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About Shrdlu

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    Master of the Groove!

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  1. So, What Are You Listening To NOW?

    Joe's recordings for Milestone are excellent. There is a lot of variety. "We had everything but a hit.", wailed Orrin Keepnews in the notes. A favorite track is "Lazy Afternoon", with 'Erbie 'Ancock and Ron Cartair.
  2. pre OJC Fantasy cd (FCD series) info assistence requested

    Yes. Flora's Milestone albums can be found here Some items with Joe Henderson are in the 8 CD Milestone set.
  3. The bass clarinet

    When I was a teenager learning the alto saxophone and immersed in the Dave Brubeck Quartet, a neighbor brought around a copy of "Coltrane Live At The Village Vanguard". It blew me away, especially "Spiritual". It had a soprano saxophone, a bass clarinet, a pianist playing all those new (to me) fourth chords, a fine bassist and this drummer with a new (to me) triplet feel. Just amazing. From that point on, I wanted a soprano saxophone and a bass clarinet. Just a little beyond a teenager's budget. So, let's look at the bass clarinet a bit. Here is one of the best of today's models In its modern form, it was designed by Adolphe Sax in 1838, which explains why it looks a bit like a saxophone. Before getting into it, I need to point out that the "ordinary" clarinet (as in Benny Goodman) is in Bb and its bottom note is E. Players in symphony orchestras always have a second one, in A, a half-tone lower: the one that's easier for the current key is used. The most common bass clarinet is in Bb, an octave below the regular clarinet. Historically, there have been bass clarinets in A, but they are very rare, and their parts are played on the Bb model, which then needs a low Eb in order to reach the low E of the A clarinet. Pay attention now, class: this will be on the Test. For a long time, bass clarinets extended to a low C (concert Bb) have been available. The poor old little fingers on both hands are presented with cumbersome double stacks of keys, and one has to be careful not to get a finger stuck under them. One hopes, ha ha, that they never make a "low C" A bass clarinet. When, as a young man with a trip to Paris, France, coming up, I was contemplating buying a bass clarinet, an orchestra musician very kindly lent me a Selmer "low C" model, to see how I went on it. I liked playing it, but we didn't have microphones at sessions, and the middle register was drowned out by the drummer. The middle, or "Clarion", register on a bass clarinet is thin, and if you try to push a note, you get a squeak, which is actually a high harmonic. I decided not to buy one at that time. There is another problem with bass clarinets. Unlike the regular clarinet, they need two register holes ("pips"), as on all saxophones. The cheaper ones, such as my current one only have the one pip, at the top end. The extra pip goes on the (metal) gooseneck, if fitted. Its absence makes the middle register harder to play well, but I can manage. You don't wanna know what a new Selmer Paris costs. I'll end by posting a link to an amazing bass clarinet player called Earspasm. Watch him rip through "Giant Steps" along with the record
  4. You are absolutely right about the Teddy Wilson set, Hans. It was the Oliver Nelson set that was about to end. That Nelson set is an excellent example of the value of the Mosaic concept. I strongly doubt that I would ever have chased up all the albums covered by the set. There is some superb arranging and playing. I would include Cannonball's "Domination", but they had to consider size, and the album is easy to find. I love the fact that Oliver didn't restrict himself to a "trumpet section", a "trombone section", a "saxophone section" and rhythm. He offers mixures of all the instruments, plus many extras, such as bass clarinets, flutes and other tasty tone colors.
  5. Congas

    Every now and then, a Blue Note session is listed as having a guy who plays "Conga" - e.g. Ray Barretto with Lou Donaldson. It might be helpful to go into this in a bit of detail. Congas originate in Cuba, where they are called tumbas. There are several sizes. Starting in the middle, with the two most common ones, we have el quinto, with a head 11" in diameter, and la conga, with an 11.75" head. These are the two that Barretto and others play on jazz sessions. The listing should read "Congas", not conga. The next most common size is la tumbadora, 12.5" across. In the opposite direction, el requinto has a 9.75" diameter head. This is a very versatile instrument. Finally, the largest one is la super tumba, 14" in diameter. I have all four "Latin Percussion" "Galaxy Giovanni" congas that they make (all of the above except the largest). Here is one I have asked Latin Percussion to make a super tumba in this range. I messaged them about it, and the guy who replied thought it was a good idea, but nothing has been done. I don't like the look of the model that they do make. I also noticed that a guy on one album was listed as playing a "chekere" (sic). The shekere is merely one of dozens of percussion sounds, and it would be appropriate to list the player as playing "percussion". He would probably bring several pieces of equipment to the session. This is what you might expect There is a red and white shekere on the right. I have a very similar setup here. I have this shekere Latin percussion is a lot of fun and I've thoroughly enjoyed acquiring the various instruments.
  6. Cutting the Cable

    I never watch live TV. It is mainly rubbish anymore. I watch videos stored on an external hard drive. No ads, no annoying logos, and if I need to leave the room, a program can be paused. I also never answer my landline: spam calls have completely ruined it. I have an answering machine, for the rare genuine call. My cellphone has unlimited calls. For me, landlines and cable/satellite TV are very 90s.
  7. My main problem with Mosaic sets is not the cost (though, of course I don't buy sets with fierce prices): it is finding time to hear them. I got the recent Teddy Wilson set just before it ended, but so far, I've only listened to CD1. A major hindrance is that they insist on scattering the tracks all over the place - by the will of the majority, Michael says. For me, step one is to unravel the tracks and burn them onto CDs in proper order. The last Lester set took days to unscramble and arrange chronological order. There, Sony's stubborn attitude made it even harder - they refused to mix the stuff they own with other companies' material. They are as childish as sulky kids playing marbles. May I remind these companies that they didn't play on, or record, ANY of the music.
  8. "We Three" label confusion

    O.K. It's time to say it. If a person wants to reply to a long post, there is no need to quote the whole thing. It bloats most threads on here and is tedious. All one needs to say is something like "Further to your post, Charlie, ... ". I have no idea how much storage capacity this site has, but at least 1/3 of the data must be this repetition.
  9. pre OJC Fantasy cd (FCD series) info assistence requested

    Which Flora album(s) do you want? Orrin Keepnews recorded her in the 70s and there is some good stuff. "Mountain Train" is a great performance, and there are some items with Joe Henderson. Yes, Discogs can be awkward to search at times. The hardest thing to find there is the Feedback page. I have to use their Help tab to reach that.
  10. Gary Peacock's wife was called Garina Peahen.
  11. Cannonball's Rhythm Sections

    They were all good, but if I had to pick, I would go for Joe Zawinul. When he and Yusef Lateef joined, there was excitement that was previously missing. I find some of the group's earlier material very polished (of course) but a little bland. Timmons was very good, but I don't like his block chord sound. Red Garland and Gene Harris had better voicings. Some of the best Timmons is his earliest, with Kenny Dorham at the Bohemia. I hasten to add that I'm very fond of Vic Feldman. Wonderful player. And I am very fond of Barry Harris, too. (And don't play that Philly Joe lick again.)
  12. Playing music in the car

    With house music, there is a lot of repetition, but there are subtle changes all the way along (if it's a good mix) and one has to be patient. I first heard it live, in a club, and it certainly works well in that context, with dancing going on. When I first encountered it, I was immediately impressed by the good vibe there. It didn't hurt that the DJ there was the best in town, with good track selection and faultless mixing. I am not suggesting that it's as creative as jazz. It isn't. Far from it. How could it be? But we have both available. I am cursed with a good memory, and it doesn't bore me. The first track that got me is this Eric Prydz minimalist creation, "Armed". Wait for the strings to come in. (Eric is from Sweden.)
  13. Playing music in the car

    Can't resist adding this funky swinger. Jay Shepheard - Romance Gdansk (Jay Shepheard's Acid 09 Remix)
  14. Playing music in the car

    Yeah, Jim. The best of house swings like crazy. The only music that swings is jazz, Cubana Musica and Bossa Nova, and good house. Gheorghe, here are some excellent tracks, to prove my point. (No-one else may listen: only Gheorghe, lol.) That is way longer than the average house track (they usually run about 7 minutes, including the intro and outro), but it is superb all round and has an excellent (unidentified) alto saxophone solo - repeated unnecessarily. Dig the McCoy Tyner fourth chords on the piano on that. Jimpster (Jamie O'Dell, from Essex, England) did a fine job with this, a samba. That should be enough for now, to prove the point. You can have music that is simultaneously groovy for dancing, and of a high musical standard. Jamie is into Miles, Weather Report, Bill Evans and Gil Evans. I'm trying to get him to do a new version of Weather Report's "River People". I can add the soprano saxophone part - we would not be sampling the W.R. album.
  15. Playing music in the car

    Gheorghe, let me describe house music. It is said to have originated in Chicago in the early 80s, but I've never heard anything from that time or place, and none of it is played in the clubs I have been to, or on radio stations. It is a form of electronic dance music, played with two players and a mixer. It is (necssarily) all 4/4, in 8-measure sections. The speed (BPM) is usually between about 124 and 130, though some DJs go faster. The plan is that each track has an intro and an "outro" which are mainly simple, so that successive tracks can be merged seamlessly; there are no gaps in the music then. As one track is approaching its end, the next track is started and brought into the mix. It is obviously essential that the DJ be able to adjust the speed of each track. With vinyl (which is what they used at first), this poses a problem, because the (musical) pitch changes when you alter the speed. CDs solve this problem, and are much lighter to carry to the gig. House CD players are able to change the speed and keep the track on concert pitch, which is essential if a live musical instrument is playing along as well. The latest equipment can read the tracks off a USB memory card, but I prefer to use CDs. While a track is playing over the speakers, the DJ starts the next track (heard only on the headphones) and blends it in with the current track on the mixer. There is a lot of shallow rubbish dance music, obviously, but the best of house is cutting edge music in this era. There are several superb producers, mainly people with musical training. One of them I know (Jimpster) is into Weather Report, Gil Evans and Bill Evans. If it's live, I prefer house to jazz, for one simple reason: most jazz fans today are argumentative old farts, whereas the audience for house is young and out for a good evening.