Jim R

Forgot to mention- the "mutants" occured with each label transition, so you'll see Lexington/W 63rd mismatches; W63rd/NY USA; NY USA/Liberty; etc etc...

I agree. The terms "common" and "rare" are subjective of course, but I don't think this is all that unusual, as it probably occured frequently during label transition phases. I've seen/owned and heard about a number of them, and although it does (understandably) make some people curious or excited at first, it becomes routine after awhile. I think I still have one example left, "The Stylings Of Silver" (1562). One side "W. 63rd", one side "NY USA".

YES! One of the things that was really bugging me on this test was the piano player on this track. I posted (twice) that I thought it was O.P., but there was just enough doubt to leave me frustrated. Unless I missed it (entirely possible), nobody responded to my suggestion that it was Peterson, so I'm kind of surprised I was right. On the McGhee (disc 1, track 9), you don't list Clifford Jordan as being in the band... but maybe it's a given? (or not?). The only reason I guessed the C.J. big band was because I thought I heard him solo (didn't recognize the tune, although I do recognize the title). On disc 2 #7, Thompson played both organ and piano!?! I'm going to have to go back and listen to that again. That piano solo was t-a-s-t-y. Percy France... there's a name that certainly doesn't surprise me for that track. Not a name that I keep near the tip of my tongue, unfortunately... I still don't see any common idea for a theme here... ... gotta keep thinking...

Thanks for mentioning that! Joe C hipped me to this disc, but I forgot to mention it. FWIW, I had saved the liner notes (written by Meirelles), so I thought I'd go ahead and post them: The sequel to O Som, recorded in 1964, which is my first album and is considered a milestone in Brazilian instrumental music. It wouldn't be possible to recreate that moment - whose importance we didn't even realise at that time, only after. O Som is an album made by young musicians, who were still in the process of evolution. The quintet had been playing the compositions on that record for some time. Now, I find myself in the midst of new company, with experienced musicians with more baggage who were enthusiastic to participate in this project. And for this record we played together just once, in the studio, at the moment of recording. This new work is the fruit of almost forty years experience, which is reflected in the ten compositions that I did especially for this record - my first compositions since that earlier time, in this line of samba jazz. My references have amplified. At that time, they were more external, from American jazz, because in São Paulo I had participated in various jazz concerts. So many years after, I have lived other things and I can see that the compositions on this new album are the result of more diverse influences. There is still the influence of jazz, but the tracks also have Brazilian elements in their making. This made the balance between samba and jazz different from the first album: there remains a jazz aesthetic - my playing style is still very much influenced by American jazz - but my compositions are no longer so much so. The big difference for me lies in these new influences. It's another time. In general, the musicians, very influenced by Bossa Nova, like to play the compositions jazzily. But there are not many discs of this kind being recorded these days, therefore musicians don't compose specifically for this end. Today, technology is different too: the space of the CD is greater, so now it is natural that there is more diversity. The compositions on O Som weren't made to be recorded - they were played live, they were already part of our repertory. With the big success of the recording of "Mas, Que Nada !" by Jorge Ben, which I arranged, an opportunity came up to record a repertory which was already ready. Now, with the invitation from Dubas to record SAMBA JAZZ !!, I thought of the aesthetic conception of the record, so the result could be a continuity of the first. As when I composed the tracks I already knew what musicians were going to record them, I tried to make the most of the style and the manner of each musician right from the start. Each has well-defined characteristics. When I recorded with the tenor sax on the first album, Pedro Paulo played a variation on the trumpet, the cornet, smaller and with a softer sound. It was a great combination ! In the recording of this SAMBA JAZZ !!, we tried various combinations of instruments with the alto sax. We tried with different trumpets, with the cornet. The flugelhorn was the ideal result. And so Guilherme recorded the whole disc with the flugelhorn, except for the solo on "Lembranças" when he plays the trumpet with a mute. Laercio has a very original, percussive style and doesn't follow any external standard, he has his own way of playing, which is difficult to find these days. Robertinho is the same. Although he likes certain elements that came principally from Edison Machado, he has added his own ingredients over the years, such as the percussion which can be perceived distinctly, as a discreet novelty which doesn't change the aesthetic conception of the first album. Adriano has a large body of compositions using Brazilian rhythms, so the way of using an instrument to create a Brazilian sound is very clear for him. I wanted to bring all this together, all these contributions of the band, to create a collective result, as this is the objective of the Copa 5: an organic whole in which each stands out, in which each participates in his own way, in the improvisations and in the way of playing. I tried to exploit all of this in order to show what exactly the sound of the Copa 5 is: SAMBA JAZZ !!

Those Angelfire images are pretty cool! Oops. This is pretty much the same watch:

hbj, I don't follow you here. In what form did you get this session (a copy of the Philology CD... or something else)? How many tracks in all? Not sure what do you meant by "unissued" (8 tracks were issued by Philology in 1992)... unless you got ahold of a private tape with more than 8 tracks? I still wonder about the date you're using (4/30/65) as given by Definitive. As I said above, this session has always been listed as March 1965. I'm not saying I know that to be accurate either, but when a dubious label like Definitive suddenly comes up with a new date for something, I'm going to assume that they're doing it to confuse people into thinking that this is brand new, previously unissued material.

Lon, you haven't been watchin' that convention, have you? Best wishes, Dan. Your vinyl collection is probably too heavy to blow anywhere, right?

Thanks Jim. I've seen a few Carlton discs over the years, as I'm sure you have. Interesting to see Tubby Hayes and Anita Bryant on the same label, not to mention some titles like "Greatest Stereo Harmonica in Recorded History". The other link provided some entertaining things as well, such as the title: "EL-100 - Music to Play Checkers By - Danny Gould [1959]" (let's see if Dan notices this). Ellis has the distinction of haviing his LP followed in the Trey numerical series by the classic: "Tales for Young 'Uns - Dan Blocker". (that's Hoss, for all you non-Bonanza fans).

Jim, I too have a fondness for a fat bottom (no, no, I'm not going there ), and I too have a corner of my plate (even if it's one of those plastic picnic jobs with the triangular corners) open for this kind of shit. May I ask for some discognographical details on this? Is it a G-B-D outing? Curious to know what tunes he did, as well. Speaking of Fontana, he was on that "Las Vegas - 3 a.m." disc referred to in "The Life Of Brian" (I just loved that guy's site ). No real disrespect to Ellis in my previous post, BTW. Obviously, some guys can play tremendously, and even place themselves (and succeed in doing so) in jazz circles when that may not be the place they truly belong (Hank Garland comes to mind here) in terms of their true musical soul.

I still have all those OBI's in a box somewhere. Never got motivated to go after the watch. Besides, I never go anywhere without one of these babies:

I saw Anson Funderburgh eating a sandwich at an antique show in SF a few years ago (true story).

What a riot. You've gotta love an online resume like that. Brian's brushes with greatness! Check out his homepage and other links for more laughs, including his Cub Scout photo. I haven't heard much of Ellis, but my general impression is that he's a "superpicker" type, with his roots in country music. I guess he was quite the Vegas sideman...

tooter, I missed your previous post. Our man is definitely not Louis Stewart (but then, very few people are B-) ).

Damn. I just listened to O'Rourke's "The Prize" CD in its entirety, and I don't think I heard him play a single chord during any solo. Also, at least by 1997, his style seems to be more harmonically adventurous than the man playing on "I love you". Maybe Cliff is still the most likely...

Dave Cliff was one of the first names that occured to me, but for some reason I discounted the idea at first. Now that he's been mentioned here, I decided to compare the MP3 to the one example of Cliff I've got (his CD "Sippin' at Bells"). I do hear some similarities, although Cliff's playing on the CD is a bit more fluent than the mystery player, IMO. The CD dates from 1994, so there were six years between these recordings... I don't think Phillip Catherine is going to be our man. Another possibility I would suggest is David O'Rourke, who apparently worked with Ross at the Cork festival in 1985. Still a bit of a stretch for me to say it's him, but I think there's a possibility. Tonally, the mystery player more closely resembles O'Rourke than he does Cliff, at least with the examples I have to compare (my O'Rourke CD dates to '97, even further on timewise...). Hope this helps!

Oh, I gotta do ONE. Read for the part of "Floyd" on the Andy Griffith show... Sorry.

I'd join in right now, but I just spent about two hours doing Sonny Rollins.

10. Has cousins in Rawlins, Wyoming. 9. First instrument was the celeste. 8. World class collection of Hummels. 7. Favorite movie: "Whiffs" (1975), starring Elliot Gould. 6. Boxer briefs. 5. Once hitchhiked from Philadelphia to Norristown... without ever actually getting a ride. 4. Dated ex-girlfriends of pro bowlers Earl Anthony AND Nelson Burton, Jr. (both were secretaries- one named Lincoln, the other named Kennedy!) 3. Original bandleader for TV's "Thicke Of The Night". 2. Always told his family he would someday invent a new variety of Chex™ cereal. ... 1. Never really understood who the hell "Don Newcombe" was.

I have to admit, part of the reason I'm less of an NBA fan these days is because my team has always been the Warriors. It was fun right up until "Run TMC", and when Don Nelson and Chris Webber didn't hit it off, it's been downhill ever since. And that was a L-O-N-N-N-N-G time ago!

You may have a point in terms of the specific problems I cited, but I'm also trying to get some opinions regarding a more general problem (at least as seen by some of us), which has so far been ignored- the criticism of the state of the league by one of its all-time greatest players. I think that to a degree we are still in denial (the old show-up-and-win mentality). Larry Brown obviously thought he had a decent chance to win with the players he helped to select. Even with the pre-Olympic "wake up call" loss to Italy, we get blown out by Puerto Rico, and everybody admits we didn't give enough effort. Doug Collins still seemed to be in denial (IMO) when he declared before the Argentina game that "We should still win the gold". WTF?? What is our record in international play over the last dozen games? Aren't we something like 5-7? I'll say it again- how many easy shots did we get in this tournament, as compared to our opposition? I think there's a basketball (in the traditional "team game" sense of the word) "dumbing down" that has been going on for a number of years. Players don't have the court sense they used to have. NBA games are relatively low-scoring these days, compared to 10 or 20 years ago, and it's not just a result of players improving on defense. An ever-increasing influx of great athletes without enough experience with fundamentals. As far as the international game being different, well... we've know that for a LONG time. That part is on USA basketball, as well as the players, but we've gotta deal with it. It still comes down to executing.

12 out of 12 for me, and I've had most of them for many years. Maybe I shouldn't feel so sorry for myself.

For me, it's that, and the fact that I always have 90+ % of the music already. Same sad story for the Turrentine, Vaughan, Donaldson, Farlow, Vee Jays, etc etc. Sets I've wanted (and suggested) for years and years, but have managed to all but assemble myself via import CD's and CDR's of OOP LP's over the years. I'd love to have complete sets, and those terrific booklets, but I just don't have hundreds of dollars to throw around (especially when I keep spending what I have on individual jazz and brazilian CD's)... I COULD buy them anyway, but with two kids headed for college... my conscience intervenes. I wish Mosaic had gotten some of these sets out years ago...

SO....... does anybody here remember Oscar Robertson? "The Big O"?... Just kidding (although maybe a few of you are too young), but I wonder if anybody is familiar with that NY Times article mentioned above, or knows of any general reaction(s) to it by those in NBA circles (past and present). He thinks the NBA has been in a steady decline in some ways (team play, and fundamental skills, particularly with regard to offense), and I tend to agree with him. How many fewer easy shots did we get around the hoop (and how many could we actually hit) than our opponents in this tournament? How many great passes did you see that were on a par with anything by the real Dream Team (Magic, Bird, Mullin, etc)? How many unforced turnovers and dumb shots did you see in the 4th quarters of games we lost in this tournament? Can anybody make a free throw anymore? Noj, don't you think Shaq would have fouled out in the 2nd quarter?

Thanks to all for the technical assistance. Fortunately, I was able to download the file from tooter's e-mail, so I've already heard the clip. The trick now (it seems to me) is to come up with some names of players who might have been likely to have joined Ross at that location and at that time. I'm afraid I can't be of much service there, not knowing much about the british jazz scene then or now. Google provides a few possibilities, but I haven't recognized any of the names, nor do I recognize this player from hearing him (or her? ). Seems to me that what's needed here is some input from some of our UK members...

I already voted for KB, but how 'bout an honorable mention for the great Billy "Honky Tonk" Butler? (and I'll throw Bill Jennings in there too!) B-)