Jim R

I KNEW I was going to completely overlook something like this. I was listening to this album soon after it came out (thanks to a hip older brother of a friend of mine), and I even bought "Second Movement". For whatever reason (probably that there were SO many options in music at the time), these discs didn't cause me to go out and discover mainstream jazz or its history right away, but I really dug those albums (especially the first one). Now I'll wait patiently for somebody to remind me of another great recording from my developmental years that I'm blanking on. By the way, Kenny, I had all the Sons Of Champlin records, as well as that Allman Brothers LP, and I definitely heard me some Commander Cody too.

Music was omnipresent in my environment growing up in the late 50's and 60's, but as a kid I didn't hear much jazz other than what found its way onto tv and radio (perhaps I downplay it too much, because I know I probably soaked up what I heard by those artists who were deemed acceptable for tv variety shows and such). I think I was always very curious, and I paid attention (sometimes unconsciously, as I realized years later) to anything and everything in music that I came in contact with. After spending several years buying albums by The Beatles and some other rock and pop stuff, I started appreciating the melting pot of music that was going on in the early 70's (my high school years). I was seriously into The Crusaders when I was in high school, but I was unaware of their earler incarnation and style as "The Jazz Crusaders" (discovered that years later). There were any number of bands at that time that had a jazz influence (Tower Of Power was a favorite, for example), but I was basically listening to everything that was going on. I'm trying to remember other jazz-related things I was into... I remember having a Larry Coryell album, and George Benson got my attention when he became popular. At any rate, at that time I think I just thought of it all as music, and wasn't thinking in terms of looking for jazz in particular. Around that same time (mid-70's), one of my older brothers got me interested in the blues, particularly the T-Bone Walker->B.B. King urban electric guitar lineage. By immersing myself in that for several years, I think I began to really develop more of an awareness of improvisation, individual style, tone, arranging, etc. Then around '77, the same older brother gave me a copy of Jimmy Smith "At The Organ, Vol. 1" on Blue Note, and soon after that I remember getting Kind Of Blue, Bird's Complete Savoy Master Takes, Monk's "The Complete Genius", Wes Montgomery's "Beginnings", Dexter's "Our Man In Paris", and what is now just a blur of other great recordings... I was buying jazz albums like there was no tomorrow, and I didn't really slow down until a few years ago. Alhough I still enjoy a variety of musical genres, jazz has been my main focus ever since getting that Jimmy Smith LP.

But at least this is still around someplace: Al Caiola L5

Hmm... not sure I ever heard about that. I just looked it up, and apparently he survived that shooting (he died eight years later, in 1980, of carbon monoxide poisoning).

When you make a record as adequate as "Satan in High Heels," I'll be first in line to buy it. You and 3 other people. But seriously, how much of your enthusiasm about that recording has to do with Lowe's playing? Just curious.

I think I've heard nearly all of Mundell Lowe's recordings, and I can't think of one where I didn't find his playing to be... extremely adequate. But seriously, you have to be doing something right in order to work with the people he's worked with, and he certainly has earned his respect, but to my ears... pretty much a guaranteed snoozefest. I've got a videotape of a concert he played in Ireland with Louis Stewart (now on Youtube), and let's just say it was well worth seeing thanks to Louis. I remember when those CD's with Tete came out, and I had high hopes that Lowe would finally win me over, but it wasn't to be. Oh well.

I agree. Conan seemed a lot more relaxed then, as compared to more recent years where he's trying way too hard the minute he comes out for his monologue. Leno was a decent (not great) stand-up comedian, and used to have good chemistry with Dave when he guested on Letterman's show. As a host... EPIC fail. Too bad, because I think he's a good guy.

Interesting. I never saw that page before, and I'm not prepared to question the accuracy of any of the info, but what struck me as odd was the guy's excessive use of all caps and exclamation points. Not exactly a scholarly approach. The author was posting here for a time. Yes, I discovered the same thing after doing a few searches. I guess he last posted here a few years ago. It's nothing personal, and as I said, it's not that I'm questioning his information, I just find it distracting and less than convincing when someone takes that approach. I appreciate his efforts and his passion, though, and I'm sure he must be knowledgeable and perhaps frustrated by the amount of mis-information he's encountered.

Interesting. I never saw that page before, and I'm not prepared to question the accuracy of any of the info, but what struck me as odd was the guy's excessive use of all caps and exclamation points. Not exactly a scholarly approach.

Just stumbled onto this soundie at Youtube, which I never knew existed! One Is Never Too Old To Swing I wonder if there are more... ===== [edit] Wow... Swingin' In The Groove

This is not true - I survived the strong 1989 earthquake in northern California (7.1) and the overwhelming majority of structures survived. That said, in most poor countries even earthquakes much weaker than 7.0 will be catastrophic - and Haiti is among the poorest of the poor. Guy Yes, but you were in California, where buildings do survive quakes and are built to more extreme measures than any other place on earth (except Japan, I think). But in most of the world, as Van Basten said, a 7.0 would level a large percentage of buildings. Countries that are on faults, volcanoes, etc shoudl be building to the specs of California or Japan. But most don't due to costs, corruption. No offense, but it appears you really don't understand the two posts you quoted. The first statement was erroneous, and Guy was making the same point you're making. Anyway, carry on.

The Dom Salvador recordings were included in our early discussion, but The Rio 65 Trio were not (and should have been!)... Great piano trio recordings. It seems there's a problem with your image link. Anyway, I'm not sure if we mentioned the Jongo Trio earlier here... wonderful music. Here is the album leite is referring to: Time to listen to these recordings again. Thank you for the reminder.

Some time ago, Bluesnik posted here regarding a Joao Donato recording, "Muito A Vontade": Donato was an artist that I might have included in my initial posts here, but never got around to it. Here then are a couple of other 1960's titles I can recommend... ===== Another one I glossed over was Milton Banana, who did a lot of recordings as a leader (as well as a sideman) in the 60's. Better late than never... ... and others by the prolific Mr. Banana.

Welcome, leite13, and thank you for returning to the original topic (no offense to those who have been following the natural tangents that have developed here). I am always glad to see posts here from enthusiastic people, and it's great when we get the knowledge and perspective from someone in Brasil. I think we did have a pretty good discussion about this music back when this thread was beginning, but there's no reason we shouldn't continue or even go back and make corrections. If you would care to, you can go back and "quote" from earlier posts and respond to them specifically by clicking on the "reply" button. Again, welcome! Oh, I'm also glad you brought this topic back up, because it made me aware that I needed to edit a few of my early posts in order to update the URL's for some of the cover images that had expired. I hope that newcomers will go back and look at the beginning of the thread to look at the artist and recording recommendations. Much of the material is still in print, thankfully.

Okay, OKAY, you're not a sometime thing... look, I don't even know you... CHECK, PLEASE!

Les Paul is the guitarist.

I agree with Lon. I think Wes had such an advanced musical mind that he wouldn't have been uncomfortable with such a challenge. Even when playing "straight", his ideas could be so abstract that an untrained ear (someone without much experience in the language of jazz) might think he was playing "out". I'm not even sure Trane would have wanted anything very much beyond what Wes had already demonstrated in terms of stretching the boundaries of "straight" playing.

Okay, I've never seen that particular LP before, but I've opened this thread and seen the image twice now, and I don't get it... can somebody explain what/where the mistake is?

I was just doing some investigating regarding the Epic LP "Illinois Jacquet And His Orchestra", and a google search led me to the above post. I think that Fresh Sounds made some discographical errors with regard to the personnel on these sessions (including the final listing above, which includes the alternate takes issued later). Right off the bat, you can see that Roy Eldridge was mentioned initially in their comments as being involved, yet he is left out when the personnel are actually detailed. There are other errors/omissions, also. Fwiw, here are the correct personnel according to the LP's back cover: On "Satin Doll" and "Pucker Up": Illinois Jacquet,Ernie Royal,Roy Eldridge,Matthew Gee,Leo Parker, Sir Charles Thompson, Kenny Burrell, Jimmy Rowser,Jimmy Crawford. On "Banned In Boston", "Ydeen-O", "Indiana" and "Reverie": Illinois Jacquet,Roy Eldridge,Charlie Davis, Sir Charles Thompson, Barry Galbraith, George Duvivier, Jo Jones. On "How Now?", "Frantic Fanny", "Stella By Starlight" and "Imagination": Illinois Jacquet,Roy Eldridge,Matthew Gee,Cecil Payne, Sir Charles Thompson, Kenny Burrell, George Duvivier, Jo Jones.

I've been using Max for years, and it has performed very well. The only thing I still don't understand is that when I convert a flac file to apple lossless, it still doesn't sound as good as the same (unconverted) flac file played in a different player (I use VLC). I've admitted before that I often have trouble hearing a difference between files converted at different bitrates (128, 320, etc) in iTunes, but when I play a flac in VLC, the difference (between that and the same file converted to apple lossless and played in iTunes) is as clear as can be.

For whatever it might be worth, here are a few earlier threads on this topic: http://www.organissimo.org/forum/index.php?showtopic=7110 http://www.organissimo.org/forum/index.php?showtopic=13533 http://www.organissimo.org/forum/index.php?showtopic=30144

Well said. I thoroughly and enthusiastically agree.

Tom, These tracks appear to be from several radio broadcasts in Fall 1965: Wes Montgomery Discography I have to admit that I've lost some of my fanatacism over the years in terms of collecting everything by my favorite artists, but it still surprises me sometimes how under-the-radar things like this can be. I missed Ron's post, and since 2006 (!) I hadn't seen or heard any reference to this Japanese issue titled "Smokin' Guitar" (let alone seeing the CD itself). I just heard it today for the first time, and let's just say it was well worth the wait. Can't say I'm crazy about the cover art, but... 1. Birk's Works 5.35 2. Four On Six 8.24 3. Laura 6.53 4. Cariba 8.49 5. All The Things You Are 6.44 6. I Remember You 7.27 Half Note, N.Y.C., September 24 (tracks 3 and 4); November 12 (tracks 1 and 2); November 19 (tracks 5 and 6), 1965 Wes Montgomery-guitar; Wynton Kelly-piano; Larry Ridley-bass (1,2); Paul Chambers-bass (3,4); Herman Wright-bass (5,6); Jimmy Cobb-drums