Followed much of what he’s done. An old class mate of mine. At school he was into Clapton, Kossoff, John Martyn etc. And could play a bit of that stuff.
Listening to this on Spotify it sounds like someone has copied it from a vinyl record. Seems a bit weird for a 2016 recording.
A Zoot Sims disciple paying tribute…
AllMusic Review by Scott Yanow [-]
As of 1998, when this CD was released, Scott Hamilton had recorded over 30 albums as a leader for Concord. Although all are quite worthwhile, the swing tenor’s consistency and unchanged style since the 1970s have resulted in a certain sameness and predictability to his recordings. This release, however, definitely stands apart from the crowd, for it is a set of tenor/guitar duets that Hamilton performs with Bucky Pizzarelli. A tribute to Zoot Sims (one of Hamilton’s early influences), this is a very successful outing. Pizzarelli’s mastery of the seven-string guitar allows him to play basslines behind solos, so one never misses the other instruments. Although the duo performs a variety of standards, there are also some lesser-known pieces among the highlights including the title cut, Al Cohn’s “Two Funky People,” the Sims/Cohn collaboration “Morning Fun,” and the obscure “In the Middle of a Kiss.” Both Hamilton and Pizzarelli sound inspired in this format, stretching themselves while always swinging. Pizz had recorded a duo album with Sims back in 1973, and Zoot also cut a full set with guitarist Joe Pass a couple years later. This excellent, slightly offbeat outing is on the same level as those two and is highly recommended to fans of swinging mainstream jazz.
Enjoy
Dave
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I guess that will depend on condition of the tapes which must be getting on for what 60 years old now? In that case I would consider your 95 GRP copy to be fresher.
Although the series is claimed to be from original master tapes I have seen speculation that, due to the fire at the Universal lot that resulted in many lost masters, this may not be the case with all the titles. Some may be from original metal parts and apparently Universal have been recalling safety/copy masters from locations around the world. This information/discussion from Analogue Planet.
I only have the Jasmine 1983 vinyl pressing of Ballads, sounds good but it’s a good recording anyway.
I’m cautiously looking forward to this and quite a few of the other titles in the series.
I’ve only just stumbled across Leszek Mozdzer recently after downloading ‘Jazz at The Berlin Philharmonic III’, although I have been familiar with ‘Eden’ for some years. This is another album I shall investigate. Thanks for posting.
But what a fantastic route into contemporary jazz.
I saw Mozdzer/Danielson/Fresco at Cadogan Hall in Nov 2014…
I recommended these albums they have released…
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Love this album cover!
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I also have a Jasmine copy which is very good. I will wait for the reviews from actual buyers first before I buy any new copy so fingers crossed they are positive.
As I suggested earlier in the thread if anyone interested maybe we could start a dedicated thread for the Acoustic Sounds/Verve series when they start coming out
Was listening to this to last night and was staggered at how wide the sound stage was, especially on the Lou Donaldson track ‘Reverend Moses’. The drums were really far our beyond my right speaker and the sax was similarly way out left. Don’t recall ever hearing something so extreme.
Another couple of fine releases from Brighton based Impossible Ark Records.
First up is Dave Storey Trio - Bosco - Impossible Ark (2018)
Led by drummer Dave Storey backed by James Allsopp on sax and Conor Chaplin on bass this excellent trio deliver a really engrossing group of original tunes five by James Allsopp and three by Dave Storey and lastly a cover of Duke Ellingtons long time collaborator Billy Straythorn’s beautiful A Flower Is A Lovesome Thing.
Next up admittedly more Jazz Funk than Jazz but still worth a mention here
Kings and Queens - Kings and Queens - Impossible Ark Records (2013)
A real discovery Nostalgia 77 under another guise who collaborate with Prince Fatty another Brighton based artist who I’ve followed for some years now. There are some top drawer vocals on here especially from the female singer whose name along with a male vocalist are not credited and also a couple of really soulful instrumentals.
You can listen to previews of both on Impossible Arks Bandcamp page.
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The track Go Ahead John on Big Fun by Miles Davis is a marvel of editing by Teo Macero.
The title refers to John McLaughlin.
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He got Columbia’s Engineering Dept. to make up gadgets to try out on the Miles albums, including that ‘panning’ one that is used on ‘Go Ahead John’. Very effective !
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Highresaudio 88,2/24
George Shearing, piano
Louis Stewart, guitar
Niels Henning Ørsted-Pedersen, bass
Recorded Sept. 19-21, 1979 at MPS Studio, Villingen, Germany Produced by George Shearing, Hans Georg Brunner-Schwer
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Joshua Redman - A tribute to father Dewey and Ornette Coleman…
AllMusic Review by Matt Collar [-]
On his buoyant 2018 album Still Dreaming, Joshua Redman evokes the spirit of his late father, saxophonist Dewey Redman (who died in 2006), and the elder Redman’s adventurous work with longtime friend and bandleader Ornette Coleman. Specifically, the younger Redman draws inspiration from Coleman’s Old and New Dreams band, which also featured his father along with cornetist Don Cherry, drummer Ed Blackwell, and bassist Charlie Haden. An outgrowth of Coleman’s earlier '60s quartet, Old and New Dreams (which was active from 1976 to 1987) was a boundary-pushing ensemble rife with bluesy lyricism, atonal harmonics, and frenetic swing. This was heady free jazz, but with an earthy '70s soulfulness. Much the same could be said of Redman’s group here, as each of the players in his quartet, including trumpeter Ron Miles, bassist Scott Colley, and drummer Brian Blade, has a similarly kinetic, almost preternatural sense for group interplay. Here, they play a mix of newly penned originals plus two covers, inspired by Coleman’s band but in their own thoughtfully mutative style. As modern-day torchbearers of Coleman’s forward-thinking jazz sound, Redman and his bandmates are fairly well matched. Cornetist Miles has long evinced the probing qualities of Cherry’s “freebop” style. Similarly, Blade has a driving, organic rhythmic sense that recalls Blackwell, and Colley literally studied with Haden. For Redman’s part, the lithe, aqueous quality of his playing feels right at home within the slippery quartet. Tracks like the jaunty bop-inflected “New Year” and the nervy klezmer-funk of “Unanimity” feel like lost bonus tracks from This Is Our Music-era Coleman. Similarly, cuts like the languid “Haze and Aspirations,” with its extended bass intro, and the spare, aptly titled “Blues for Charlie,” with its call-and-response group improv, bring to mind the rootsy Old and New Dreams sound of the late '70s. Elsewhere, Redman applies a classical artist’s sense for a reverent interpretation of Haden’s “Playing” and Coleman’s “Comme Il Faut,” as he and his band vacillate between long dissonant lines and aggressive, molecular sparring.
Enjoy
Dave
2 Likes
It sounds like there are some kind of phase effects on the guitar on my system on that track…??
As well as a lot of panning between the channels, especially for the drums and cymbals.
And the trumpet sounds great.
Locked Down Jazz Appreciation - Album of the Week
7: Cannonball Adderley: Somethin’ Else (Blue Note)
Recorded in 1958, this is undoubtedly the greatest album made by alto saxophonist Julian “Cannonball” Adderley during his 20-year career. What makes it special is the presence of Miles Davis in a rare sideman role (Adderley was a member of the trumpeter’s sextet at the time), while the contributions of the great Art Blakey on drums, along with excellent work from pianist Hank Jones and bassist Sam Jones, conspire to make this one of the best jazz albums recorded by a small-group ensemble. On the gently swinging ‘Autumn Leaves’ and ‘Love For Sale’, Miles plays some bewitching muted trumpet lines, but he doesn’t outshine Cannonball or the rest of the group. A must-own album for any serious jazz collector.
Key song: ‘Autumn Leaves’
Enjoy
Dave
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Jimmy Woods (the talented composer and alto saxophonist) who only recorded two albums as leader- Awakening!! from two sessions (1961/62) and Conflict! (1963), both on Contemporary Records. He was worthy of much more recognition (amongst many others of course!). Playing OJC CD rips of:
1995 CD
2003 CD
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