1. #1

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    Some interesting stuff for sure:

    Not All 'Lost' Jazz Albums Are Created Equal : NPR

    The Stan Getz in particular smokes!



    “Without music, life would be a mistake”--Friedrich Nietzsche

    Current lineup: Gibson ES-135 ('02), Peerless Sunset, Harmony Brilliant Cutaway ('64), Godin 5th Avenue, Alvarez AC60 A/E classical, Kay K37 ('56), Fender Squier VM Jazz bass, several ukes. Amps: Fishman Artist, Fender SCXD, Pignose 7-100.

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    The Jazz Guitar Chord Dictionary
     
  3. #2

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    I haven't listened to the Miles yet, but the Getz is very good indeed. Great quartet with Steve Kuhn, John Neves, and Roy Haynes. I thought some songs sounded very Coltranesque--that's because Steve Kuhn had just finished a stint playing with Coltrane.

    Getz gets fast and frisky on many of the tracks in a way we don't usually associate with him, at least I don't.

    https://glidemagazine.com/227224/previously-unreleased-stan-getz-live-with-rare-quartet-on-getz-at-the-gate-the-stan-getz-quartet-live-at-the-village-gate-nov-26-1961-album-review/


    Anyway, give it a listen.
    “Without music, life would be a mistake”--Friedrich Nietzsche

    Current lineup: Gibson ES-135 ('02), Peerless Sunset, Harmony Brilliant Cutaway ('64), Godin 5th Avenue, Alvarez AC60 A/E classical, Kay K37 ('56), Fender Squier VM Jazz bass, several ukes. Amps: Fishman Artist, Fender SCXD, Pignose 7-100.

  4. #3

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    I read about the "new" Miles today and listened to a couple tracks. It definitely sounds like his stuff from that period like Amandla and Tutu. I know it's not everyone's cup of tea when it comes to Miles, but I personally liked what he did then and thought people at the time overlooked how good it was.

    However....I'm dubious about how the music was compiled. It's not really new tracks it seems, but bits and pieces that were recorded all those years ago which were arranged into new music. At least from the article I read.

    Also interesting, is there appears to be some stuff that Prince and Miles did together. It was said they were reaching out to Prince's family to talk about it.

  5. #4

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    I listened to about half the Miles album today. Most of the tracks are quite good, though a few are kind of generic pop-RNB from the 80’s.

    JMO it stays true to the spirit of the original recording sessions. Miles was a restless spirit. He was always trying out new stuff to see how it fit into his art.

    Hoping to hear the Prince collaborations eventually.
    “Without music, life would be a mistake”--Friedrich Nietzsche

    Current lineup: Gibson ES-135 ('02), Peerless Sunset, Harmony Brilliant Cutaway ('64), Godin 5th Avenue, Alvarez AC60 A/E classical, Kay K37 ('56), Fender Squier VM Jazz bass, several ukes. Amps: Fishman Artist, Fender SCXD, Pignose 7-100.

  6. #5

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    Listening to the new Getz and Davis recordings I think they could be described as roads not taken, or creative dead ends.

    For Getz it was his last sessions for a long time playing hard core, post-bop jazz, with a crack band behind him. Apparently he wanted Scott Lafaro on bass, but this didn't happen--Lafaro died either shortly before or shortly after this session. After this he recorded the famous bossa albums, and the rest--as they say--is history. He felt pressured both personally and by his record company to continue in the pop jazz vein, which he did for at least a decade or so.

    If he had stayed with the Village Gate model, he would have been a formidable rival to Coltrane, and after 1967 the heir to the throne as it were.

    As far as Miles, IMO this is Miles lite. It seems clear Miles wanted to kickstart his career again, and brought in a young group of players for some fresh energy. He wanted to groove like Jack Johnson and On the Corner, but this bunch of musicians wasn't the equal of those groups. (I listened to the On the Corner sessions immediately after this and was struck by the contrast in energy and imagination with the earlier recordings.) He also wanted some pop hits, but apparently it wasn't poppy enough for Tommy LiPuma (?lipoma LOL), who was overseeing the project, and the recording was shelved. Miles' later work with Marcus Miller was much more rewarding.

    Anyway, any Miles is interesting, and it's more substantive than Kenny G, but still. I think if Miles had gone back to Quincy as a producer, who was riding the wave in the mid-80's and had taken Benson into the pop/RNB stratosphere, he could have sold a gazillion records. But this is kind of a tentative effort, neither pure jazz nor pure pop/RNB, and that didn't work for Miles.
    “Without music, life would be a mistake”--Friedrich Nietzsche

    Current lineup: Gibson ES-135 ('02), Peerless Sunset, Harmony Brilliant Cutaway ('64), Godin 5th Avenue, Alvarez AC60 A/E classical, Kay K37 ('56), Fender Squier VM Jazz bass, several ukes. Amps: Fishman Artist, Fender SCXD, Pignose 7-100.