At the time of the March and April 1959 Kind of Blue recording sessions, Coltrane was writing compositions based on long chord progressions, and playing dense, harmonically complex solos practices that reached an apotheosis one month afterward in the May 1959 Giant Steps sessions. When Miles asked John Coltrane to rejoin the group, 'Trane had already led a breakthrough album ( John Coltrane: Blue Train) and played a remarkable engagement with Thelonious Monk, a collaboration that was only partly documented on Thelonious Monk with John Coltrane. The "Something Else" session ( Cannonball Adderley: Somethin' Else) for Blue Note marked a shift in Adderley's approach that can be credited to his exposure to Miles' spare, post-bebop musical conception. Though Adderley may have been the best technical alto player on the scene when he joined the Miles Davis group in 1958, there were critics who downgraded his playing on the ground that his solos lacked depth and good taste. He had burst onto the NY scene at a Café Bohemia appearance in 1955, risen to the top of the Down Beat polls, but hadn't acquired a large enough audience to maintain his own band on a full-time basis. Julian "Cannonball" Adderley was a highly accomplished musician from the generation of academically trained players. It's a hypothesis that benefits from 20/20 hindsight, though Nisenson cites enough evidence to make a compelling case, including quotes from the musicians and analysis of the records they made before and after Kind of Blue. In his book "The Making of Kind of Blue: Miles Davis and His Masterpiece", Eric Nisenson argues that Cannonball Adderley, John Coltrane and Bill Evans were at a musical and professional crossroads at the time of the recording sessions, and that all of them were shaken out of their previous performance habits and conceptual frameworks by the experience of making the record. Mobile Fidelity's outstanding new SACD demonstrates that the passage of a half-century has not stripped the music of its genuinely disruptive impact. Miles Davis' intention was to disrupt his bandmate's-and his own-musical habits, inclinations and preconceptions. The effect of the album Kind of Blue on the musicians who created it and on the wider jazz scene at the turn of the 1960s is due in part to its disruptive force. Other disruptions, such as the engraved art and poetry of William Blake, are so outlying that generations may pass before their influence is perceptible. Some disruptions prefigured radical change the 1863 Salon des Refusés attacked the conventions of academic salon painting and sped the development of Impressionism the 1913 New York Armory show heralded post-Impressionism and Abstraction. In the art world, disruptions occur as artists, individually or in affiliation, rebel against the formal constraints of their medium. In the tech world, the word 'disruptive' is frequently applied to emerging products and platforms that (their proponents claim) cause disruptions in conventional business practices and paradigms. As I love Art Pepper, looks like I will be tempted into. Thanks Mark, it seems likely that the HDTracks is converted from the earlier SACD, given the 88.2K sampling rate. Gil Evans: Gil Evans & Ten | John Bacon-Shone - July 24, 2022 It's like being in the recording booth for It's just Lightnin' singing and playing guitar, a bass player and Lightnin' Hopkins: Goin' Away | Brian VanPelt - July 19, 2022 It remains a mystery to me why he didn't record with his own. Kiril Karabits is our Chief Conductor at the Bournemouth Symphony and we heard this music live last season. I'm not exactly short of recordings of the Shostakovich symphonies with the Rostropovich and Ashkenazy rbcd box sets and. 13 - Karabits | Steven Harrison - July 30, 2022Īh, completely missed the Kofman's in every way. Tower Japan have it listed on their site with catalogue number CHSA5294 - they are usually accurate and if correct that would certainly make this a SACD. Ireland: Orchestral works - Wilson | breydon_music - July 27, 2022 Korngold’s Overture from the private lives of Elizabeth and Essex which. Ireland: Orchestral works - Wilson | Graham Williams - July 28, 2022Īmazon have it listed as a SACD release for September 9 in the UK and provide this information. This one (#13) is recorded in DXD, and my favorite, while all the others are recorded in DSD64. 13 - Karabits | Marcus DiBenedetto - July 30, 2022Īn interesting conversation. Unfortunately, it seems the next release is CD only Shostakovich: Symphony No. Bach: Keyboard Concertos, Vol 2 - Suzuki Recent comments Ireland: Orchestral works - Wilson | John Bacon-Shone - July 25, 2022
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