mikeweil

I once got a Blue Note that turned out pop, but again, never a Black Lion.

Yes to all - Prospero Forum (German language)

You're perfectly right with your assumptions. Consequently, I sold quite a number of recordings that do not convince me anymore, although I learned a lot from and enjoyed them at the time, and still appreciate the performers' efforts. I appreciate every performer's efforts, even if I do not coincide with the results. But the more I learn about the music, the more critical I become. If you read my posts on my Prospero Forum you will get the idea. I'm the kind of listener whose taste and knowledge influence each other, and that fires my excitement about the music even more than the emotional attitudes. That said, there is a speculative moment about any musical perfomance of historical music, and it's not just about some ideological concept of authenticity, but about what you experience that makes the music work better and "sound right". Trying to get closer to the original sound is just a means to achieve a more satisfying performance which in my opinion works better than simply ignoring some historical facts by making pragmatic decisions due to ubiquitous performance conditions. HIP is a thoroughly modern approach, and for a multitude of reasons. If that goes all together, it makes for a fantastic, moving listening experience - see my selection of desert island discs. If we find the time and the place to meet again sometime in the future, I'll happily discuss some of this with you.

I got me the Wes box from amazon.it for slightyl under 40 Euros incl .shipping .... That sarah set looks nice - I can live without the less jazzy sides, and the missing bonus material always kept me from buying the Live At Mr. Kelly's album. ... there go my new year's resolutions ...

In turn I second the recommendation on the Schuppanzighs' Ries quartets! Re. vibrato: What I really hate is continuous vibrato on every note that's long enough to apply it, which is the practice with most "conventional" string quartets. That, in combination with the sound of steel strings, the higher pitch and the hyper-romantic attitude, is hard to endure for me. The Schuppanzighs do use vibrato, but with taste, not automatized. @ King Ubu - the violins etc. of modern string players may be old, but were modified, some even re-built over the centuries to achieve higher volume and stand the higher tension of the steel strings and higher concert pitch - that all makes for a different sound. HIP players have their violins restored to the original state as far as possible, or play reconstructions based on the original proportions.There are many factors in performance practice to be considered - even HIp players miss on several of them in many cases!

The label Arcana which released the Festetics Quartet's Haydn series was in trouble after the passing of its founder, was re-launched, and the series completed. I'm not that much into string quartets, that's correct, I developped a real distaste for vibrato with string players, and even some HIP players are not immune to it. Just too much of a good thing for me, I wouldn't want a complete series. For me, the 3 disc cross-selection of Anton Steck's Scuppanzigh Quartet was sufficient (still waiting for the third disc to be released). Their playing is marvellous.

Andrew Hill, too, called him the greatest bassist in existence after one Blue Note sessions. There are other great ones, but he sure belongs into the pantheon of the greatest jazz bass players, that is beyond dispute. That Jaki Byard/Richard Davis/Alan Dawson team on the Booker Ervin Prestige sessions is fantastic! Just as the Hanna/Davis/Lewis trio ...

The Raymond Scott album made me check out the originals, and although these are not jazz in a strict sense, I think they swing with much more abandon than Byron's version. I saw Byron live with his Cuban tinged band, and his playing missed that certain kick that makes for really thrilling music. I liked him on Ralph Peterson's CDs, but I would still like them if he wasn't playing ...

Happy Birthday, and success with your projects!

I would have loved to read whar else he has collected, as far as drum kits are concerned. Maybe he should do a different edit for some drummer's magazine.

R.I.P. I have tons of fond memories of him, listened to his radio shows very often and saw him moderate the famous concert series in Frankfurt's botanic garden (which he organised and moderated for free, that's how dedicated he was). He was knowledgeable, tolerant, and never let his enthusiasm go overboard. A real gentleman behind the microphone. I already missed him when he retired several years ago. Local radio broadcast a nice obituary this afternoon.

But if they weren't Blue Notes, they wouldn't touch them.

Same price in EURO ....

The liner notes on the Vocal Encounters CD by Brubeck go along with site linked, but do not identify the bongo or guitar player. I hope it's not an April fool's joke ...

Those Lp track order and sound issues are all the more embarassing as the three sessions were a real Turnaround in Mobley'a career - he had gotten himself together again, had found a slightly harder sound but kept his intricate rhythms and phrasing intact, wrote great new tunes, and assembled great sidemen - to me they are among the best he ever did. The rhythm sections alone are worth hearing!

The McMasters sound good enough for my ears. I had a 1970's Japanese LP pressing of The Turnaround which sounded flat in comparison. Some statements (I'm not adressing any board member here) about remastering and/or LP track sequence border on fetishism, IMHO. But to each his own ...

The RVGs were based on the 1960's LPs and added some bonus tracks. To reissue the Straight No Filter 3 track session they created a new limited CD with the leftovers.

Very nice music - thanks for sharing, Chris!

Am I right that the content of these five volumes would fit on three CDs, but there is no box set of this type?

I had some of the LPs (icl. Straight No Filter) but these sessions come across much better in performance order, and there are no weak tracks. God knows what conwinced Alfred Lion to release them in such a scattered pattern. For those preferring all that music on vinyl, it is a great completist item, of course.

Fool or not, DL please!

Oh, well ...... I should have got some more identified, for sure. It's amazing how closely you follow my activities on the board. Geez .... I am less familiar with the South African guys than you might think - I name checked Dudu? Can't remember doing that. But I could have guessed where they're from. That Impression track from Whittaker's band didn't impress me that much - I think when you#re playing a Coltrane tune from that period you should take it at least as much outside as the original. That the first track left such a lasting impression is due to the excellent groove they hit more than the Messengers feel. (That much for impressions a track leaves ...) Bellson with Edison ... Edison popped up in my mind, but I wasn't sure enough about it. I always liked him, but never checked his discography that thoroughly. But I have heard more spectactular work from both. Wasn't that Waldron music made as a movie soundtrack? I was curious about that but never got it ... Coleman sounds very much inspired by Hodges et al on this. Very Ellingtonian, to me. Eddie Johnson .... another one I never got around to go and buy. It was around then that the computer problems that appeared intermittently toppled over. Now that I have a new graphics card it turned out this thingy was the source for most of the problems I had during the last months ... I usually like Dave Stryker, but the way he treats that tune doesn't turn me on. I prefer him in organ combos - I think he would be a great partner for Larry Goldings. That Organissimo broadcast track is so authentic in it's retro feel it's hard to believe - congrats! and a great choice for a Blindfold Test. I listened to that Ludwig single just once and then shelved it with the few 45s I still have - I liked the CD much more back then. But it's a nice track. Just checked - it's still there after the move. Fathead and Tina! They sounded familiar but I was too distracted by my computer problems to find the time to listen more thoroughly. Who's the drummer? Sounds a lot like a Quincy Jones chart. Is that DVD still available. As for the remainder - I will listen again with the answers in mind. Excellent compilation, and great choices, Dan! p.s. Gene Harris impressed me the most when I saw him live with the Ray Brown Trio. What a blues drenched pianist! You're right, Dan, and I did order the 45, but I haven't received it yet. My credit card hasn't been charged, so I guess Jim's got stock problems. MG If it's no longer available, you can have my copy! (Not that it's bad music, but I am out of shelf space ...)

I think he would have been very interesting in a Monk quartet ...

The ones I love the most are probably the Mapleshade Live at Ethell's CD, Repetition on Soul Note with Barry Harris, and the Blue Note Sonny Clark session with Kenny Burrell (on the My Conception CD).