Miles "at the Plugged Nickel" not worth a penny...
Paul R.
Well, it's been late in coming but I finally bought one of Miles'
"Live at the Plugged Nickel" CDs. While I don't make it a habit to
buy "new" recordings of old and previously unreleased tracks, I
decided to break the habit just this once and give this one a try --
boy, am I disappointed!
Maybe it's because they performed so late in the year and, perhaps,
after many, many other dates, but the group sounds dead to me. No
inspiration. Perhaps I'm unfairly comparing this performance to the
Carnegie Hall concert they did the year before and which, to me, ranks
a 25 on a scale of 10. After listening to the Carnegie Hall concert,
first purchased in '64 as a new release on LP and, then, as a
re-mastered CD, there just isn't any comparison. They don't even
sound like the same group.
No wonder nobody at that time thought of releasing the Plugged Nickel
dates as an LP. Oh, well, live and learn...this is one CD that will
not get a third playing from me.
--
Paul pro...@mindspring.com
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
** Please remove one 't' from 'prosette' in my address for your e-mail reply **
Thankks!
Chuck Nessa
Gary Smiley wrote:
>
> Paul R. wrote:
>
> > Well, it's been late in coming but I finally bought one of Miles'
> > "Live at the Plugged Nickel" CDs. While I don't make it a habit to
> > buy "new" recordings of old and previously unreleased tracks, I
> > decided to break the habit just this once and give this one a try --
> > boy, am I disappointed!
> >
> > Maybe it's because they performed so late in the year and, perhaps,
> > after many, many other dates, but the group sounds dead to me. No
> > inspiration. Perhaps I'm unfairly comparing this performance to the
> > Carnegie Hall concert they did the year before and which, to me, ranks
> >
> > a 25 on a scale of 10. After listening to the Carnegie Hall concert,
> > first purchased in '64 as a new release on LP and, then, as a
> > re-mastered CD, there just isn't any comparison. They don't even
> > sound like the same group.
> >
> > No wonder nobody at that time thought of releasing the Plugged Nickel
> > dates as an LP. Oh, well, live and learn...this is one CD that will
> > not get a third playing from me.
> > --
> > Paul pro...@mindspring.com
> > =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
> > ** Please remove one 't' from 'prosette' in my address for your e-mail
> > reply **
> > Thankks!
>
Me to...I have waited a couple of hours since I saw the original post.
What the f--- do you listen for in music!
The "Nickle" stuff is wonderful.
If you don't get this stuff, I don't know what to say....
Chuck Nessa
Gary Smiley
jb...@in219b.iit.edu
In article <33d759eb...@news.mindspring.com>,
pros...@mindspring.com wrote:
> Maybe it's because they performed so late in the year and, perhaps,
> after many, many other dates, but the group sounds dead to me. No
> inspiration. Perhaps I'm unfairly comparing this performance to the
> Carnegie Hall concert they did the year before and which, to me, ranks
> a 25 on a scale of 10. After listening to the Carnegie Hall concert,
> first purchased in '64 as a new release on LP and, then, as a
> re-mastered CD, there just isn't any comparison. They don't even
> sound like the same group.
>
> No wonder nobody at that time thought of releasing the Plugged Nickel
> dates as an LP. Oh, well, live and learn...this is one CD that will
> not get a third playing from me.
They are the same group, but at the same time, they
aren't. (OK, so they have Shorter instead of Coleman)
But for some listeners, the Plugged Nickel is one of their
greatest recordings. It actually is more representative of
what you would have heard if you saw the band live, in the studio
they were playing a different repretoire, the original
tunes by the members of the group.
Essentially, the Plugged Nickel is taking the standards
and playing them at their most abstract, or "out" to
use the vernacular. A lot of people don't like the meaning
of the word "abstract", so I will also say they were very
conversational.
They all knew the tunes well enough that they could imply their
identifying characteristics with less and less, leaving it more
open for the improvisation and intuition, and that is where I
find them conversational. They seemed to be so intuitive about
what they were doing, we always had a joke that Miles was backstage
with walkie-talkies, telling Herbie and Tony what to do.
I think the Plugged Nickel is a defining moment in
Miles' body of work.
Jeff
-------------------==== Posted via Deja News ====-----------------------
http://www.dejanews.com/ Search, Read, Post to Usenet
Mark Eisenman
Paul R. wrote:
>After listening to the Carnegie Hall concert,
> first purchased in '64 as a new release on LP and, then, as a
> re-mastered CD, there just isn't any comparison. They don't even
> sound like the same group.
I'm confused, why are you referring to the Carnegie hall concert in this context? They are
not the same band are they? As far as I know that concert was done in 1961 with these
guys......
Bank, Danny Reeds (Multiple)
Barber, Billy Tuba
Caine, Eddie Reeds (Multiple)
Chambers, Paul Bass
Cobb, Jimmy Drums
Coles, Johnny Trumpet
Davis, Miles Trumpet/Main Performer
Evans, Gil Arranger/Conductor
Glow, Bernie Trumpet
Hixon, Dick Trombone
Ingraham, Paul French Horn
Kelly, Wynton Piano
Knepper, Jimmy Trombone
Mobley, Hank Sax (Tenor)
Mucci, Louis Trumpet
Penque, Romeo Reeds (Multiple)
Putnam, Janet Harp
Rehak, Frank Trombone
Richardson, Jerome Reeds (Multiple)
Rosengarden, Bobby Percussion
Royal, Ernie Trumpet
Swisshelm, Bob French Horn
Tricarico, Bob Reeds
Watkins, Julius French Horn
Could it be the concert you're referring to was originally released as "My Funny
Valentine" and "Four and More"? If so that was a concert at Philharmonic Hall in Lincoln
Center not Carnegie and did have the same band as the Plugged Nickel.
Mark
Michael Fitzgerald
On Wed, 23 Jul 1997 23:59:25 -0500, Mark Eisenman <eise...@yorku.ca>
wrote:
>Paul R. wrote:
>>After listening to the Carnegie Hall concert,
>> first purchased in '64 as a new release on LP and, then, as a
>> re-mastered CD, there just isn't any comparison. They don't even
>> sound like the same group.
>I'm confused, why are you referring to the Carnegie hall concert in this context? They are
>not the same band are they? As far as I know that concert was done in 1961 with these
>guys......
[the Gil Evans orchestra and MD quintet with Mobley, Kelly, Chambers,
Cobb]
>Could it be the concert you're referring to was originally released as "My Funny
>Valentine" and "Four and More"? If so that was a concert at Philharmonic Hall in Lincoln
>Center not Carnegie and did have the same band as the Plugged Nickel.
Well, no.
The tenor player there was George Coleman. Wayne Shorter joined the
band (following Sam Rivers - see related thread somewhere) and is
there for the Plugged Nickel stuff.
So, the final answer is:
Yes, Virginia, they *were* two different bands.
Mike
Mark Eisenman
Michael Fitzgerald wrote:
> Well, no.
>
> The tenor player there was George Coleman. Wayne Shorter joined the
> band (following Sam Rivers - see related thread somewhere) and is
> there for the Plugged Nickel stuff.
>
> So, the final answer is:
>
> Yes, Virginia, they *were* two different bands.
Thanks for clearing that up Mike. I forgot that Wayne was on the Plugged Nickel stuff.
Gonna have to get that set one day.
So to clarify.... Carnegie Hall has got nothing to do with this discussion, right?
Mark Eisenman
Mark de Clive-Lowe
> Well, it's been late in coming but I finally bought one of Miles'
> "Live at the Plugged Nickel" CDs. While I don't make it a habit to
> buy "new" recordings of old and previously unreleased tracks, I
> decided to break the habit just this once and give this one a try --
> boy, am I disappointed!
<snip>
> No wonder nobody at that time thought of releasing the Plugged Nickel
> dates as an LP. Oh, well, live and learn...this is one CD that will
> not get a third playing from me.
> --
> Paul pro...@mindspring.com
jbeer did the courteous thing and replied politely, so i guess there's no
need to overdo that angle...:
paul, sorry to say, but you are ignornant, naive, closed minded and
generally insolent.
maybe you'd prefer a little sprinkling of brubeck/desmond ?
m
------------------------------------------------
Mark de Clive-Lowe
Tap Records JazzScene Auckland
NZ Jazz Online http://www.jazz.co.nz/
------------------------------------------------
Walter Davis
In article <33D6DF...@earthlink.net>,
Chuck Nessa <cne...@earthlink.net> wrote:
>
>Me to...I have waited a couple of hours since I saw the original post.
>What the f--- do you listen for in music!
>The "Nickle" stuff is wonderful.
>If you don't get this stuff, I don't know what to say....
>
being thrilled by it, especially depending on where they're coming from:
1) Miles really doesn't seem to be in quite top form -- I seem to
remember there being a lengthy discussion of this on rmb. Many folks
have commented on how Shorter was really the star of this set and that
he showed them something they didn't realize he had. (if memory serves,
rather than being at the end of a long tour as the original poster
surmised, these were recorded after an extended layoff).
2) Although pretty good for the circumstances, the sound quality is not
great and there's lots of crowd noise at times.
3) The set consists of the standard material, not the classic quintet
material, which is undoubtedly not what some folks would prefer.
4) There are a number of repeated tunes across the whole set (which
apparently the poster hasn't heard) which again aggravates some folks.
5) This set was pretty heavily hyped, creating tremendous expectations
that any music would have a hard time living up to.
Now, none of those things keep me from enjoying this set but I suppose
they do lessen my enjoyment (compared to a mythical set where those
"problems" don't exist). I do have trouble understanding how someone,
especially someone reasonably familiar with jazz, could listen to this
set and not get something out of it, but what can you do? Still, I was
a little disappointed given my high expectations. And I would be
hard-pressed indeed to recommend that a relative newbie save up to buy
this set rather than going for the many, equally fine (or better) single
discs available.
-walt
Walter Davis walter...@unc.edu or
Department of Sociology and wda...@irss.unc.edu
Health Data Analyst at the ph: (919) 962-1019
Institute for Research in Social Science fax: (919) 962-4777
UNC - Chapel Hill
Paul R.
mar...@jazz.co.nz (Mark de Clive-Lowe) wrote:
->paul, sorry to say, but you are ignornant, naive, closed minded and
->generally insolent.
->
->maybe you'd prefer a little sprinkling of brubeck/desmond ?
->
...I was thinking, maybe, Al Hirt...?
--
Paul pro...@mindspring.com
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
Paul R.
Mark Eisenman <eise...@yorku.ca> wrote:
->Could it be the concert you're referring to was originally released as "My Funny
->Valentine" and "Four and More"? If so that was a concert at Philharmonic Hall in Lincoln
->Center not Carnegie and did have the same band as the Plugged Nickel.
->
->Mark
You'r right, my slip up...not being too familiar with NYC landmarks.
Lincoln Center, Carnegie Hall, what's the difference :-)
Jason Chervokas
Walter Davis <walter...@unc.edu> wrote in article
> While I quite like the Plugged Nickel set, I can imagine some folks not
> being thrilled by it, especially depending on where they're coming from:
>
> 1) Miles really doesn't seem to be in quite top form -- I seem to
> remember there being a lengthy discussion of this on rmb. Many folks
> have commented on how Shorter was really the star of this set . . . .
Walt-
I quite agree that Miles is not in top form, worse, it sounds like he's
conspicuously trying to sound modern and it's a little embarrassing. But
yeah, I had the same reaction to Shorter's solos. Incredible stuff. Still,
I think on balance the star of the set and the leader of the band those
nights was clearly Tony Williams he sets the pace, he pushes the band this
way and that, great stuff.
> 2) Although pretty good for the circumstances, the sound quality is not
> great and there's lots of crowd noise at times.
Wow, I couldn't disagree more. This is one of the best sounding recordings
of a live jazz club date ever. This is what music really sounds like
performed live in a club, crowd noise and all. If every record sounded this
good I'd be a happy man. Of course I'm listening on the Mosaic vinyl. I
haven't heard the CDS. While I think the bass is a tad under recorded I
think in general the timbres are natural, the soundspace of the club and
stage are remarkably well captured. There are eeire moments of detail when
Shorter and Miles pass off to one another between solos and I swear you can
here the fabric on Miles suit rumple and fold! I think this stuff sound
fabulous.
>
> 3) The set consists of the standard material, not the classic quintet
> material, which is undoubtedly not what some folks would prefer.
Actually I'm really happy about the repertoire. I was never really a big
fan of the 60s group until I dug the Plugged Nickel stuff, and I think in
large measure it was because I could really listen to the changes they put
the standard 1950s Miles repertoire through. I mean the way they twist the
rhythm of the opening of Walkin' turns the whole thing from a blues into
something linear, abstract and modern. A remarkable transformation.
Interesting how many different reactions this set has inspired.
Take care.
Jason
Marc Sabatella
Paul R. (pro...@mindspring.com) wrote:
> Perhaps I'm unfairly comparing this performance to the
> Carnegie Hall concert they did the year before and which, to me, ranks
> a 25 on a scale of 10. After listening to the Carnegie Hall concert,
> first purchased in '64 as a new release on LP and, then, as a
> re-mastered CD, there just isn't any comparison. They don't even
> sound like the same group.
That's kind of the point. The Plugged Nickel set is the band with Wayne
Shorter, and sounds more like "E.S.P." (even on the standards) than the
band with George Coleman ever would have. As far as I am concerned, this is a
good thing. You don't give much of a reaosn for not liking the Pulgged Nickel
material, but I would be curious to know if you just generally don't like
that style.
--
Marc Sabatella
ma...@outsideshore.com
http://www.outsideshore.com/
Paul R.
ma...@bamboo.verinet.com (Marc Sabatella) wrote:
-> You don't give much of a reaosn for not liking the Pulgged Nickel
->material, but I would be curious to know if you just generally don't like
->that style.
->
The style...first of all, I have always (I'm 50 years old) held up
only three jazz musicians up to the levels worthy of inclusion in a
Greek pantheon: Miles, Coltrane, and Eric Dolphy. However, Miles and
Coltrane happen to be the two that most appealed to me and influenced
my playing (drums). They are also the ones with whom I grew up
musically since I began playing in the 7th grade. They "lived longer"
than many others I had admired.
As a 'teen, I listened to their LPs as initial releases, kept up with
their performances and group changes, nailed their photos on the walls
of my bedroom at home, attempted to "copy" or emulate the styles of
those groups in my own performances, etc. I now equate Miles with
Picasso, another artist for whom I have the greatest admiration and
respect.
The *style* represented by the Plugged Nickel performance is not a
problem since, when given the choice, I prefer to play in that
particular vein (Tony Williams was a year older than me and I have
always "sounded" like him). In fact, this mid-60s style represents to
me the period of time in which I matured musically (and peaked, since
I turned away from a music as a career and only play now for the fun
of it). I particularly like the musical changes Miles' group went
through with the releases of "Miles Smiles," "ESP," "Silent Way,"
"Bitches Brew," "On the Corner," etc.
Although the earliest LP I have of Miles' is "Birth of the Cool" ( I
don't have any of his earlier recordings), I have liked Miles' many
style transformations throughout the years. I have also liked the
similarly-styled Herbie Hancock releases from the early 60s as well as
Shorter's LPs from the mid- and late-60s.
However, and this is a big *however,* I have not liked *every*
performance I have heard by Miles' groups *100% of the time.* That
is, I have heard *some* recordings representative of many of his
playing periods that have not appealed to me, for one reason or
another. Although, I have to admit, his Walkin' / Cookin' / Relaxin'
/ Steamin' series is near-perfect.
No, I don't let the recording quality prevent me from enjoying the
group's playing, especially in live club recordings. I always manage
to ignore poor mike placements, clinking glasses, coughs, burps, hoots
'n hollers, whatever. In fact, of my Miles collection, I consider
the "Miles and Monk at Newport" to be the worst quality recordings out
of all the LPs/CDs I have. However, I have always enjoyed the playing
reflected in that recording. So, that's never been a problem.
It's just that I was *disappointed* in the overall playing performance
of the group, mostly by Miles and Hancock. I did not intend to do a
critique of the recording in terms of quality of sound, individual
musicians' performance and contribution, selection of tunes, order of
tunes in the sets, etc. I was responding to the *whole* rather than
its *parts.* I'm not very good at using *words* to break down a
particular playing style or performance and analyze its content so
that others could tell what it *sounds* like without listening to the
recording. I was never formally trained in music, other than just
readin' and playin' my instrument, so I cannot put into words what I
*hear* in a performance.
I like Miles, particularly *that* style otherwise identified as his
"mid-60s period." I just didn't think the one CD from the Plugged
Nickel I picked out was worth it, having heard so many other group
performances from those years (1963 to 1967) which I have enjoyed much
more than the Nickel tracks I heard.
BTW, and for the record, the CD I have is the Columbia CK 67377,
"Miles Davis: Highlights From The Plugged Nickel" (not the 8-CD
complete set) and includes the following tracks:
1. Milestones (from the 3rd set)
2. Yesterdays (4th set)
3. So What (2nd set)
4. Stella (1st set)
5. Walkin' (1st set)
6. 'Round Midnight (2nd set)
The fact that I did not like *this* recording does not imply that
anyone else should not like it either or agree with me or feel that
their musical tastes are being personally attacked or that you're a
fool for having purchased it. It's a reflection of *my* perspective
on a given performance and not of the music itself.
It's kind of like my liking to eat a certain type of cuisine at a
certain restaurant but not liking the meal served on any one given
night, for whatever combination of reasons there may be. It would not
keep me from going back to eat there another night...and continuing to
enjoy it.
JC Martin
The "Plugged Nickel" set is amongst my favorites and Tony and Wayne
especially shine. The one annoying circumstance is that Miles is playing
pretty weakly and his volume is turned up the loudest to boot. Sometimes I
fast forward through his solos to get to the real meat. This was a
disappointment when I first bought the set because I expected more out of
Miles. To hear a swinger like Miles (a man who drove me to tears when I
first heard Bag's Groove) play like that was painful. I got over it though
and as a Wayne completist, this was a necessary addition to my collection.
-JC Martin
Dr. Don Koldon
In article <5ra8ks$71o$1...@fddinewz.oit.unc.edu>, walter...@unc.edu
(Walter Davis) wrote:
>In article <01bc9896$b7775a20$832cb7c7@jason-s>,
> "Jason Chervokas" <jm...@ix.netcom.com> wrote:
>>
>>
>>Walter Davis <walter...@unc.edu> wrote in article
>>> 2) Although pretty good for the circumstances, the sound quality is
>not
>>> great and there's lots of crowd noise at times.
>>
>> This is what music really sounds like
>>performed live in a club, crowd noise and all.
>
>Sure, but a lot of folks don't necessarily consider club acoustics,
>complete with telephones and cash registers, particularly good. You
>might want to take a look back through deja news to get an idea how
>worked up some folks get over the "ambient noise". For me, it's not a
>problem.
Part of the beauty of the PN set is its being a "snapshot" of the early
stages of the quintet (still playing the old repertoire), at "some gig"
during a godawful winter's week. Just a snapshot. Yes, Miles isn't
particularly strong in spots, but has some moments ... and once in awhile,
I like to hear someone searching, maybe even struggling/stumbling,
especially in a case like this where we all know where this exploratory
period led.
As for the sound, it's pretty good under the circumstances -- sure there
are MUCH better remote recordings around, but the sound on the PN set
ranges from okay to "pretty good, considering the source tapes," depending
on which version you have. And if my memories from long ago serve me
correctly, most versions sound considerably better than sitting in the old
Plugged Nickel ever did ... but, that's open to personal taste and the
inherent distortions found in 25 to 30 year old memory traces! :-)
The only major problem I have is the obnoxiously persistent club patron on
one or two of the discs. Still, goofy & loud as he is, I have to admit
that he adds to the "authenticity" of the document!
--
DK
Walter Davis
In article <01bc9896$b7775a20$832cb7c7@jason-s>,
"Jason Chervokas" <jm...@ix.netcom.com> wrote:
>
>
>Walter Davis <walter...@unc.edu> wrote in article
>> 2) Although pretty good for the circumstances, the sound quality is
not
>> great and there's lots of crowd noise at times.
>
> This is what music really sounds like
>performed live in a club, crowd noise and all.
Sure, but a lot of folks don't necessarily consider club acoustics,
complete with telephones and cash registers, particularly good. You
might want to take a look back through deja news to get an idea how
worked up some folks get over the "ambient noise". For me, it's not a
problem.
-walt
Chuck Nessa
Dr. Don Koldon wrote:
>
> In article <5ra8ks$71o$1...@fddinewz.oit.unc.edu>, walter...@unc.edu
> (Walter Davis) wrote:
>
> > "Jason Chervokas" <jm...@ix.netcom.com> wrote:
> >>
> >>
> >>Walter Davis <walter...@unc.edu> wrote in article
> >>> 2) Although pretty good for the circumstances, the sound quality is
> >not
> >>> great and there's lots of crowd noise at times.
> >>
> >> This is what music really sounds like
> >>performed live in a club, crowd noise and all.
> >
> >Sure, but a lot of folks don't necessarily consider club acoustics,
> >complete with telephones and cash registers, particularly good. You
> >might want to take a look back through deja news to get an idea how
> >worked up some folks get over the "ambient noise". For me, it's not a
> >problem.
>
> stages of the quintet (still playing the old repertoire), at "some gig"
> during a godawful winter's week. Just a snapshot. Yes, Miles isn't
> particularly strong in spots, but has some moments ... and once in awhile,
> I like to hear someone searching, maybe even struggling/stumbling,
> especially in a case like this where we all know where this exploratory
> period led.
>
> As for the sound, it's pretty good under the circumstances -- sure there
> are MUCH better remote recordings around, but the sound on the PN set
> ranges from okay to "pretty good, considering the source tapes," depending
> on which version you have. And if my memories from long ago serve me
> correctly, most versions sound considerably better than sitting in the old
> Plugged Nickel ever did ... but, that's open to personal taste and the
> inherent distortions found in 25 to 30 year old memory traces! :-)
>
> The only major problem I have is the obnoxiously persistent club patron on
> one or two of the discs. Still, goofy & loud as he is, I have to admit
> that he adds to the "authenticity" of the document!
>
> --
> DK
Just a typical Chicago audience member....They talk at the players...I
love it.
Chuck
John Purves
On 24 Jul 1997 18:14:24 GMT, walter...@unc.edu (Walter Davis)
wrote:
>In article <33D6DF...@earthlink.net>,
> Chuck Nessa <cne...@earthlink.net> wrote:
>>
>>Me to...I have waited a couple of hours since I saw the original post.
>>What the f--- do you listen for in music!
>>The "Nickle" stuff is wonderful.
>>If you don't get this stuff, I don't know what to say....
>>
>While I quite like the Plugged Nickel set, I can imagine some folks not
>being thrilled by it, especially depending on where they're coming from:
>
>1) Miles really doesn't seem to be in quite top form
It's the first night that he's really not with it. On a couple of the
fast tunes he's embarrassingly bad and seems to just give up after
awhile. It's kinda interesting though to have the next night and hear
how much better he does. Still, as I can remember there are some
moments of tortured beauty on the first night during some of the
ballads, possibly Stella.
jp
anti spam address in header.
Reply to:
JohnPurv(at)orban(dot)com
Jason Chervokas
Dr. Don Koldon <kol...@mindspring.com>
> As for the sound, it's pretty good under the circumstances -- sure there
> are MUCH better remote recordings around, but the sound on the PN set
> ranges from okay to "pretty good, considering the source tapes,"
depending
> on which version you have.
Again I have to completely disagree with this opinion on the sound quality
of the PN set. Although I think the bass is underrecorded, with that caveat
I think the PN recordings are one of the best live club recordings ever
waxed. I guess it's a question of what sonic preferences a listener has--if
you like spotlit detail, a kind of intensely etched seperation of lines, in
your face and unnaturally widely panned drum kits, then you'll prefer most
studio recordings or other remote recordings-- but for my money the PN set
is closer to the sound of real musicians playing real instruments in real
space than 90 percent of all recordings, studio or remote. Sure there are
better small group jazz recordings, but only a handful, I think--Thelonious
Monk's solo in SF at the Black Hawk recording (a remote recording but not a
"live" recording)...The Art Ensemble's People In Sorrow (absolutely the
best sounding major jazz recording of all time, I think, in a big remote
room but not live), Sonny Rollins' Our Man in Jazz (live and remote and
sonically terrific)...and the PN sessions. Now as I mentioned I haven't
heard the CD version, but on Mosaic vinyl I'd choose this set among a
select handful to demonstrate that recorded music can get pretty close to
capturing the sound of the real thing. Yeah the piano doesn't have the
harmonic richness of a piano playing in your room, but you don't hear all
that bloom in a club either. I reiterate, for my tastes the goal of a
recording of an improvising ensemble should be to capture the way the group
actually sounds playing together in a room and the PN recordings do that
superbly. No "under the conditions" qualifiers required, this is, sonically
speaking, a special recording.
Take care.
Jason
Marc Sabatella
Walter Davis (walter...@unc.edu) wrote:
> 3) The set consists of the standard material, not the classic quintet
> material, which is undoubtedly not what some folks would prefer.
Probably not an issue here, if he preferred the '64 Concert. The repertoire
was virtually identical.
> 4) There are a number of repeated tunes across the whole set (which
> apparently the poster hasn't heard) which again aggravates some folks.
> ...
> And I would be
> hard-pressed indeed to recommend that a relative newbie save up to buy
> this set rather than going for the many, equally fine (or better) single
> discs available.
From what I read, I think that's what he did - purchase a single CD sampler
of this material. I thought I recall such a thing being available. Any
comments from those whove heard it on how well chosen the tracks were?
> Now, none of those things keep me from enjoying this set but I suppose
> they do lessen my enjoyment (compared to a mythical set where those
> "problems" don't exist).
Ditto. My advice to the original poster would be to hold on to this CD and
come back to it periodically - it may grow on you. Without knowing more
about your background (what else you've listened to and enjoyed, what
you haven't enjoyed, how these tastes have changed over time, etc), it's
hard to say.
Walter Davis
In article <5rblje$oro$1...@cactus.verinet.com>,
ma...@bamboo.verinet.com (Marc Sabatella) wrote:
>Walter Davis (walter...@unc.edu) wrote:
>
>> 3) The set consists of the standard material, not the classic quintet
>> material, which is undoubtedly not what some folks would prefer.
>
>Probably not an issue here, if he preferred the '64 Concert. The
repertoire
>was virtually identical.
>
poster's dislike but more a response to the first response I saw to that
which was along the lines of "what's not to like." So I thought I'd
post a more general summary of the criticisms I've seen (and in part
agree with).
Dr. Don Koldon
In article <01bc9960$0f727240$c62cb7c7@jason-s>, "Jason Chervokas"
<jm...@ix.netcom.com> wrote:
>Dr. Don Koldon <kol...@mindspring.com>
>> As for the sound, it's pretty good under the circumstances -- sure there
>> are MUCH better remote recordings around, but the sound on the PN set
>> ranges from okay to "pretty good, considering the source tapes,"
>depending
>> on which version you have.
>
>Again I have to completely disagree with this opinion on the sound quality
>of the PN set.
<snipped lots of detail on other live sets, etc.>
>Yeah the piano doesn't have the
>harmonic richness of a piano playing in your room, but you don't hear all
>that bloom in a club either.
Not necessarily true - depends on the room, the piano, the pianist, where
you're sitting, and a number of other variables.
>I reiterate, for my tastes the goal of a
>recording of an improvising ensemble should be to capture the way the group
>actually sounds playing together in a room and the PN recordings do that
>superbly.
I agree with your stated "goal," but it seems like you missed the part of
my post where I said that NO version of the PN recordings I've heard --
from original double LP through the two Japanese single CDs to the US
"Cookin at the PN" CD/LP to the Japanese CD box to the recent Sony
CD/Mosaic LP "enhanced issue ... whew! have I missed any? -- reproduces
what that room really sounded like. Not that I give a damn about such
dogmatism, but your goal statement implies "capture the natural sound"
audiophile documentary purism - which simply doesn't apply to this set.
(Does Chuck Nessa or any anyone else old enough to remember the sound of
that good old dump on Wells St. have any confirming or conflicting
opinions on this?).
ALL versions of this set are limited (or enhanced, depending your p.o.v.)
what was captured on the original source tapes, by engineers working under
duress, in less than ideal conditions. That some versions (especially the
latest Sony/Mosaic ones) sound as good as they do are a testament to the
skills of some gifted repair technicians, in this case Debra Parkinson, an
engineer with Sony Music (formerly Columbia) Studios in New York.
I'll grant you that - for those willing to go through the expense &
trouble - the Mosaic LP's give a further "skosh" of detail, etc. beyond
the Sony CD's, but ... ... we're getting into rarified territory here.
And, I have to wonder if the superlative rating you give is in no small
part due to your only having heard the Mosaic LP's (probably on a very
good system)... a bit of a vinyl high, which is okay, but may be
misleading.
>No "under the conditions" qualifiers required, this is, sonically
>speaking, a special recording.
Special? Yes. Worth having? Absolutely. But, I'll stick with the
qualifiers, thank you. And, just for the record, please note that, even
with my use of qualifiers (with which you are, of course, entitled to
disagree), the intent of the post was to counter the "avoid it"-type
things that had been said about the PN recordings, both musically and
sonically.
--
DK
George Traynor
In article <33D6DF...@earthlink.net>,
Chuck Nessa <cne...@earthlink.net> wrote:
>
> Me to...I have waited a couple of hours since I saw the original post.
> What the f--- do you listen for in music!
> The "Nickle" stuff is wonderful.
> If you don't get this stuff, I don't know what to say....
>
Maybe you can start by not shooting your mouth off all the time.
George
-
Marc Sabatella
pro...@mindspring.com wrote:
>The *style* represented by the Plugged Nickel performance is not a
>problem since, when given the choice, I prefer to play in that
>particular vein (Tony Williams was a year older than me and I have
>always "sounded" like him). In fact, this mid-60s style represents to
>me the period of time in which I matured musically (and peaked, since
>I turned away from a music as a career and only play now for the fun
>of it). I particularly like the musical changes Miles' group went
>through with the releases of "Miles Smiles," "ESP," "Silent Way,"
>"Bitches Brew," "On the Corner," etc.
OK, that certainly helps me understand where you are coming from.
Obviously, many of our comments were based on assuming you knew nothing
of Miles Davis except the 1964 concert you mentioned, or only the music
prior to that time. As it is, we may have come off sounding somewhat
condescending. I apologize for that.
Anyhow, I still find it surprising you don't care for Herbie's playing
on this. I haven't listened to the whole thing at once recently, nor
have I tried listening to the specific tracks included on the sampler
you bought to see how it hangs together, but my general impression is
that the stars of the show are Wayne, Herbie, and Ron (not necessarily
in that order) - they seem to be at the top of their respective forms.
Although I don't see why people found Wayne's playing to be so
revelatory - he sounds to me pretty much exactly like he does on other
live recordings by this band, or with VSOP for that matter, or in other
similar settings (although this is in itself markedly different from how
he sounded on the various Blue Note studio dates).
--------------
Marc Sabatella
ma...@outsideshore.com
"The Outside Shore"
A Jazz Improvisation Primer, Scores, Sounds, & More:
http://www.outsideshore.com/
Chuck Nessa
Dr. Don Koldon wrote:
>
> I agree with your stated "goal," but it seems like you missed the part of
> my post where I said that NO version of the PN recordings I've heard --
> from original double LP through the two Japanese single CDs to the US
> "Cookin at the PN" CD/LP to the Japanese CD box to the recent Sony
> CD/Mosaic LP "enhanced issue ... whew! have I missed any? -- reproduces
> what that room really sounded like. Not that I give a damn about such
> dogmatism, but your goal statement implies "capture the natural sound"
> audiophile documentary purism - which simply doesn't apply to this set.
> (Does Chuck Nessa or any anyone else old enough to remember the sound of
> that good old dump on Wells St. have any confirming or conflicting
> opinions on this?
>
> >No "under the conditions" qualifiers required, this is, sonically
> >speaking, a special recording.
> --
> DK
Don, ya missed the first 2 single lps which were issued in Japan a couple of years
before the Columbia double.
The Nickel was a long room (like lots of clubs) with the bandstand about three quarters
of the way back. When I had a choice, I sat in the back section, between the johns and
the band. From this vantage you could see the band and the sound was ok. The sound was
ok if you were sitting near the middle, at the bar. Anything else was a crapshoot. The
worst spot was just inside the door. But all of this was secondary to hearing Miles,
Coltrane, Horace Silver, Monk or whoever. I wish there were about 100 more worthless
recordings like the Miles box.
Chuck Nessa, who could only afford the trip about every six weeks.
Dr. Don Koldon
In article <33DAB1...@earthlink.net>, Chuck Nessa
<cne...@earthlink.net> wrote:
>Don, ya missed the first 2 single lps which were issued in Japan a couple
of years
>before the Columbia double.
Doh!!! (Sound of Homer Simpson checking his LP/CD database)
>I wish there were about 100 more worthless recordings like the Miles box.
Amen.
--
DK
Jack Woker
> But all of this was secondary to hearing Miles,
> recordings like the Miles box.
Amen to that. Having seen Miles a number of times during the period
that the Plugged Nickel was recorded, and as a result generally having
been disappointed in most of that bands's studio recordings at the time,
since the band was so exciting live, I thank the "bastard weasels" at
Columbia for making this set available, warts and all. It is a colossal
masterpiece, the most accurate document of one of the most amazing
ensembles ever gathered. Personally I'd rate this up there with Duke's
Fargo recordings, Trane at Village Vanguard, Bill Evans at Vanguard, at
a handful of other legendary live records.
jack
jb...@in219b.iit.edu
In article <koldon-2507...@ip243.schiller-park3.pub-ip.psi.net>,
kol...@mindspring.com (Dr. Don Koldon) wrote:
> Part of the beauty of the PN set is its being a "snapshot" of the early
> stages of the quintet (still playing the old repertoire), at "some gig"
> during a godawful winter's week. Just a snapshot. Yes, Miles isn't
> particularly strong in spots, but has some moments ... and once in awhile,
> I like to hear someone searching, maybe even struggling/stumbling,
> especially in a case like this where we all know where this exploratory
> period led.
As one who fiercely advances the argument that Miles
had great technique, this is one recording where he
obviously was out of shape, perhaps due to not practicing
steadily to maintain his chops. Given how high powered the
rest of the band was, it would have been great
if he was in the form he was on some of those 69
recordings when Chick, Dave, and Jack were in the band,
or the Four and More set.
Even so, he still is on top of things mentally,
working well with the dynamics of the group.
> The only major problem I have is the obnoxiously persistent club patron on
> one or two of the discs. Still, goofy & loud as he is, I have to admit
> that he adds to the "authenticity" of the document!
Being in Chicago, there is some speculation amongst
musicians on who that guy was. Conspiracy theorists,
here's your chance!
Jeff
Jack Woker
> > The only major problem I have is the obnoxiously persistent club patron on
> > one or two of the discs. Still, goofy & loud as he is, I have to admit
> > that he adds to the "authenticity" of the document!
>
> Being in Chicago, there is some speculation amongst
> musicians on who that guy was. Conspiracy theorists,
> here's your chance!
This guy used to annoy me when I first got the set from Japan; he has
now come to amuse me as part of the document. Although I'll be damned
if I can find it now, I swear that somewhere during the first evening, a
female patron clearly says "Why don't you shut up?", and we don't hear
from him again!
jack
JFR
In <33D6AC10...@tiac.net> Gary Smiley <gasm...@tiac.net> writes:
>
>Paul R. wrote:
>
>> Well, it's been late in coming but I finally bought one of Miles'
>> "Live at the Plugged Nickel" CDs. While I don't make it a habit to
>> buy "new" recordings of old and previously unreleased tracks, I
>> decided to break the habit just this once and give this one a try --
>> boy, am I disappointed!
>>
>> Maybe it's because they performed so late in the year and, perhaps,
>> after many, many other dates, but the group sounds dead to me. No
>> inspiration. Perhaps I'm unfairly comparing this performance to the
>> Carnegie Hall concert they did the year before and which, to me,
ranks
>>
>> a 25 on a scale of 10. After listening to the Carnegie Hall
concert,
>> first purchased in '64 as a new release on LP and, then, as a
>> re-mastered CD, there just isn't any comparison. They don't even
>> sound like the same group.
>>
>> No wonder nobody at that time thought of releasing the Plugged
Nickel
>> dates as an LP. Oh, well, live and learn...this is one CD that will
>> not get a third playing from me.
>> --
>> Paul pro...@mindspring.com
>> =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
>> -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
>> ** Please remove one 't' from 'prosette' in my address for your
e-mail
>> reply **
>> Thankks!
>
>If you don't want it, send it to me - I'll take it! - Gary
>
>
I am sure it is worth at least a nickel. Maybe it is just over-rated
like a lot of things Miles did? Good, maybe even great, but if someone
else's name were attached to the same exact recording it would not be
rated so highly and be reviewed and referenced constantly.
John
Robert J. Dewar
Anyone care to start a thread on other (perhaps more obscure) live
recordings which you enjoy and recommend to others.One of my current
favourites is Oscar Peterson`s "Live In Russia" on the Pablo label.Some
kind person on the list told me it was out on CD and I picked it up.He does
some Ellington and plays with wit,exuberance and feeds off the crowd who
sound like they are really enjoying a rare treat.Excuse my lousy writing.I
feel like music is the hardest thing to describe in words.
kind_o...@webtv.net
I'm amazed that we don't hear a few "shut up mother______" from Miles.
Jeff
flibman
Jack Woker wrote:
I swear that somewhere during the first evening, a
> female patron clearly says "Why don't you shut up?", and we don't hear
> from him again!
> jack
Yep, I heard that too. Cracked me up!
Jeff Libman
Marc Sabatella
Dr. Don Koldon (kol...@mindspring.com) wrote:
> In article <01bc9960$0f727240$c62cb7c7@jason-s>, "Jason Chervokas"
> <jm...@ix.netcom.com> wrote:
> >Dr. Don Koldon <kol...@mindspring.com>
> >> As for the sound, it's pretty good under the circumstances -- sure there
> >> are MUCH better remote recordings around, but the sound on the PN set
> >> ranges from okay to "pretty good, considering the source tapes,"
> >depending
> >> on which version you have.
> >
> >Again I have to completely disagree with this opinion on the sound quality
> >of the PN set.
> <snipped lots of detail on other live sets, etc.>
> >Yeah the piano doesn't have the
> >harmonic richness of a piano playing in your room, but you don't hear all
> >that bloom in a club either.
> Not necessarily true - depends on the room, the piano, the pianist, where
> you're sitting, and a number of other variables.
Precisely. Just because many clubs have bad acoustics doesn't mean we
musicians prefer to be heard that way. So while the recording might be
an accurate representation of bad acoustics, that's not the same as good
sound. Of course, it isn't all that bad, compared to other live recordings
that might be inaccurate representations of bad acoustics. But still, I'd
rather hear good acoustics.
gdw...@ix.netcom.com
===================================================================================O
Tossing in late remark---Tony Williams, Tony Williams, Tony Williams,
Tony Williams, Tony Williams, Tony Williams, Tony Williams, Tony
Williams, Tony Williams, Tony Williams, Tony Williams, Tony Williams,
Tony Williams, Tony Williams, Tony Williams, Tony Williams, Tony
Williams, Tony Williams, Tony Williams, Tony Williams, Tony Williams,
Tony Williams, Tony Williams, Tony Williams, Tony Williams, Tony
Williams, Tony Williams, Tony Williams, Tony Williams, Tony Williams,
Tony Williams, Tony Williams, Tony Williams, Tony Williams.
Carnak.
Bill Carrothers
On 28 Jul 1997 15:26:46 GMT, bq...@freenet.carleton.ca (Robert J.
Dewar) wrote:
>Anyone care to start a thread on other (perhaps more obscure) live
>recordings which you enjoy and recommend to others.One of my current
>favourites is Oscar Peterson`s "Live In Russia" on the Pablo label.Some
>kind person on the list told me it was out on CD and I picked it up.He does
>some Ellington and plays with wit,exuberance and feeds off the crowd who
>sound like they are really enjoying a rare treat.Excuse my lousy writing.I
>feel like music is the hardest thing to describe in words.
One live date that I've always liked is Charles Lloyd in the Soviet
Union. It was recorded in Tallin, Estonia. Jarrett is about 20 years
old and is phenomenal. The whole band is in orbit. Amazingly, it's
never been issued on CD.
And I might as well put my oar in the water for the Plugged Nickel
set. I love it. Wayne floors me throughout. It's an inspiration to
listen to.
Bill Carrothers
James Pritchett
Robert J. Dewar (bq...@freenet.carleton.ca) wrote:
: Anyone care to start a thread on other (perhaps more obscure) live
: recordings which you enjoy and recommend to others.One of my current
: favourites is Oscar Peterson`s "Live In Russia" on the Pablo label.Some
: kind person on the list told me it was out on CD and I picked it up.He does
: some Ellington and plays with wit,exuberance and feeds off the crowd who
: sound like they are really enjoying a rare treat.Excuse my lousy writing.I
: feel like music is the hardest thing to describe in words.
ok, here are a few of my fave live jazz Lp's with good sonics and good
playing...no particular order
Wes Montgomery Full House/Live at Tsubo's Riverside
Billie Holiday Live at Monterey 1958 Blackhawk
Thelonius Monk Thelonius in Action Riverside
David Murray et al Clarinet Summitt BlackSaint
Ralph Towner Live (?) ECM
Wynton Marsalis Live at Blues Alley Columbia
all on vinyl, of course...
--
/ l l l \
Dave Sieber
James Pritchett wrote in article <5rko36$18...@beaker.nit.gwu.edu>...
>Wes Montgomery Full House/Live at Tsubo's Riverside
>Billie Holiday Live at Monterey 1958 Blackhawk
>Thelonius Monk Thelonius in Action Riverside
>David Murray et al Clarinet Summitt BlackSaint
>Ralph Towner Live (?) ECM
>Wynton Marsalis Live at Blues Alley Columbia
The first live jazz album I heard was Miles at the Blackhawk. First time I
heard Walkin in fact. Still love it, especially Paul Chambers' playing.
--
Dave Sieber
dsi...@terminal-impact.com
http://www.terminal-impact.com
JC Martin
> As one who fiercely advances the argument that Miles
> had great technique, this is one recording where he
> obviously was out of shape, perhaps due to not practicing
> steadily to maintain his chops.
Yes, this is the worst I have heard Miles. Like I said previously, the
most distracting thing about the set is the mix. Sonically the recording
sounds fine considering the circumstances. However, Miles's trumpet is
much to high in the mix when he solos. The fact that he is not playing
well makes it even more distracting. By and large though, I'm happy with
the purchase of the set. Tony and Wayne are simply mind boggling.
Virtually yours,
JC Martin
Chas. C. Peterson
James Pritchett wrote:
>
> Robert J. Dewar (bq...@freenet.carleton.ca) wrote:
> : Anyone care to start a thread on other (perhaps more obscure) live
> : recordings which you enjoy and recommend to others.
I'll emerge from lurking long enough to cite Cannonball Adderly Live,
one of my alltime most-played LPs. It's Cannon with Nat, Chas. Lloyd,
Joe Zawinul (on piano, no electronics), Sam Jones (a ROCK), and Louis
Hayes (I think). The definitive Work Song, a beautiful Lloyd ballad
(with some of Zawinul's best recorded playing), an unbelievable Sweet
Georgia Bright, and my favorite, a Nat tune called The Little Boy with
the Sad Eyes. Everybody swings mightily, inventively, and hiply
throughout. I have never seen it on CD.
Chas. C. Peterson
Sorry if this is a double-post:
James Pritchett wrote:
>
> Robert J. Dewar (bq...@freenet.carleton.ca) wrote:
> : Anyone care to start a thread on other (perhaps more obscure) live
> : recordings which you enjoy and recommend to others.
Cannonball Adderly Live!! A pre-MercyMercyMercy set with Nat, Chas.
Lloyd, Joe Zawinul et al. Fantastic.
Mike Stillman
JC Martin (jcma...@primenet.com) wrote:
: Yes, this is the worst I have heard Miles. Like I said previously, the
: most distracting thing about the set is the mix. Sonically the recording
: sounds fine considering the circumstances. However, Miles's trumpet is
: much to high in the mix when he solos. The fact that he is not playing
: well makes it even more distracting. By and large though, I'm happy with
: the purchase of the set. Tony and Wayne are simply mind boggling.
I think it's not so much the mix as the fact that Hancock and Carter were
undermic'd during the recording. The balance between instruments has been
the same on all the media that I've heard (avidly) over the last 15+ years,
starting with the two Japanese LP's, then the Columbia double LP, then the
remaster, and now the CD boxed set. It's the Shorter solos that grab my
ears; somehow they are still unpredictable after many repeated listenings,
masterpieces of twisted logic.
_.,-*~'`^'*-,._ _.,-*'`^'*-,.
'*-,._ Mike Stillman '*-,
'*-,.__.,-*' Chicago, IL _.,-*~'`^'*-,._
mik...@rci.ripco.com '*-,._.,-*'`^ '
Michel
Paul R. wrote:
>
> Well, it's been late in coming but I finally bought one of Miles'
> "Live at the Plugged Nickel" CDs. While I don't make it a habit to
> buy "new" recordings of old and previously unreleased tracks, I
> decided to break the habit just this once and give this one a try --
> boy, am I disappointed!
>
> Maybe it's because they performed so late in the year and, perhaps,
> after many, many other dates, but the group sounds dead to me. No
> inspiration.
All a matter of taste, I guess. To me, this box set is one of the
supreme achievements by Miles.
Ben Harmsen
Chas. C. Peterson wrote:
> > : Anyone care to start a thread on other (perhaps more obscure) live
> > : recordings which you enjoy and recommend to others.
>
> Cannonball Adderly Live!! A pre-MercyMercyMercy set with Nat, Chas.
> Lloyd, Joe Zawinul et al. Fantastic.
Cannonball Adderley Quintet 'Country Preacher -Live at Operation
Breadbasket'
with Nat, Zawinul, Walter Booker, Roy McCurdy... and Rev. Jesse Jackson!
Matt Wenham
JC Martin (jcma...@primenet.com) wrote:
> The "Plugged Nickel" set is amongst my favorites and Tony and Wayne
> especially shine. The one annoying circumstance is that Miles is playing
> pretty weakly and his volume is turned up the loudest to boot.
Absolutely. I'm a huge Miles fan, and it's a great set, but not if you
bought it to listen to Miles. I love the abience and atmosphere of the
recordings, and while Wayne and Tony are playin' hot, Miles just doesn't
cut it.
Matt...
JC Martin
> I think it's not so much the mix as the fact that Hancock and Carter were
> undermic'd during the recording. The balance between instruments has been
> the same on all the media that I've heard (avidly) over the last 15+
years,
> starting with the two Japanese LP's, then the Columbia double LP, then
the
> remaster, and now the CD boxed set. It's the Shorter solos that grab my
> ears; somehow they are still unpredictable after many repeated
listenings,
> masterpieces of twisted logic.
Yeah maybe they're not able to re-mix the tracks since probably only two
were used in the first place. I agree about Wayne all the way...I find
something new each listen...there are times when this man's playing was so
special.
-jc
George Traynor
In article <01bc9b69$202b20e0$LocalHost@default>,
bq...@freenet.carleton.ca (Robert J. Dewar) wrote:
>
> Anyone care to start a thread on other (perhaps more obscure) live
> favourites is Oscar Peterson`s "Live In Russia" on the Pablo label.Some
> kind person on the list told me it was out on CD and I picked it up.He does
> some Ellington and plays with wit,exuberance and feeds off the crowd who
> sound like they are really enjoying a rare treat.Excuse my lousy writing.I
> feel like music is the hardest thing to describe in words.
Don't feel bad. I'm in the same boat you are as far as describing music
into words, but I give it my best shot. How about;
Sonny Rollins' "A Night At the Village Vanguard". Rec. 11/3/57 Trio
date where Sonny gets to stretch out without additional horns or piano.
Pete LaRoca and Elvin Jones alternated drum duties throughout the day,
with Wilbur Ware on bass.
"Coltrane Live At the Village Vanguard Again". Rec. 5/28/66 I just
discovered this a few months ago when Impulse! released it for the first
time on CD. I am absolutely amazed at the interplay of Coltrane and
Pharoah on this. Great stuff! Jimmy Garrison solos at length in the
middle of the CD. I've heard that this is an essential album for
Coltrane's late period. There are probably others, but this is the one I
am most familiar with.
"Mingus at Antibes". Rec. 7/13/60 (France) A smoking date with Mingus
shouting out to Booker Ervin, Ted Curson and Eric Dolphy, encouraging
them on. Great live version of 'Better Get it In Your Soul'. Bud Powell
appears as special guest. Why this recording languished in Atlantic's
vaults for 15 years is anybody's guess. Maybe someone on the RMB knows?
Yusef Lateef's "Live at Pep's" Rec. 6/29/64 Not as well known as the
recordings above, but I like it all the same. Lateef adds oboe, bamboo
flute and other more unusual instruments to his repertoire. Tunes range
from the exotic 'Sister Mamie' to the boppish 'Rogi' to the slow blues of
'See See Rider'. If you're really into Lateef, I'd give this one a
listen.
George
-
John Grabowski
...But "Miles At The Plugged Penny" is definitely worth a nickel....
John
JFR
In <33E0D5...@okway.okstate.edu> "Chas. C. Peterson"
>> : Anyone care to start a thread on other (perhaps more obscure) live
>
>I'll emerge from lurking long enough to cite Cannonball Adderly Live,
>one of my alltime most-played LPs. It's Cannon with Nat, Chas. Lloyd,
>Joe Zawinul (on piano, no electronics), Sam Jones (a ROCK), and Louis
>Hayes (I think). The definitive Work Song, a beautiful Lloyd ballad
>(with some of Zawinul's best recorded playing), an unbelievable Sweet
>Georgia Bright, and my favorite, a Nat tune called The Little Boy with
>the Sad Eyes. Everybody swings mightily, inventively, and hiply
>throughout. I have never seen it on CD.
Cannonball had a lot of live records, do you know the title of this one
and or label and no.?
Thanks.
JOhn
Michael Margulis
George Traynor wrote:
>
> In article <01bc9b69$202b20e0$LocalHost@default>,
> >
> > Anyone care to start a thread on other (perhaps more obscure) live
> > favourites is Oscar Peterson`s "Live In Russia" on the Pablo label.Some
> > kind person on the list told me it was out on CD and I picked it up.He does
> > some Ellington and plays with wit,exuberance and feeds off the crowd who
> > sound like they are really enjoying a rare treat.Excuse my lousy writing.I
> > feel like music is the hardest thing to describe in words.
Modern Jazz Quartet: "Complete last concert" 2 CDs.
jay_epstein
jre...@ix.netcom.com(JFR) wrote:
>>James Pritchett wrote:
>>I'll emerge from lurking long enough to cite Cannonball Adderly Live,
>>one of my alltime most-played LPs. It's Cannon with Nat, Chas. Lloyd,
>>Joe Zawinul (on piano, no electronics), Sam Jones (a ROCK), and Louis
>>Hayes (I think). The definitive Work Song, a beautiful Lloyd ballad
>>(with some of Zawinul's best recorded playing), an unbelievable Sweet
>>Georgia Bright, and my favorite, a Nat tune called The Little Boy with
>>the Sad Eyes. Everybody swings mightily, inventively, and hiply
>>throughout. I have never seen it on CD.
>Cannonball had a lot of live records, do you know the title of this one
>and or label and no.?
>Thanks.
>JOhn
A terrific side; Lewis Hayes burns the place DOWN!
"Cannonball Adderley - Live!" Capitol T2399
(live @ Shelly's Manne-Hole, probably 1965. Above personnal.)
Little Boy With The Sad Eyes (N. Adderley) 12:35
Work Song (N. Adderley) 8:30
Sweet Georgia Bright (C. Lloyd) 6:25
The Song My Lady Sings (C. Lloyd) 15:05
Cannon's Theme (S. Jones) 1:10 (This is a Sam Jones blues that
Cannonball used as a set closer throughout the 60's; Sam also added a
bridge to it & called it Unit 7)
Jay Epstein
pu...@tc.umn.edu
"It's always night; that's why we have light." - Thelonious Monk
DRJAZZ
Another great, NEW, live Cannonball performance can be found on the
recently released "Paris, 1960" on Pablo (5303). The Cannonball Adderley
Quintet features Nat Adderley, Victor Feldman, Same Jones and Louis Hayes.
-Dr.