mikeweil

I have all the Antonio Diaz Mena recordings, but haven't listened to them in quite a while. They are among the best Latin jazz recordings of their time, with or without Henderson solos.

There was an earlier studio (!) recording by Clyde Hart's Hot Seven for a Savoy 78, on December 19, 1944, Benny Harris (tp) Herbie Fields (as,ts) Budd Johnson (ts) Clyde Hart (p) Chuck Wayne (g) Oscar Pettiford (b) Denzil Best (d) - reissued on the double LP The Changing Face Of Harlem, also on the Budd Johnson Chronological Classics CD. They were originally recorded for Continental and so are not in Mosaic Savoy Box. There is another one by a Red Norvo Group but I haven't heard this and can't say that it's the same tune, a transcription recording on June 23, 1944. https://www.discogs.com/Various-The-Changing-Face-Of-Harlem/release/3354171

Bing Crosby and Rosemary Clooney, graced by Mosaic with box sets that were not on everybody's wish list.

I share the opinion that Roberts mixed up several things. It's a drag that he never cited precise sources in his first two books (I do not have the third) and lists only a general bibliography, so everything he says should be confirmed by other independent sources. As other have stated above, Cole's LP Cole Español was recorded in 1958. The orchestral tracks were recorded in Cuba, Cole overdubbed vocals or piano in Los Angeles (https://en.wikipedia.org/wiki/Cole_Espa%C3%B1ol) - Armenteros could indeed have been in the orchestra, but I wonder where Roberts got that info. If one trusts the Tom Lord Discography, "Rhumba à la King" is an alternative title for "Rex Rhumba" - that may be where Roberts got the title. There are two versions of the tune recorded in March and April 1946, and issued separately (maybe someone owning the Cole Trio Mosaic box can shed a light on this - the Mosaic discography in the box booklet seems to identify the two titles. It's typical for a US release to spell it Rhumba - nobody does so in Cuba!

on to disc 3

After listening to some more and watching the DVD I must say this is mandatory listening and reading for anynody seriously interested in Haydn's keyboardd music - Beghin's playing is excellent, his thoughts on the music are profound, and,no matter what you may think of it, the possibilities open up by the virtual room technology are fascinating.

The one closest to using all the knowledge accumulated on tempos, instruments, and ensemble sizes over the last decades, is the one by Concerto Köln - they even had somebody reconstruct the "fiauti d'echo" Bach asks for, and use German model harpsichords. I find it very satisfying and very entertaining to listen to at the same time. If you prefer modern instruments, try the Berlin Baroque Soloists, who invited Reinhard Goebel to supervise their recording. They wanted his enormous knowledge and he was able to add some new aspects he couldn't know or execute with Musica Antiqua Köln twenty years earlier.

IIRC his Blue Note 10 incher was the only in that series never reissued on CD in the US, which is kinda sad. He was an excellent and tasteful player. R.I.P.

There is no information on the recording date - maybe Tjader biographer Duncan S. Reid can ask producer Ed Bogas, in case he is still in contact with him, and Bogas remembers. But it should be from the early 1970's. Mel Martin has a few nice, if rather short solos, on tenor and flute. A pop record, for sure, and running only 24 minutes.

Very interesting - Tom Beghin plays nicely in a personal expressive approach to the music, and shows the different keyboard instruments used at the time. Got this for € 20 from JPC - at this priceit is a must buy for any serious lover of Haydn's keyboard music. It is amazing how different a piece can sound on a different instrument or in different acoustics. p.s. also available on BluRay:

https://www.discogs.com/Memo-10-From-Memo/release/8978899 Got this 'cause Cal Tjader plays on it, if only on a few tracks, and barely audible. Only for Tjader discographers ....

Ohlshausen may not have liked Miles' later outings, but certainly couldn't have known them at a time when Ian Carr's Nucleus and Terumasa Hino made their first records in that style - and he was kinda right about these. They had a looser approch than Miles, especially considering Bitches Brew and others being spliced together as much as they were. Pianist George Gruntz meant something similar when he said that he felt nobody on Bitches Brew had really cut loose. The problem is in the evaluation as such, methinks. Different approches yield different results. None of those early fusion guys could have known where it all would go, musicaly and commercially.

Richard Mudge – Six Concertos In Seven Parts – Capriccio Barockorchester The English published quite a few collections of Conerti grossi in the wake of Corelli, most of them are comptently written and beautiful music. Mudge's are among the latter.

I had all the single Blue Note CDs - the only reason I got this set was that it includes the two sessions before the quartets with Sonny Clark that didn't produce enough (and not quite satisfying) music for an LP - Cuscuna had released them in the LT series with "Landslide" from an earlier session. Sometimes I think I should have kept all the single CDs. Oh well .... But Dexter's playing makes me forget all such thoughts.

I'm in awe - didn't know he recorded that many duos.

This arrived only today - had to give it a listen. While it's nice, it's also a typical Wynton disc- rather polished and clean, a lttle too much for my taste. Kathleen Battle's rendition of "Silent Night" borders on Kitsch, would have been better with a jazz singer. On the other hand it is the nicest that he called Jon Hendricks for the sessions, which is the reason I will keep it.

You're aware that would be an awful lot of material, no matter how you try to set criteria for selection? I'd still vote for Billy Eckstine, three (!) sets: pre-MGM, MGM, and Mercury. No less.

In many, if not most cases, it sure was. There are some where it was musical experiment and curiosity. I remember, btw., German critic Ulrich Ohlshausen saying at some point in the early 1970's that groups like Terumasa Hino or Ian Carr were playing Miles' post Bitches Brew music better than he did. I remember seeing the Hino band in a long TV broadcast but never bought any of his records, so I cannot comment on them.

Norman Connors made great music between free and fusion before he went funk/disco (although the later albums fare well in that genre, I think). The masterpieces are Dance of Magic, hitting right in the middle between Mwandishi and Pharoah Sanders' "Black Unity", and "Love From The Sun", which is simply beautiful. No less than beautiful. ... or the CD incarnation: Herbie is a major presence on both. If I'm not mistaken, the latter never was on CD, which is a shame. p.s. Just saw it was, combined with "Slewfoot":

I'm still with my evaluations from 2005 - not much of fusion music has aged well, but the three albums of the Mwandishi band are still great.

Herbie's albums are much heavier on the compositional side, Edde's put the emphasis on improvisation. I think the solos on Herbie's are a bit deeper because they are more challenged by the writing, but each to his own.