Jim R

Forgive me if I already posted this here (pretty tedious for me to check), but it's a great example and not an easy image to locate...

Thanks Tooter, thanks Ron.

Good call on the FOURMOST GUITARS, brownie. I had the LP years ago, but it's one that got away from me. I don't recall ever hearing about that LP with Solal. Sounds like a definite winner! Any way you could post a cover image of that? Speaking of cover images, I'd be much obliged if anybody could post any for some of those I listed in my first post (I think the only one I've seen online is STREET SWINGERS). ===== Shawn, yeah, thank goodness for the Fantasy catalog. "A" would probably be a fading memory by now if not for them.

Me too... "The Bob VanLangen Collection, Vol. 4". B)

I don't know that I can really generalize, but overall I would say that the thing that makes most of this music stand out is the rhythmic aspect. Of course, the majority of the material being played on these sessions is of brazilian origin, so there's that obvious difference from american hard bop, but the brazilians typically employ their rhythmic styles (straight samba, bossa, etc) when they played jazz back in that era. There's a tremendous amount of "rhythm consciousness" among all the musicians on a brazilian jazz recording- not just the percussionists. As I'm always quick to point out when talking about Bossa Nova recordings, the portuguese lyrics always provide for more rhythmic interest than their english counterparts when it comes to vocal tunes. I think that sensibility carries over somewhat in terms of brazilian instrumentalists, who grew up in such a rhythmically intense environment. Typically, the harmony probably isn't as adventurous in most of the recordings I've listed, but again that's just a generalization. As for melody, brazil is a treasure trove, IMO, from Ary Barroso and Noel Rosa, to Jobim and his partners, to Roberto Menescal, to Marcos Valle, Edu Lobo, and on and on. There are probably some essays available online, written by more qualified people than I. Bottom line, this is hard-swinging, sophisticated, engaging music. Please check it out! ===== One major omission from my recommendations above (and there may be more yet to come), is the Tamba Trio. Joe Carter talks about them in his article on his webpage (see link above). These guys were more versatile than a lot of their piano trio contemporaries, encorporating vocals (and some vocal harmony) as well as occasional saxophone and flute solos by the group's bassist, Bebeto. Luiz Eça, the pianist and leader, was also one of the best writers/arrangers of his era. Advanced Bossa Nova-influenced jazz with a real creative flair.

I love WISTERIA, but since it's among the Raney titles that's been out on CD, it wasn't what I was aiming at for this thread. FWIW, here's a list of Raney on CD: 1954- Jimmy Raney Visits Paris (Dawn) 1954- Jimmy Raney & Sonny Clark / Together! (Xanadu) 1954- Jimmy Raney Visits Paris, Vol. 1 & 2 BMG (Vogue) 1954, 1955- "A" (Prestige) 1954; 1959- Early Quintets ("Jimmy Raney Ensemble" / Dick Hyman Session) (Prestige) 1957- Two Guitars (w/Burrell) (Prestige) 1964- Two Jims And Zoot (Mobile Fidelity (Mainstream)) 1975- The Influence (Prevue (Xanadu)) 1976- Tokyo 1976* (Prevue (Xanadu)) (* leader is Barry Harris) 1976- Live In Tokyo (Prevue (Xanadu)) 1976- Solo (Prevue (Xanadu)) 1979- Stolen Moments (w/Doug Raney) (Steeplechase) 1980- Duets (w/Doug Raney) (Steeplechase) 1980- Here's That Raney Day (Black & Blue) 1981- Raney '81 (Criss Cross) 1983- Nardis (w/Doug Raney) (Steeplechase) 1983- The Master (Criss Cross) 1985- Good Company (w/Ted Brown) (Criss Cross) 1985- Wisteria (Criss Cross) 1990- But Beautiful (Criss Cross) ===== Lon, thanks for the heads up

"Forgotten" in the sense that they haven't seen the light of day for so long, that is. Anyway, some props for one of the greats... Jimmy Raney is among the elite in the history of guitarists in jazz. A seminal bebopper, he was a major figure from the late 40's onward, and a big influence on important players like Rene Thomas, Grant Green, and countless others. While much of his work has been available on CD over the years (especially his work with Getz and Norvo, and his Xanadu and Criss Cross recordings), it's not always easy to find, and there's still some important material that seems to have been all but forgotten. One somewhat disappointing thing to me is the fact that some of his early recordings for Prestige weren't collected and issued under his own name. His 1953 quintet with Getz was reissued on "Early Stan"; and his1954 quintet session with Phil Woods was reissued under Woods' name ("Early Quintets"). There ought to be a boxed set of all those New Jazz and Prestige 10-inchers, with the name JIMMY RANEY on the front! Here's a selected list of some Raney recordings that (to my knowledge) have not yet been issued on CD. Please correct me where necessary, or add some titles... 1954- Jimmy Raney In Sweden (Prestige 10" LP 179) later issued on Swingin' In Sweden (combined with some George Wallington material on the 12" Emarcy 36121). Only two of the four tracks were issued on the Xanadu CD "Jimmy Raney & Sonny Clark / Together" 1956- Jimmy Raney & Bob Brookmeyer (ABC Paramount) 1956- In Three Attitudes (ABC Paramount) w/ Bob Brookmeyer,Al Cohn,John Williams,Hall Overton,Red Mitchell,Osie Johnson 1957- The Street Swingers* (Pacific Jazz) w/ Brookmeyer and Jim Hall [*On CD as part of B. Brookmeyer Mosaic select set] 1957,69- Strings And Swings (Muse) 1974- Special Brew (Spotlite) w/ Al Haig,Wilbur Little,Frank Gant 1974- Momentum (PAUSA / MPS) w/ Richard Davis, Alan Dawson. Fantastic playing. 1975- Strings Attached (Choice) w/ Al Haig,Jamil Nasser,Frank Gant

A recent acquisition, another great piano trio recording: Le Trio Camara- Fernando Martins (p), Edson Lobo ( b ),Nelson Serra (d)... recorded in Paris around 1969.

Surely Jim McNeely? (played with Phil Woods, Stan Getz &c)? DUH! I thought of him too, but then forgot to mention him. Anyway, there is a Jimmy Neely (recorded one LP circa 1962). A trivial gag gone very, very wrong...

Yeah Pete, I guess I kind of had that sense already from what you'd posted at JC over the years. Maybe that's why I mentioned your name here only after being asked about doing another thread about contemporary Brazilian music. I know that's more your area of expertise (not that you're only up on the current artists, of course). Anyway, I know that our tastes do overlap some. BTW, as you probably know, several of the artists listed above also recorded with vocalists (such as Pery Ribeiro, Leny Andrade, Wanda Sa, Elis Regina, Marcos Valle, etc) back in the 60's. I tend to like a lot of it- instrumental and vocal. The strongest category for me, though, is probably the piano trio stuff. It rarely disappoints me.

Good idea. I'll need even more help with that one, though. BIG topic. I do have some contemporary favorites, though. I forgot to mention Pete C above... he'll join in, no doubt. He keeps up with current events- especially Brazilian artists touring in the U.S.

... and one more by the Sambalanço Trio: Dom Salvador Trio (piano trio) Tenorio Jr. (pianist; recorded a classic album called "Embalo") Raul De Souza (trombonist; recorded "A Vontade Mesmo" with Sambalanço Trio) "Os Cobras"- Raulzinho (Raul De Souza),Paulo Moura (reeds),Hamilton Cruz (trumpet),Tenorio Jr. (piano),Jose Carlos (Zezinho) (bass),Milton Banana (drums) ... and of course, Sergio Mendes: w/ Edison Machado,Edson Maciel,Raulzinho (Raul de Souza),Hector Bisignani,Aurino Ferreira,Sebastiao Neto,Antonio Carlos Jobim (arranger) w/ Edson Maciel (trombone),Durval Ferreira (guitar),Adalberto Jose De Castilho E Souza (Bebeto) (sax,flute,bass) Among those who are still living, some went more the way of "fusion" later on; some did a variety of things; and some have kept on in much the same style. There are some others of course, particularly in terms of piano trios. I tend to stay more with the 60's style material, but the topic of 70's developments can be added here as well. Maybe I can get Lon, Marcus O., mike weil, and some of the other Brazilian aficionados to add some suggestions too. Read more here: Joe Carter's Brazilian Jazz page

Actually, HARD BOSSA is the title of a 1999 CD by Joyce, one of Brazil's biggest stars of the past few decades. The title is catchy, which is mainly why I used it for this thread. Basically, I'm just starting this as yet another, more specific thread to talk about a slice of the Brazilian music scene of the 60's. This thread isn't just another Bossa Nova thread. We already have a Jobim thread, and another that deals with the topic of where to get started with Bossa Nova, and this one is just a little shout out to not overlook some of the cool stuff that was going on then that included some strong jazz influence. Some would put it under the heading of Bossa Nova, some would label it Brazilian Jazz... whatever. It's great music- that's all I care about. Okay, so somebody got me off my ass today by posting a question on this subject over at AAJ. They were talking about some of the Brazilian-influenced jazz that they dug (Blue Note stuff), and they wanted to know what else to look for... something with an "authentic" feel to it, but not light in weight. So, I responded with the following list, and as long as I went to that much effort, I decided I'd post it here (actually, it wasn't that much effort, and I've been meaning to bring this up here for some time anyway)... There were groups in Brazil during the Bossa era that incorporated hard bop (and/or mainstream jazz) influences into their music. The best place (IMO) to locate these recordings is http://www.dustygroove.com in Chicago. Give them a call or e-mail them, and ask one of their Brazilian experts to tell you what they have in stock that would fit your interests. Here are some 60's groups I can recommend: Sambalanço Trio (60's piano trio- Cesar Camargo Mariano (piano),Humberto Klayber (bass),Airto Moreira (drums); several recordings now on CD) Cesar Camargo Mariano Octet- Cesar Camargo Mariano (piano),Maguinho,Felpudo (Felpa),Buda (trumpets),Ditinho (trombone),Bolao (saxophone),Heraldo do Monte,Boneca (guitars),Saba,Humberto Clayber (basses),Airto Moreira,Toninho Pinheiro (drums, percussion) Zimbo Trio (piano trio- still going after 40+ years; known to some for their recording with Sonny Stitt) Bossa Tres (piano trio- Luiz Carlos Vinhas,Sebastiao Neto,Edison Machado) Edison Machado (drummer; recorded "Edison Machado e Samba Novo" with JT Meirelles,Paulo Moura,Moacir Santos,Pedro Paulo,Ed Maciel, Raulzinho (Raul de Souza),Tenorio Jr.,Sebastiao Neto) J.T. Meirelles (tenor player; recorded a fine album called "O Som") too many images... I'll continue in another post...

Another one on the String Jazz label (UK): JOHN PISANO & BILLY BEAN: Makin' it Again - String Jazz Records Billy Bean returned home to Philadelphia after working in a musically successful group with Hal Gaylor and Walter Norris called The Trio in the late 50s. That group created enough recognition that its fans have welcomed the reissue of those albums, and now more music by Bean has re-emerged in the company of guitarist John Pisano. If you've wondered what became of Bean, this won't answer the question, but these tracks - recorded between 1956 and 1959 - give you more reason to to find out about this little-known modern guitarist. If you've never heard of him, then this CD affords a great treat for fans of guitar or just great jazz in general. Playlist 1. Fat Feet 2. Room 608 3. You Stepped Out of a Dream [Duo] 4. Indian Summer 5. Strike up the Band 6. Take Your Pick 7. Sweet Georgia Brown 8. Billy's Beanery 9. Safari 10. Cherokee 11. Fat Feet

Basically, my statement simply comes from reading a lot of interviews in guitar magazines (especially jazz guitar mags) over the years, wherein Bean has often been mentioned by some great players as having been an influence. Louis Stewart names him as a major influence, and of course that's enough for me! I think it might be a combination of all of the above (including the hair ), but my gut tells me that it was a combination of his chops and his restraint in using those chops tastefully and musically. An awful lot of guitar players get showoffy when they have those kind of chops, but Bean always seemed to stay on task, and focused on the music at hand. I can't vouch for it being 100% accurate, of course, but here's a quick link to his recording career according to AMG: Billy Bean discog

Thanks ubu, I'll watch for it. I can highly recommend either of these TRIO CD's, BTW. One is equally as good as the other, and the musicianship is very high indeed. They don't deserve to be such obscure recordings, IMO.

According to the OJC CD liners (Jim Hall wrote the original LP liner notes), Gaylor was the one who conceived the group, so that may be why AMG listed it under Gaylor's name.

THE TRIO THE TRIO REDISCOVERED

Aladar Pege- there's a name I don't see too often, but that guy is an incredible bass player. Billy Bean's kind of a minor legend in guitar circles. He was very influential back in that era, and his decision to disappear from the jazz scene made the legend all the more mysterious. THE TRIO was a highly sought after collector's item at one time (back in the days before it came out on CD), selling in the $40 range to guitar fanatics. The same group made another recording back around the same time, and it was released on CD by String Jazz a few years ago with the title THE TRIO REDISCOVERED (SJCD 1007).

That's cool that you were able to get those sold. Having sold a lot of LP's myself over the years via different methods (record swaps, mail order sales and auctions, directly to dealers, newspaper ads, flea markets, garage sales, etc) I know that selling in quantity can be a real headache. So, if you don't mind my asking, was your buyer able to pick those up, or did you have to ship them? If you shipped them, could you describe how you went about packing and shipping them? I've never shipped more than half a dozen or so LP's to one person at any one time. So many LP buyers are SO picky about condition (and I mean picky about CLEAN records), it would seem almost impossible to me to sell a large number to one person sight-unseen. Had you sold to this person before? Anyway, I'm just curious. Thanks.

Shouldn't the guess be a jazz musician? Like John Lewis? Somebody clue me in here.

I like games, but I'm not sure I've played anything like this... which means this is going right over my head. Is there some "code" involved here? Is there any way this can be worded differently (or explained a bit more) without giving anything away?

Marty, I don't own any vinyl of this (I bought the Boplicity CD when it was released, in 1995). The Felsted/London cover above comes from the amazing Japanese site that's been discussed here on the board. Regarding that Boplicity cover... I had almost given up finding an image online, and as a last resort I checked at AMG, under the Freddie Redd (Blue Note) "Music From The Connection" listing. I had a feeling AMG might have screwed up and put it there, and lo and behold... That error should really be corrected, but I don't feel like writing to AMG three times and hoping for them to fix it by the year 2010...

Here's that original Felsted cover: and the Boplicity CD cover: