mikeweil

The Beatles' Hey Jude was a bit shorter, 9 and some ...

I first heard him on Sonny Sharrock's BYG LP - he was really into it. I heard a very supportive element in his playing that Iliked a lot. R.I.P.

Very sorry to hear this. From the short direct contact I had with him, he seemed a very nice man. This really sucks.... R.I.P., and thanks for the good spirits - I hope his blog will stay online.

Yes, congrats - sure would like to read this. Keep us informed when it's ready for purhcase.

I have all of the Spotlite LPs on which this material was first reissued, so I'm hesitating. But if the sound really is that good ..... I'd have to listen to a decent sample to convince me.

He was so unpretentious, and very knowledgeable. I will miss him, he was a real important pioneer of period instrument performance.

John Lewis's solo on the opening "Django" from the MJQ's European Concert - I still know it by heart.

Percussionist MiltonCardona, who appeared on many records of jazz musicians besides being a major figure on the New York Latin scene, died September 19, 2014, at age 69. Among many other things, he was a core member of Kip Hanrahan's projects, who also produced his only LP as a leader with traditional Santería drums and chants on the American Clavé label. This sad news was posted among his percussion colleagues on facebook.

Very sad news, a unique player ...

That was Autumn, with both sides clocking in at 29 Minutes. The longest track was 19:28

The Cajón was developped in Peru by drummers of African descent, probably in the 18th century or even earlier - at least it was in Peru where it was first used regularly as a percussion instrument, with a technique similar to that applied on hand drums like bongos or congas. There are similar boxes used in Mexico and particularly in Cuba where there is a tradition of cajón de rumba, with different sizes like the tumbadoras. Mongo Santamaria used one as a solo instrument on his early Fantasy albums. Whether the Cuban and Mexican cajones were inspired by the Peruvian instruments is unknown, it could as well be invented out of necessity when there were no drums available or prohibited (as Europeans knew Africans could communicate with drums but didn't understand how). I have seen conga drums with a plywood head tacked on because there was a lack of animal hide - my conga drum maker made me one long before these were popular, and it sounds great. The Cajón rose to new popularity when Paco de Lucia introduced it to Flamenco musicians after hearing it when passing through Peru on a South American tour - it was better suited to accompanying Flamenco because of its dry sound. Since then it became more and more popular as it has a similar sound texture to a drum set, eventually expanded by accessory equipment, and its playing technique is not as intricate as that of congas or bongos. It is easily transported etc. - I have the impression it has become much more popular than all other hand drums. I have a rather large one made a Chilenean luthier specialised on harps - the factory made brands all sound too similar and dry to me. But there are excellent ones made in Spain from a variety of woods with a wide tonal palette - problem is you do not hear much of these subtle differences when they are miked closely or amplified with pickups, as in almost every concert or recording. This site has an overview: http://www.cajonpercussion.com/

Very sorry to hear this - it's only a few months ago that I really started to appreciate him as a pianist. R.I.P.

This LP arrived today - it doesn't disappoint. Sympathetic backing from Buddy Tate (even pulling out his clarinet), Hank Jones, Milt Hinton,and Oliver Jackson; Hibbler's voice had aged a bit by then, but his very personal phrasing was still intact. Must have been a great day for him. He's the only singer whom I forgive his sometimes extremely wide vibrato.

Great - thanks for that link! A good friend of mine still has hope Zappa's Varèse recordings with Ensemble Modern might be released, but for some reason his wife keeps sittin' on them.

I must admit I liked Moran's earlier Blue Note albums better - what made him interesting was that he was playing almost outside as much as with classical romantic and modern jazz undertones - he does it very well, but I found Marcus Roberts' tributes to older styles much more fascinating than these collage type combinations. At least he's not as bland as Glasper (just my opinion, of course).

Well, he wouldn't be the first excellent player with questionable behaviour ... listening to the album on Spotify while I write this, and I like it, nice arrangements of familiar material, something he does really well. I will buy this, for sure, and regret I didn't get around to see him when he was in town a few months ago.

Funny, that was my first Wilson LP, too, and, like yours, from a cut-out bin. Agree that the Mosaic is a teasure, I will spin some of it later this evening, but what really knocked me off my feet was some of the early Californian stuff compiled on the two Chronological Classics CDs - what power! R.I.P., your flaming brass writing and piccolo parts will always linger in my mind.

Was looking for this for decades ... got a copy from Paris Jazz Corner offered through GEMM.com. There are samples on Youtube, for those who are curious - I won't listen to them 'cause I don't wanna spoil the fun of the first spin at home. Wasn't there a "What vinyl did you buy today" thread? If not, there sshould be one in the vinyl forum.

Nice example for how much a great drummer improves the whole band - Dom Um Romao is so much better than most European jazz drummer trying to play bossa nova.

She has that basic Brazilian feel that so many jazz musicians are lacking, which is worth a lot more than a truckload of chops. I think she got herself together pretty fast after her initial success. That's a nice video, no idea why I missed it when it was broadcast - thanks for posting.

Oh well .... if it's still there by October, I might go for it. But then there's the Woody Herman, which is slightly higher on my wish list. I need to get an idea of Hamp's vocals at the time - I'm afraid it might be too much of a good thing for me.