Today's JAZZ playlist

These gentlemen are playing an outdoor show in Ann Arbor this weekend. I hope to make it.

Even though their Bio says that they try, "To move beyond classical forms and undertake ambitious interdisciplinary creativity and composition as a group effort."I find them quite listenable.
 
Apple Music and Amazon are slated for streaming on Friday, the release date. Only XM Radio is playing the album (world premier) a day early on Thursday in bits and pieces. I understand that. They have the golden Jazz ticket, and they want to milk it and keep you listening throughout the day for a track every hour.
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I'd also assume Spotify and Google Play Music will follow suit and release streaming on Friday. Tidal is a different bird because of the High Rez factor. I'd say fire up your Tidal app on Friday morning and see if Coltrane's "Both Directions at Once" comes up. If not, do Spofify Free (with commercials) and enjoy it that way. Heck, even Youtube may have it on Friday. Some bright boy is bound to upload it to Youtube the moment he gets the CD.

I am anxious to see if my Vinyl ships tomorrow (Wednesday) from Amazon with two day delivery. They have done this in the past for Prime members. You order a new release in advance, they have it ON YOUR DOORSTEP the day it is officially released, they don't just SHIP it on the release date.

EDIT:
I just checked on amazon and they have my order slated for DELIVERY this FRIDAY. Yahoo. You know what I'll be doing Friday afternoon.
I remember back when buying DVDs was a thing, and some places would do the early shipment thing for new releases.

I recall back when new releases would come out on Tuesdays, and when it wasn't OK for the stores to sell them until noon. Seriously?

I also remember a Tragically Hip album being released on a Saturday, and a store in my home town staying open to midnight the night before so they could sell them. That's how a big a deal they are/were up here.
 
You know you are working too hard when you are pissed that Sirius XM has not yet played any new Coltrane tracks from "Both Directions at Once" since you jumped in the car a 8 am and have been listening diligently. Then you realize it's only WEDNESDAY. Sheesh. I need a vacation.
For sure.
You know what you really need? You need to be home all day Friday to make sure that puppy doesn't get left out in the sun!

I am really Jonesin to hear this. I even went out for a look-see on the net for a taste, and came up empty. This thing is LOCKED down.

Did anyone notice what Sonny Rollins said about it? He said it's, "Like finding a new room in the Great Pyramid".
Is Rollins the coolest motherfucker on the planet, or what?
 
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Edit: Okay, this album is really growing on me. Probably around my third session listening to it and it just gets better everytime. Admittedly, I have had limited exposure to Monk, but it didn’t really grab me the first run through. Now half way though a third-ish pass it’s just jumping out at me and commanding my attention.

He is maybe less flashy and in your face than some other artists but his work has serious substance and at least for me it took a bit to realize how impactful his work really is. I am left with only one conclusion, Monk is the creeper-weed of Jazz?! :beatnik:
 
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Another new one for me.

Chuck Owen & the Jazz Surge ~ Whispers on the Wind.

Chuck Owen's Florida-based and Grammy-nominated Jazz Surge is back in the saddle with another series of impressive musical portraits, Whispers on the Wind, whose genesis harkens back to Owen's childhood in windy Omaha, NE, and whose inspiration derives in part from the works of three contemporary authors: Larry McMurtry, Cormac McCarthy and Stephen King (the last, as Owen writes, from King's Dark Towerseries). To help cast the spell, Owen uses a number of instruments not generally associated with big-band jazz including violin, dobro, steel guitar, harmonica, accordion and hammered dulcimer (the last two played by Owen himself).

As implied by that prefatory description, Owen's charts are rather far removed from the straight-ahead patterns espoused by Basie, Herman and others of their ilk, relying instead on a more elaborate design in which the ethos and power of the orchestra as a whole supersedes the more candid and personal framework of years gone by.

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