{"id":8386,"date":"2017-05-16T22:36:55","date_gmt":"2017-05-17T05:36:55","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/?p=8386"},"modified":"2017-05-17T12:32:52","modified_gmt":"2017-05-17T19:32:52","slug":"catching-up-readers-report-on-listening-part-3","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2017\/05\/catching-up-readers-report-on-listening-part-3\/","title":{"rendered":"Catching Up: Readers Report On Listening, Part 3"},"content":{"rendered":"

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\nThe staff is still sorting through the profusion of responses to our query about what music Rifftides<\/em> readers are putting on their CD players and turntables these days. You are an eclectic bunch, witness this batch of responses. <\/p>\n

Peter Straub, Brooklyn, NY, USA<\/strong>
\nMiles Davis Quintet LIVE in Europe 1967<\/em><\/a> presents the second great quintet of Davis, Wayne Shorter, Herbie Hancock, Ron Carter, and Tony Williams playing music of great intelligence, spontaneity, and sophistication as they make their way from Antwerp to Copenhagen to Paris.<\/p>\n

Roger Brenes, San Diego, California, USA<\/strong>
\nMy musical tastes are somewhat eclectic, with a strong leaning toward jazz between the 1920s thru the mid 1960s. Having lived in San Diego all my life, I was exposed to West Coast jazz in the 1950s and it is still one of my preferred styles. From that genre some of my favorite artists are Mulligan, Pepper, early Konitz, Baker, Sims, Shank, Rogers, and Desmond. At home I listen to music from my collection of vinyl and cds. Elsewhere it’s KSDS-FM, San Diego’s 24\/7 jazz station.<\/p>\n

Dave Bernard, Waltham, Massachusetts, USA<\/strong>
\nHave been paying a lot of attention to brass and wind quintets. My interest pretty much started with the compositions of Alec Wilder. There are so many interesting CDs in that genre, such as Chicago Moves<\/em><\/a> by the Gaudete Brass on the Cedille label.<\/p>\n

Peter-Cornell Richter, Freiburg, Germany<\/strong>
\nEllington Uptown is always anywhere on my table. It reminds me of long-gone nights when I listened to the unique voice of Willis Conover. I am just listening to Gil Evans’ Tokyo Concert from 1976. Alongside my Epson printer (I am a Photographer) there are CDs from Erroll Garner (Ready Take One<\/a>), Rhoda Scott (Paris-New York<\/em>) and Buddy Rich (Mercy Mercy<\/em>). But most of all I like Thelonious Monk. Living on the other side of the earth, I enjoy Rifftides<\/em>. Many thanks! <\/p>\n

Ken Wilson, Charlottesville, Virginia, USA<\/strong>
\nTomeka Reid, Tomeka Reid Quartet<\/em><\/a>
\nDave Douglas, Brazen Heart<\/a> Live at the Jazz Standard
\nMurray, Allen & Carrington Power Trio, both the record<\/a> and this great video<\/a> from Winter Jazzfest 2015. <\/p>\n

Don Nelles, Somewhere In The USA<\/strong>
\nFor years I have been listening to a bootlegged tape of a Dave Brubeck Quartet concert recorded in the late 50s. I am still hoping to get permission from someone, anyone, to allow me to put together a CD that can be marketed under the title Jazz goes to Gonzaga<\/em>. Given the hoops success of the school, the CD is sure to be a best seller.<\/p>\n

Peter Sanger, Vancouver, British Columbia, Canada<\/strong>
\nCarol and I are currently listening on our home system to CDs by Scott Hamilton with the Jeff Hamilton Trio, Mimi Fox, Ken Peplowski, and The Berlin Philharmonic playing Ravel’s Daphnis and Chloe<\/em><\/a>; in the car, Terry Gibbs Dream Band<\/em><\/a>. There is always music in our lives one way or another. It’s great to read your posts daily, and the Desmond bio<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":"

The staff is still sorting through the profusion of responses to our query about what music Rifftides readers are putting on their CD players and turntables these days. You are an eclectic bunch, witness this batch of responses. Peter Straub, Brooklyn, NY, USA Miles Davis Quintet LIVE in Europe 1967 presents the second great quintet […]<\/p>\n","protected":false},"author":2,"featured_media":8387,"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-8386","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\/8386","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=8386"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/8386\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media\/8387"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=8386"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=8386"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=8386"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}