mikeweil

Any idea what the tune title "Bacha Fillen" (or whtaever the spelling is) means? Yes, please make a scan - IIRc my downbeat collection does not include that issue.

I had an exchange of e-mails with him about different takes on the mono and stereo releases of MJQ LPs that he was not aware of, it was fiendly and professional. What would the jazz world be without him? Our shelves would be a lot smaller. Trying to find the best way between business realities and the desire to keep all good music in ciculation was his mission, and he succeeded. Thanks for the good work!

Is this as good as the one with Mickey Tucker?

A real legend - R.I.P. He must have toured Germany quite often, but somehow he never was in my area, or I didn't notice. I once sold a Fred Jackson CD on ebay to a guy who turned out to be a guitar player touring frequently with Big Jay. He sent me a disc in return with some rare material. Big Jay was what R & B sax was all about.

That was my first car, back in 1974. When I removed the back bench I was able to transport seven conga drums in it. Once after after a drum clinic in Frankfurt I was packing them back in again on a Sunday afternoon. An old man walking his dog passed by and commented, in heavy local dialect, that with this equipment i'd be able to compete with the Rolling Stones ...

I really love his very first album, espeially the bonus track "Chicago" on the CD version where he sings. And the Monk tune ... nobody plays "Ruby My Dear" these days.

This one?

That's a nice record!

Glad this was mentioned and recommended here! Great little album!

Just my thoughts.

This is in constant rotationsince I received the CD reissue.One of the most beautiful bossa nova records ever!

That's an odd selection of MJQ LPs in the Original Album series. The box ist very good, and much more entertaining to listen to than you might think. Once it's gone ...

Yeah, that's what it sounds like. Why in all the world didn't they notice? Lee indeed sounds very good here, and his sound is a bit brighter than I was familiar with from other recordings. MPS tends to make it sound rather bright, but that does not account for all of it, methinks. He really took that challenge and responded with more edge in his playing. As a section they sound nice - no wonder with their common Charlie Parker heritage. They should have got a rhythm section of Parker alumni and record a Bird tribute!

Received a copy of Alto Summit yesterday - having avoided this one over all the years. Now I know my instinct was right - not all of Joachim Berendt's Summit ideas worked well. This time I think the rhythm section - Steve Kuhn, Palle Danielsson, and Jon Christensen - was not ideal. Kuhn - a player I never seem to like - is too much in his own world of chord substitutions, and the other two are unable to groove in a more traditional manner that would have made the saxists feel more comfortable. If you listen to how great Pony had played in front of Fritz Pauer, Jimmy Woode, and Joe Nay in Frankfurt where they recorded the album with Annie Ross for MPS, you will get the idea. This is the only album that Poindexter does not mention in his memoirs, which is rather strange - the discography at the end of the book mentioning it was compiled by someone else. Maybe he was dissatisfied with the results. He chose "Blue and Sentimental" for his ballad feature, but sounds uneasy in comparison to his version on "Pony Poindexter Plays the Big Ones". They end the ballad medley in some freewheelin' collective improvisation that sounds totally chaotic - I wonder why they didn't do another take of this one. The saxists all feel fine rubbing shoulders - with a more sympathetic rhythm section this could have been really great. Poindexter has good words to say about all of them in his memoirs - he had encountered them at different points in his career, but must have been delighted to meet them all together again at once.

Just ordered the Jamal from Jazzmessengers - didn't want to miss it.

Thanks for your input - very much appreciated. Cannonball is so easy to recognize that more than that one theme would have given away his identity. As far as I know it was producer Richard Bock's idea to have the Adderley's as guests on the album, but he probably didn't want to stress his relationship with Orrin Keepnews too much. It seems there were no separate personnel credits on the back cover, just Jon Hendricks' liner notes mentioning all the musicicians but not detailing the solos. Every discographer and even Michael Cuscuna seemed to take it for granted that Cannonball was the star and took all the solos, but the collaboration between Hendricks and Poindexter was very close at the time, they had worked out all the arragements togther, using Pony's vocal and scatting abilities, and Pony wouldn't have given away all his solos. Pony played an important role in Hendricks' show "Evolution of the Blues Song" and then joined Lambert, Hendricks, & Ross on Hendricks' initiative - there were tensions between Poindexter and Lambert at first but after a few scat cutting contexts and Pony complimenting Lambert to his close relationship to Charlie Parker (which both shared) they got along. It was Poindexter splitting after Yolande Bavan not having enough swing feel as a replacement for Annie Ross - Lambert probably felt the same. I found more inaccuracies in the Poindexter discography, like a Josh White session where he played soprano on one track where all discographies list George Coleman on alto (!) - both Poindexter in his memoirs and Jon Hendricks in his liner notes to "Fast Livin' Blues" tell otherwise (Hendricks was present at the White session). Hendricks also mentions Freddie Green playing rhythm guitar on "Fast Livin' Blues" - another fact not listed in any discography. The main thing I learned in my discographical research is that you always should listen to the music yourself, and not just trust some files or internet sources. And always cross-check with another independent source. Next I'll contact fellow discographer Noal Cohen what he thinks (he recently did a Wes Montgomery discography) to find out what he thinks. Credit to Pony Poindexter where credit is due.

A Horizontal Search, by Kevin Sun Here's an example: Good work, interestig commentaries.

I was afraid so .....

Found a like new copy on amazon for five bucks and ordered - I love Baby Dodds!

I will keep you updated.

My instinct was good to get a copy of the Turrentine during the last Mosaic sale ....