mikeweil

At last I have time again to listen ....... 1. Get Happy, by a Bud Powell follower. I thought of Kenny Drew's debut, but a quick look told me he didn't play that tune. I find his phrasing a bit sloppy, as if the tempo was too fast for him, but the chords he uses sound so familiar ... probably a familar player. Bass and drums seem more at home with that tempo. 2. At first I thought of a young Hank Mobley, but that's not quite his sound and phrases. A bit like a young Dexter with too much juice or other substances in the brain. Another of these early bop disciples not yet fully matured. 3. More bop disciples. This makes me think flute was not the ideal bop instrument. Pianist is nice. Good bassist and drummer. 4. Soprano sax? Competent player, the others, too. Who is this? 5. Sorry, I don't like this. Dreaded bass direct sound, tenor player is not for me. Don't like his intonation. Like a meal with the wrong spices. Late 1970's mainstream? The pianist pours out phrases but doesn't say much. All like a dead language. 6. I simply have heard enough od this latter day mainstream when it was first released. I Have heard more compelling stuff in that style. 7. I have that tune somewhere, but not this version. They should have kept it shorter, and let the drummer play a solo. Bu the tune is nice with its Carrbean touches. Why does drummer Art Taylor come to my mind? 8. Nice and well played, very lyrical, but could move me more. 9. I know that voice! Hutcherson? "Hello To The Sun" ... the guitar throws me. The Bayeté / Todd Cochran LP on Prestige? Conga drummer sounds like Candido on Elvin's Blue Note sessions. 10. Another voice I know! She's good, I like her! Very well paced vocals. My favourite track so far. Nnenna Freelon? 11. 1980's black awareness jazz? 12. More of the same. Never heard both. This is convincing, they have a message and get it across. Would have been great to be there. 13. Again a style I have heard too often. Alto sax sounds like Gary Bartz without the fire. Trombonist's intonation is not my taste. Thanks for the compilation, I'm always amazed how much music there is I never heard.

This one? I cannot imagine a Steeplechase release sounding bad, especially since it was recorded in Copenhagen.

A crime mistery novel based on Chandler and McDonald with a similar personality as a private investigator. Since he is a jazz fan, and the author wrote the biography of one of my favourite musicians, Cal Tjader records are played frequently in this book.

I still can access their listings .....

Love that one, it is heard often here in this house.

My thoughts exactly. Most musicians play a bit more conservative music later in their career - among bassists, Ron Carter and Buster Williams come to my mind.

I also recommend this cheapo compilation which is the only convenient way of getting to hear his early efforts as a leader. He was an amazing versatile peformer well versed in all South American stylistics, schooled composer/arranger and could play jazz as well. His training was better than that of any Brazilian pianist, Donato included. https://www.discogs.com/release/13671849-Lalo-Schifrin-The-Early-Years The only missing session of note is the one with Eddie Harris. Reissued here:

That is a treasure trove of information!

R.i.P. a real versatile musical giant. Will spin two of my favourites with him tomorrow.

I made me CDRs with these tracks in session order - I like it better that way. Lateef's music on these albums is so basic, down to earth ......

Yesterday, only the Clare Fischer tracks:

I will buy this, although I think it would sound more charming on a 100 years old piano. I once gave an evening of Satie's music with excerpts of his writings and letters for our friends - he was not only joking, but a bit out of his world - a true eccentic. After Debussy (they were kind of friends) criticized him for his lack of sense for musical form, he responded by sending Debussy his newly written "Sept morceaux en forme de poire" - seven pieces in pear shape. Tharaud, btw released a very nice Satie album a few years ago: My top recommendation for a recording of Satie's piano music would be this, sadly oop box - Barbier learned the music under tutelage from an acquaintance of Satie:

Neither the original liner notes (which just say that the title was inspired by comedian Flip Wilson who was a follower of the band) nor those on the later twofer reissue discuss the changes of the tune, but composer Marty Sheller just might have heard or most probably kept track of the jazz scene of the time and picked up the inspiration - which is not that unusual. Dozens of jazz musicians picked up the changes from Morton Gould's Pavane as Coltrane did, and Jazz Messengers and other hard bop formulars were common language. Actually Marty Sheller's tunes on that LP are the jazziest. He was underrated as a trumpet player pigeonholed as a Latin player, even more after he had to give up the trumpet after a fighting incident that cost him some teeth. I can't see anything unusual in this combination of things - common jazz lingo. Unusual is the insertion of a passage with Afro-Cuban bembé rhythm for Mongo to solo on - this kind of rhythmic switch between gooves was first done by Cal Tjader and Dave Brubeck in their trio, then continued by Tjader and then probably picked up by Mongo while he was in Tjader's band. Very very few arrangements like this before 1960.

Last night before going to sleep: The latter two contain extremely beautiful music in excellent performances!

Will dig out the LP later ...

https://www.discogs.com/release/20120101-João-Donato-Quem-É-Quem

Brandnew!

Just my thoughts! I think I saw him playing once but cannor recall details. R.I.P.

It should ne noted that the unfamous Adagio is not an original Albinoni composition but a 19th century arrangement based on a bass line taken from an Albinoni composition. It's a shame that he is mainly known for this fake piece instead for his own very good pieces.