mikeweil

It's real good, only one of them singing - I'll never be able to tell them apart - one of the purest jazz tracks on all of their albums. To me this version is right up there with Sarah Vaughan and Peggy Lee. Did Billie Holiday ever sing that song? I couldn't find it among the recordings I have.

Strange - either someone working for Lord misread the session notes from the Mosaic booklet, or he has some other source. I trust Mosaic a bit more. Thanks for your input! I'll get me a copy, 'cause I like early Pass the best, his attack and drive, e.g. on the Groove Holmes sessions for Pacific Jazz, and I like Fischer and Les McCann, and think Pass brought an intereresting aspect to McCann's approach.

The first version I heard of Black Coffee was on the second Pointer Sisters LP, That's a Plenty - can't say which sister sang it, but I was impressed and still think it's a great rendition of the song, full of drama. Still the first that comes to my mind when I think of this song.

According to Lord, "Clare Fischer claims he was not on these titles" - he put this note below the "probably February 1963" and the February 4, 1963 sessions.

One question: in the Tom Lord disco there are footnotes that Clare Fischer claimed he did not play on several sessions he is credited for - anybody knows more detailas, is this found only in the Mosaic booklet?

Yes, a real surprise. It should arrive here some time next week.

FWIW, this Fresh Sound double CD has it all:

No box set - his two sessions as a leader and Grant Green's dates with Willette all were reissued on single CDs. There were Connoisseur double CDs of the Blue Note leader dates of George Braith and Don Wilkerson.

Just ordered from an Austrian dealer via discogs:

I found a near mint copy from an Austrian seller - the riddle will be solved ....

I'd like to have the first disc with Poulenc playing and the historical recordings from the last disc from this box - if you buy it, please make me a copy . A rather lackluster compilation - the Erato/EMI box at least has his "complete works", or what could be called so.

The German radio obituaries failed to mention his early career part with Ramsey Lewis. Those young people don't know about Ramsey, it seems. I grew up with and grooved to Wade In The Water with Maurice White's drums. Didn't follow EW&F that much but respected what they were doin' - that was soulful live music with a warmth I miss in so much of today's music. R.I.P., and thanks for it all.

One of my friends on the board, The Magnificent Goldberg, hipped me to a Prestige LP titled Stompin' which is a collection of five leftovers from sessions organist Shirley Scott recorded for Prestige, all of which were reissued on the Prestige twofer CD Workin'. The sixth track of Stompin', This Can't Be Love, was credited to Eddie 'Lockjaw' Davis with Don Patterson, Paul Weeden, and Billy James, but never reissued in any form, nor was it mentioned in Michel Ruplli's Prestige or any other discography. To confirm that this track is from the session of these musicians held at November 15, 1962 at Rudy Van Gelder's studio, which is the only one with that personnel, plus bassist George Duvivier, I would have to listen to this track, so: Does anybody here on the board happen to own this Stompin' LP or have a download or needle drop of it? Any help would be greatly appreciated - this LP seems to be a rare item. Here is the link to the discogs page that shows this LP: http://www.discogs.com/Shirley-Scott-Don-Patterson-Lockjaw-Davis-Stompin/release/3751413

He should have given more recognition, he was one of the greats. Always loved his playing, he was serious about what he was doing, a bebop pioneer, and swinging - what more can you ask for? R.I.P. Obituary

Very nicely said! I wonder if there's some opportunity to see that film over here - don't know how Netflix works.

I'm afraid he is not aware of BS&T, Herbie Mann & Bill Evans, or Yusef Lateef ... and I am aware that standards for timing are a lot different in classical music. Still, the concept of structuring rhythm via duration instead of the positioning of notes on a timeline sometimes often produces rather questionable results ...

It shows how shaky the timing of most classical pianists really is.

Saw Jack deJohnette live on at least three occasions - two were with different "Special Editions", which were great, one with Alex Foster and Abercrombie, where Jack really directed the band from the drumset, and another with Lester Bowie, who took center stage, and Jack let him take it. The ECM CDs are only a hint at what these bands were live, IMO. The third I remember was a concert with Foday Musa Suso and Jerome Harris where he disappointed me as he played routine jazzy fusion licks instead of locking into Suso's tight African grooves. I thought he was great with Miles and his own bands for ten years after that, but fell back into more routine playalong modes since then, which he does extremely well and all, but does no longer fascinate me. I learned a lot from listening to him, wouldn't count him among my favourite top ten drummers, but definitely among the top 50 all time influential jazz drummers.

I grew up with Ciccolini - his Satie was on local radio almost every afternoon. But he is on the polished, esthetic side, while Barbier is more direct, stark, and against the grain - he learned playing Satie from someone personally acquainted with the composer. Two different worlds. When I first heard Barbier I was stunned.

It depends on the browser how you zoom - I'm using Opera, where you just have to click on some empty spot and hit the + or - buttons. CTRL and turning the wheel works with other browsers, and the like. Happened to me once, can be pretty annoying.

Amazon.de, too - they now have three pages for that set, a new one for the new stock and two older ones with "used" copies at ridiculous prices ...

The performances in this box definitely are all good. But my personal favourite for the piano solo music is Jean-Joel Barbier. If you're not a completist, try to get the Barbier box and the Naxos disc with the orchestral music, if you do not need to have every note he wrote.

If I had some first pressing and a collector would offer me 7.000 bucks I'd gladly sell it to him, spend half of the amount on a whole lot of other music and the other half on our next vacation.