mikeweil

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!