Andrew Hill with Greg Tardy, Charles Tolliver, John Hebert & Eric McPherson playing ‘For Emilio’ from ‘Time Lines’ recorded in 2005:
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I was playing some of the music from the Andrew Hill book before I went away. Quite interesting to see his approach . I like 'Naked soul' but the selection of compositions is indicative of how obscure many of his albums are.i I don't have the Timelines disc.Comment
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Brew Moore in Europe, with Lars Gullin and Sahib Shihab etc. Copenhagen 1962. Brew was a very good and intriguing tenor in the Lester to Zoot Sims mode. What makes this great as well is Sahib Shihab's alto sounding very much (to me) almost like Joe Harriot, although I'm sure not an influence. The feel of the track is similar. For 1962, with these people, this is fascinating...
"The Monster" eleven minutes!
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Italian pianist Giorgio Gaslini(1929-2014) playing Albert Ayler’s ‘Ghosts’ from ‘Ayler’s Wings’ recorded in Milan, 1980:
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BluesnikOriginally posted by BLUESNIK'S REVOX View Post
Curious to read your enthusiasm for Brew Moore as the inflight entertainment featured his Savoy recordings amongst the selection. I usually love late 40s jazz but the Moore selections really under whelmed. Moore sounds rather annodyne in these recording but the group with Gene DiNovi was not great. They are not that tight and i think the material is a bit thin.
The Qatar Airways selection included a lot of Marcus Miller as well a very average records by the bands of Charlie Barnet and Erskine Hawkins. By far the best record was Shorty Roger's ' Cool and Crazy.' I have always loved this record but not listened for ages. The band swings furiously . The arrangements are really good and deserve close attention. In my opinion 'Infinity Promenade' is the pick of the bunch and i think the passage of time has made it seem more edgy and dissonant. This is a defining album from 1950s.Comment
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Brew Moore with trumpeter Tony Fruscella, Bill Triglia, Teddy Kotick & Bill Heine playing ‘Bill Triglia’s Original’ recorded for Atlantic in 1954 but not released until 2011!
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??↔️ The first time I heard Brew Moore was decades ago when Humph played a live recording of him playing Blue Monk in Copenhagen. He (Humph) remarked on his fate of coming into some significant family money and then drunkenly falling down the stairs of the club. No more Brew.and too much "Brew", a heavy drinker. He was apparently well regarded in Denmark until Dexter came along and then his star fadded. I like his playing a lot.Comment
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Me too. Fashion changes might have had something to do with it: the "outmoding" of West Coast "Cool" by 1960, or at any rate the stereotyped version put out of it,Originally posted by BLUESNIK'S REVOX View PostComment
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"Time was running out for Brew. There was one more album - a great set made at a Stockholm club [Stampen] where Moore really grooved. Then came the news that he had died after falling down a flight of steps in a restaurant.
The final irony: Brew, who had scuffled and scraped for cash almost all his life, had just been left a substantial sum of money, to give him genuine security, by a relative who had died. It happened too late.”
“Scuffling” is very much the byword when talking about Brew as one has to jump here and there to find the few scraps of information and opinion that has been written about him in that Jazz literature"
He shows up in "On the Road" playing a solo that "heralds the new world" or something. Also drove across the States with Woody Guthrie and Jack Elliott. Guthrie wouldn't talk to him after he heard him play because he hated jazz. Quite a life anyway.
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Robert Johnson - "Kind hearted woman". Speed adjusted c.10%. It's suggested that (some if not all) Robert's recordings were accidentally or deliberately issued at the wrong speed. I've had the LP records since the 1960s and have the complete CD box set, but this sounds fascinating to me, the guitar sound and the vocal is so much more natural, the falsetto section chilling. No idea as to the truth but ...
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The same was done with Fats Domino in the mid & later 50s. To make them "brighter" aka "whiter*. But no idea of the truth re Robert and there is so much mythology around him.Last edited by BLUESNIK'S REVOX; 25-02-26, 10:20.Comment
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Here’s Elijah Wald on the Robert Johnson speed controversy:
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The Elijah Wald book is excellent. Ages since i read it but it is very good at putting the blues into context.
The issue of the accuracy of old recordings is fascinating and i have read previous articles about discs apparently altering the keys of the music. I seem to recall reading about pieces changing from the easy key of B flat major to the more difficult B major which would make the music even more impressive. Riccardi's biography of Louis Armstrong is fascinating in this respect and recollects the story that New York trumpet player Johnny Dunn challenged Armstrong to a dual and had expected to humiliate Satch insofar that most New York players in mid 1920s were quite aloof. Ultimately, Armstrong selected a challenging key in which Dunn was incapable of playing.
i think that the issue of recordings altering the key by a semitone probably needs to be taken with caution as there were musicians out there in 20s and 30s who would not be phased by difficult keys. Fletcher Henderson's band performed charts with many awkward keys. I would guess that players like BunkJohnson and Freddie Keppard would have chosen easier keys.
It would be interesting to assess those musicians who were confortable playing in awkward keys with loads of sharps.
i do think that the recording technology of 1920s had an impact on how different groups may have sounded live. Acoustic recordings sound stilted andckockwork to my ears and i amnot convinced thisisthe sound audiences would have heard.
The Wald article makes sense. It seems credible that each recording session would be different. If you plough back further to rge Paramount eecordings of B L Jefferson or Charley Patton , it is not difficult to argue that something was lost in the recording process.
The discs were seen as empheria and
there was no interest in them until late 30s when rhe revival movement first started.Comment
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Tenor saxophonist Don Wilkerson with Nat Adderley, Barry Harris, Sam Jones & Billy Higgins playing Cannonball Adderley’s ‘The Twister’ in 1960:
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