mikeweil

It's in 7, that's all.

I had a copy but sold it many years ago, was rather underwhelmed by Haig's playing on this album. Each too his own taste. Too bad, would love to make someone here happy with it.

As I said above, IIRC discussion about Norah Jones led to the shutdown of the BNBB. Controversy implied, it seems. I understand Allen's point of view perfectly. You become very sensitive if you work as seriously on the music as he does, it's inevitable when you see so-called musicians (jazz or whatever) making money with stuff you cannot help but think of as bland and inferior. With his knowledge of the music, he has every right to do, in my view. Misunderstanding him is a sad thing - he is not the one to blame for anything. If people of his or Christien's caliber are driven away for remarks like those made here, it makes me sad, and should set anyone involved to thinking. Exactly.

Sorry to read this. Colligan's remarks are a great read ... R.I.P.

I'm with Allen, I pretty much thought the same about her when her first albums were heard, and didn't care to follow. Have no idea what she's doing right now. That said, this fair amount of jazziness is found in many singers today, but that doesn't make them jazz singers. Usually I'm not the one to find these differences in style to be of crucial importance, but in a time when the essence of jazz tends to get lost among popularisms, I do care. Norah makes some nice music but it's not jazz, that's all the point there is. Her label was an important jazz label but it remains one only on the virtue of its back catalog. Remember why the Blue Note Bulletin Board was shut down?

If this is supposed to be satitical, it's a complete failure.

I'm afraid I' not sure whether he's just kidding or turned plain cynical. When I heard him live a few years ago, he was noodling a lot himself.

Now was there any Rivers track on any of those compilations? I have no idea, but could hardly believe it.

Finally got to hear this one, and it's a mofo. Sal has this Wayne Shorter vibe going on on top of his own thing that gets pretty...intense sometimes... I was lucky to hear this band live - they were smokin'!

Dunlop was unique in his approach: Listen to the sonic balance between the components of his drum kit. His ride cymbal never dominates like it does with other drummers, his snare always talks on subtle levels, and makes a melodics scale with the toms and bass drum. Jim's remarks about the analogy to Monk's dancing is very much on point. All the others danced, too, but their own style.

So it was a wise decision to order the Akiyoshi/Tabackin as soon as it went running low. Didn't yet have the time to listen to it, but I'm surely glad my copy is safe at home.

Night Lights Jazz posts on Facebook that Frankie Dunlop has passed, though yet unconfirmed. https://www.facebook.com/wfiunightlights?fref=nf If true, my favourite Monk drummer is no longer around. But he retired in 1984, 30 years ago ...

The one album where he really got me was Rodney Jones' Soul Manifesto - excellent groove! R.I.P.

It's not the size, it's the technique ...

Whatever I heard of his music was fascinating. R.I.P.

As I mentioned above, Tito Puente carried on with most of the members from Pupi Campo's band - his first recordings for RCA Victor and Tico were made with that band. The Ticos are available on four double CDs, including one CD worth of vibes features that were quite an influence on Cal Tjader. Sound is below standard, they were copied from vintage shellac from a private collection as Tico did not have copies in their vaults! But the music is great - everything from ballads to fiery instrumentals. BTW - Tito is pictured with a set of Leedy timbales - the best ever made, chrome plated brass shells. The Gon Bops timbales I have were modelled after them. Great paila sound. Everybody played Leedy before the salsa era started with LP instruments. The heads are calfskin.

So the drummer's got plastic heads ... but I see smoke comin' from the keyboard.

She's supposed to buy this?

Strange choices - who needs these Miles sidemen dates in that form - their sound is far below the potential of a 45 rpm LP.

Welcome to the non-existing ten grand org club!

Date: ca. 1972 Location: Los Angeles, CA Label: Sussex Bill Cosby (ldr), Rudy Johnson (as), Joe Henderson, Bobby Jones (ts), George Bohanon (tb), Arthur Adams, Mel Brown, Freddie Robinson, David Sprattling (g), Walter Bishop, Jr., Gildo Mahones (p), Stu Gardner (org, v), Darryl Clayborn, Ron Johnson, Monk Montgomery (b), Leon 'Ndugu' Chancler, Stix Hooper, Paul Humphrey, Jimmie Smith (d), Big Black (cga), Willie Bobo (per), Bill Cosby (arr, con) a. Bunions (Bill Cosby) b. The Blues (Bill Cosby) c. I Love You Camille (Bill Cosby) d. Abuse (Bill Cosby) e. Mouth Of The Fish (Bill Cosby) All titles on: - Sussex LP 12": SXBS 7024 - Bill Cosby Presents Badfoot Brown And The Bunions Bradford Funeral Marching Band (1972) From http://jazzdiscography.com/Artists/Henderson/JoeHenderson.php

Get some Pupi Campo - that's the band Tito Puente directed until its leader fell victim to heart attack. Great fiery arrangements of standards as well as Latin vocal numers, but no cheesy vocals. A recommendable reissue series of this type of music is the Tumbao label of the Fresh Sound group - forget a discography, in most casses you're lucky when you can approximate the year of recording and possible personnel. The leaders and singers were named, that was it. That Harlequin series is indeed good.

The sound on the Roach double LP wasn't that good, a bit harshand hard. I had heard the band live - well with a different bass and tenor - but was a bit disappointed by the LP and sold it in the end. The two Sun Ra doubles are something I would buy - a friend of mine had one, I still have the cassette copy I made. Very atmospheric music.

I got mine last week. The edits are interesting, they show there must have been longer takes that were edited down to the LP versions, like Teo Macero did with Miles' albums. Too bad Rhino/Warner and Herbie cannot make up their minds and issue a box like those of Miles' music. Sound is very good indeed, very detailed and a bit better than the Warner double CD. Bob Gluck wrote a short liner essay. Lovers of this music will have his book, anyway.