Walter Bishop Jr. – Bish At The Bank: Live In Baltimore - Deluxe Edition - 1960 RSD Jazz - Ltd. Numbered Vinyl - Audiophile - 180 Grm 2LP + Booklet
Walter Bishop, Jr. - Bish At The Bank: Live In Baltimore
Label: Reel To Real – RTRLP010, Reel To Real – RTR-LP-010
2 x Vinyl, LP, Record Store Day, Deluxe Edition, Limited Edition, Numbered, Remastered, 180 Gram
Comes in a clear poly outer open at the top with a 'Record Store Day' hype sticker on the front and a transparent 'MADE IN CANADA' sticker on the back. The dual pocket gatefold jacket has plain white paper inner sleeves and an 8-pg 11"x11" glossy, monochrome booklet.Barcode (Scanned, UPC-A): 875531022773
US RSD site identifies this as a 'RSD First' Release with Quantity: 2000. 'Reel To Real' on Bandcamp states 'hand-numbered (to 3,000)'.
Mastered At – Cohearent Audio
Lacquer Cut By – KPG
Never-before-released live 1960s recording from The Madison Club and Famous Ballroom in Baltimore
Deluxe limited-edition hand-numbered 180-gram 2-LP set
Includes extensive booklet with rare photos, essays and liner notes
Remastered audio transferred directly from the original reels of 100 minutes of music!
Recorded Live at The Madison Club in Baltimore, MD on August 28, 1966 (Sides A & B)
and at The Famous Ballroom in Baltimore, MD on February 26, 1967 (Sides C & D)
Limited edition 1st pressing of 3,000 (number written below)©℗ 2023 Reel to Real Recordings, Ltd., Burnaby, BC
Released: Apr 22, 2023
A1 My Secret Love
B1 Days Of Wine And Roses
B2 Quiet Nights
C1 If I Were A Bell
C2 So What
D1 Willow Weep For Me
D2 Pfrancing (No Blues)
''With Bishop in top form and given ample opportunity to stretch out with his partners on eight lengthy cuts, the album fills a major gap in Bishop's recorded legacy, and the caliber of musicianship is quite strong throughout.The Left Bank Jazz Society was the lifeblood of the Baltimore jazz scene, sponsoring concerts beginning in 1964, with particular interest generated by Sunday shows which essentially became community-building events, in which patrons would bring food and beverages for themselves and the musicians, who were especially grateful for paid gigs on what typically was a slack day of the week for live jazz. If the audible conviviality of side one, recorded at the Madison Club in 1966, is any indication, it is hard to imagine any musician would pass up a chance to play before such a crowd. From the up-tempo burner "My Secret Love" onward, the band is clearly feeding off the audience's energy, and it is especially noticeable on the hard bop-flavored "Blues," where Vick's rootsy delivery catalyzes plenty of shouts and hollers for its twelve-minute duration.
"Days of Wine and Roses," for instance, is a fifteen-minute excursion which allows Bishop and Vick room to develop their ideas at length. Vick is another under-recorded figure who honed his chops with organ-based combos such as those of Jack McDuff and Richard "Groove" Holmes, and he represents a bridge of sorts here between a bebop vocabulary (with which he is clearly fluent) and the soul jazz that would evolve later when he recorded with Bishop on Coral Keys. His garrulous solo on "Days" rides the firm groove established by McIntosh and Berk, and Bishop takes it from there, teasing out phrases which unfold at a leisurely pace and with a strong bluesy temperament, before Vick comes back in with some feisty jabs and a few overblown licks to take the piece to its conclusion. Antonio Carlos Jobim's "Quiet Nights" concludes the set, and here Vick switches from tenor sax to flute, with somewhat mixed results, although Bishop's fluid lines and propulsive chords are enough to set things right. A nod to Bishop's days with Art Blakey even emerges with a quote of "Moanin.'" (AlllAboutJazz)
|Format||2LP, 180 Gram|
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