mikeweil

To add another view to the discussion, please listen to this recording by Luca Gugliemi on exact copies of the Cristofori and Silbermann fortepianos known to Bach: Tracklist: I have no idea what and how much Gould knew (or, at the state of knowledge of his time, could have known) about the piano sound Bach was familiar with, but this might give you an idea what it really was - sometimes Gould comes close with his soundideal. With all that was researched after him: some of his ideas are pretty far from 18th century performance practice. Davitt Moroney, in a post last year on the harpsichord mailing list, had a lot of criticism about the performers, who, like Gould, play the entrances of fugue subjects with too much emphasis. What comes after them was much more interesting ...

There is a small book by Gustav Leonhardt from the 1960's in which he already argued quite convincingly that The Art Of The Fugue is indeed keyboard music, but some pieces need a third hand, which is not unusual considering the number of pieces for two players extant. In early music circles there is no longer any debate about this. That said, it was common practice in the 17th and 18th centuries to transcribe multiple voiced keyboard music to chamber instrumentation and vice versa. There are exmples from Bach's own oeuvre and in his circle, and documents that he improvised these from the score. It was part of the learning program of his sons and students. As for the public performance of any type of keyboard music in Bach's time, there is a rather new book by Siegbert Rampe on the contexts of keyboard playing which is on top of my buying list (it's in German, however). I had brief look into it at the library, there were organ and harpsichord recitals, but limited to private circles or special public events, like auditions for an organist's post, or the testing of a newly built organ. OTOH there are some collections of organ music that can only have been intended for use in public performance, like the Husumer Orgelbuch. Bach gave some organ recitals in his lifetime, but we do not know what he played, there probably was a lot of improvisation involved, as was common practice.

pm sent re the Hodges ...

I remember a passage in the "Conversations with Glenn Gould" tv series where he stated he wanted his recordings to sound in a certain way, no matter what equipment they are played back with, from kitchen radio to high end, so that all the notes came across the way he wanted them to sound. He distrusted the listener and disliked the thought that anybody could manipulate the sound with their control knobs, no matter how (un)musical they are. The only other record I know that sounds equal on any playback gear, btw., is "Heavy Weather"!

Got this one yesterday - contrary to his Suittes, the Sonatas print was neglected, this is its first reording. Excellent music, excellently played. I think they may have inspired Handel's London sonata prints, and are musically on the same level, and even more entertaining.

That reaffirms my experience that I seem like the records best where the producers seemed to interfere the least.

I have the Mel Lewis on my Kindle, but have yet to finish it. I second the recommendation.

There's a tune by Joe Henderson, "Soulin'", on Duke Pearson's Atlantic LP "Prairie Dog", that Joe himself never recorded. And Jobete, the Motown publisher, is named!

Knew Big Miller from his participation in Jon Hendricks' "Evolution of the Blues Song", and had always liked his singing, but only now got around to buy me a copy of this. Excellent sidemen, incl. arrangers Budd Johnson and Jimmy Jones on the first album, fantastic sound on the second (never heard Ike Isaacs' bass sound so well). He kind of hits a middle between Eckstine and Witherspoon. This will remain in rotation for some time here.

L to R: John Handy, Pony Poindexter, John Coltrane, Frank Fischer, at Bop City. https://www.harlemofthewestsf.com/gallery/#jp-carousel-396 Pony Poindexter and Leo Wight at Bop City

Biographies, autobiographies, documentaries, whatever .... I took Pony Poindexter's memoirs out once again, and I am astounded/delighted what a difference thirty years of listening and reading make!

..... not to mention the many reissues mastered there!

Just stepped over one of Carisi's arranging jobs: https://www.discogs.com/The-Millard-Thomas-Group-The-Millard-Thomas-Group-In-Music-And-Songs-Of-The-Caribbean/release/3479263

Great, underrated album with great solos from all involved. Vinyl reissue appeared last year, but there also is a CD on Phono Records with a bonus track from these sessions and a complete Hendricks live album added.

Low stock ..... https://www.duttonvocalion.co.uk/proddetail.php?prod=CDSML8436

The earliest recording after Shorter and Miles could be one by the British Ray Russell Quartet, recorded February 1968, LP "Turn Circle", CBS/Realm 52586. Next is indeed Herbie Mann. The Lord Disco next lists a recording by the German group Bop Cats, recorded March or July 1969. Next was one by Big John Patton, October 1970, that remained unissued till the CD era (Memphis To New York Spirit), George Coleman plays on this one.

My thoughts exactly - to me, one of the greatest tenor quartet albums ever. Each tune has a different mood and groove.

You are - but remember that insuch a giant project there can always be mistakes or omissions. Major artists like Hawkins are treated with much care.