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Toru A


This album has scored a million selling in total in Japan only.

Mmmm...there's something with Swedish singers in Japan...

2 1 2 0

First attempt at posting an image

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treaclefingers

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Tate
I am quite obnoxiously particular about my jazz. I just cannot tolerate a lot of what many consider to be the great traditional jazz records. For example, I much prefer Miles' electric groove period ('68-'71-ish) to 'Kind of Blue,' which I find to be very plain.

What does something like this do for you? Cringe or Clap?!

[www.youtube.com]

It doesn't make me cringe... I love good improvisation and a solid groove, but then again, the percussion, as with so much of Miles' electric improv stuff from 68-72, is really jangly and repetitive. Obviously something he really liked at the time, part of the intended sound, maybe to focus on the melody more than the percussion? I dunno. Miles, for me, sometimes connects, but more often does not.

5 hours of music and interview with Louis Armstrong: [digital.library.unt.edu]

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Cristiano Radtke
5 hours of music and interview with Louis Armstrong: [digital.library.unt.edu]

wow...cool find, thanks Cristiano.

listening to Nat on 10" vinyl right now, I'm Never Satisfied from 1952...superb!

[www.youtube.com]

WATCH ONLY KNOWN FOOTAGE OF SATCHMO IN STUDIO

A groundbreaking piece of film footage has emerged, showing for the first time legendary jazz trumpeter Louis Armstrong in the recording studio. Recently acquired by the Louis Armstrong House Museum, the 33-minute 16mm black-and-white film was shot in an LA studio in 1959, during sessions for Armstrong’s album Satchmo Plays King Oliver. Though producer Sid Frey arranged the filming, he subsequently did nothing with it, nor did he tell anyone it existed.

Having remained privately stored for the past 57 years, the footage only recently came to light after Sed Frey’s daughter, Andrea Bass, discovered that someone had bulk-bought a large collection of old master tapes from Audio fidelity, the label that Frey founded. She subsequently arranged for the collection to be sold to the House Museum.
The film captures Armstrong and his All Stars recording ‘I Ain’t Got Nobody’, ‘I Ain’t Gonna Give Nobody None Of My Jelly Roll’ and ‘Jelly Roll Blues’. Along with the video footage, the museum also acquired master reels for Armstrong’s 1960 album Louie And The Dukes Of Dixieland.

Watch the footage of Armstrong recording ‘I Ain’t Got Nobody’ below, courtesy of Associated Press.





[www.udiscovermusic.com]

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Cristiano Radtke
WATCH ONLY KNOWN FOOTAGE OF SATCHMO IN STUDIO

A groundbreaking piece of film footage has emerged, showing for the first time legendary jazz trumpeter Louis Armstrong in the recording studio. Recently acquired by the Louis Armstrong House Museum, the 33-minute 16mm black-and-white film was shot in an LA studio in 1959, during sessions for Armstrong’s album Satchmo Plays King Oliver. Though producer Sid Frey arranged the filming, he subsequently did nothing with it, nor did he tell anyone it existed.

Having remained privately stored for the past 57 years, the footage only recently came to light after Sed Frey’s daughter, Andrea Bass, discovered that someone had bulk-bought a large collection of old master tapes from Audio fidelity, the label that Frey founded. She subsequently arranged for the collection to be sold to the House Museum.
The film captures Armstrong and his All Stars recording ‘I Ain’t Got Nobody’, ‘I Ain’t Gonna Give Nobody None Of My Jelly Roll’ and ‘Jelly Roll Blues’. Along with the video footage, the museum also acquired master reels for Armstrong’s 1960 album Louie And The Dukes Of Dixieland.

Watch the footage of Armstrong recording ‘I Ain’t Got Nobody’ below, courtesy of Associated Press.





[www.udiscovermusic.com]

wow, great find Cristiano!

Love this thread. Thanks for the Armstrong links. His albums with Ella Fitzgerald, Oscar Peterson and Duke Ellington are faves.

Regarding the question from Tate re cringe or clap re Miles Davis' The Doo Bop song: The room is misty with steam, the tub foaming with bubbles. A bottle of champagne is chilling in a stand. Through the mist she appears. She approaches the tub, loosens her robe and drops it, softly says "hi" and slinks into the tub. I pour champagne for each of us and we sit back and eye each other over the rims of our drink glasses. She shyly smiles and.... Great blaxploitation movie tune, part Afro/Cuban/light funk/light jazz. Don't get me wrong. It's okay, but it's closer to lounge music than anything else IMHO. It works well as part of a background mix.

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dmay
Love this thread. Thanks for the Armstrong links. His albums with Ella Fitzgerald, Oscar Peterson and Duke Ellington are faves.

Regarding the question from Tate re cringe or clap re Miles Davis' The Doo Bop song: The room is misty with steam, the tub foaming with bubbles. A bottle of champagne is chilling in a stand. Through the mist she appears. She approaches the tub, loosens her robe and drops it, softly says "hi" and slinks into the tub. I pour champagne for each of us and we sit back and eye each other over the rims of our drink glasses. She shyly smiles and.... Great blaxploitation movie tune, part Afro/Cuban/light funk/light jazz. Don't get me wrong. It's okay, but it's closer to lounge music than anything else IMHO. It works well as part of a background mix.

Miles' "Terrifying".

Incredibly Clear Louis Armstrong and Duke Ellington Recordings Surfaces Online

An astonishingly clear recording of Louis Armstrong & His Orchestra performing “Ain’t Misbehavin'” has surfaced on YouTube. According to the video’s description, the track comes from a metal “mother record” that New York City’s Okeh Records sent to Germany’s Odeon Records for their pressings.

Another similar recording of Louis Armstrong and His Hot Five performing “Knee Drops” in Chicago in 1928 was also posted a few days later. Evidently, both of these new versions were transferred to a digital format by sound engineer Nick Dellow.

Considering the poor quality of most early jazz records, these tracks are a rare treat for any fan of the pioneering New Orleans trumpet master.

Ain't Misbehavin' - Louis Armstrong and his Orchestra

Knee Drops - Louis Armstrong and his Orchestra

As we previously reported, those Armstrong recordings were transferred to a digital format by sound engineer Nick Dellow, and posted to the YouTube account of his friend, Jonathan Holmes. Earlier today, Holmes notified us of a new track, this time from jazz juggernaut Duke Ellington.

The recording–originally laid down in New York City on October 1, 1928–finds Ellington and His Orchestra performing the big band classic “Hot and Bothered.” Like the crystal clear Armstrong tracks, this tune was transferred from one of Okeh’s metal mother discs.

Give it a listen:

Hot and Bothered - Duke Ellington and his Orchestra

[www.offbeat.com]

[www.offbeat.com]

Wow is all I can say re the links provided by Cristiano for the Armstrong and Ellington recordings. You can hear the elements of developing jazz, rhythm and blues and early rock'n'roll running through these recordings. I heard the Stones "Cool Calm Collected" from the Buttons album coming up from these Armstrong and Ellington songs. Yeah, what I just said sounds like a stretch, but it's there in the frenetic beat of the song and the keyboard work and other sounds put into the mix. The end of CCC, I'll admit, departs much from Armstrong, Ellington and that early jazz beat, though, who knows how crazy the beat got in those after hours clubs frequented by musicians after their regular gig. Re the Toob links, some nice photos throughout. Thank you, Cristiano.

Add to this thread the late Carmen McRae. What a great voice.

Some great jazz to be had if you're around the DC area tomorrow at International Jazz Day. Herbie Hancock kicks it off at the Duke Ellington School of the Arts. Free concerts all day at Dupont Circle.

[jazzdaydc.com]

Louis Armstrong Records "I Ain't Gonna Give Nobody None of My Jelly Roll" - Rare Studio Film, 1959





The Louis Armstrong House Museum has acquired the only known film of the great jazz musician in a recording studio, recording the 1959 album, "Satchmo Plays King Oliver." This exclusive video depicts Armstrong and his All Stars recording an alternate take of "I Ain't Gonna Give Nobody None of My Jelly Roll." Check out that vocal as Armstrong, without any sheet music, closes his eyes, looks skyward, covers his eyes and scats wonderfully from the soul. Also featured in the clip are Trummy Young, trombone, Peanuts Hucko, clarinet, Billy Kyle, piano, Mort Herbert, bass and Danny Barcelona, drums. The original album was produced for Audio Fidelity records by Sid Frey, who commissioned the film to be made. It was discovered in a storage facility in 2012 and was brought to the Armstrong House with help of Frey's daughter, Andrea Bass.

For more on the discovery of this treasure, see [bigstory.ap.org]

A new generation evolving. The guitarist recently moved to Amsterdam to live and study. We will hear more from him.


[www.youtube.com]

Been listening to Catherine Russell's latest, Harlem On My Mind. Some of you may know her from her work with David Bowie on his Reality album and tours.

video: [www.youtube.com]

[www.youtube.com]

This documentary might be very interesting.

Film Spotlights the Brilliant Life, Ugly Death of Jazzman Lee Morgan

by David Weiss on 3/18/17 at 9:40 AM



Leave it to a Swedish documentarian to unearth a nearly forgotten chapter in the history of American jazz: the brilliant life and ugly death of trumpeter Lee Morgan—shot by his common-law wife, Helen, between sets at Slug’s Saloon on Manhattan’s Lower East Side in 1972. (Apparently, she was enraged by his attentions to another woman.) Morgan was only 33 when shots rang out on that snowy February night (inclement weather was blamed for the ambulance’s hourlong delay—he might have otherwise survived).

Kasper Collin, whose darkly evocative I Called Him Morgan opens in limited release in New York City and Los Angeles on March 24, also helmed the acclaimed documentary My Name Is Albert Ayler (2006), about the avant-garde saxophonist whose leap into New York City’s East River in 1970 put an end to another promising career.

Morgan was one of the most prodigious talents in the midcentury jazz movement known as hard bop, a funkier, less frenetic style than the heady bebop of Charlie Parker, Dizzy Gillespie and Thelonious Monk. He got his first trumpet on his 13th birthday and was invited to join Gillespie’s cutting-edge big band when he was 18.

Recording stints with John Coltrane and Hank Mobley came soon thereafter, followed by a coveted berth in drummer Art Blakey’s Jazz Messengers. But like many jazzmen, Morgan succumbed to a drug habit, beginning a downward spiral that would lead him to the woman who would act as both his savior and executioner. Her recollections form the backbone of I Called Him Morgan, recorded on a squeaky cassette tape a month before her death in 1996. Testimony from fellow musicians fill out the story, as well as archival footage and photographs of Morgan’s recording sessions for Blue Note Records. One of those albums, The Sidewinder (1963), was a crossover success on the R&B charts, and the title track was even used by Chrysler for a World Series commercial the following year.

But with such unexpected success came the pocket money that would, briefly, support an expensive cocaine and heroin habit. Helen More was a troubled North Carolina transplant whose midtown apartment was a food- filled and-booze-soaked salon for jazz musicians. That’s where the trumpeter found a mother-figure after pawning his overcoat and instrument to pay for drugs. More helped him clean up, got his horn out of hock and was his mate and manager for the next decade.

Interviews with Morgan’s fellow musicians help elucidate his musical gifts, as do selections from his recordings. A personal footnote: As a teenager growing up in Detroit, I discovered Morgan’s music via a great local jazz station. His lyrical bent as both composer and soloist was like cane sugar compared with Miles Davis’s darker and more intimate musings, and I cherished them both as the twin towers of the jazz trumpet.

And although half of my heart belonged to the Beatles and Bob Dylan—as was required of ’60s-vintage youth—I reserved my deeper sympathy and esteem for the hard-living survivalists of the jazz community. Musicians like Morgan battled personal demons, racism and crooked record companies on a daily basis and still created a sound so full of light and life it remains as fresh today as it sounded some 50-plus years ago. Stream his Blue Note album, Cornbread, if you need proof. Funk and grace, forever fused.

[www.newsweek.com]

Larry Coryell † & John McLaughlin - Spain 1979 video_One Plus Two Blues
Rare footage. Pioneers of JazzRock.


[www.youtube.com]

This seems to be very interesting for those who are or live in London:

An exclusive UK premiere screening of "CHASING TRANE: the John Coltrane documentary" plus a Q&A session with author and journalist Richard Havers after the film screening.
Entry fee: £15 / £12 members

25 July
12.30pm - Doors
1pm - screening starts
2.30pm - Q&A
3pm - Curfew

Ronnie Scott's Jazz Club
47 Frith Street
Soho
London

[www.ronniescotts.co.uk]

Happy birthday to one of the finest musicians that ever existed.

Or was it a month ago? On any case it's always good to listen to him anytime.

Louis Armstrong - Struttin' With Some Barbecue

Pianist Keith Jarrett: The story of 'The Köln Concert'
GRAMMY-nominated pianist discusses overcoming adversity for the recording of his GRAMMY Hall Of Fame-inducted album in Germany

[www.grammy.com]

Keith Jarrett's son, Gabriel, is an absolutely brilliant drummer. Haven't seen him in years, but man, one of the greatest I've witnessed-- not just technically great, but a very musical drummer and just flawless.

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latebloomer
Pianist Keith Jarrett: The story of 'The Köln Concert'
GRAMMY-nominated pianist discusses overcoming adversity for the recording of his GRAMMY Hall Of Fame-inducted album in Germany

[www.grammy.com]

Nice read, thanks for sharing latebloomer.

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Cristiano Radtke

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latebloomer
Pianist Keith Jarrett: The story of 'The Köln Concert'
GRAMMY-nominated pianist discusses overcoming adversity for the recording of his GRAMMY Hall Of Fame-inducted album in Germany

[www.grammy.com]

Nice read, thanks for sharing latebloomer.

Sure thing, Cristiano

John Coltrane and the End of Jazz

Putting his classic quartet’s ‘lost album’ in its context.

[www.weeklystandard.com]

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latebloomer
John Coltrane and the End of Jazz

Putting his classic quartet’s ‘lost album’ in its context.

[www.weeklystandard.com]

Thx! Interesting read.