mikeweil

These even beat the tastiest watermelons I ever bought, in Southern Italy, straight from the farmer's truck. It's that ethylene smell that made me dislike honey dew melons ... somehow it's not to my liking.

Could you please explain to me the difference between the two or post some photos? Thanks! Oh - Leeway read my mind!

FWIW, these links were posted on a specialized harpsichord mailing list: The sky is a harpsichord canvas List of songs with harpsichord

Well, exactly as I said: ALMOST ...

ALMOST a Blue Note cover .....

I will have a re-listen this evening ...

Elvin Jones played guitar on one of his Impulse LPs, IIRC ... Cal Tjader played vibes, drums, piano, timbales, bongos and some conga, too. Victor Feldman, same list of instruments. Bags' piano playing was chords for comping and two finger style for soloing, like Hamp.

I have listened to guitar transcriptions of Scarlatti sonatas with great interest, but paradoxically, in my ears the guitar's sound, which is softer than that of harpsichord strings, lessens the Spanish tinge, which is so important for his music. Skip Sempé's recording is great in that respect, his arpeggios are as guitarlike as it can get.

How true ...

Historically, a "Schalmei" was more like a primitive oboe, but the instruments in that clip were a German Democratic Republic speciality - bands like this were all over the country. Our local sax doctor had one for repair at my last visit, and he told me a little about these things. You should heare them live! There's hardly anyone around that can fix them these days. German audiences and clapping is a nightmare - always!

That clip definietly shows Lee Morgan's last band with Billy Harper, Harold Mabern, Jymie Merrit and Freddie Waits. The "Guests" list must read that these three Blue Note artists performed with their respective groups, it seems.

Believe it or not, that's the way I felt after I had listened to the unedited takes. I felt cheated. Of course I didn't know anything about editing at the time In a Silent Way or Bitches Brew was first released, but I thought and still do think that jazz records should capture the music the way it was played live on stage or in the studio. If you conceive an album to be overdubbed that's another matter, but to edit meandering improvisations to make it sound more perfect than it really was, that's cheating to me, at least to some degree. You gotta live with your imperfections and mistakes as a jazz musician. I love alternates for the same reason - they taught me that the greatest players aren't always perfect, and that was very helpful. Just my personal point of view, of course. Best example is James Brown's Apollo date - I knew it inside out, but some transitions sounded strange. When they released the unedited performance, I found out I was right - edits all over the place. Teo Macero was a composer, and composers tend to work stuff over until it's perfect. Now he did an excellent job, but introduced a parameter that doesn't belong in improvised music, IMHO. Mingus did the same (there's a one bar saxophone phrase edited from single notes on Pre-Bird), but he too was a composer with that particular attitude. I think Macero was exaggerating his editing . consider the many solos he edited out completely or in part on Monk's or Miles' live recordings, like some Mobley solos that were beautiful once heard in complete form. Time limitations played their part, too, but still - I prefer it unedited.

Considering the influence producers had on chosing sidemen, maybe it was them who wanted to avoid anything too close to the quintet's personnel. Besides that, all the guys mentioned were part of a pool of players, and there may be several factors involved in determining who ended up on which live or studio date. I remember reading about Miles complaining when his rhythm section was hired by Orrin Keepnews for Wes Montgomery's Full House date - he shut up after Wynton Kelly asked him for monetary compensation in case he cancelled. Sometimes bandleaders were jealous, or even suspicious, Miles in particular, because it was only a small step to loosing sidemen. Consider how long it took him to get a satisfactory replacement for Coltrane or anybody else he appreciated.

His untanned butt makes it even more absurd ... You can listen to some short samples here. Typical German 1950's bop, with a little harder edge than the Scandinavians displayed. Sidemen are saxists Emil Mangelsdorff and Joki Freund, bassist Hans Kresse, and drummer Karl Sanner, one of Germany's swinginest at the time.

Same here - great to hear how the music developped in the studio. Yes, but I could live without most of the edited takes that ended up on the LPs. I find the music to be more organic the way it was played.

Not fantastic, but very good. For Dexter fan, a must have, and it's nice to have much of the music in one place that was spread over two or more LPs.

IIRC Wes' Verve LPs were: Bumpin' California Dreamin' Tequila Movin' Wes Goin' Out Of My Head Jimmy and Wes - The Dynamic Duo The Further Adventures of Jimmy and Wes Smokin' at the Half Note ... plus an album of unreleased tracks issued in Japan Just Walkin' ... and one posthumous album Willow Weep For Me The box will be five discs. The two albums I omitted are added - tha nks to Chuck!

I like the stuff recorded for the Tequila album, as it is just Wes, Ron Carter and Grady Tate (plus Ray Barretto on some tracks) - a sparse setting of more commercial tunes, but well done and very transparent. The strings on some tracks are rather discreet, an ideal moody backdrop. The tracks with Jimmy Smith are roughly half big band and half trio/quartet - the small group track are great as Jimmy and Wes cut loose. Creed Taylor is all over this, but the A&M stuf is where it tends to be too much. I have most of this but I might go for it - amazon.com offers it for $ 79.60, amazon.de for EUR 137,99 !!! - should be the other way 'round. JPC lists it for EUR 89,99.

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Something like this. And I sincerely hope they use recording order.

That's the point - I'm afraid many people use these scientific explanations only to avoid the human individual's responsibility for their behavior, like "It's my DNA (or whatever) doing this, there's nothing I can't help it". We are much more than cells, that's one of the few things I'm really sure about. And the more humankind evolves, the more responsibility it has to take. I can't see how one can feel the desire to abuse children. No way. I say forgiveness shoudl be unconditional, but that's a high ideal, and I do not know I could forgive such things if it happened in my neighbourhood. Probably not. And this forum happens to be part of my heighbourhood.

Sometimes it's a good move to wait - I didn't like the previous reissues and considered only the two Bear Family discs, but waited until now - I always loved the Wolf's raw voice, so I will get me a copy of this one for Xmas. Great news.

It's about time - I wonder if there will be anything unreleased in it, and how they will treat the overdubbed Half Note tracks.

Yeah, congrats!

You need a bit of exhibitionism to play Scarlatti really well, and that's the one trait Leonhardt certainly does not display. I think Hantai and Sempé are the kings - Staier is excellent but a trifle too controlled for my taste. As far as modern piano is concerned, I agree, but there is a recording on a copy of an early Cristofori fortepiano that is great, by ALINE ZYLBERAJCH on the Ambronay label.