the Montgomery Estate. To be able to contribute to a large part of the legacy of such an iconic artist as Wes — with even more newly-discovered, great music — is very special. Unearthing not just run of the mill recordings, but some really great material from one of the guitar’s most distinctive voices, is a momentous event. Stuff like this just doesn’t pop up every day.”
Some 60 years after the music on Back on Indiana Avenue was recorded, Wes Montgomery still inspires awe in the distinguished guitarists who followed him.
As John Scofield notes in his interview, “He was the main man back then in the ’60s, so everybody knew about him. If you were a kid and wanted to learn about jazz guitar, he was at the top of the list.”
Recalling the moment in 1961 that he heard Montgomery for the first time, playing “While We’re Young” on the radio of his 1952 Dodge, his great disciple George Benson recalls, “I had to pull over to the side because I’d never heard this great a tone in all my life.”
Track listing for Back on Indiana Avenue:
DISC ONE:
Four On Six (4:45)
Mr. Walker (3:45)
‘Round Midnight (7:12)
So What (4:56)
The End of A Love Affair (4:25)
Tune Up (4:34)
West Coast Blues (3:14)
Jingles (8:19)
It’s You Or No One (4:29)
Nothing Ever Changes My Love For You (5:56)
Ecaroh (3:49)
Sandu (4:26)
Whisper Not (6:45)
DISC TWO:Stompin’ at the Savoy (7:26)
It’s You or No One (Take 2) (9:21)
Opus De Funk (6:52)
Summertime (9:38)
Between the Devil and the Deep Blue Sea (4:51)
Easy Living (5:49)
Four (5:36)
I’ll Remember April (5:23)
The Song Is You (8:48)—
Bill Evans – Evans in England
(2 CD / RSD 2 LP)RESONANCE RECORDS’ NEW BILL EVANS DISCOVERY EVANS IN ENGLAND BOWS AS A LIMITED-EDITION TWO-LP RECORD STORE DAY EXCLUSIVE ON APRIL 13 AND TWO-CD/DIGITAL RELEASE ON APRIL 19
Previously unreleased 1969 recordings with Eddie Gomez and Marty Morell at Ronnie Scott’s Jazz Club in London, England is the fourth official collaboration with the Evans Estate
Includes an extensive book with rare photos by Jean-Pierre Leloir; essays by acclaimed author Marc Myers and French filmmaker Leon Terjanian; plus exclusive interviews with Eddie Gomez and Marty Morell
LOS ANGELES, Calif.—Resonance Records, the leading outlet for high-quality, unheard archival jazz releases, proudly announces that it will issue Evans in England, a vibrant, previously unreleased set of recordings featuring music by lyrical piano master Bill Evans with bassist Eddie Gomez and drummer Marty Morell captured during an engagement at Ronnie Scott’s celebrated jazz club in December 1969.
The Evans album continues Resonance’s tradition of unveiling a special release on Record Store Day, the annual event promoting independent record retailers. As Variety noted in a 2018 profile of the label, “If Record Store Day had a mascot label, it would be Resonance Records, a small, L.A.-based jazz independent that’s become known even outside the genre for producing high-end archival releases tailored especially with the RSD market in mind.”
Evans in England, which features 18 electrifying performances by Evans’ brilliant trio of 1968-74, will initially be issued on April 13 — Record Store Day 2019 — as a limited edition 180-gram two-LP set, mastered by Bernie Grundman at Bernie Grundman Mastering in Hollywood and pressed at Record Technology, Inc. (RTI); the package will be available only at participating independent record outlets. Two-CD and digital configurations of the set will be available April 19.
The album will include extensive liner notes including essays by producer and Resonance co-president Zev Feldman and jazz writer Marc Meyers; interviews with Gomez, Morell, and filmmaker Leon Terjanian; and rare photos by Chuck Stewart, Jean-Pierre Leloir, and Jan Persson.
Evans in England succeeds a pair of widely acclaimed Evans releases from Los Angeles-based independent Resonance that featured the pianist’s short-lived 1968 trio with Gomez and drummer Jack DeJohnette: 2016’s collection of lost studio sides Some Other Time and 2017’s set of Dutch radio recordings Another Time. The latter release was named one of the year’s top historical releases by DownBeat, JazzTimes, the U.K.’s Jazzwise, and the NPR Music Jazz Critics Poll.
In 2012, the label released its first album devoted to unissued music by the pianist, Bill Evans Live at Art D’Lugoff’s Top of the Gate, a set of two never-before-heard 1968 concerts from the Greenwich Village club featuring the trio with Gomez and Morell recorded by Resonance founder and co-president George Klabin when he was just 18 years old.
Producer Feldman says, “It’s very exciting for Resonance to be collaborating on our fourth project together with the Evans Estate. These are really extraordinary recordings that represent Bill at his very, very best, and document the great art and chemistry that existed between these three gentlemen — Bill Evans, Eddie Gomez and Marty Morell — captured just a year into what would go on to become Bill’s longest-lasting trio.”
As has been the case with some of Resonance’s other collections of rare and unheard jazz, the music on Evans in England arrived at the label’s doorstep via a bolt out of the blue: an unexpected email to Feldman from a man who said he was in possession of some previously unissued Evans recordings.
The gentleman in question was Leon Terjanian, a friend and devoted fan of Evans who had filmed the pianist for his documentary feature Turn Out the Stars, which premiered at the Montreal Jazz Festival in 1981.
Through the late Francis Paudras, the famed biographer of jazz piano titan Bud Powell, Terjanian had made the acquaintance of a French collector who chooses to identify himself only as “Jo.” A similarly ardent admirer of Evans’ playing, Jo had tracked the keyboardist across Europe and even captured his trio’s sets at Ronnie Scott’s.
Evans discovered Jo’s surreptitious recording activities (which employed a small portable machine), but the musician grew comfortable with his presence, and he allowed his dedicated fan to tape his performances.
In July 2016, Terjanian received a phone call from 84-year-old Jo, who said he wanted to see his Evans recordings issued to the public before his death. That communication prompted contact with Feldman at Resonance. Arrangements were made with the Evans Estate for a legitimately licensed release of the material, with tracks selected by co-presidents George Klabin and Zev Feldman.
Marked by the already empathetic interplay of Evans, Gomez, and Morell, who would perform together for nearly seven years, Evans in England is an exceptional recital that encompasses energetic renderings of such timeless compositions as “Waltz for Debby,” “Turn Out the Stars,” “Very Early,” and “Re: Person I Knew”; extroverted readings of Miles Davis’ “So What” (which Evans originated with the trumpeter sextet on the 1959 classic Kind of Blue) and Thelonious Monk’s “’Round Midnight”; and Evans’ earliest recordings of “Sugar Plum” and “The Two Lonely People.”
Feldman says, “Bill Evans is an artist who continues to inspire us, all these decades later. I still hear new things in his music upon each new listen, and to find an unearthed set of concert recordings such as these is a cause for widespread joy and jubilation to break out among Evans fans and jazz fans everywhere.”
Looking back on the experience of playing with Bill Evans, Gomez says, “He wanted us — me — from the very beginning to just go out there and play and make music, and as long as there’s a lot of integrating and honesty and devotion to what we’re doing, he was fine. He never put any parameters, or kiboshed anything. So it was an invitation from Bill to try stuff and be creative, and I certainly took the bait.”
Morell adds, “It was challenging, inspiring, and just kind of brought the best out of me.”
Track listing for Evans in England:
DISC ONE:
Our Love Is Here to Stay (4:44)
Sugar Plum (9:44)
Stella By Starlight (6:23)
My Foolish Heart (4:41)
Waltz for Debby (7:59)
‘Round Midnight (6:37)
The Two Lonely People (8:07)
Who Can I Turn To (When Nobody Needs Me) (7:20)DISC TWO:
Elsa (7:16)
What Are You Doing for The Rest of Your Life? (5:50)
Turn Out the Stars (5:20)
Re: Person I Knew (8:51)
Goodbye (2:39)
Come Rain or Come Shine (5:11)
Very Early (5:03)
So What (9:35)
Midnight Mood (5:07)
Polka Dots and Moonbeams (4:15)--
"Don't play what the public want. You play what you want and let the public pick up on what you doin' -- even if it take them fifteen, twenty years." (Thelonious Monk) | Meine Sendungen auf Radio StoneFM: gypsy goes jazz, #151: Neuheiten aus dem Archiv – 09.04., 22:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tba
soulpope "Ever Since The World Ended, I Don`t Get Out As Much"Registriert seit: 02.12.2013
Beiträge: 56,361
Die Bill Evans Veröffentlichung schaut guad aus ….
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"Kunst ist schön, macht aber viel Arbeit" (K. Valentin)
Erscheinen ist diese einst (beim Amazon-Eintrag steht August 2017) geplante Hat-CD nie … aber mir kam neulich zu Ohren, Uehlinger starte ein neues Label und das sei die erste geplante Veröffentlichung. Der Mitschnitt macht seit Jahren die Runden, eine offizielle Veröffentlichung wäre natürlich sehr willkommen.
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"Don't play what the public want. You play what you want and let the public pick up on what you doin' -- even if it take them fifteen, twenty years." (Thelonious Monk) | Meine Sendungen auf Radio StoneFM: gypsy goes jazz, #151: Neuheiten aus dem Archiv – 09.04., 22:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tbaDas hier las man schon vor ein paar Monaten (Quelle):
One Feldman archival production will arrive via Universal’s Verve Music Group in April: “Getz at the Gate,” a two-CD/three-LP collection of previously unissued 1961 live performances at New York’s Village Gate by tenor saxophonist Stan Getz.
Line-Up steht noch nirgends, aber bei CD Japan tauchte gerade die Trackliste auf (via Google Translate und hoffentlich korrekt bereinigt). Das Line-Up der Birdland-Mitschnitte aus dem November 1961 ist das folgende: Stan Getz (ts), Steve Kuhn (p), Jimmy Garrison (b), Roy Haynes (d). Es wird bestimmt eine reguläre US/EURO-Ausgabe geben, aber da finde ich noch nichts dazu (nur einen noch ziemlich leeren Link).
Stan Getz – Getz At The Gate
DISC 1
1. Announcement by Art D’Lugoff
2. It’s Alright With Me
3. Wild Wood
4. When The Sun Comes Out
5. Impressions (Piano Trio)
6. Airegin
7. Like Someone In Love
8. Woody’n You
9. BluesDISC 2
1. Where do you go?
2. Yesterday’s Gardenias
3. Stella by Starlight
4. It’s You Or No One
5. Spring Can Really Hang You Up The Most
6. 52nd Street Theme
7. Jumpin with Symphony SidCatalog No.: UCCV-1175
JAN/ISBN: 4988031333839
Product Type: CDHQCD
Number of Discs: 2
Label/Distributor: UNIVERSAL MUSICQuelle:
http://www.cdjapan.co.jp/product/UCCV-1175--
"Don't play what the public want. You play what you want and let the public pick up on what you doin' -- even if it take them fifteen, twenty years." (Thelonious Monk) | Meine Sendungen auf Radio StoneFM: gypsy goes jazz, #151: Neuheiten aus dem Archiv – 09.04., 22:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tba
soulpope "Ever Since The World Ended, I Don`t Get Out As Much"Registriert seit: 02.12.2013
Beiträge: 56,361
gypsy-tail-wind
Erscheinen ist diese einst (beim Amazon-Eintrag steht August 2017) geplante Hat-CD nie … aber mir kam neulich zu Ohren, Uehlinger starte ein neues Label und das sei die erste geplante Veröffentlichung. Der Mitschnitt macht seit Jahren die Runden, eine offizielle Veröffentlichung wäre natürlich sehr willkommen.Ja wäre fein ….
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"Kunst ist schön, macht aber viel Arbeit" (K. Valentin)NoBusiness Records
12. April um 13:14SOON on NoBusiness Records
We are starting the series of Sam Rivers archive recordings. The volume 1 will be released in May on CD.
Stay tuned !!!Sam Rivers trio – featuring Cecil McBee and Norman Connors — EMANATION
Live at the Jazz Workshop, 1971Ein Cover gibt es dort auch schon:
https://de-de.facebook.com/nobusinessrecords/Und direkt drunter was über eine neue Veröffentlichung von Detail (Dyani-Gjerstad-Stevens).
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"Don't play what the public want. You play what you want and let the public pick up on what you doin' -- even if it take them fifteen, twenty years." (Thelonious Monk) | Meine Sendungen auf Radio StoneFM: gypsy goes jazz, #151: Neuheiten aus dem Archiv – 09.04., 22:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tbaGeil, die Sache mit Sam Rivers!
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Ohne Musik ist alles Leben ein Irrtum.Sehr toll, ja! Es gibt da ja haufenweise Material (vgl. die Sessionography von Rick Lopez) – ist also zu hoffen, dass daraus wirklich eine Serie wird, die nicht gleich nach ein oder zwei CDs wieder einschläft.
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"Don't play what the public want. You play what you want and let the public pick up on what you doin' -- even if it take them fifteen, twenty years." (Thelonious Monk) | Meine Sendungen auf Radio StoneFM: gypsy goes jazz, #151: Neuheiten aus dem Archiv – 09.04., 22:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tbaWer versucht sich diese hathut/Uehlinger-Sache auf der Seite von hatology durchzulesen (deren einzige Konstante ihre Ensetzlichkeit ist), dem schmilzt das Gehirn.
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Ohne Musik ist alles Leben ein Irrtum.gypsy-tail-windSehr toll, ja! Es gibt da ja haufenweise Material (vgl. die Sessionography von Rick Lopez) – ist also zu hoffen, dass daraus wirklich eine Serie wird, die nicht gleich nach ein oder zwei CDs wieder einschläft.
Ich bin total dabei. Trotz seiner Bedeutung wurde Rivers ja bisher mit Reissues eher spärlich behandelt.
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Ohne Musik ist alles Leben ein Irrtum.nail75Wer versucht sich diese hathut/Uehlinger-Sache auf der Seite von hatology durchzulesen (deren einzige Konstante ihre Ensetzlichkeit ist), dem schmilzt das Gehirn.
Tja … irgendwie tragisch, weil er es halt nicht geschafft hat, einen Nachfolger aufzubauen (was ja kein Einzelfall ist, der Herr von FMP will ja lieber alles ins Grab nehmen als dass jemand die Musik hören kann, das finde ich noch dämlicher/tragischer) … aber wenn das mit der Fortsetzung was wird, bin ich zumindest an der Giuffre-Scheibe gewiss interessiert (auch wenn ich den Mitschnitt seit Jahren irgendwo auf einer CD-R habe – die vielleicht nicht mehr abspielbar ist, wer weiss).
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"Don't play what the public want. You play what you want and let the public pick up on what you doin' -- even if it take them fifteen, twenty years." (Thelonious Monk) | Meine Sendungen auf Radio StoneFM: gypsy goes jazz, #151: Neuheiten aus dem Archiv – 09.04., 22:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tbagypsy-tail-wind
nail75Wer versucht sich diese hathut/Uehlinger-Sache auf der Seite von hatology durchzulesen (deren einzige Konstante ihre Ensetzlichkeit ist), dem schmilzt das Gehirn.
Tja … irgendwie tragisch, weil er es halt nicht geschafft hat, einen Nachfolger aufzubauen (was ja kein Einzelfall ist, der Herr von FMP will ja lieber alles ins Grab nehmen als dass jemand die Musik hören kann, das finde ich noch dämlicher/tragischer) … aber wenn das mit der Fortsetzung was wird, bin ich zumindest an der Giuffre-Scheibe gewiss interessiert (auch wenn ich den Mitschnitt seit Jahren irgendwo auf einer CD-R habe – die vielleicht nicht mehr abspielbar ist, wer weiss).
Umgekehrt ist die Frage, ob es überhaupt jemanden gegeben hat, der das Label weiterführen will. Ob so ein Label im Jahr 2019 noch eine Zukunft hat, ist einfach extrem fraglich. Interesse habe ich natürlich auch.
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Ohne Musik ist alles Leben ein Irrtum.
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