{"id":8378,"date":"2017-05-15T22:39:19","date_gmt":"2017-05-16T05:39:19","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/?p=8378"},"modified":"2017-05-15T22:47:57","modified_gmt":"2017-05-16T05:47:57","slug":"catching-up-readers-report-part-2","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2017\/05\/catching-up-readers-report-part-2\/","title":{"rendered":"Catching Up: Readers Report, Part 2"},"content":{"rendered":"

\"\"Responses to the 2017 survey of what our readers around the world are listening to are piling into Rifftides<\/em> world headquarters at a breathtaking rate. The staff complain”\u00a0that trying to put internet links to all the submissions, is all but taking their<\/em> breath. The mangement says, \u00e2\u20ac\u0153Tough, think of all the overtime hours.\u00e2\u20ac\u009d They say, \u00e2\u20ac\u0153Overtime pay<\/em> would be better.\u00e2\u20ac\u009d Well, the original idea was to provide the readers with links to all of the recordings mentioned. We may have to lighten up on that plan in order to fend off a rebellion of the sleepless peons. \u00e2\u20ac\u0153Links?\u00e2\u20ac\u009d they say in their terrible attempt at an Alfonso Bedoya accent, \u00e2\u20ac\u0153We don\u00e2\u20ac\u2122t need no stinking links.\u00e2\u20ac\u009d Management is taking their complaints under advisement. In the meantime, with links galore, here are four more reports from Rifftides<\/em> readers”\u00a0who do a lot of listening.<\/p>\n

John Fielding, Canberra, New South Wales, Australia<\/strong>
\nCatching up on my historicals. Recently bought Hoagy Carmichael (Key cuts 1924-46)<\/em><\/a> and Johnny Mercer, The Man from Georgia<\/em><\/a>. Both interesting but not, I think, essential. However, Sarah Vaughan’s Jazz Sides<\/em><\/a> from Verve and associated labels is an absolute all time classic. Acquired after many years: the CD of the Oscar Peterson Canadiana Suite<\/a> (replacing ancient worn vinyl), and discovered with great joy Oliver Jones, an Oscar-type Canadian pianist. Also, New Zealander\u00e2\u20ac\u201dnow New Yorker\u00e2\u20ac\u201dAlan Broadbent<\/a>. So, I\u00e2\u20ac\u2122m focusing on piano at present. But I still listen whenever possible to the Mosaic Eddie Condon<\/a> and any Sidney Bechet<\/a> that comes my way. And, always, Bill Evans<\/a>.”\u00a0So, classic jazz of a sort is alive and well in Australia, ”\u00a0at least where I reside. I know that these people, except young Broadbent, are mostly deceased. But then, I’m getting on myself.<\/p>\n

Michael Stephans, The Poconos, Pennsylvania, USA. All over the space\/time continuum:<\/strong>
\nMichael Formanek & Ensemble Kolossus, The Distance<\/a><\/em> (ECM)
\nOrnette Coleman, Sound Grammar<\/a><\/em> (Harmolodic)
\nStan Getz-Bob Brookmeyer, Recorded Fall 1961<\/a><\/em> (Verve)
\nBob Brookmeyer, 7 X Wilder<\/a>”\u00a0(Verve
\nWillie Nelson, God’s Problem Child<\/a><\/em> (Legacy)
\nJohn Abercrombie, 39 Steps<\/a><\/em> (ECM)
\nBenny Goodman, The 1938 Carnegie Hall Concert<\/a><\/em> (Columbia Legacy)<\/em><\/p>\n

Michael Harris, Easton, Connecticut, USA<\/strong>
\nScriabin’s Etudes for piano, particularly those of Opus 8 and Opus 42, as played by Sviatoslav Richter<\/a>.<\/p>\n

Pat Goodhope, University of Delaware Public Radio, 91.3 FM, WVUD.org<\/a><\/strong>
\nDave Pell, Jazz For Dancing and Listening<\/em><\/a> (Fresh Sound)
\nTen late 1930’s Woody Herman Decca 78’s recently acquired on E-Bay
\nJoe Castro, Lush Life, A Musical Journey<\/em><\/a> (Sunnyside)
\nErnestine Anderson Four Classic Albums<\/em><\/a> (AVID Jazz)
\nThe Hot Club Of San Francisco, John, Paul, George & Django<\/em><\/a> (Hot Club Records)
\nThe Complete Blue Note 45 Sessions of Ike Quebec<\/em><\/a> (Mosaic)
\n2Cellos Score<\/em><\/a> (Sony Masterworks)
\nThe Beatles\/1962-1966 (The Red Album)<\/em><\/a> (EMI Records)
\nStuff Smith, Late Woman Blue<\/em>s<\/a> (Storyville)
\nMandy Patinkin Sings Sondheim (Nonesuch)
\nAaron Copland, Appalachian Spring – Hear Ye! Hear Ye!<\/em><\/a> (Naxos)
\nFrank Sinatra, In The Wee Small Hours Of The Morning<\/a> (Capitol Records)
\nFerit Odman,”\u00a0Dameronia With Strings<\/em><\/a> (Equinox Music And Entertainment)
\nEddie Condon & Bud Freeman, Complete Commodore and Decca Sessions<\/a> (Mosaic)
\nClassic 1936-1947 Count Basie & Lester Young Studio Sessions<\/em><\/a> (Mosaic)<\/p>\n

Watch this space. We will all take a deep breath and soon post more readers’ listening choices.<\/p>\n","protected":false},"excerpt":{"rendered":"

Responses to the 2017 survey of what our readers around the world are listening to are piling into Rifftides world headquarters at a breathtaking rate. The staff complain”\u00a0that trying to put internet links to all the submissions, is all but taking their breath. The mangement says, \u00e2\u20ac\u0153Tough, think of all the overtime hours.\u00e2\u20ac\u009d They say, […]<\/p>\n","protected":false},"author":2,"featured_media":8379,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-8378","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-main","8":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/8378","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=8378"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/8378\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media\/8379"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=8378"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=8378"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=8378"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}