couw

bigger is better: http://hugeurl.com/

if ever you run into a dutch name again, try this site: http://www2.rnw.nl/mu/en/behind/pronunciations/ it has short pronuciation clips. Maarten Altena is covered, but without the van Regteren part, which is pronounced as "van", with "ah" and "Regteren" with stress on the first syllable only; "Regt-" has a short sharp "è" and a typical dutch "g" that's more like "kh", "-eren" is pronounced as "-uh ruh", without a real "n" in there.

the answer is on the site:

I'll take 40%. Beer will then be on the house. The guest-bed is some swedish contraption and you'll need some beers inside to appreciate the comfort anyhow.

We get the same treatment here... we get taken to Google.fr clicking the link "Google.com in English" on the main google page will take you to google.com. A cookie will be set that remembers you actually want to use google.com if you go to google.com

parts of it remind me of Mingus

apparantly yes! click on the cd/mp3 link on that site and find the track among the samples

heheh, damn it's been long since I saw this. Jiskefet and it's humour without a punchline.

Jackie's Bag. Pretty sure it doesn't have Mogie on it, but it's my favorite of Jackie McLean's albums of that time. i always thought of (the rvg with the three extra tracks of) this as a tina brooks album, i love it but wouldn't have compared it to leeway... but admittedly i always skip the first three tracks with Donald Byrd, thought they were boring but maybe i should give them a chance to grow on me... there is Quadrangle, the first tune on the disc, which has Sonny Clark sitting out. Good stuff that goes beyond anything else on the album.

Nate caught me with some time on my otherwise empty mind this evening, so I'll give it a spin and see where we land. een. The beat-box mouth sounds are not necessarily the best in their field, but probably that wasn't the aim as they serve well to conjure an ironic athmosphere as if we're listening to the latest of some crappy boy band. The lyrics (or rather poem) don't fit with with that image at all of course. The jubilant sax solo continues to estrange from the seriousness of the text. In the end the message escapes me, it must be something post-modern. A quick google search of course reveals the artist and the album. twee. Bass vamp (reminiscent of the previous tune) with noodley guitar dude getting his rocks off at times in some zappayesk interbreed of jazz and something else. At other times it's just noodling really without much interplay between the instruments: "What are you looking at?" "My navel." End verdict is in the open. drie. Very familiar tune in unfamiliar clang-a-lang-a-clang-clang instrumentation. Them clang-a-lang-clangs are great! But why start with a bass solo and loose momentum from the git-go? This is whack. The piano has to work hard to get them legs moving again, helped of course by the friendly drummer's china crash. The tenor enters a bit too hesitantly and in too sad notes to honour the exuberance of the clang-a-langs. Must have been listening to Wayne too much, heheh. MORE COWBELL! The trumpet section at least knows how to rock this thing on its way to an early death. vier. LOL!!!! This is funneee! makes you think some big ass spanish maestro is going to flamenco the hell out of you after that dark and mysterious bass intro and then you get this plate of chopped guitar liver to deal with. This reminds me a lot of Joe Sachse playing his guitar in all kinds of ways the above mentioned Spanish maestro would chop up his own liver over. There seems to be no goal here, but there is plenty of internal and sudden impetus and loads of fun. Not breakfast kind of fun, but it's evening here now anyhoo. vijf. Another vamp-y bit with some squeeky bike tooters sounding off. Here the continued bass vamp really pulls it off to enlarge tension until the horn comes in. This is good! It has it all, vamp, whack trumpeteer, silly Lurie-like bits, lots of room as the piano is lacking -- and we all know how those pianistos need to fill every bit of space with their territorial marks that it can be very refreshing to leave them out at times. Hell, I did an entire BFT comp without them; I would have included this track had I known it. zes. Albert Ayler rises from his grave in fade-in mode to possess pharaoh and with an accordeon in the background too (?). Oddly mesmerising. Nagnag goes the brain, telling me I have heard this before. And the damn thing suddenly opens up like whatever it is that opens up like this and kapow there we are in the midst of it all. If these aren't the masters themselves at work, there's an awful lot of "borrowing" going on that might even make one feel uneasy. On the other hand they get off something that merits plenty in and of itself, so carpe diem! zeven. Obligatory angular theme with unisono piano/horns that doesn't leave one whistling it afterwards and that doesn't convey much either other than that we're dealing with some "heavy dudes" who know life can be a bitch. Yeah well, tell me something new. And when I was fearing a piano solo that tries to make me feel sorry for the player, myself, or whomever, the guy somehow got the curve and it turned out okay. Trumpet does some Morganite slurrs that are quite okay too. I hate this kind of Hill-like piano comping, though, tearing it all down around the soloists instead of following the lead and lifting the trumpeteer even higher. Seems the bassist doesn't elicit these sentiments and the pianist seems to take another leaf from monk's book: to shut up every now and then. The schizophrenic nature of the pianist upsets me: nice and friendly in his own parts and a party killer when the other guy is in the limelight. In the end, the music doesn't do much for me. acht. squeaky-squeek and then what? Joe Sachse takes to the violin and wrecks it too. He should have stuck to the guitar. This got more interesting as it evolved and so I hit play again and really have to ask myself and the guy playing this what all the -- well yes -- cheap effects were about and why he didn't settle into his contemplative gypsy mood from the start. However jarring I find this and however much I will never run out to buy the disc, this has its moments and it's nice to have been exposed at least the one time. negen. and so it goes. Nice and filmic this one. Probably with some people on the move dressed in gray and black looking sad and trekking somewhere through large open areas with snow and lots of other hardships like dead kids and stuff like that. Very nice, but very filmic, i.e. I know it's only make-believe and not for real, so that's not good if you think about it. tien. Ferante & Teicher on acid! and then some lame and way too loud bunch of whatever falls over and into it. Sheesh, what kind of sound is this then? FULL? yeah, but it sucks you know... After that dust has settled, there's another vamp here, but there is not much for it to sustain. The tenor solo is weak without much of a story or direction and so the vamp has enough exposure to get on my nerves and then they get into this noisy unisono thing again to lead into some pointillistic emptiness that's not very telling either (I seem to have missed the first part of the story so I cannot place this one however much I try). The sax feep feep cannot save it either and the noise block blocks any view I might have developed. In the end, this -- as they say -- wasn't quite it. elf. The violin has been drinking and so has the trombone. Excellent; santé! so, that was fun; thankyou Nate!

RAHSAAN ROLAND KIRK, fl, ts, mz, str, spm, voc, misc. instr.; RON BURTON p; HENRY PETE (MATTATHIAS) PEARSON b; ROBERT SHY dr; ART PERRY perc. 1 Introduction WBCN Radio (3:01) 2 Hayne’s Brain’s Sayin’s (7:48) 3 Medley: Für Elise > In Monument > Lover (6:16) > Rahsaan Talk (1:38) 4 Epistrophy (7:12) 5 Lady’s Blues (5:15) 6 Serenade To A Cuckoo (4:34) 7 Introduction of Musicians (3:10) 9 People Make The World Go Round (9:26) 10 Medley: I Say A Little Prayer > A Love Supreme > Manteca (12:54) > 11 Chopin’s Polonaise > New Orleans (5:17) 12 The Inflated Tear (Rahsaan Talk) (1:32) Radio announcer (0:45) 12 Blacknuss (6:30) 13 Radio Announcer – Rahsaan Talk (1:21) Recorded Tuesday October 31, 1972 at the Jazz Workshop, Boston, MA WBCN Radio broadcast

106 entries in the dutch phonebook.

they made another cover so chewy could have his "hmm hank looks different" moment 50 years later

Sahib Shihab 1957.06.06. three tunes released on a Savoy side with three Herbie Mann led tunes on the other side: "Jazz We Heard Last Summer" (Savoy) AMG mentions he dropped off the scene in the 1960s and has him on a 1990 Clifford Jordan Big Band album "Play What You Feel" (Mapleshade)

Am I the only one who finds your reaction presumptuous and judgmental? ah well, at least I showed a reaction; guess that proves I'm still alive.

Am I the only one who finds this little tidbit very disturbing? All fine and dandy on the "soul mate" front and the search for good vibes in partnership and marriage, but I sincerely hope some of Mike's best friends told him he was an utter jerk in this respect; if not for leaving the mother of his 4 month old child, then for not leaving her 13 months earlier. John, it was not that simple ... thanks for the explanation, I hope you will concur that your story needed one!

Am I the only one who finds this little tidbit very disturbing? All fine and dandy on the "soul mate" front and the search for good vibes in partnership and marriage, but I sincerely hope some of Mike's best friends told him he was an utter jerk in this respect; if not for leaving the mother of his 4 month old child, then for not leaving her 13 months earlier. My advice to trane_fanatic: whatever you do, don't do it like this.

That Hoffman member is the same dude who started this thread Steve has replied in the meantime, but it's not clear to me from his answer if the flutter defect concerns all the copies. FWIW, my OJC vinyl does not have the defect, neither does my ZYX OJC20 CD

Basie by Philippe Gras

By the way, Sharpe "supervised" the session and he's the "Jackie" from the title tune. Gonsalves died in Sharpe's flat, he was one of the closest friends of Gonsalves', it seems. from the linernotes: "As the last track was Paul's choice, the next one Village Blues was Pat Smythe's. Long a fervent admirer of John Coltrane, Pat suggested this Coltrane original, as he had always wanted to hear how this blues would sound fashioned by the Gonsalves method. To make up the voicing that Paul thought this number required another tenor was added for this track. A bystander who happened to be in the studio was used, no one knew his name -- but all the boys agreed that he was indeed a real 'sharp cat' if they ever heard one. He is to be heard again for a fleeting second on the final bars of You Are Too Beautiful."

sound samples

Claude Schlouch lists "Now's The Time" as unissued. "Indiana" is listed as issued on "I Giganti del Jazz(It)10", "Déja Vu DVLP2125", "Europa jazz(It)EJ1008", "Los Grandes Del Jazz(Sp)10"

"Mode for Dulcimer" on his album "Focal Point"