mikeweil

I sure will look out for this. Great!

This must be taken with a grain of salt. E.g. they identify both takes of This Is The Blues by Curtis Amy and Paul Bryant which l found out to be different.

I hear a lot more Max Roach than Blakey in Hogan's drumming.

the pianoless sessions with Kenny Dorham

BTW - these sessions with Dorham were Ernie Henry's last before he died of a heroin overdose on December 29, 1957.

I was wondering about that, too. This was recorded on December 2, 1957. On December 20 & 23, Dorham and Max Roach recorded the latter's first pianoless album for EmArcy. Must have been their common brainchild. The December 20 tracks were first issued in Japan on this album, and included in the Max Roach Plus Four Mosaic box set.

After listening to all the vocla tracks I think that Bennett's singing style is not really compatible with the more "modern" backing they provide. Imagine someone like Mark Murphy with these guys. Bennett has not enough drama in "Out Of This World". A bit too proper. At first I thought he may have overdubbed, as the band plays a little too much, but there is a phrase Getz plays that is too much of interaction with the singer. Maybe they all didn't give enough of a damn on these sessions. Just another studio gig?

Only the Brookmeyer/Getz tracks from the latter.

The whole series of sessions in May and October 1964 was produced by Teo Macero and sounds to me like his brainchild, his idea of an all star production. Miles' pianist and bassist, Coltrane's drummer, Getz and his new star vibist, his old buddy Brookmeyer as a leader/writer/arranger, and Bennett as vocal star with an underrepresented jazz side on his Columbia albums. Only Bennett was under contract with Columbia; Brookmeyer turned out to be a one shot deal, all the others recorded for other labels as a leader - that's the only way Macero could have 'em all. There are some excellent solos scattered over the tracks. I wonder how the takes categorized as "no final performances" in the credits of the expanded CD reissue sound. Brookmeyer plays fine throughout, but this is not your idea of a highly charged blowing session. Leave your expectations behind, and you will probably get more out of it. I hear no melancholy or sad strains in this music, btw.. Relaxed and elegant. p.s. the rhythm section stirs the fire at a constant level, but does not intend to burn the forest.

Maybe Columbia had more in mind. The same rhythm section recorded with Tony Bennett, but it remained unissued. This 1987 Bennett compilation saw the first release of four of these tracks.

I don't know anything about the band or that song, butI have the impression that they changed the rhythmic configuration, kind of experimented with it.

No problem with the live tracks. That's black rhythm understanding. You don't have to play the beat to feel it. When Chaka starts singing, it is on the "1", but the second eighth note takes it to the offbeat. In this tune, the bass switches all the time from section to section, but the way he plays it is clear he always feels the beat right. What you as a listener heat and what you feel may differ. I once transcribed all the patterns of an Abakuá toque from a Mongo Santamaria record. All the patterns were coorect in relation to each other, but I had the "1" in the wrong place. Later I attended a clinic by Jon Otis with a few friends/colleagues, and that showed me the clave correctly. No way back after that. How about this version: They are better than we are!