mikeweil

Okay, let me see how far i get. I do not listen to much jazz these days, and please excuse if I am too critical with details. 1. Dahoud - would have liked the intro better with the second note before the beat. Hate the bass direct sound. Could it be there are transcriptions of original solos. This band would sound much better when recorded in a natural ambience - production makes it hard for me to listen through it. That insistent bass makes it a bit hectic. I wouldn't buy this. 2. A Charlie Parker tune - strange to awful piano sound, but definitely intended. A bit fast for my taste. Like the soloists much better than on the first track, some solid bebop played here. Sounds less like studio routine, but like fun and engaged playing. Oh, a live recording. Was hoping for a piano solo, and there it is. Is that Terry Adams? Like the drummer, and the horns, too. Okay, that's something I would buy. 3. This slower tune comes as a relief , to me at least. Liked it from the beginning. Some Ellington tune? Another bass direct sound, but warmer - that's more like it. Cello? No, guitar, sounding like a pizzicato cello in the first bar. That's a nice performance. Would have to hear more before I buy it. 4. I know that tune, but listening to less jazz affect my memory of tunes. Strange sound, obtrusive kickdrum. Could be some swing veterans. They know what they're doing. Good soloistst having fun. Why is the piano so low in the mix? Nice, but too much like JATP for me to buy it. 5. Symphony Sid, or what it's called. The alto player is good and enjoys himself, but I don't like the tempo, and, you guess, the bass sound. So I wouldn't buy it. 6. Another tune who's name I don't remember. Too fast for the piano player, he's on the border of what he can execute properly. Why are all these tracks in the fast tempo range except # 3? Most jazz guys seem to have high testosterone levels. Another no buy. 7. Django by John Lewis, but that's not him. Not his touch or voicings. That's ome very blues drenched player, like Les McCann, someone who transforms everything he plays into a blues type feeling. But there's a nice change of mood at 2:20. Would like to know who it is before I decide on buying it or not. 8. This direct bass sound might be one of the reasons whiy I don't like many newer recordings. Or is it the sound engineers making it too easy for themselves? Interesting pianist. Nice chops and a variety of stylistics. That's the same Parker tune as # 2. I have heard that alto player, but cannot identify him. Nice attempt at combining his bop roots with some whaling, without screaming, he has control. But I'd rather not buy this, I think. 9. Dahoud, once more. Doesn't enchant me as much as Clifford's version. These modern guys are well schooled, but I want more feeling. So I wouldn't buy this. 10. What a contrast. Something like Night Train. A bit rough, but I like this. But would I buy it? Dunno, need to hear more. Okay, I have to go to bed, got a gig coming up tomorrow night, with this guy (for speakers of German only, I guess): https://www.klemens-althapp.de More later, I won't look at the others' comments.

Just listened to the Jimmy Heath feature - really to the point.

The untreated original somehow catches the spirit more, like a time capsule, IMO.

I just listened to them on the Ocium CD. Definitely different takes of the same tunes, sometimes with slightly different tempos, different solos and piano intros. I always wondered why they were named "part".

The only way to answer questions about take identities would be audible comparsion of all the "takes". But I don't think any collector has all these releases. The Ocium CD is the only one with all "takes". https://www.discogs.com/release/15080826-Paul-Quinichette-PQ-Special p.s. track timings would be very helpful to identify takes, but most discographers are too lazy to list them. That's another proof most web discographers copy and paste instead of researching and collecting and listening to the records.

Paul Quinichette Quintet : Paul Quinichette (ts) Kenny Drew (p) Freddie Green (g) Gene Ramey (b) Gus Johnson (d) New York, December, 1952 4005-1 Green's blues [Green is blue] Dale EP204, Jax 5001, Mainstream MDCD722 [CD], DCC Compact Classics GZS-1085 [CD] 4005-2 alt Green's blues [Green is blue] Ocium (Sp)OCM0029 [CD] 4006-1 You belong to me Dale EP204, Jax 5001, Mainstream MDCD722 [CD], DCC Compact Classics GZS-1085 [CD] 4006-2 alt You belong to me (!) Ocium (Sp)OCM0029 [CD] 4007-1 Birdland jump (*) Dale EP204, Mainstream MRL364, MDCD722 [CD], DCC Compact Classics GZS-1085 [CD] 4007-2 alt Birdland jump Mainstream MDCD722 [CD], Ocium (Sp)OCM0029 [CD] 4008-1 Sleepy time gal (*) Dale EP204, Mainstream MRL364 4008-2 alt Sleepy time gal (!) Ocium (Sp)OCM0029 [CD] Note: All titles from Dale EP204 also on Dale LP22. Jax 5001 as by "Birdland Quintet". Mainstream MRL364 titled "Yesterday"; rest of LP by others. Mainstream MDCD722 [CD] titled "Stan Getz - A look at yesterday"; rest of CD by Stan Getz, Wardell Gray, John Hardee. (*) These two titles also on Mainstream 56025 titled "A look at yesterday"; rest of LP by others. (*) These two titles also on Mainstream (E)MRL5007 titled "Yesterday"; rest of LP by others. All titles, except (!), also on Fresh Sound (Sp)FSRCD1150 [CD]. All titles from Dale EP204 also on Xanadu 208 titled "Bebop revisited, Vol. 6"; rest of LP by Frank Socolow, John Hardee, Eddie "Lockjaw" Davis. All titles from Dale EP204 also on EPM Musique (F)FDC5170 [CD] titled "6 classic tenors"; rest of CD by others. All titles from Dale EP204 also on Blue Moon (Sp)BMCD1012 [CD]. All above titles also on Ocium (Sp)OCM0029 [CD]; alt takes incorrectly listed as "part 2" on this CD.

So this will be the first album of a 100 year old jazz musician? Reason enough to buy a copy. At 80, he made this:

That's a good one, I suppose?

Great sounding SACD.

This Friday I witnessed this terms presentation evening of the Frankfurt music high school's department for historically informed performance practice. These students play as well as all the recordings stars, and without all the allures and overdone esxpressions. Highlights: a sonata for transverse flute by Johann Mattheson, a Bach contemporary marked as a theoretician - his music is up to par with anythings from his peers. Flutist Léa Villeneuve will present her exams concert in two weeks. Jiaqi Chen played a set of variations by Joseph Wölfl, a Beethoven competitor, on a newly acquired copy of a 1786 fortepiano by Stein - no felt or leather on the wooden hammers, but several registrations. I sat only seven feet from the instrument and thus could really appreciate the intricate sounds it produces. Andreas Stöger play pieces on recorder as well as harpsichord, among them my favorite Chaconne by Jacques Duphly and a contemporary piec for recorder and crotales by Jan van Landeghem. Students from all over Europe, China, Korea and Japan all really enjoying the music and playing together, closing with Bach's sixth Brandenburg concerto. Seeing this live makes it clear that this would not make sense on modern instruments, as it asks for two violas da gamba, acting as a ripieno for the concertino of two violas and a violoncello, and basso continuo of violone and harpsichord. As I said, as good as anything you can buy on CD. The local music scene is greatly entiched by these concerts. Next Thursday the cello and harpsichord prefessors will perform piecs by Vivaldi and Domenico Scarlatti.

I once saw Ray Brown play that bass in Frankfurt, a trio with Gene Harris and Mickey Roker - beautiful sounding instrument.

This afternoon:

Words fail me ...

I have all the albums on individual CDs, so I will stay away from this. It does not include the Live CD from the Bottom Line, which is one of my favourites (there is the background story to this somewhere in the internet).

Saturday night we went to see the symphony orchestra of the Frankfurt Music Academy at the great concert hall of the local radio station. We had front row seats and bathed in the great sound of the orchestra, all students, but a professional conductor, Michael Sanderling. They started with Thomas Beecham's arrangement of Frederick Delius' The Walk To The Paradise Garden, a nice neo-romantic piece, all stings played with dampers. Next was the rarely played Romance for Viola and Strings by Max Bruch. Solist Jelena Antić played the solo part with the perfect balance of sensitivity and expressveness, without the over-exaggerated vibrato most conventional string players display (she is a master student of Tabea Zimmermann). She and the composer moved us to tears! They closed with parts from Sergei Prokofiev's Romeo and Juliet Suite. Everybody was right on point. The audience was enthusiastic. This student orchestra is every bit as good as any of the big names. https://www.tabeazimmermann.de/lehrtaetigkeit/studierende-alumni/jelena-antic/

We visited two museums yesterday to take advantage of our Museumsufercard that a llow,s us free entry to 39 Frankfurt museums all year through. First it was Museum Giersch with impressions of different artists about housing, how we want to live, and the history of the buildind itself. As a side effect I regained interest in Fritz Klimsch, they have three lifesize bronzes of him in the park outside. My mother had porcelain reproductions of two sculptures he made. Next it was the Liebighaus nearby, a sculpture museum with some great stuff. They are heavily engaged in a research project reconstructing the color decoration of ancient Greek sculptures which is fascinating. https://www.liebieghaus.de/en/medusas-colors

Listened to this, the first in this series, earlier today. Had the LP but sold it when the CD with a bonus track was released. Only got around to buy the CD second hand last monday. Really an excellent band. There was a receipt dated june 15, 1991 in the booklet, the original buyer had paid ten Deutschmarks for it. It cost me three Euro plus the same for shipping.

Last night we witnessed the presentation of the baroque cello class at the Frankfurt Music High School. One half of the evening was three sets of songs by Henry Purcell with various modes of accompanikment, from long cello ostnatos to basso continuos to counterparts in dialogue fashion between voice and cello. Purcell was a pioneer of the use of cello in English chamber music. Four different soprano singers, all great, and a fine harpsichord player directing the groups (Leonhard Klimpke, a name to watch, if you ask me). The other half was music by Italian composers who migrated to England: Francesco Geminani, Giuseppe Sammartini, and Giacobo Cervetto. A virtuoso solo sonata with cello harpsichord, and duet and a trio with cellos - very entertaining music, fun to watch and, as it seemed, to play. These young players were much more enchanting as the russion virtuso we saw on Monday. The moderator encouraged the audience to make up their own opinion as if there was something like "English" music, considering the great French influence on Purcell and the Italian fashion in the 18th century. One of the string players just reported on facebook they just finished the recoding sessions of the pieces. Looking forward to their releae next year.