Daniel A

I never believed something like this would ever happen! I'm sorry I can't be of any help.

I don't let the "success" of some artists/performers get in the way of enjoying what they do for what it is. So I'm not judging Oscar Peterson differently than someone like Kenny Dorham on a bad day. Peterson is not my favorite pianist, but he was part of my journey into jazz and there are a couple of things I listen to from time to time. 'Motions and Emotions' for instance.

I still think Milt's version is better. 🙂 And I wonder who came up with the concept, as there's a similar version by Freddie Hubbard for CTI, recorded half a year earlier (issued on 'Polar AC'), which was arranged by Bob James. But there's so much to enjoy on CTI overall. Where else would you for example hear Paul Desmond in the 60s with the rhythm section of Airto Moreira, Ron Carter and Herbie Hancock (on the album 'Summertime')?

I think you'll get misleading results if you compare albums by the same artist CTI vs non-CTI. The CTI catalog is a body of work on its own and quite an achievement.

I have different view. CTI was to me more distinctive in terms of concept and sound than Impulse, which Taylor left soon after the launch anyway. And while I don't necessarily like everything on that label there is no shortage of high quality playing and productions. An underestimated sequence is the albums from the period when CTI was an A&M subsidiary. Taylor himself might have felt crippled by the influence of Alpert, but what came out was consistent and almost a genre of its own.

I don't own Heath's book and can only see a couple of pages in Google's cache, but it seems to be Mtume telling the story: "I was with Organization US in L.A. then, and I gave Swahili names to some of the cats. They came down to the organization meetings and heard lectures by Karenga. I started with Herbie Hancock, who I named Mwandishi. Billy Hart took the name Jabali, and Buster Williams, Mchezaji. Don Cherry got a name too, and so did Joe Henderson, Keytu. Most importantly, the Swahili names had to do with the whole cultural identity changes that were happening."

In Herbie Hancock's autobiography, he says Mtume came up with names for everybody, but he doesn't say what Joe's was. Edit: by googling the other's names I found a reference: "Keytu", in Jimmy Heath's autobiography.

The Prélude:

Everything here is top-level Ravel. It has one of the best versions of the orchestral Tombeau de Couperin. There is one version with Abbado which I think is even more engaging, but the recording quality and the playing of the orchestra here is really good. Have you heard the piano version of Tombeau with Jean-Yves Thibaudet?

I checked the info on Discogs (don't have my CD sets at hand) and at a quick glance, it seems that the new material is the sessions with Gojkovic and Tolliver. As mentioned, there is also some material from the CD sets not replicated here. Somewhat irritatingly, the new material is spread across different LP sets.

Is there an overlap with the two previously released double CD sets?

Unedited clip here:

I am a bit uncertain whether 1961 is the correct year for the Brew Moore Steeplechase album. 1962 would seem more probable, but maybe there is evidence? I didn't think Niels-Henning played on TV as early as 1961.

The "problem" with the Sweet Honey Bee master tape is that it is lost.

Yes, I believe the 1963 date is correct. Fredriksson was sounding a bit "edgier" already in 1965. Link to previous thread:

Warming Up is on Spotify. The cover says "Vanguard Digital Vault". The copyright note says "(c) (p) 2006 Vanguard Records, a Welk Music Group Company".

Same! It's in a GRP box from 1996, "Music Forever and Beyond". It was recorded at Van Gelders, but is not listed in any discography that I've seen. Allegedly, the session was unsuccessful because Getz was drunk. He sounds a bit lost at times, but it's exciting to hear the different rhythm section. In the early 2000s, there was talk about a potential 'Sweet Rain' reissue that would include some of this material (or potentially other unreleased tracks). According to what I heard, the Getz estate blocked it. There is a thread on that somewhere here.

Well put. This album resonates with me in a way I cannot really explain. Even though I was born in the 70s, it feels like a slightly nostalgic flashback to the 1960s, as if I had memories from that time. Now I'm listening to Joni Mitchell's 'Court and Spark', on a 1974 pressing (Discogs lists many pressings from that year alone, so it must have sold really well). Tom Scott usually does not get much attention over here, but his arrangements for this album work so well. He's not credited except for a couple of tracks, but it surely sounds like his voicings all over. I don't listen to him as a jazz saxophonist, but he's done really good work as a soundtrack composer and arranger, and really has a personal touch. Edit: BTW, HutchFan, have you heard the only track that has been released from a failed first attempt at this album, with Roy Haynes and Steve Swallow? There was a take of Windows on a Chick Corea retrospective box.

I am not a big Getz fan, but cannot help liking the bossa nova stuff. But I also like 'Sweet Rain'. Super-quiet Japanese vinyl: All of the other players make this album especially enjoyable for me; Chick Corea, Ron Carter and Grady Tate. In the light of another recent thread on Getz, this statement in the liner notes does not come off too well: "Whatever Stan Wants Stan Getz".

Isaac Stern/Mstislav Rostropovich, Tchaikovsky's Violin Concerto. Not the best vinyl (late 70s) but I am drawn in by the playing. I was just supposed to check whether cleaning the LP made it sound better, but now I cannot really turn it off.

Herbie Hancock 'Flood', Japanese 1975 original. A bit of a nostalgia trip for me; I listened to this album a lot at age 20.

But I guess they are still personal, as nobody else sounds remotely the same. I have not followed him in later years. Did he become more "mainstream" as the years went by? Now playing a bit of an oddity, the first Revelation album; a mono copy of Dennis Budimir's 'Alone Together', mainly consisting of Budimir overdubbing himself on acoustic guitar. The production is a bit idiosyncratic. During the first track a telephone can be heard ringing several times in the background. Note the comments under "Technical Data" :

Chick Corea 'Septet', Japanese ECM

Steve Kuhn, 'Childhood Is Forever' (BYG) Though I generally like 60s Steve Kuhn, I sometimes feel that his free-ish outbursts are sometimes a bit mannered, or at least samey. But this album has some really atmospheric and satisfying playing.