Jazz

somehow missed this is getting a US reissue for the first time:
realgonemusic.com

Max Roach Members, Don't Git Weary LP

Max Roach wasn't just one of the greatest drummers and percussionists in jazz history; he was also one of the greatest bandleaders in all of jazz, able to adapt his playing to an innumerable array of styles, from bop to free, and blessed with a keen eye and ear for talent. And he always, always...
realgonemusic.com realgonemusic.com

awesome album and hard to find!
 
MikeH said:
somehow missed this is getting a US reissue for the first time:
realgonemusic.com

Max Roach Members, Don't Git Weary LP

Max Roach wasn't just one of the greatest drummers and percussionists in jazz history; he was also one of the greatest bandleaders in all of jazz, able to adapt his playing to an innumerable array of styles, from bop to free, and blessed with a keen eye and ear for talent. And he always, always...
realgonemusic.com realgonemusic.com

awesome album and hard to find!
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Thanks! Goes well with their current free shipping promo.
 
MikeH said:
I picked this up and the Marty Robbins reissue with the shipping promo.
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Interesting that the 2022 Real Gone release is a new cut (Dave Polster/Well Made Music) after Kevin Gray cut Real Gone‘s 2016 releases, and both seemingly from the same master (at least same mastering engineer).
 
Portland Sheriff said:
Interesting that the 2022 Real Gone release is a new cut (Dave Polster/Well Made Music) after Kevin Gray cut Real Gone‘s 2016 releases, and both seemingly from the same master (at least same mastering engineer).
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Strange. Didn't even realize there was a boomboom cut from 2016. seems weird they wouldn't re-use it!
 
Other than Lee Morgan, I have a hard time audibly distinguishing between different trumpet players. Only instrument I have this problem with. Been thinking about this recently. Wonder what the cause is...

Do others feel similarly?
 
nolalady said:
Repress of Malachi Thompson - The Seventh Son

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I saw him live many moon ago at the DC Free Jazz Festival on July 4 (This would have been 1990 before my senior year of high school). One of my prized pieces of vinyl is the copy of Spirit I bought and had him sign there. He blew me away and was one of the first steps in me really starting to dig into Jazz. I bought my first copy of Kind of Blue (vinyl og - developed a warp somewhere along the line and lives in my daughter's collection now) the next year and fell down a rabbit hole.
 
DJSJ said:
Other than Lee Morgan, I have a hard time audibly distinguishing between different trumpet players. Only instrument I have this problem with. Been thinking about this recently. Wonder what the cause is...

Do others feel similarly?
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Most do. Lee Morgan, Thompson above, Davis, Hubbard, Armstrong and Marsalis all have a tone that sets them apart for me.
 
Some goodies from Record City JP incoming, driven primarily by the McIntyre/Dolphy record. RCJP’s shipping to the
US is very affordable after the first record. I paid ~$16 total for shipping, and adding the 4th record didn’t increase shipping at all.
It’s weird that some 80s OJCs are the same price or even cheaper purchased and shipped from Japan than they are from the US.
  • Mal Waldron - All Alone (Globe) (SMJ6124M)
  • Tommy Flanagan - Tommy Flanagan Trio, Moodsville 9 (OJC182)
  • Takeshi Inomata & His Friends - Get Happy (Audio Lab) (ALJ1030)
  • Ken Mcintyre, Eric Dolphy - Looking Ahead (OJC252)
 
Lee Newman said:
Most do. Lee Morgan, Thompson above, Davis, Hubbard, Armstrong and Marsalis all have a tone that sets them apart for me.
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I would probably add Donald Byrd to this list. Pretty distinctive sound and one of the few jazz trumpet players to have sustained success transitioning to fusion in the late 60s through much of the 70s.

And Chet Baker - he seems to epitomize that West Coast Cool jazz sound. Definitely a softer tone with phrasing that seemed to gently tumble across the arrangements.

I often will pick a trumpet player and do a deep dive into their discography - chronological order - to get a better understanding of how their sound had evolved. But I’m odd that way!
 
stpaulbrowns said:
I would probably add Donald Byrd to this list. Pretty distinctive sound and one of the few jazz trumpet players to have sustained success transitioning to fusion in the late 60s through much of the 70s.

And Chet Baker - he seems to epitomize that West Coast Cool jazz sound. Definitely a softer tone with phrasing that seemed to gently tumble across the arrangements.

I often will pick a trumpet player and do a deep dive into their discography - chronological order - to get a better understanding of how their sound had evolved. But I’m odd that way!
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Chronological is often the best way to understand any artist. I'm inwardly amused by "what's the best starting point?" queries - the answer is usually "the beginning." It's not always true but usually. Sometimes there are good entry points (@HiFi Guy got me to rethink Jethro Tull through a better starting point for me.) Sometimes you may be looking for an entry into an era of an artist (like "where is the best place to start with Miles' electric period?")

I recognize Byrd as a leader more through his compositional/arranging style both prefusion and during fusion than I do his tone on trumpet. I honestly don't know Baker enough to know his sound.
 
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