mikeweil

How much did you pay for it?

That's a beautiful, underrated album.

Jarrett surely wouldn't be delighted to hear them again.

That bass riff is really a standard tumbao (the Cuban term for a repeated figure on hand drums - tumbadoras - and other bass instruments, marimbulas, botijas, and string basses). It can also be heard on the famous LP "Puente In Percussion" on which Mongo and Willie Bobo participated. McFarland's presence as an arranger on "Soul Sauce" is not confirmed, although it is probable he wrote some arrangements, especially since one of his tunes was recorded. McFarland and Tjader recorded vibes duos for Verve that were not issued; On "Solar Heat" they play together on two sets of vibes, on two tunes. McFarland had a far better knowledge of Cuban and Brazilian music than most of his contemporaries, an innate feeling for the music. Listen to "Sting of the Bee", which could have been written by a Brazilian. He could have heard the Mongo and Puente LPs just as well. Tjader used that tumbao on a track on a Verve LP, I just can't recall right now on which. What struck me about the soundtrack for "13" is that he developped the whole score just from that one theme - really outstanding.

That bass riff is a standard montuno tumbao (bass phrase) - you can already hear it on Mongo's "Mazacote" from 1958 which is from a Blackhawk recording session of the Cal Tjader group of the time. Not invented by either musician.

That was the album that made me love and "understand" the Duke's music.

Earlier today:

Back home again and returning to our favourite French red:

This morning: Beautifully recorded 400 year old harpsichord. Now:

Yes it was Sonny's first studio session. But read the credits, what the guys play: Wynton Kelly and Roy Haynes on box, and tubs, respectively! Those two London 78s never were reissued. The first Babs CD on Chronological Classics stopped before this session.

That must be about the rarest Babs ever issued. Read the personnel listing, carefully:

Any details? Can't find anything on the web; Dragon' site doesn't work.

This thread is an excellent idea!

I once bought his duo album with Dave Holand, but his playing on the bebop tunes didn't touch me. His rhythmic phrasing was not your prototypical modern bop style, more influenced by his classical training and the sophisticated Bulgarian rhythms.

R.I.P. A great player - I almost saw him in 1972 when the Bulgarian Jazz Quartet Focus '65 was supposed to play in Frankfurt as opener for Herbie Mann - but they were denied visa by their regime. A few years later he travelled to California to join the Don Ellis Orchestra and stayed in Frankfurt for a few weeks, making some amazing recordings with the Jazzensemble of the local radio. And he dropped a number of Bulgarian folklore records at the radio station, among them the original of what was to become "Bulgarian Bulge" on "The New Don Ellis Band Goes Underground" - Leviev had sent a copy to Ellis, too, and was invited to join. Another perfect match.

That's the difference most people seem to forget.

Looks like a deep look into the Utility Muffin Research Kitchen. If Miles deserves this kind of treatment, why not Zappa?

That was live broadcast on German TV. IIRC it was taped in Munich at the occasion of a Jazz Now Festival during the Olympics there. Blakey had an all-star band with guest Jeremy Steig, Stanley Clarke, and Tony Williams (!) which was great. All critics and viewers thought that Baker won by points because he was more creative and used Blakey's patterns as a base for his playing, while Blakey more or less threw his usuail repertoire of drum licks at him, as if he was asking "How about that?". Nice to see it again. There's an audio only track of a French performance of the group with Williams I mentioned:

The closest thing on the web is Michael Fitzgerald's chronology of the Messengers: https://jazzmf.com/art-blakey-chronology-and-the-jazz-messengers/

https://recordstoreday.com/SpecialRelease/11770