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Post by Cherry Pepsi Maxil on Apr 16, 2024 21:13:56 GMT
One of my favourite things about the Lethal Weapon series is the music by Eric Clapton and Michael Kamen. There's something so hauntingly beautiful about 2:23-3:15.
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Post by UncleDeadly on Apr 18, 2024 13:06:02 GMT
THIS is how it's done...
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Post by Cherry Pepsi Maxil on Apr 18, 2024 14:25:28 GMT
I still maintain that Brad Fiedel's work on the first Terminator is among the most atmospheric and chilling scores for an 80s science fiction movie.
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Post by Cherry Pepsi Maxil on Apr 18, 2024 15:59:54 GMT
That's the type that I like. I'm not opposed to jazz nor do I find it boring. It's just something that never really pops up on any of my CDs apart from John Barry's work. I'd love to go to a dance hall and listen to that type of stuff.
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Post by Ludders II on Apr 19, 2024 2:23:45 GMT
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Post by Bernard Marx on Apr 19, 2024 23:10:24 GMT
Ha. On that note, I listened to this tonight.
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Post by UncleDeadly on Apr 19, 2024 23:39:47 GMT
Ha. On that note, I listened to this tonight.
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Post by Ludders II on Apr 20, 2024 10:11:42 GMT
Favourite Parker tunes I have played in the past. Gave up at Donna Lee though.
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Post by UncleDeadly on Apr 20, 2024 13:06:19 GMT
"Now's the Time..." Yeah, tremendous performance. First heard that on one of those "Compact Jazz" compilations when i was a kid and it still hits me like a ton of bricks. I'm working my way through the complete Verve boxset atm, and there it is again; BAM! Mind you, i was taken aback and disappointed to note that there were no alternate takes of this one or many of the other small group numbers (which, let's face it, are the best...). However, it turns out that a whole load of missing alternates were discovered a few years back (in a cache of recordings, in the possession of an "associate" of Norman Granz. Translation; nicked..! ) and issued on the "Unheard Bird" collection. I just realised the other day that i'd already got the bloody thing but dismissed it as probably all being on the set. WRONG! A whole raft of alternate takes and false starts of "Blues (fast)" and many others. Wow. It's fascinating to hear Parker kicking this one into shape. Initially he bases this number on a straightforward riff and although the variations he spins in the alternates are typically fascinating to hear, the magic never really hits until the master take; he threw the riff out...!
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Post by UncleDeadly on Apr 20, 2024 13:11:29 GMT
Ha. On that note, I listened to this tonight. Oi, i haven't got to that one yet..! Actually, that's another one of my favourites. I love hearing Parker in a quartet setting, which didn't happen anywhere near enough IMO...
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Post by UncleDeadly on Apr 20, 2024 13:15:26 GMT
Gave up at Donna Lee though. Standard. You play sax, Ludders or did you do all those on geet..?
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Post by Ludders II on Apr 20, 2024 14:18:13 GMT
Gave up at Donna Lee though. Standard. You play sax, Ludders or did you do all those on geet..? Guitar I'm afraid. 😆 Although we did have a sax in one of the line-ups, but not alto. He was a tenor/soprano guy. I used to love the unison heads though. The different line ups that Parker played with fascinate me as much as anything. I love that particular version of Ornithology above, because it's got Fats Navarro on it, and the incredible Bud Powell. Not to mention Max Roach. Can't remember who's on bass.
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Post by Ludders II on Apr 20, 2024 16:06:31 GMT
"Now's the Time..." Yeah, tremendous performance. First heard that on one of those "Compact Jazz" compilations when i was a kid and it still hits me like a ton of bricks. I'm working my way through the complete Verve boxset atm, and there it is again; BAM! Mind you, i was taken aback and disappointed to note that there were no alternate takes of this one or many of the other small group numbers (which, let's face it, are the best...). However, it turns out that a whole load of missing alternates were discovered a few years back (in a cache of recordings, in the possession of an "associate" of Norman Granz. Translation; nicked..! ) and issued on the "Unheard Bird" collection. I just realised the other day that i'd already got the bloody thing but dismissed it as probably all being on the set. WRONG! A whole raft of alternate takes and false starts of "Blues (fast)" and many others. Wow. It's fascinating to hear Parker kicking this one into shape. Initially he bases this number on a straightforward riff and although the variations he spins in the alternates are typically fascinating to hear, the magic never really hits until the master take; he threw the riff out...! Your knowledge is impressive. I don't know his work as intimately as you do. Sounds like you are to Parker, what I am to Django. 😁 What do you think of Charlie Parker with Strings? For me, it was a grower initially, but now I love it.
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Post by UncleDeadly on Apr 28, 2024 16:11:55 GMT
Your knowledge is impressive. I don't know his work as intimately as you do. Sounds like you are to Parker, what I am to Django. 😁 Ha. Yeah, you could say i'm fairly obsessed... Funny you should ask that; i was going to add an addendum that i'd been thoroughly philistine in my implied dismissal of the strings sessions. I love them, actually. Upon first encounter, the swelling strings, harp and oboe can seem a little incongruous and off-putting. But then, the saxophone kicks in and it all makes sense. Probably Parker's most beautiful recordings all told, with his tone at its fullest and most emotive. His readings of Laura, Just Friends and April in Paris make a good case for definitive status. I do think some of the later Verve sessions over-egg the pudding somewhat though, piling big band (and even choir, in the frustrating Gil Evans-arranged session..!) on top of strings and some of the other soloists are quite clearly swing-orientated studio players who don't really gel with Parker's style, which unavoidably dates the music (Parker sounds timeless, they sound like the Flintstones..!) And whoever thought it was a good idea to get Charlie Parker to record La Cucaracha needed their head examining..! Parker himself, however, as has been noted elsewhere, seemed impervious to his surroundings and acquits himself admirably throughout, always soloing with invention and intensity regardless of the backing and the material, although the "South of the Border" stuff limits him harmonically and In the Still of the Night is an uphill battle..! All things considered, there's a hell of a lot of great music among the Verve recordings, the best of it equalling his work at Savoy and Dial (and in largely excellent sound, which is always a boon with Parker..!) and it's probably about time it stopped being regarded as second-tier stuff. That being said, even during the best of the strings sessions, my inner bebop nut can't help but crave the next small-group session,. In which case...
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Post by UncleDeadly on Apr 28, 2024 16:12:28 GMT
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