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Barney Wilen – La Note Bleue … France 1987 Cover Art – Jacques De Loustal 😎

Paul Quinichette “Basie Reunion” OJC cd 640×640 63.7 KB A swinging affair. Paul with Buck Clayton, Shad Collins, Jack Washington, Nat Pierce, Freddie Greene, Eddie Jones, Jo Jones

Proves that some musicians can interpret the composers of their motherland particularly well ....

Klaus Doldinger "Doldinger In New York" (WEA) 1994 .... Cover Art by Jacques de Loustal 😇😎 ....

Sharel Cassity "Relentless" Jazz Legacy Productions cd Alto Flute – Don Braden Alto Saxophone, Soprano Saxophone, Flute – Sharel Cassity Bass – Dwayne Burno Drums – E.J. Strickland Flugelhorn – Thomas Barber Piano – Orrin Evans Tenor Saxophone – Andres Boyarsky Trombone – Michael Dease Trumpet – Jeremy Pelt I bought this because Orrin Evans was at the keys. It's pretty good. Back to top

Arild Andersen .... definitely underrated ....

Chala Cubana – Chinchorrero … Switzerland 2004 Artwork by Jacques de Loustal

For me marred by the ostensible playing of Larry Corryell .... taste differs ....

As much as I remember from those happy years when I saw Mingus live, that long track "Three Worlds of Drums" was planned while Mingus had toured North Africa during his fantastic world tour in Spring/Summer 1977 (also in Europe as witnessed by myself). Though his label Atlantic wanted to press him into a certain direction of short tracks to get radio play, which he fulfilled with shorter tunes, but he always managed to get larger works recorded, like the wonderful opus "Music for Todo Modo", "Three or Four Shades of the Blues", "Cumbia and Jazz Fusion" and finally this "Three Worlds of Drums". It was planned to be performed live, like "Cumbia" but it never happened. After Mingus could not play the bass fiddle anymore I heard that the band with Mingus on bass replaced by Eddy Gomez or Jiri Mraz under the direction of Danny Richmond continued to perform at Vanguard and it´s there where they also played the live version for quinted of "Three Worlds of Drums". When this album came out, I first didn´t buy it because I didn´t want to hear a Mingus record without Mingus himself on bass (I don´t like some of the early 60´s albums where he played piano only). But later I changed my mind and love that "Three World of Drums" since I love drummers and percussion, and this became a favourite of mine. On side B there is a fantastic version of "Devil Woman" , much better than the original (on which Mingus also didn´t play bass). So finally, in spite of the fact that nobody could play the bass as great as Mingus did, this is a fine album where I can learn a lot of stuff for my own musical plans for the future.....

Saw him live in Göttingen with the Kenny Wheeler Quintet, November 12, 1993. Line-up: Kenny Wheeler (tp, flh), John Abercrombie (g), John Taylor (p), Palle Daniellson (b), Joe LaBarbera (dr) and with the Rita Marcotulli Trio, November 5, 2010. Line-up: Rita Marcotulli (p), Palle Daniellson (b), Roberto Gatto (dr).

👍 - with Marion Brown!

http://solodoublebass.blogspot.com/ For further inspiration ....

Thank you

An early morning in Schubert wonderland .....

Palle Danielsson .... what a bassplayer .... R.I.P ....

Reminds me strongly of Jacques de Loustal ....

Although integral part of some widely acclaimed recordings (Keith Jarrett's "European Quartet" comes to my mind) he seemed comparatively underrated .... btw saw him inter alias with Michel Petrucciani and Sun Ship Theus @ Wiesen Jazzfest in 1983 - was interesting to watch him being spured even more by an extroverted drummer ....

RIP. He was great

That works! Another good one

This was my first exposure to Coryell. I thought it was the most schizo playing ever, at least in one solo. It kinda is, really.

This afternoon:

Re: adventurous guitarists that might rightly be considered modern jazz or post-bop: Zoller is a great callout. If we're talking early, mid-60's, there is a bit of a recorded scarcity of guitarists operating in more contemporary contexts. In retrospect, I'd assert that the advent of Hendrix really altered the the perceptual range of possibilities for guitar. Speaking as a guitar player, I think a lot of this has to do with technology and innovation. The vernacular(s) of jazz guitar operate in this liminal space between horns and piano. It isn't an ideal instrument for either expressive melodicism or harmonic density - the guitar can do both, but other instruments are better suited to either extreme. It isn't a coincidence that a slew of new, decidedly modernistic guitarists emerged in the 1960s. The minute louder amps and effects pedals became more widely available - and after guitarists like Hendrix established what could be done on the instrument - it became easier for people to find a role for guitar in modern jazz ensembles. What many may not understand about gain on guitar is that it compresses your signal. Overdrive/distortion/fuzz are not merely effects - they actually change how lines articulate. A guitarist with a well-controlled fuzz pedal can play as fluidly as a horn player, even with the jazz/high-gauge strings that allow for stability of intonation. All this is to say that a guy like Grant Green may very well not have played like Grant Green had different technology been available in his youth. (And that's the story of music.) Case in point: consider Ray Russell, a very capable English guitarist who plays in a linear style not fundamentally dissimilar to a Zoller or Coryell (although he's somewhat less fluid and more angular-melodic - more akin to Jim Hall than Tal Farlow): This is from '68. You can already hear the inflection of the Coltrane-Miles continuum of modalism - which is to say that he's playing as more of a melodist and less of a vertical (harmonic) improviser. He just hasn't put it all together yet - he's missing that extra layer of expressivity. This is from '71: The fuzz grants Russell and extra layer of expressivity - there are explicit overtures to American fusion and free jazz. This version of Russell (essentially the same that would play "Stained Angel Morning," which by a certain metric might be considered the guitar equivalent of Spiritual Unity) is capable of contributing to a more contemporary ensemble in a meaningful way. See what happened to Derek Bailey toward the end of the '60s, James Blood Ulmer in the '70s, and Sonny Sharrock after his resurgence and you get roughly the same picture.

RIP. Contributed to some great recordings!

This is the kind of stuff that I had in mind. Music that lands in the same place as the Miles 2nd quintet, Coltrane’s classic quartet, the music that Shorter/Henderson/McLean/Hill were recording for Blue Note… it’s telling that these guys never included guitarists in their recordings prior to 1968. Someone mentioned Larry Coryell upthread - good callout. I’d put him in the same bucket as Szabo, Zollar.

Today's Preakness was a muddy track, and it was won by the horse I was rooting for, Seize the Grey! The bettors had him at 9-1, I think seventh of eight. He led from start to finish. (2) NBC Sports on X: "Seize The Grey WINS the 149th Preakness Stakes! 🌻 https://t.co/Uqyb5nXPuS" / X (2) Preakness Stakes on X: "Congratulations to Seize the Grey, @MyRacehorse, and @jaimetorresjcky for winning #Preakness149!" / X