Tape Project Forum
Tape Project Albums => Tape Project Albums - general => Topic started by: docb on January 06, 2011, 12:54:51 PM
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Tape Project is proud to announce the first six titles of our new Series Three.
Creedence Clearwater Revival, Willy and the Poor Boys
Nat Adderly, Work Song
Kurt Elling, Flirting With Twilight
Oliver Nelson, Afro-American Sketches (I just heard the sample from this last night, and it is amazing)
Otis Rush, Right Place, Wrong Time
Lee Morgan, The Sidewinder
Subscription pricing will be the same as our other series. Those of you who just can't wait can call Eileen today at 206-451-4275 to subscribe. Series Two production is moving along well and we will roll right into the production of Series Three when Series Two is complete. Bon Appetit! There will be four more titles in Series Three, and we'll announce them just as soon as the ink is dry on the license!
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This is a home run! Hopefully there will be some classical in the remainder four.
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Killer Doc,.. Great selections IMHO!
I totally love Oliver Nelson.
I'm not familiar with the Elling album but I've sure seen him enough times to know that it's bound to be excellent (man,.. does that guy know his jazz!).
The Sidewinder and the CCR should certainly be crowd pleasers.
I haven't heard "Right Place..." in an awful long time. I had a roommate that used to play his stuff on a daily basis so I never felt the need to buy any myself. That was over 20 years ago though and I'll be sure and look through my vinyl to see if I have any today.
Work Song has some real genuine hits on it too. And with Wes Montgomery on guitar, that should be a really sweet addition to our jazz/tape collections!
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This is a home run! Hopefully there will be some classical in the remainder four.
We are delving into a catalog with great depth for some primo classical titles.
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Willie and the Poor Boys is a PERFECT TP release. Why, I remember suggesting it myself! :-)
Looking forward to hearing about that primo classical.
Tom
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We are delving into a catalog with great depth for some primo classical titles.
Great! An important part of any TP Series is, IMHO, the balance between genres.
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It's funny taking a sampler to a show. You know you are doing it more or less right if you go into one room and the guy says "wow that jazz track was great, but I don't want to hear any more of that next rock track" and in the next room the guy says" can we skip that jazz track? I've been dying to hear that rock and roll track".
But you know you nailed it when they all say "Wow, I've never heard of that third track. That's fantastic" in every room.
Like Series One and Two, I hope folks will feel we'll kinda have of all of this going on in Series Three.
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The Kurt Elling choice is inspired - it hadn't occurred to me before, but now that I see it, it makes perfect sense. Also excited about CCR... Can't wait to hear the rest of the titles...
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Heard the Oliver Nelson today at CES. It is a killer though I'm still partial to the Blues and the Abstract Truth :(
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I'm with you on that one Myles. Of course, BAAT was on Impulse and so far,.. we haven't had an Impulse release (wish-wish). What a line up on both albums though!
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Thanks for all the kind words! We should have the original masters of the two Blue Notes and the Rush pretty soon after we return from CES. I hope to be doing a couple of Head Fi events in the next few weeks (one of which will be at Bottleheadquarters on March 5th) and I hope to have some samples of those albums by then.
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Great news on the new albums !! I guess there's no chance that you will be doing any demo events a little further east...
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The Oliver Nelson album is a very interesting one. Although Nelson would eventually be known as one of the great arrangers in jazz, at that time he was just an up-and-coming saxophonist. He was approached by the producer Esmond Edwards (himself an interesting figure in the record business) and asked to write and orchestrate a suite summarizing the experience of Africans in America through music. Nelson was initially leery of biting off such a big chunk, especially since he didn't feel he had any expertise in African music. After a while though, he came around to Edwards's urging, and agreed to do it only if he were allowed enough time first to study African music. This he did, immersing himself in study for months. Later when he looked back on his career, Nelson viewed it as one of the best things he had ever done.
It is not done in a simple historical sense--no field hollers to Dixieland to Chicago simplistic storytelling. Rather it is a jazz impressionistic look at his people's history in the New World. There are one or two small sections where he seems to be quoting from historical styles, just to make a point, but in the main it is fully assimilated post-bop. It ranges from very rhythmic (especially in the several sections where Ray Barretto [on congas] and drummer Ed Shaughnessy [he's black Irish] work out off each other) to extremely lyrical and poignant.
All our albums are made to give enjoyment when you listen all the way through, but in this case it's even more fitting, as the suite was conceived and composed as a complete work.