mikeweil

I had hope I would have more time for this, but ... nevertheless, here are my comments on first listen. # 1 - It ain't necessesarily so, the style sounds familiar, I have LPs by Marty Paich and Don Randi playing like this, but I can't identify this particular player. Nice 'n' easy. # 2 - I've heard this tune before - but not this version. Not my taste, but competent players. # 3 - This is Rodger's Grant's tune, Morning Star, IIRC. He passed away just recently - very underrated pianist, and the tunes I have heard are all very nice and well conceived. No idea who plays here. Trumpet player shows influences of Art Farmer. I find the pianist a bit too busy and the horns could play more on the melody than the changes. But this isn't easy to do on a tune with chord changes like this. # 4 - The More I See You - this should be Johnny Lytle on the vibes. The most entertaining vibes player I have ever heard, and very, very precise in his phrasing. I have this somewhere. # 5 - Oh .... no idea who this is, but I like it. That's very jazzy compared to most vocal groups of that period. I'm very curious about this. Violin, of all things! # 6 - That's some 1940's beboppers' tune, I can hear the original in my head. Played very well indeed - I would have enjoyed it and applauded, had I been there. # 7 - Another tune I know but cannot pin down - but I liked the original better, the guitarists's playing is too abstract, for my taste. That tune is nicely built. # 8 - I have heard these guys before ... I like the slightly fragile tone of the trumpeter better than the alto's sour sound. # 9 - The piano player likes the way Chick Corea built his tunes. This style of playing doesn't inspire me very much. And I don't like the way it is recorded, everything miked very closely, sounds too much like studio. # 10 - Hearing trombone and bari is very nice. Is this Pepper Adams in a relaxed mood? I never heard that Pepper 'n' Knepper album ... # 11 - Again I think this is a cover version - nice, but I kind of grew tired og this busy style of playing - I grew up with this and heard so much of it ... # 12 - This could be one of the more "out" recordings of the Gil Evans Orchestra, or rather inspired by it. Electric guitar in aband like this is a nice touch. I like the way they build the chords during the last one and a half minutes, using them as a pile of sound. # 13 - This is the most interesting pianist I have heard so far on this compilation. Going beyond familiar jazz chord changes and all - who is this? # 14 - Giant Steps on organ - I have this somewhere ... Although there's not much I would buy this was a very enjoyable listen - thanks a lot!

The first commentator in this blog recommends this, which I second: Scott's music has no improvisation at all, he was a perfectionist and had everything written out, although he uses jazz elements. Nevertheless ít's great music, if you can dig his type of musicla humor. Don Byron did a disc of Scott (and Kirby and Ellington) covers, but the originals swing much more, to my ears, Scott's included.

Cal Tjader - last Night When We Were Young

This is inspired by an article in Germany's magazine Der Spiegel ....

There is an experimental novel by German author Hartmut Geerken (who also played music, IIRC), Obduktionsprotokoll, in which a concert by the Sun Ra Arkestra in Cairo plays a central role. Oh, and I remember a Swedish erotic short story where a teacher seduces a student to the music of the Bill Evans trio with Scott La Faro ...

The Fresh Sound double CD credits Lo-Ba to Shihab.

If I can afford it, I will - I had some cheapo Italian LP box set many moons ago and know the music is fantastic.

I have the "Study in Frustration" 4 LP box and that always made me want more. It's a pity that some always are put on the waiting list and then are dropped altogether. Henderson is such an important figure that never got as much credit as he would have deserved, methinks. And that band was so great, with so many names that made history ...

I raised the same question some time ago. With all the takes from the SONY/BMG vaults it would be a huge set ... of course there would be heavy duplication with the Hawkins set.

If there were more items like that in the Blue Note vaults, there would have been a "Blue Note Oddities" series ...

Since I always put these Satchmo sides down on the list for various reasons, I may go for it this time ....

Yes there is a mode free of charge - you get commercials between tracks in this case. Listened to a whole lot of Nat King Cole this afternoon. Being on a no-buy policy at the moment this helps to stay clean ... thanks for the recommendation.

From Michael Fitzgerald's Chronology of Art Blakey (and the Jazz Messengers) November 3, 1959: Lee Morgan-tpt; Wayne Shorter-tsx; Walter Davis, Jr.-p; Jymie Merritt-b - Olympia?, Paris, France (October 30, 1959) [Jazz Magazine 11/59 p.11]- Stockholm, Sweden (November 3, 1959) (private recording) [-F] [is date correct? possibly 11/23/59]- K.B. Hallen, Copenhagen, Denmark (November 5, 1959) Live In Copenhagen 1959 (Royal Jazz 516) [is date correct?]- Van Gelder Studio, Englewood Cliffs, NJ (November 10, 1959) Africaine (Blue Note 1088) [perhaps THIS date is wrong?]European tour to England, Germany, France [db 4/28/60 p.17]- Kurhaus, Den Haag, The Netherlands (November 14, 1959)- Concertgebouw, Amsterdam, The Netherlands (midnight November 14/15, 1959)- Theatre des Champs-Elysees, Paris, France (November 15, 1959) Paris Concert (RCA 430054); Are You Real (Moon 071) (two concerts) (private tape and video also exist) [-HS, Jazz Hot 11/59 p.29]- Dusseldorf, Germany (November 18-19, 1959) (private recording) [-DM]- JMTV, Paris, France (November 21, 1959) (private recording) [-F, RS] [possibly same as below]- Olympia, Paris, France (November 22, 1959) (two concerts) [Jazz Magazine 11/59 p.11]- Konserthuset, Stockholm, Sweden (November 23, 1959) Live In Stockholm 1959 (DIW 344) [possibly same as 11/3/59?]- Munchen, Germany (November 28, 1959) (private recording) [-TN]- Titania-Palast, Berlin, Germany (November 29, 1959) (private recording) [-TN, DM, RS]- Marseille, France (December 1, 1959) [Jazz Hot 12/59 p.35]- Lyon, France (December 2, 1959) [Jazz Hot 12/59 p.35]- Algiers, Algeria (December 3, 1959) [Jazz Hot 12/59 p.35]- Theatre des Champs-Elysees, Paris, France (December 5, 1959) [Jazz Hot 12/59 p.35]- Zurich, Switzerland (December 7, 1959) [Jazz Hot 12/59 p.35]- Apollo at Anvers, Brussels, Belgium (December 13, 1959) (morning) [Jazz Hot 12/59 p.35]- Palais de Beaux-Arts, Brussels, Belgium (December 13, 1959) (evening) [Jazz Hot 12/59 p.35]- Theatre des Champs-Elysees, Paris, France (December 18, 1959) Paris Jam Session (Fontana 680207) [bud Powell, Martial Solal, Barney Wilen guests] [Jazz Hot 12/59 p.35]- Vredenburgpaviljoen, Utrecht, The Netherlands (December 19, 1959)- Concertgebouw, Amsterdam, The Netherlands (midnight December 19/20, 1959)- Regal Theatre, Chicago, IL (December 25-31, 1959) [Def 12/26/59 p.12, db 2/18/60 p.21]He only mentions a release on DIW ( a Japanese label). Maybe he knows more - he's a board member IIRC.

Depends on how my translation comes across ... That Alice-o-phobic said he had proof or whatever about Alice's doings but didn't have his library at hand - I'm curious about the things he comes up with, if he does. I sometimes do! German music forums are a drag, most of the time ...

That's the way I see it, too. The guy who thinks Alice destroyed the quartet loves its music so much, and dislikes OM - that's alright with me, but why put down the stuff he doesn't like, and why look for such a reason? Jim, may I quote your last post on that other forum, because I think that's a perfect way of saying this? Lewis Porter's book, btw, gives a much more sophisticated picture of the process - that groups and its members evolve is natural, as are personnel changes along the way. In some way, Elvin must have liked the idea of multiple percussionists, just listen to his Blue Note sessions until 1970. Not quite as free in style, but still. What I deduct from Porter's book, Elvin and Rashied Ali didn't mesh.

The comparison with the story about Yoko splitting The Beatles was indeed made in that thread ...

There is a discussion going on in the jazz subforum on a German classical music forum about the spirituality of Coltrane's music, and some member stated that Alice Coltrane "destroyed" the classic quartet with McCoy Tyner and Elvin Jones by urging her husband into some doubtful religious developments. I personally find this is nonsense, but still, what do you think about it? For those who read German, a link.

Of course - but how much do we really know about the ways of the business?