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Posts posted by mikeweil

  1. Anyway, the recording date for the Sonny Clark Trio I found is March 23, 1960! But Steve Hofmann states:

    "January 6, 1959 is the correct recording date! The later date might be a "record company tapes received" date. Better change those history books!"

    Tend to believe him. Mike, what do you think?

    I like this much better than his Blue Note Trios - because of his great originals. Gotta get me this SACD - and a player later on this year, if finances permit ... :rolleyes:

  2. Hope that the sales warrants the reissue of the second Billy Mitchell date for Smash 'A Little Juicy' (with Thad Jones on trumpet).

    I'd buy anything by this friends team!

  3. A role model for all of us! As great a jazz life as it can be. Just played a Keynote recording of his for my wife this morning, she wants to learn saxophone and I used it as an example of pre-Parker alto playing ....


    p.s. Jim (B-3er, that is), can you install a smiley with tears in his eyes ....

  4. marlene rosenberg is the bassist you're thinking of.

    I found the records I used to keep at the time with the personnel of each group I saw perform: at that concert it was Kim Clarke on bass.

  5. I too mailed Mosaic about Chamber Music of the New Jazz, and I understood the legal tangles referred specifically to this LP and not the other Argo Jamal Trio records, maybe the fact that is was originally recorded for Parrot has something to do with this. So the Argo was kind of a licence issue, although it was "sold" to them. Of course it's a shame such a classic date is unavailable. A similar case is Johny Griffin's fine Argo LP, which also was recorded for Parrot. The fine web page The Parrot and Blue Lake Labels gives some insight; scroll down the page to find the comments on the Jamal and Griffin recordings. A reissue should certainly combine the 4 pieces with Richard Davis with the 12" LP.

  6. How long has RJ been playing? I mean, he's on some mid-70's Chico Hamilton BN dates with Blythe, but he must have only been a teenager at the time.

    According to AMG he was born August 30, 1956! Here's bio AMG bio:

    An underrated cool-toned guitarist who sounds at his best in straight-ahead settings, Rodney Jones had his highest visibility during his period with Dizzy Gillespie (1976-1979), when he was in his early twenties. Jones had previously worked with Jaki Byard and recorded with Chico Hamilton, and he would follow the association with Gillespie by working for a time as Lena Horne's accompanist. As a leader, Jones has recorded for Timeless (in 1978 and 1981), the RR label, and in the late '80s for Minor Music.

    Not quite up to date .....

  7. One thing I don't dig about Soul Manifesto...it's so short. Something like 7 tracks or something. Could have been twice as long imho.

    :huh: My copy of Soul Manifesto has 9 tracks and runs 68:10 ..... :huh:

  8. Also, if you dig that one, check out Bobby Broom's "Modern Man" with Lonnie, Ronnie Cuber and Idris. THAT is a smoking record NOBODY seems to talk about.


    Thanks for the recommendation, just ordered it! Sound very promising!

    I have only the companion to Pieces of Blue, Generation, and only can say I like it very much, which means a lot because guitar usually is not one of my favourite instruments .... (nevertheless I end up playing with guitarists all the time :rolleyes: )

    Any body has a picture of Generation ? Couldn't find one on the web ...

  9. I'll never get tired of linking Noal Cohen's Elmo Hope Discography, not only because I wanted to write it but he was faster, but because I dig Elmo's music. I think he could have reached much greater artistic heights hadn't he been so frustrated.

    My fav's are the Complete Blue Notes and the Riverside/OJC Homecoming, which has more tracks than are on the All Star Sessions Milestone CD and contains one of the greatest improvised blues trio performances I've heard in all my life, One Mo' Blues.

    His compositions of the Blue Note CD are terrific!

  10. Gave The Undiscovered Few a spin and have to say it's better than I remembered. Has a definite link to the Blue Note tradition with reminiscences of Grant Green, McCoy Tyner and Duke Pearson, even Herbie Hancock from the old days and Greg Osby and Stefon Harris from the newer days of the label. His guitar playing is very good on that on and very nicely embedded in the ensemble. Give this disc a break! :tup

  11. If I could voice one reservation or even regret about Joe's Verve output it's that, with the notable exception of SO NEAR SO FAR, he was often surrounded on those dates by either much younger, much more callow players (Stephen Scott, Christian McBride, audibly in awe of / supplication to him, or by "professionals" who are in the business of being proficient, sympathetic and versatile (Hancock, DeJohnette), sometimes too much so. So that some of that sparring excitement that is always present on the best (IMHO) Joe Henderson recordings -- best to to even try and talk about his live performances here -- is missing. You can hear what I'm talking about on INNER URGE and OUR THING, on PTAH THE EL-DAOUD, on UNITY, on CAPE VERDEAN BLUES, on THE REAL MCCOY, on BLACK FIRE, on RELAXIN' AT CAMARILLO, and, I think, on this record, one of the finest from Joe's final (sigh) decade:


    Norris' harmonic sensibility is just what Henderson needs to really spin off some intricate, intelligent, swinging, totally compelling solos.

    I totally agree with you! I saw him live many times as he was on tour in Germany every year before his Verve contract. His live performances had a certain sameness to them, as he would rather rely on familiar standard material with familiar chord changes with pick up rhythm sections and used only few of his own compositions. Even the "feminist quartet" with Renee Rosnes and Sylvia Cuenca - I forgot the name of the bassist - was no exception to this. After the Strayhorn CD he stated in an interview you couldn't play that with a pick up group, you'd have to rehearse that stuff. As great an improvisor that he was, I was more thrilled by most of the studio projects because of the challenge the good sideman effected and the always differing contexts the producers thought up.

    A sideman date I like very much that wasn't mentioned so far is Charles Earland's "Leaving This Planet", available on a Fantasy twofer CD, inspired solos by Earland, Henderson, Freddie Hubbard and Eddie Henderson, Harvey Mason heats up the rhythm section on a few cuts.


  12. Most users ever online was 47 on Jul 9 2003, 12:45 PMĀ 

    These numbers should not be taken to seriously. I logged on a few days ago and had a look here once or twice each day but was not "online" all the time", But I did not log out. If you do not log out the server will assume you're there allatime, your cookie is the same allatime and so on. But we were all curious, for sure. BLP 1577 was the last one left after B-3er's many statements.

    Let's not spoil the good vibe here just because of this one goof. Even aric behaves well so far .... ;)

  13. I had a single CD of Jazz at the Plaza from the French CBS Jazz Originals series but sold it when I got the Legacy box set, where it sounds better, BTW. Don't know if this was ever available in the US.

  14. To complete the list:

    My candidate for most sexist cover:


    ... and for the worst re-title:


    But we have to give Joel Dorn some credit for investing the money he saved with cheap graphics into even more reissues .....