[Vision2020] A tribute to . . .

[Ted Moffett]

Blood Sweat and Tears second album, titled "Blood Sweat and Tears,"
is sonically superbly recorded, offered in high resolution audio options,
vinyl and SACD.

Their version of Laura Nyro's "And When I Die" does justice to her
song, which demands mention of Nyro's masterpiece album, "New York
Tendaberry."

This is a desert island album, with Nyro at the peak of her songwriting,
singing and piano playing.

Rumor has it that jazz genius Miles Davis was considering playing on
Nyro's "New York Tendaberry" but thought Nyro's performance so complete
there was no
room for him... Quite a comment on Nyro's art, I think!

Text below from website below:
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Vision2020 Post: Ted Moffett

https://bobgluck.com/2013/08/04/miles-davis-and-laura-nyro-at-the-fillmore-east/

Miles had made a friendly visit to the studio the year before, when “New
York Tendaberry” was being recorded, but he declined to play on a track.
Nyro was a big Miles Davis fan; he and John Coltrane were among her
personal musical heroes. While this seems to go unmentioned, I hear hints
of McCoy Tyner’s playing with Trane in Nyro’s piano during that period,
particularly the pedal points and, amidst the triads and gospel-like
suspensions, the fourth chords and that pop up. I could easily imagine a
Coltrane version of “Lazy Susan” from her first album.

According to Nyro biographer Michele Kort, Nyro’s father Lou Nigro,
remembers that the Fillmore was nearly empty for Miles’s warmly received
sets, particularly in contrast with the tremendous ovations for his
daughter. But then, so many important live recordings were made with few
people in the house; Coltrane’s “Live at Birdland” is a case in point. The
reopened Five Spot, where I first heard Ornette Coleman play in the 1970s
(the original Five Spot was in a different Greenwich Village location) was
a tiny room; if there were 100 people in the house when I was there, it
would have been overwhelmingly full. *New York Times* critic John S. Wilson
wrote that Nyro’s performance “won a steady round of acclaim, as she sang a
program made up largely of her wry, perceptive songs of contemporary life
in a high, husky, bittersweet voice.”
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