mikeweil

That's just the two-part 45 rpm issue of the take included on the True Blue album.

... and I think it's Philly Joe whose playing is below par on that album.

If want to hear the Symphonie fantastique in the sound that Berlioz heard, try this: Several instruments in the orchestra that are not common anymore that make for a drastically different sound, like ophicleides ...

For some reason unkown to me that menu point doesn't show in my profile ...

Cliff Walk is from a different session: NewportRebels 6. T’AintNobody’s Business If I Do (take 3) (PorterGrainger, Everett Robbins) 7:42 7. T’Aint Nobody’s Business If I Do (PorterGrainger, Everett Robbins) 7:11 8. Cliff Walk (Booker Little) 9:39 9. Oh Yeah, Oh Yeah (Kenny Dorham) 7:00 NolaPenthouse Studios, New York City, November 1, 1960 AbbeyLincoln vocalson tracks 6 & 7 BennyBailey trumpeton tracks 6,7,9 Booker Little trumpet and arrangement on track 8 EricDolphy altosaxophone on tracks 6 & 7 WalterBenton tenorsaxophone on track 8 & 9 CecilPayne baritonesaxophone on track 9 KennyDorham pianoon tracks 6 & 7, trumpet and arrangement on track 9 PeckMorrisonbass JoJones drumson tracks 6,7,8 MaxRoach drumson tracks 8 & 9

To me the main difference between Jamal and most other pianists is that his treatments of tunes are largely different from the way others treat them, and from the way he treats other tunes he plays - at least it was like that with Crosby and Fournier, and that's what inspired me much more than the rather unified way of running licks over changes which happens so often with other pianists. When Jarrett plays standards, they all sound the same to me after the theme is stated - that rarely happens with Jamal. I'm tired of lick-oriented players. Jamal has his pet licks, too, but somehow they never sound obtrusive or repetitive to me.

I still would like to hear the third, unissued session of that year ... Wayne Shorter (ts) Barbara Burton (vib, bells, per) McCoy Tyner (p) Miroslav Vitous (b) Alphonse Mouzon (d, per) A&R Studios, NYC, October 13, 1970 Blue Note rejected

Joyeux anniversaire!!! ... and many more musical years to come ...

That's a great set, having all the music in recording order that was scattered over so many LPs ... the cornerstone of any serious Dolphy collection.

Same here ... but no thoughts whatsoever will spoil my enjoyment of the Jamal Trio. Saw him two years ago with Cammack and Muhammad and was slightly disappointed - I love the relaxed precision there was with Crosby and Fournier. That's one of the greatest kinds of trio playing I have ever heard. No it's the pauses themselves that make me wish Miles would stay away ...

I only kept his early Capitol LPs, i.e. Affinity LP reissues of 'em - very nice bebop Bud Powell style. And he swings!

http://www.youtube.c...h?v=5bR8Nv2yibM Step on the gas, daddy! You really are a lucky dog, with all the nice kids and B3s you have ...

I see your point, but if you have SACD playback equipment, these really do sound awesome. If there is anything in audio playback that can come close to good vinyl playback, it's SACD, given the original recording was well done.

If all critics would share this view, there wouldn't be a problem - at least for me. You're not naive, Larry, IMHO, but very much aware of the implications and limitations of the role - and that's what makes your writings so much more acceptable to me than some doubtful or plainly subjective "evaluations" like the one that prompted this thread.

Could be it depends - I have the 10 CD Teddy Wilson box from Membran and sound is okay.

It depends ... or what do you think about what John Cage wrote about jazz? And, of course, there are exceptions to the rule. But, unfortunately, they are exceptions. I think we could agree that we could do without the majority of critics ...

I received a flyer in the mail about the following: There is a subscription running until November 30, 2010 for a 12 CD retrospective box set of the FMP label, the CDs will be available separately after that; the set will be availbale in January, 2011 in a limited edition of 1000 copies. Half of the CDs are unissued material by the Globe Unity Orchestra, Peter Brötzmann, Manfred Schulze, MANUELA, Peter Kowald, Tristan Honsinger etc. Please e-mail fmp[at]freemusicproduction.de for details - sorry but I don't have the time to list all the music included ... seems there is on info on their website about the box set. Price will be € 178.50 plus shipping.

Yeah - the cat in the pressing plant would have been cool if he had used BLUE vinyl, but, ....

One of the eternal truths in music is that critics are never as important as the music and its creators ...

I too, sell stuff, though it's not music that would be of much interest here, and the shipping to the US would be too expensive. It's because I need shelf space and want to get rid of CDs I do not listen to any more, and to reload the buying budget.

Another album rather difficult to judge is his collaboration with the Montgomery Brothers on Jazzland. Shearing was under exclusive contract with Capitol but insisted they let him record that one after sitting in with the Brothers. I kind of like it - Wes and his brothers and Shearing shared a certain approach towards the lighter side of jazz, methinks.

Sorry I'm a day late, but best wishes and thanks for the good work.

The label faced unexpected problems: Look here

Yep!