Had this one on my radar after seeing your video, but really had a hard time finding it in the wild. Then just last month found an original stereo and mono copy within a couple weeks of each other, funny how that happens. Unfortunately the stereo copy is a bit beat up and there's some hiss on the otherwise clean mono but I'm glad to have them. I think this has become the second go-to record to pull out when my wife asks me to put on some bossa nova, behind only Wave. I especially love the flute tracks, it just seems to give the music an extra level of airiness
@@TenMinuteRecordReviews I got a Mexican original of that one from a shop here in SF that specializes in Latin music! I love it, probably my favorite bossa album with vocals throughout
Alan, Wow so glad that you caught it in time! Our world is better and brighter with you in it. Part of the demographic at 64.75! Screened every year. Take care.
Granz added the Norgram label, according to Billboard Feb. 13, 1954 because Clef distributors were unable to keep up with the number of releases. Norgram will not be sold through the same distributors, but thru other indie distributors. Distribution is already set for Norgram, with 15 jobbers already pacted. Norgram's release sked will be LP's the first of each month, and EPs and singles the 15th of each month. This is the opposite schedule of Clef.
I was ready to pick a fight when you insinuated, "It gets better...," referring to Herbie's "nude" cover. (NUTHIN' is better than a shirtless Herbie Mann, in my opinion!) And it obviously wasn't just the women who responded to his, "Hello, Ladies!" gamble of a cover. (This was, after all, a whole YEAR before the Burt Reynolds Cosmo centerfold, and the equally hirsute Harry Reems in "Deep Throat." Hey, it was the Seventies! We still had the Eighties, with "Magnum PI's Tom Selleck STILL defining mainstream media's glorification of HAIRY men as sex gods. Sean Connery may have predated Herbie, but "Push Push" definitely set a standard, and remains a classic cover today.) The cover shots - as well as other Herbie album covers of this time - were by Joel Broadsky. He was the guy responsible for all those SHIRTLESS Jim Morrison photos, as well as a shirtless session with Isaac Hayes, AND the Ohio Players' near naked cover photos of model Pat Evans (and her near naked guy friends) for the albums, "Pain," "Pleasure," and "Ekstasy." I say I WAS ready to pick a fight, until I heard your praise of Herbie, and this album. I mean...Dude! You know your sh*t! I'm impressed, and GRATEFUL to you, for giving Herbie his props! (I think I'm now a big fan of YOURS, dude!) All in all, I give this review a solid Ten, because it has a great beat, and I can dance to it! (Seriously...thanks, guy!)
I've had a Japanese CD of this album for many years. Of course I would buy it on vinyl in a second if I ever came across it. It is truly a gem. Great job on the story behind it. I'm glad I stumbled onto your channel. I've subscribed here and am looking forward to catching up on your posts.
I too had anticipated Mingus differently before I heard him. I had an impression of him as highbrow. But on first hearing it sounded like pedestrian big band oompah. How wrong I was when I listened again some years later.
I bought this record when it dropped and will always remember being blown away when I dropped the needle on side two as Cinema faded away and the void was filled with with slicker than slick A Capella magic of Leave it (which had not hit the radio yet). As much as the 70s catalog represents unparalleled masterworks, this record (and the whole Rabin era catalog remain a vitally important phase of this, my favorite, band's legacy. And I can't really explain it, but this is my favorite album cover of all time. I love Dean's works (especially Asia's debut and Drama), but this cover was such a perfect statement ot art and design in 1983 ideally representing the music that it enveloped.
Great recommendations. Johnny Smith on Roost are a must, I have most of these records and all are great, I am a guitar player all my live, the way Smith plays his cords was totally unique and still up to this day, no one did it better. And Adderley recommended Wes Montgomery to Riverside and started his career.
I disagree, tge mono version has a more dull rounded sound. The stereo version just sounds like rhe instruments are divided and the bass does not resonate like it should.
Hi Allan, hope all is well. Great video! Great content This album 💿 and Kind of Blue are my favorite Jazz albums of all time. I love it and give it 5 out of 5 stars Have a wonderful summer my friend. Cheers
Alway been a fan of Free and Paul Rodgers and all the groups, jams, tours or whatever where all of them ended up or crossed paths. Thanks for the info and history. I also have to say the raw bands like Free and maybe Humble Pie just really tell a story of how it was back in the day. I ran across this while Googling some music info while I was recording some vinly to flac files.
@@TenMinuteRecordReviews Ah, yes, you are right. I forgot that. Sorry. BTW, I was expecting you was going to show some records by Lucky Thompson, such a a great saxophonist never appreciated enough. He had great records made in France that are scarcely known
Been listening to music since I was a kid (Stones, JJ Cale, Pink Floyd and later Kraftwerk, Gary Numan, Joy Division etc.). Always liked bluesy tunes and am researching blues (Robert Johnson, Hownlin Wolf, BB King, JLH etc.). Next...jazz or jazzy stuff. Miles Davis (not my thing), Getz/Gilberto (nice bossa jazz) and bumped into Keith Jarret... A bit of an aquired taste (work in progress 😅). But when at the right time it clicks! So far Paris and Köln are my Jarrets favorites.
This concert is amazing beyond words. There is a lot of beautiful music around, yet there are very few works that take you to another dimension, and the Köln Concert is certainly one of them. It feels like Keith squeezed all music humans ever created in one hour, the ultimate musical elevator speech for aliens performed to unimaginable perfection. And the story behind it adds to the amazement...
Nice Video, I picked up some tidbits that I was not aware of particularly regarding the history of the label. I just checked my Discogs and it shows that I have 122 Riverside/jazzland title in various vinyl formats. I do run a separate mono turntable and the Mono original pressings do sound better IMHO than the early stereo. 2 other points, as you mention original pressings vary considerable in pressing and vinyl quality are are not nearly as good as original BN or Prestige. lots of pitting and some flaws. I do have about 30 Japanese pressing, often of some of the most desirable titles. Due to the flawless Japanese engineers and superb vinyl I feel these in many cases sound better than originals...and having A/B'd with Miles 1956 albums Relaxin' etc are definitely brighter and more detailed than the OJCs. Lastly the Milestone label is in there somewhere...and under the Fantasy Umbrella, the Milestone often in 2-fer release can be some of the best bargains of great sounding releases of this material. I look forward to hearing more of your videos... R
Another great review Allan, so thank you for this. And this really is a special album, as you mentioned and really doesn’t sound like anything else. Will just mention that this version of “My Funny Valentine”, is a personal favorite. And always enjoy watching these wonderfully informative videos of yours and always learn a lot from them. Thanks again for sharing this with us!
As time has gone on in my record collecting experience I’ve definitely chilled out on trying to find mint LPs. I love finding original copies still, but now I really don’t care much if they are in VG- or VG shape. I have learned to just mentally block that out and enjoy the music. Loud skips and pops are a no no however. Having a nice cartridge and preamp are far more important than chasing the cleanest vinyl out there. Just my advice.
I love the Tiny Grimes on Swingville! Also there are a couple great two-fers double albums from the early 60's on Blue Trident that are superb...if they are recycled vinyl free. All with RVG stamps.
Could you cover some European free jazz labels like Black Saint or FMP? Many jazz commentators sneer upon music like this, and some refuse to even acknowledge the music's existence. I appreciate the attention you are giving to jazz music!
Keith Jarrett influencing John Paul Jones ?? … Hell yeah. I, too, listened to the 1975 bootlegs, but the Seattle version (March 21 I think) is my favourite of them all. The Vancouver 1975 versions are also good, can't go wrong with any 1975 version of No Quarter in my opinion. He obviously was channelling his inner Jarrett there. And the rest of the band let him get away with it. The jamming between Jimmy Page and John Paul Jones at Seattle is really inspired. Just about any keyboard player alive back then must have had their worlds shook to the core by Keith Jarrett. Just the other day, I was showering and the sound of drops falling sounded like him playing for me. Köln, Bremen, Lausanne, and parts of the Japan concerts are to me the absolute pinnacle of music. You are the only person I have ever come across that made that connection between JPJ and KJ. Thanks and Cheers 🍺
@@stefanconradsson too much time listening to Zeppelin boots. I spent so much time digging into that site “The Year of Led Zeppelin my wife accused me of actually being the site’s author. (I’m not!)
@@TenMinuteRecordReviews Thanks for reminding me of that site, I haven't been there in ten years, probably. I take it you've been a regular on TTD and Dime then? There's been some interesting stuff trickling out the past two, three years, even some previously unseen videos that are now on YT. Anyway, I just wanted to thank you for this KJ video with the comment on JPJ. I think Keith Jarrett is bonkers good. I don't even have enough adjectives to describe him. Cheers man 🍺
@@stefanconradsson my obsessive Zep bootleg days are behind me to an extent. I agree with you about those West Coast soundboards from 75. Amazing. And I am sure some keen characters have put up more recent matrix efforts which are probably the bomb, but I haven’t dipped in in years, in a serious way anyhow.
Thanks. Weirdly, I have many of these! The earlier shorty rogers and his giants is originally on rca. There's another one with the same line up on capital that's as good. I have a south African pressing in a US printed cover
God save the queen was released on 27th May 1977 and on the queen's silver jubilee on 7th June 1977 the sex pistols played a gig on a boat called the queen elizabeth on the river Thames, but the river police boarded the boat and started arresting people, at this time the BBC put a blank space at no 2 but all other chart rundowns put a blank space at no 1, as they refused to print the name of the band and the song, the start of holidays in the sun is nazi jackboot marching, my favourite part of the album guitar wise is jones soloing at the end of new york to the power bursting intro of EMI.
One of my favourite albums. There really is something special about Wayne Shorter and to add Freddie Hubbard, well extra special. You pack a whole lot of information into 10 minutes. Thanks so much for the review.
OH God. Your review is soooooo insightful, and fascinating as well. As a non-english guy, I can only understand maybe 60% of content (if i wasn't turned on auto-subtitle), but I can't get enough of these episoides... keep on doing please!!
Great review - again. Your work is consistently entertaining, insightful, and educational. Can’t see why you aren’t getting more views! And, by the way, I agree with you on Max Roach’s style. Often over the top.
This is one time that it can be argued that Capitol did US fans a favor with their version of this album. In essence, they created a The Beatles Unplugged album, since much of this album is acoustic. I personally prefer the Capitol versions of this album and Revolver, for I feel they compliment each other: the Capitol Rubber Soul is mostly acoustic, while the Capitol Revolver is mostly electric. They fit hand in glove with each other. This also is particularly true with the release of the Yesterday and Today album, which was the tracks Capitol took from these albums along with the A and B sides of the latest singles. Yes, it can be argued that Capitol only did this for the money. But since when does any business not do something for the money???!!! They have to in order to survive. But I will always have a soft spot in my heart for the Capitol Beatles catalog, for this is how I first heard The Beatles’ music. And I know many fans in the US and Canada feel the same. So let The Beatles purists keep griping about what Capitol did to the original albums. I’m just going to enjoy the music!!!
