mikeweil

Right now I'm enjoying a disc by Clara Moreno, Joyce's daughter, a modern take on the music of the bossa nova era - grooves like mad.

I have Vicissitudes, and think it's a nice album - isn't that Duvivier on bass? He alone is worth the price of any album he plays on. Must give this a spin some time this week ...

Wow .... fantastic job. I'm speechless. Although I grew up with the West German players from this BFT around, I must admit I didn't listen to them that much, as I liked the groove of the US players much more. At least my reactions to certain players in this compilation were consistent to my reactions when I saw them live back then ... That East German drummer Wolfgang Winkler is somebody I will watch out for, certainly. Many, many thanks for this great compilation! Hard to be surpassed, great conception.

Just got an ad for Roland home organs ... it does not sound as ambiguous in German, BTW.

I tried several options of audio enhancement, too, although I do not have the funds to go high level - what I said is based on the equipment I have right now. I can imagine the differences audible on jazzbo's gear. Or anybody else's - many factors play a big part, and in considering your options for a possible reissue still others enter the configuration. I am perfectly happy with the way Jonathan does his work. Discussing SACD in general really is a topic worth its own thread ...

Any details?

Same here - two different SACD players, but I have some SACD reissues that do not improve on a perfectly done red book CD remastering - the Hemphill, for one thing, sounds so good that there's hardly anything legt to be desired. I think SACD high resolution works best in the case of natural ambience recordings with minimal miking - Dogon A.D. seems to be a multi-track recording, where the difference is not that spectacular to a well done vinyl or CD reissue. I say it again - there should be a subscription available to JLH's reissues!

Second the recommendation - a great set, great booklet, great sound. I have a copy, otherwise I would jump at it.

If you're talking about The Connection, that sure was Jackie's record. His playing on that album is convincing, it's just that it's not my taste of alto sax sound. I respect it, for sure, and see that it's intentional.

Flat or sharp, I gave up on trying to like McLean's sax tone ... If anybody is interested in the set, please PM me with an offer, shipping at actual cost.

Herzlichen Glückwunsch!!!

I'm willing to part with mine - I think today was the second or third time I played it since I got it - just won't grab me. Bought it for Tina Brooks, but Redd's strange comping and McLeans flat intonation will never be to my taste. I bought it second hand myself, it is # 486, except for minor shelf wear the box is in excellent condition, CDs do not show any signs fo use, the booklet has one half inch crease on the front that is not annoying. Send me a PM with an offer - shipping charges will be around € 15, I'm afraid ....

I once got a nice selfmade compilation of Christmas pop tunes as a bonus - it was that time of the year ...

That's not a jazz movie, it's a Western movie ... except for Elvin's rumblings. Rename the thread "Strangest movie appearance sof jazz musicians" ...

This one?

Seems I sold that Collins LP, and do not remember the sidemen. I was kind of disappointed because his sound and playing concept was noticeably different from his playing on the Tadd Dameron Capitol sides, which I really love. Too bad his 10' LP for Blue Note is lost ....

Per Husby Orchestra - Dedications feat. Georgie Fame, Karin Krog, Jan Allen, John Surman etc.

I checked out the samples on her website, and I like her sound, I like her choice of tunes - I will get me copies as soon as funds allow. As far as her gig with Esperanza is concerned - Christian McBride played with all kinds of people, and it didn't spoil him. I'm confident.

I highly recommend Ian Hobson's recording of La Creation du Monde, as it uses the "jazz band version" - much better than the orchestral arrangement. Beautifully played on this CD. As a bonus, Hobson plays a handful of piano pieces. amazon link - there are some cheap copies available. If one wants a real "authentic" recording, conducted by the composer himself: Those Californian studio players have a nice groove ...

I was 17 or 18 when it came out, ... Me too, of course ... oh my God .....

Headhunters went Gold or even more, so there must have been a number of people buying that record. I was almost twenty thirty when it came out, so I did count as young people? But I was already thinking of myself as a jazz player and thought his treatment of funk was hip - I'm pretty sure the diehard funk audience did not. Herbie' band with all the jazzy impro was much too sophisticated for a large audience, methinks. Do we really know who it was that bought the Hancock albums after Headhunters? I didn't, and I don't know. How many copies were sold? Herbie was clever as he never lost his jazz audience. We here on the board are not the mass audience we are talking about, we are a small elite. p.s. edited because I miscalculated my age at the time this was released - seems I'm really getting old and senile ...

Chiming in late, but better than never - here's my two cents on BFT 97: # 1 - Very nice waltz - 1960's? I probably know these players, but never heard that track before. More, please ... # 2 - Organ and clarinet? Wow ... I like the clarinettist's sound in the lower register, but not his squeaky sound in the upper ranges. Is this a German band? Nice organ chorus. Again: more, please ... #3 - 'Nother Waltz ... and again, no idea who they are. Wait for my revenge next February ... but to know that there is still so much good music to explore is a nice sideof this experience of vast gaps in my knowledge of the music. 1960's track again? They lose a bit of tempo through the track. Funny, as my initial thought when the track started was that they take it a tad too fast. # 4 - starts as a nice big band track, but the alto soloist's intonation and tone is awful. I shudder ... but the trombonist is nice. Another trombonist? If so, nice contrast. Baritone with similar but less obstrusive intonation problems, playing too forceful, like the alto. Those trombonist were more fluent, too. I wonder who they are ... The trumpet solo convinces me that the brass in that band are more competent than the reeds. Drummer 's nice, too. # 5 - Do I know this ballad? That player sounds a bit fragile ... or as if he is hampered by too much of some substance. Not as sure of himself as he should be. Nice ideas, but the execution does not quite convince me. # 6 - Oh yeah, nice drummer! Band of swing veterans? Would have to hear more to guess any of them. # 7 - Caravan! Do I hear two bass players? Sounds like a fusion of the Africa/Brass approach with a more standard repertoire. Nice, but would have to hear more to really give a judgement. Saxist playing the theme sounds a bit too careless for me stating that melody, like the flutist much more. # 8 - Again I find the brass more competent than the reeds, whose intonation is a bit sloppy and not together in the section. Overall, good ballad performance. # 9 - Sounds like an aged veteran trombone player with slight .... oh, my critical ear for sloppy intonation is terrible today. But I get the message. Judging from the bass sound, a 1970's recording. # 10 - More balladistic trombone, this time like a softened Coltrane follower. Just when I thought they started losing the tension they pick up the pace. Saxist doesn't do much for me. But this leaves me untouched, somehow. To be continued ...

DL for me, too, please ... just listening to # 97. I'm really curious about what you're going to select. Go ahead, thed ...

Interesting what pianist Stephen Hough has to say about them ... Yes there are some great ca. 100 year old New York Steinways. Too bad their sound dominates the modern scene. In the 19th century there was an incredible variety which made it hard for touring pianists but much more interesting, sound-wise. I talked to German Tobias Koch, who now plays on historical pianos exclusively, and the thinks it is a challenge and some of the music certainly sounds a lot more convincing on the proper piano used by the composer at the time he wrote the music. Problem is, it is hard to do in concert, as transport, maintenenance and insurance of the older instruments cost a lot, and you need proper, smaller concert halls. I know that Hardy Rittner, who received rave reviews for his recent Brahms recordings on historical pianos, played his Spring tour on Steinways for that reason ...