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Sorry, man -- hey, if it's any consolation I'll take Taylor/Sebesky in a heartbeat over Dave Grusin's famous orchestral-jackhammer charts that chronically smother the soloist. Anyway, you're correct in that these things were never intended to be passed off as "jazz" LPs... (Of course, Herb knew a "pure jazz" production unit would not turn a profit for A&M...so to get a decent return (desperately needed given the costly packaging) he needed to make it more accessible. Creed had a strong ($$) track record with "pop-jazz" over at Verve anyway with Wes (30min LPs, top-40 covers, 3-min songs, orchestrations, etc.), so he just continued the approach for Herb... Of course, it's one thing to have a Montgomery or Mann LP turn a profit for you, but stuff like that Artie Butler LP could never have been expected to break even against the high production and packaging costs!)big band rickster said:I get REALLY tired of all the Taylor/Sebesky bashing on this forum...
Yup. That's the Calling Out Loud LP. Grey Moss resembles the tuneful/lyrical melodies that Joe Zawinul would bring to Miles Davis' In A Silent Way prep and recording sessions. The other piece is Ivan's Holiday -- again, another haunting piece...with Nat using that wacky veritone attachment to get the "electric cornet" sound. (Remember Eddie Harris and Bunk Gardner using this thing? Apparently it was all the rage during '67-'68. Just the thing that probably sold for 5$ back in 1986 -- and now'll cost you like 300-smackers on e-bay!)big bad rickster said:Yeah, I remember a tune called "Grey Moss" , I think, on that Adderly album (he did two for A & M) that I played about a million times after I bought the album -- JO , do you know which tune I am speaking of ???
Killer !!!!
I don't believe it was the passing of time that caused a more positive and accurate review. It was simply the fact that someone else reviewed it. The original bad review in a 1968 Downbeat was by Pete Welding, who had many strange reviews that I personally disagreed with. If any of the better and more consistant reviewers on the Downbeat staff in 1968 (Harvey Siders, Dan Morgenstren, Ira Gitler, Michael Zwerin, Harvey Pekar or Don DeMichael) had done that original review, I'm certain that "We and The Sea" would have received somewhere between 4 and 5 stars.What a difference 35 years make. When this was reissued a few years ago DownBeat gave it a glowing review and ****1/2 stars.
Capt. Bacardi
I have Less tolerance for Hack reviewers either in my opinion All Music Guide had so many of them I totally got away from them well over a decade ago.I was rereading some jazz reviews a group of us did at Compuserve (and shortly thereafter, on another site I set up) about 25-30 years ago. Some reviewers were always fair about the recordings, even if they didn't particularly like them, and wrote in a style that made you appreciate why. Yet there were one or two in particular who could be very nitpicky, and the hate for the music they were reviewing just poured out of their writing. As I sort through deciding which ones to "reprint" online, those hateful reviews will never see the light of day, far as I'm concerned. They seemed to be part of that group of jazz listeners who have acute tunnel vision for what they like, which was very narrow in scope, and anything else was invalid as far as jazz (and the entirety of music) was concerned.
There are also a handful of rock/pop reviewers who I know, if they like a recording, I will dislike it...and vice versa. Or some who are so full of self-importance that their flowery prose does nothing to describe much about the recording at all; rather, they'll tell us what the artist had intended, as if they were mentally tethered to them. I'd rather just hear about what a reviewer likes or dislikes about the songs on a record, especially if they point out details I might have missed. Even if I partly disagree, a well-written alternate viewpoint will still get me to give the record another chance.
Short version: I have no tolerance for hack reviewers anymore.
Thanks. A lot less expensive than AmazonDusty Groove is listing both WE & THE SEA and SAMBA BLIM for April and for about $15.99 each.
They are generally perfect. They have a high regard for records, CDs, etc., and their customers.Thanks. A lot less expensive than Amazon
Also pre-ordered the Sergio Mendes and Brasil 65 SHM as well.
I have never purchased from Dusty Groove. How are they (reliability, packaging, secure transaction)?
We used them a long time ago here in the forum when a bunch of the Mendes albums finally got a CD release in Japan, along with others we wanted (including the first release of We and the Sea on CD, prior to Verve doing it in the US). Probably goes back 15-20 years or so. Dusty Groove has been a Chicago mainstay for decades, so they're about as trustworthy as it gets, and they've always had a soft spot for these types of releases.I have never purchased from Dusty Groove. How are they (reliability, packaging, secure transaction)?
Another vote for purchasing from Dusty Groove. I've dealt with them for over 25 years, buying and selling lps as well. The owner Rick is a class act and he takes care of his customers. Buy with confidence.I have never purchased from Dusty Groove. How are they (reliability, packaging, secure transaction)?
Yeah. Same here.All of my trips to Chicago...and I still haven't visited Dusty Groove yet.
Definetly go there when you get the chance. The store is very clean and well laid out, and their prices are reasonable. In the 45 years I've been going to used record stores, this one is the best. Unfortunately the only other used record store in the area worth visiting is Squeezebox in Evanston. The rest are dirty stores with poor selections.All of my trips to Chicago...and I still haven't visited Dusty Groove yet.