mikeweil

Had a copy of the original vinyl of this (and one of New View), but sold them both at a time when I got a bit tired of listening to much jazz and needed to reduce my collection. Saw Handy live with Ali Akbar Khan, whch was beautiful. I remember I got the Handy because Joachim Berendt raved about it when he pictured Handy in his Jazz Calendar and stated that Mingus, Roach, and Handy had the most exciting bands at the time. I'll have to listen to some samples to remember my impressions ....

Got a copy of this, too, just had a listen. Today is the more cohesive, sound-wise and musically, as the Roar is held together only by the fact that all tunes are from the same musical, are all in different grooves and moods. Mann is at his best on the slow tunes, like Who Can I turn too, the best known of the bunch. Ray Ellis' string parts border on the obtrusive, in parts, Tom Dowd's great engineering saves it. I would have been better if they had taken the tunes und just played them in a jazz fashion.

Dexter Kidding Portrait of Norah Heaven Or Earth

Ike Quebec with a Karmann?

There's a nice moment at the end of the theme of Creole Love Call when they (Nelson? Mann? both?) tack on the closing phrase of Blue Monk. Just three horns, and all getting their own melodic variations, one moves up, while the second goes down, and the third plays the original melody. It really made me listen to the brass. I'm not surprised that you're no big Mann Fan, Jim. Seems to be one of the soloists you either love or not. I always loved him, for his engaged, rhythmic phrasing, putting groove over harmonic sophistication. And I like groove-oriented music, and that it is, too. I can groove for days on his stuff. This is the later album you mentioned? Will put it on the wish list - used CD copies momentarily go for € 30 or more ... maybe a case for vinyl. That's one thing I ilke about these discussions: you always get a hint towards more interesting music. A copy of Mann's Roar of the Greasepaint CD reissue is waiting at the post office - got it at sellout price at my main mailorder shop. Nice coincidence.

That's how my copy looks like. It was an Italian label that issued a lot of rarities, live recordings in particular. I always wondered where they got their sources from ...

So had I - mine is on the way.

As I have posted elsewhere, the Coleman Hawkins set is on Running Low.

Thanks, Jim, that does it. That's the same that's printed on the back cover. I didn't miss anything, I have the music!

I have that LP, but without the typewritten page - could you post a scan of it? Just looked up the same data in Lord - the personnel may have fluctuated, it was pretty different on the Capitol sessions that were next - which were the final studio documents of that band. Here's the November 21, 1949 lineup_ Dizzy Gillespie (tp,vcl) Willie Cook, Don Slaughter, Elmon Wright (tp) Matthew Gee, Sam Hurt, Charles Greenlee (tb) Jimmy Heath, John Coltrane (as) Jesse Powell,Paul Gonsalves (ts) Al Gibson (bar) Johnny Acea (p) John Collins (g) Al McKibbon (b) Specs Wright (d) Tiny Irvin (vcl)

R.I.P. - if the average jazz fan knew the name of a jazz engineer, it was Rudy Van Gelder. The symbol of his trade. The name of a sound.

While looking for something else I stepped over these European Box Sets, the first was from Definitive and is oop, but is one more reason why Mosaic would not consider Byas.

The Roar Of The Greasepaint, The Smell Of The Crowd is an album with the same band plus strings, arranged by Ray Ellis, and piano and guitar added to the rhythm section (Chick Corea/Mundell Lowe or Roger Kellaway/Gene Bertoncini; three tracks are without Pike, on which Turk Van Lake plays guitar. No idea how the music is, it's one of the few Mann albums I never heard.

It's an enjoyable disc, really. Herbie is inspired by the arrangements and his rhythm section. Always had good taste in selecting tunes and sidemen. The sound on the latest reissue is excellent, btw (remastering engineer not credited, original engineer was Tom Dowd). No idea how the Collectables reissue sounds. Joe Orange was part of Mann's working band for a while, There even may be a trombone solo on the New Mann At Newport LP, IIRC. Jim: It was, at least in part, your posts about Oliver Nelson on Prestige, that led me to throw this into the box of CDs for enjoyment in the car ride to our vacation, and I was listening so closely to Nelson's horn voicings that I noticed I had to watch the road more closely instead. For those interested in Mann's life, I can recommend this book:

No - just found out it was 'Chump Change' from Quincy Jones' "You've Got It Bad Girl" album that lingered in my mind.

Herbie Mann Today : Jimmy Owens (tp,flhrn) John Hitchcock, Joe Orange (tb) Herbie Mann (fl) Dave Pike (vib) Earl May (b) Bruno Carr (d) Carlos "Patato" Valdes (cga) Oliver Nelson (arr,cond) New York, November 18, 1965 9602 The night before 9603 Yesterday 9604 Creole love call 9605 Don't say I didn't tell you so New York, November 19, 1965 9606 Today 9607 Arrastao 9608 The mooche 9609 If you gotta make a fool of somebody All titles first isued on Altlantic LP 1454, currently available as CD 8122-79599-3 Herbie Mann is a controversial figure among jazz fans, often accused for selling out - indeed there are some downright commercial outings in his voluminous discography. On the other hand he was the one who popularized the flute in jazz, featured many promising talents in his working bands, and was a pioneer of fusing jazz with music from many parts of the world: he was among the first to record with musicians from Brazil, Cuba, Turkey, Japan ... he was a good, inventive soloist and covered a lot of musical ground with an enormously wide range. This album, released in 1966, is different from his other Atlantic LPs, which featured either his working band or specially conceived studio projects, as it combines both: He had Oliver Nelson, who already arranged for Mann with studio orchestras, write eight pieces for his working band of trumpet, two trombones, and rhythm. The members of his band at the time featured an aspiring trumpet talent, Jimmy Owens, who should have been much better known for his personal sound, combining Dizzy Gillespies brightness and agility with a warm, round tone; vibist Dave Pike, one of the best of his generation, who shared Mann's affinity for Latin music; and a superior bass/drums team, Earl May, improvising great lines and giving a lesson of what to do with Latin bass patterns over jazz changes, and Bruno Carr, who played for ten years with Mann, playing his own fusion of modern jazz drums with Latin inflections. The album has two warhorses from the Ellington songbook (Creole Love Call, The Mooche) besides the latest Beatles hit (Yesterday), one of their less known tunes (The Night Before), one by Edu Lobo, a Mann original (the title track). In my ears it is exemplary how Nelson writes for just three brass, making the most of them, giving Mann the lead. I learned a lot from listening to Mann's records, and this one made me admire Nelson's profound writing and the intensive groove of all participants. I will write more about specific tunes - I would be delighted if another board member enjoys this album as much as I do.

Overalls were fashionable - I, too, had one during those years, dark grey with red linings. There were many special designs not just for work, but for leisure as well, the girls liked them I remember seeing the Jazz Messengers with the Ponomarev/Watson/Schnitter frontline, and the trumpeter's and Blakey's overalls. It was a natural in those days.

So the marketplace will be flooded with used copies of the needledrop edition ....

As spectacular as his harmonica playing was, I like his guitar even more. What was the tune on a Quincy Jones LP where he whistled along to his guitar? Still have it in my inner ear ... R.I.P.

Will do, of course!

Just ordered her latest with a selection of pieces by Jean Henry D'Anglebert:

Arguably the finest recording of these pieces, on a copy of a Nicholas Dumont harpsichord by John Philips. Excellent sound, too.