tremendo el debut de freddie hubbard en blue note, aunque los temas que se te quedan en la cabeza los compuso tina brooks, que toca el tenor en el disco.
no soy mucho de jazz con guitarra, pero este disco no está nada mal
dos de mis más grandes ídolos juntos:
vaya enganche tengo con bill evans últimamente. a éste le estoy dando más cera estos días porque es el último que entró en casa.
Ojo a esto! El Prokofiev del jazz. Me doy media hora como muchísimo.
Por cortesía de Omnivore.
http://omnivorerecordings.com/hasaan-ibn-ali/
Hasaan’s 1965 Atlantic recordings, restored from long-lost acetate copies of the sessions.
“He had ideas as deep as the sea. I mean I never heard anybody, even today, play like that.” – Odean Pope – tenor saxophonist
“The pianist, Hasaan Ibn Ali, whom saxophonist Odean Pope calls “the most advanced player to ever develop [in Philadelphia],” had practiced intensively with John Coltrane in the early 1950s and is thought, by Pope and others, to have been the influence behind Coltrane’s so-called sheets of sound as well as the harmonic approach that underlay Coltrane’s breathrough Giant Steps, and also, with Earl Bostic, one of the two role models behind Coltrane’s strict work ethic. Yet he was rarely employed, even by musicians who respected his playing and his knowledge, thus leaving him with little chance to develop an audience. When he sat down at the piano at the Woodbine, an after-hours club in Philadelphia, all the horn players would leave the stand for they were unable to play with him, so unfamiliar were his harmonic concepts.” —from the liner notes
In 1964, drummer/composer Max Roach convinced Atlantic Records to record him with producer Nusuhi Ertegun at the helm. Sessions were held in December of 1964 and the resulting album, The Max Roach Trio Featuring The Legendary Hasaan was released three months later. Atlantic invited Ali to record again in August and September of 1965, but before mixing sessions could turn the recorded material into a releasable album, Ali had become incarcerated on a narcotics possession. Atlantic shelved the album. Thirteen years later that tape went up in flames in an Atlantic Records warehouse in Long Branch, New Jersey. For years a rumor circulated, that a copy of the sessions had been made, but attempts to locate it never turned up a source… until now.
Restored and mastered by Grammy® Award-winning engineer, Michael Graves from a tape copy of long-lost reference acetates of the sessions and with notes from producer Alan Sukoenig and author/pianist/teacher, Lewis Porter, Omnivore Recordings is proud to present this long-thought lost piece of jazz history. The project, co-produced by Alan Sukoenig and Grammy® Award-nominated producer, Patrick Milligan, and Grammy® Award-winning producer, Cheryl Pawelski, features the seven surviving tracks from the album sessions along with three surviving alternate takes. Packaging includes photos from December of 1964 by notable photographer Larry Fink, who refers to Ali as, “the Prokofiev of jazz.”
Personnel on the August 23 and September 7, 1965 sessions that took place at Atlantic Studios in New York City were Hasaan Ibn Ali, piano; Odean Pope, tenor sax; Art Davis, bass and Kalil Madi, drums and all are profiled in the liner notes.
Imagino que a pocos les interesará ésto, pero lo han vuelto a reeditar.
Yo de momento ando escuchando a Louis y a Ella en bucle, sobre todo el segundo volumen.
Andrew Hill a tope, Black Fire sobre todo.
También le he pegado mucho a Bill Evans últimamente, el directo en el ayuntamiento sobre todo.
hace un par de semanas hice un pedido en discogs, después de igual 6 u 8 años sin hacerlo, y la verdad es que me fue bastante bien, el precio era razonable y lo más importante: lo discos estaban en el estado descrito, NM.
tenía ganas de escuchar a art pepper a finales de los setenta después de haberle escuchado alguna vez en capítulos sueltos de la serie Bosch (serie que no aporta mucho, pero me resultó entretenida)
éste segundo disco me gusta algo menos cómo suena, mete un par de canciones donde el piano es sustituido por un fender rhodes (tocado por el no menos grande -ni menos yunkie- hampton howes) y no sé, me cuesta acostumbrarme. las canciones de the trip también me parecen mejores, sobre todo la que da título al disco.
Este disco puede gustar hasta a los que no escuchen mucho jazz. Va más allá, a mi me recuerda a ratos a Zappa y otras veces suena a krautrock. Y no conozco a nadie que no se menee escuchando Goin' Down South.
Gracias por la recomendación Poodlebites
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