Don't know if you're familiar with it, but Terry Callier has a great backstory... one of those underdog comebacks. Other Verve re-issues from that period are also really good (can't think of the titles now... one has Rain in it). Also, the New Folk Sound of Terry Callier, which started things off in many ways, though it's got a bit of a different sound.
Feeling a bit lazy to make my own choices today, so went with some resent listens on here, so thanks Doofy, Lowlife, and Bad Thoughts, just ran through your latest listens and enjoyed them all. Thanks!
Michael McDaniel - flute,alto flute,soprano sax,percussion
Richard Davis - trumpet,fluggle horn Don Preston - piano
Trevor Ware - bass
Allen Cook - drums
Don't know if you're familiar with it, but Terry Callier has a great backstory... one of those underdog comebacks. Other Verve re-issues from that period are also really good (can't think of the titles now... one has Rain in it). Also, the New Folk Sound of Terry Callier, which started things off in many ways, though it's got a bit of a different sound.
i found this disc from a small article in waxpoetics (great music magazine, btw). i'll check out the rest. i love these "comeback" stories. bobby womack is another one; his new album comes out on XL this year.
Darkness on the Edge of Town is my fave Bruce album, I purchased The Promise last year which had all the outakes which was very interesting to see the tracks that did not make the record.
Start the morning with an old fave, digging through my older stuff realise how much good stuff that I dont play. Putting e music on hold seems a good idea especially when I have found so much good stuff already purchased.
I must admit that I am a bit of an anorak when it comes to BS recordings, Lowlife. I think/hope I have everything that he has released legally, including tracks where he appears as a guest. All of his own recordings I always buy on CD, never download. He is the only artist that I automatically do that. and I do agree with your comment about The Promise. From the same era I've also got a copy of Ties that Bind, a CD that was going to be released but never made it. Everything appears as part of The River, but a number of tracks have different takes/arrangements. There are rumours that there could be more to come from the vaults for that era.
The band say: In the tradition of the travelling bands, we guess were a bit like a Yorkshire E-Street Band...meets Arcade Fire...meets ... more The Faces meets Dexys Midnight Runners meets Prefab Sprout.
Superb brightened up my morning no end, there are a few more albums to search
To go way, way back to an earlier conversation, (ok, it was only last week but still), over the long long weekend I listened to
And
And, GP, I'm taking back everything I said about intrinsic value of long, experimental tracks. I still stand by the risk-reward thing with long tracks though, and I'm still happy to have gotten those albums for so cheaply.
Two things with regards to the price of long tracks:
1. Since the sale of tracks and albums is more of a matter of the labels profits than the musicians' incomes, the question is almost academic.
2. Length isn't a measure of complexity. Better measures are: how much composition? how much improvisation? how much arranging? how much repetition? how much rehearsal was necessary? were the tracks programmed,or did they require a physical performance by a musicians? what did it require to assemble the right musicians? how much investment in education was required? how much did the recording and mixing processes cost? were grants and other forms of public and private funding used? how much can consumers preview?
"Delicious" is the word that comes to mind. I'm finding things that I really, really like in this area of what I guess is ambient jazz(?) (Arve Henriksen, Nils Petter Molvaer, some Sandro Marinoni)
Love that Bill Evans album, Doofy. It was one of my first jazz cd purchases. The clinking glass though reminds me of a Mingus live album where he demands no class clinking or cash register ringing.
cw00, me too...It was one of my "gateway" jazz albums, and I'm sure I've listened to it hundreds of times over the years. Less so since my jazz collection has exploded, so I enjoyed pulling it up this morning.
I may have had Evans on my mind because I recently learned about this upcoming rediscovered live recording. It's on Resonance Records, which also put out this early Wes Montgomery set, which I'm also enjoying (and features similar nightclub noises!)
Comments
Don't know if you're familiar with it, but Terry Callier has a great backstory... one of those underdog comebacks. Other Verve re-issues from that period are also really good (can't think of the titles now... one has Rain in it). Also, the New Folk Sound of Terry Callier, which started things off in many ways, though it's got a bit of a different sound.
Michael McDaniel - flute,alto flute,soprano sax,percussion
Richard Davis - trumpet,fluggle horn
Don Preston - piano
Trevor Ware - bass
Allen Cook - drums
Tales of Murder and Dust - Hallucination of Beauty
i found this disc from a small article in waxpoetics (great music magazine, btw). i'll check out the rest. i love these "comeback" stories. bobby womack is another one; his new album comes out on XL this year.
Darkness on the Edge of Town is my fave Bruce album, I purchased The Promise last year which had all the outakes which was very interesting to see the tracks that did not make the record.
Start the morning with an old fave, digging through my older stuff realise how much good stuff that I dont play. Putting e music on hold seems a good idea especially when I have found so much good stuff already purchased.
I'm on to jazz now
I found this via the staff picks at Bandcamp
The band say: In the tradition of the travelling bands, we guess were a bit like a Yorkshire E-Street Band...meets Arcade Fire...meets ... more The Faces meets Dexys Midnight Runners meets Prefab Sprout.
Superb brightened up my morning no end, there are a few more albums to search
Bandcamp: NYOP
edit - now playing
And
And, GP, I'm taking back everything I said about intrinsic value of long, experimental tracks. I still stand by the risk-reward thing with long tracks though, and I'm still happy to have gotten those albums for so cheaply.
1. Since the sale of tracks and albums is more of a matter of the labels profits than the musicians' incomes, the question is almost academic.
2. Length isn't a measure of complexity. Better measures are: how much composition? how much improvisation? how much arranging? how much repetition? how much rehearsal was necessary? were the tracks programmed,or did they require a physical performance by a musicians? what did it require to assemble the right musicians? how much investment in education was required? how much did the recording and mixing processes cost? were grants and other forms of public and private funding used? how much can consumers preview?
Thanks, Brighternow, marvelous stuff.
"Delicious" is the word that comes to mind. I'm finding things that I really, really like in this area of what I guess is ambient jazz(?) (Arve Henriksen, Nils Petter Molvaer, some Sandro Marinoni)
I may have had Evans on my mind because I recently learned about this upcoming rediscovered live recording. It's on Resonance Records, which also put out this early Wes Montgomery set, which I'm also enjoying (and features similar nightclub noises!)
Craig