mikeweil

Seems like I will get my copy of the Woody Herman Columbia Box - took advantage of the reduced shipping rates and ordered, just received confirmation.

Well, Jim made it clear during the early days of this or any other board that it would be very hard to surpass him. He's not the boss, but the king - that's one way how modern democracy can function.

R.I.P. Was there a free jazz pioneer with a similar unique melodic approach, whose tunes (that's what they really are) are played by someone like Metheny?

Duh! I can do that with the software of my Early Music Forum. Very convenient.

Next is this, to help me make a decision on the Mosaic Box ...

Lord gives "Live "Bubba's", Fort Lauderdale, Florida, March 20, 1980" as recoding date, taken from the Jazz Time CD issue.

In his notes to Rural Still Life he already refers to his identity problem as a studio musician, producers asking him to sound like Bud Shank or Ernie Watts, you name it - he may have encountered the same when writing stuff for TV or films. I think he held his own pretty well under these circumstances. Open up a Tom Scott thread and move these posts there ...

I had that sampler but sold it - nice overview but much of the music didn't thrill me. I definitely will get the Cohn/Rowles, maybe the Albert Heath. The Barry Harris Play Dameron is a real nice one, but I got the Jazz Lips issue a while back as I missed the LP and finally wanted to have it. But I never liked the bass and drums sound on those Xanadu sessions or on the Schlitten produced Prestige LPs.

So it was a wise decision to get the Hamp first and put the Herman further down the buying list.

This may be the time to get the Woody Herman box ....

I'm afraid that's true. There is another one with tunes from Hair that I sold at one point - not as consistently good as his takes on Paint Your Wagon. The cover of the latter ... well, Scott grew up in a Hollywood environment.

Yes I have that one, too - a very good album, IMO, perhaps more interesting from a certain point of view - how does he treat that material. His playing is very exuberant her. What puts Rural Still Life on top of my list is the added treat of Scott's own tunes, and his references to the current scene.

A befriended conductor heartily recommenden the 4 CD box by Louis Froment and the Orchestra of Radio Luxembourg - good sound, French sound and feeling - I ordered a copy - can be found ceaply on amazon. p.s. most modern conductors play the movements of Images in an order different from the first performance - Jos van Immerseel restored the original order as conducted by André Caplet: Images pour orchestre Nr. 1 Rondes de printemps Nr. 2 Gigues Nr. 3 Iberia: Par les rues et par les chemins Les parfums de la nuit Le matin d'un jour de fête

Okay, here's a list taken from a work list compiled by Rainer Riehn for a 1981 German publication on Debussy: Khamma - orchestration started by Debussy, finished by Charles Koechlin Jeux - orchestration by Debussy La boîte à jouyoux - orchestration started by Debussy, finished by André Caplet Première suite pour orchestre - orchestration by Debussy, a few bars missing were reconstructed from the piano four hands version by Philippe Manoury. Printemps - orchestration by Debussy Fantaisie pour piano et orchestre - orchestration by Debussy Prélude à l'après-midi d'une faune - orchestration by Debussy Nocturnes - orchestration by Debussy Rapsodie pour orchestre et saxophone - orchestration started by Debussy, finished by Roger Ducasse Deux danses pour harpe chromatique et orchestre - orchestration by Debussy La Mer - orchestration by Debussy Images - orchestration by Debussy The only work were substantial parts of the composition may be by someone else is Khamma, although Koechlin himself did not even mention his participation in his monograph on Debussy. But it depends on how much you see orchestration as part of the compositional process.

I have an LP copy, but would get the CD immediately - played that one many times!

Just decided I will order Marion Brown's Vista, too ...

I agree - bought the Tom Scott and the McFarland. The Scott may be his best jazz album ever - very clever references to jazz composers of the day, Eddie Harris, Herbie Hancock, and Wayne Shorter - and fine sideman: Mike Lang - a very underrated pianist, Chuck Domanico, and John Guerin. IMHO, an overlooked gem.

Just checked the passage Larry mentioned in his opeing posts on Roth's recording, and it is audibly there, that kettledrum stroke. The period instruments sound marvellous, especially the cellos, and the recording quality is pristine - I repeat my strong recommendation. Don't hold back if you dislike period instruments in older music, it works magic with early 20th century music. Any disc of Les Siècles is great and revealing.

Listening to the Première Suite right now, although an early work it shows very much of his trademark sounds. It his own orchestration, which makes it all the more interesting - a few bars were missing and were reconstruected from the piano four hands version by Philippe Monoury. As for the other works I need to get some special literature stored in the basement to look up the orchestrators.

That tune must have made a "deep" impression ...

Missing from Larry's list is the Première Suite d'Orchestre, written at the end of Debussy's studies at the Paris Conservatoire, 1883-84; it was presumed lost but the score was rediscovered by chance in a New York library, the version for piano duet as well as the original orchestration by the composer himself. Its first recording is included on the disc by Les Siècles I posted above. I received this CD today and will report. Several composers participated in the orchestration of several other works, but I will have to consult some books first before I can comment on this aspect.

Ron Crotty, the original bass player of Dave Brubeck's Octet, Trio, and Quartet, has passed. Besides his many sessions with Brubeck he led a trio session with what proved to be an early stage of the Vince Guaraldi Trio, issued on the Fantasy LP "Modern Music from San Francisco". He was active in California until recently. An obituary can be found here.

I second the recommendation of that EMI disc with Milhaud conducting - in fact any of his own recordings I have heard gives a genuine impression of the man and his music. And I always enjoy this disc which has a rhythmically more on point reading of the Suite Provencal than Milhaud's own. He understood the essence of Brazilian and other folkloric rhythms much better than most classical composers.