Great, will take a look.
Try Discogs for the Classic Records re issue. I think Music On Vinyl may have also re issued it, but will be sourced from digital nevertheless probably OK.
The Carnegie Hall is a Speakers Corner re issue available from Pure Pleasure records.
I would also recommend hearing the Time Outtakes that recently came out, marvelous alternate takes from the Time Out recording sessions.
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John Surman is such a brilliant musician! Is he underappreciated?
Yes!
More Hank Jones and with Christian McBride who’s For Jimmy Wes And Oliver I’m really enjoying.
Will have to check West Of 5th Out. Couldnt find the live 6th July (?) Set you posted yesterday
Ps couldnt find West Of 5th either on Tidal, which format are you using?
Cheers
To my knowledge it is only available as physical disc. West Of 5th is on HDtracks.
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Right, I thought from your images they were streams.
Will have to do some digging in the real world
Branford Marsalis Blues album guests include BB King & John Lee Hooker.
The opening Brother Trying To Catch A Cab On The East Side cracks me up every time.
Branford Marsalis I Heard You Twice The First Time
Buckshot LeFonque (Branford Marsalis)
AllMusic Review by Richard S. Ginell
Lots of records are touted as breakthroughs by the hype machines and spinmasters, but this one really is – a marvelously playful and, above all, musical fusion of the old jazz verities and newer currents swirling around the 1990s. “Buckshot LeFonque” was a pseudonym for Cannonball Adderley in the 1950s, and you’ll squint long and hard trying to find Branford’s name on the jacket and cover except for the tiny note, “Produced by B. Marsalis.” Maybe he was hedging his bets against the expected (and received) flak from the jazz purists, but the reality is that he has found a brilliant way to fuse hip-hop rhythms with mainstream jazz licks without compromising either idiom. The best number is a lovely setting of Maya Angelou’s poem “I Know Why the Caged Bird Sings,” with absolutely gorgeous soprano by Marsalis, some great Miles-tinged muted trumpet from Roy Hargrove, and Angelou reciting her words against the big electronic backbeat. The free-thinking Branford also injects real funk into Elton John’s “Mona Lisas (And Mad Hatters)”; throws in a little reggae, rap, and lots of sampling; gets down and dirty with Kevin Eubanks’ slide guitar on the truckin’ cut “Some Cow Fonque”; and unifies most of the package with a couple of recurring, catchy riffs and touches of horseplay. The only misfire is a totally incongruous, totally dull soul ballad called “Ain’t It Funny” (sung by Tammy Townsend) that sounds as if someone suddenly switched CDs on your changer. Nevertheless, regardless of what the neo-boppers might say, this is a more imaginative record than any of Branford’s estimable straight jazz projects – and a lot more fun.
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Curiously I had that album, enjoyed it. But don’t remember why I don’t have it anymore.
Maybe someone didn’t returned me it back many years ago.
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Actually listening.
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The Jamie Saft Quartet: Hidden Corners
[https://youtu.be/MS89YUFnU7A
Saxophonist John Coltrane’s spiritual side came to prominence with 1965’s A Love Supreme(Impulse! Records), and that’s how he rolled—with ever- increasing fervor—until the end, soaring out of the solar system with Stellar Regions (Impulse, 1967), and extending his reach deep into the galaxy with Interstellar Space (Impulse, 1967) in his search for his version of God. And now, pianist/keyboardist Jamie Saft—inspired by Jewish mysticism—gets his spiritual groove on with Hidden Corners.
Bolstering a growing and superb Rare Noise Records discography that began with 2014’s The New Standard, Saft teams up this time with a terrific quartet— bassist Bradley Jones, drummer Hamid Drake, and saxophonist Dave Liebman, masters all in the taking of sounds to higher ground, and beyond.
The disc opens with a one/two blessing of “Positive Way” and “Seven are Double.” And since the name John Coltrane has come up, it has to be noted that much of the music here- -especially these two tunes—brings the most famous of jazz saxophonist’s recording Crescent (Impulse!, 1964) to mind, before things get more overtly spiritual, and “out there.” On “Positive Way,” the rhythm section lays down lush, smooth-flowing beauty, and Liebman—who has blown deeply into the work of Coltrane—spits out fire and brimstone tenor saxophone, growling and roaring, honking and sputtering, as if he’s trying to pull the rest of the quartet into outer reaches, while they resist, laying down the (relative) tranquility and Zen equilibrium of '64 Trane. “Seven Are Double” is wilder on everyone’s part ('67 Trane?), with Saft sounding like he’s channeling Cecil Taylor.
On “Yesternight” Liebman switches to soprano saxophone, weaving labyrinthine lines inside a fluid rhythm, for a crafting of the set’s more beautiful time spans. The disc’s title tune takes a meditative route, and it swings free and easy, with Liebman crafting an eloquent saga, with a gorgeously restrained fervor. ( From Whataboutjazz.com, by Dan Mccleneghan).
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Nice one . Just heard some tracks. Will buy it on Bandcamp
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