mikeweil

They should have added The Flock - now that was a wild bunch! I could live without any BS&T or Chicago album, but would keep The Flock ... they were much closer to Zappa than the other two.

The Vince Guaraldi also includes four new bonus tracks - IIRC these are uneleased!

The Boss Guitar reissue finally presents all 11 takes recorded at that session on one disc.

? Even more ? as this is the only session where Book 'n' Pony played together ...

The British Jazz Lips label has done part of what Fantasy should or could have done: a double CD with all the tracks from the three "-book" Quartet sessions (The Song Book, The Space Book & The Freedom Book), with the only blues tune from the Blues Book as a bonus track. Sound is okay - but you know what to think ... Disk: 1 1. A lunar tune 2. Cry me not 3. Grant's stand 4. A day to mourn 5. Al's in 6. Stella by starlight 7. The lamp is low 8. Come Sunday 9. All the things you are 10. Just friends 11. Yesterdays Disk: 2 1. Our love is here to stay 2. Number two 3. I can't get started 4. Mojo 5. There is no greater love 6. The second number two 7. Bass-IX 8. No booze blooze I have to admit I bought it, as I was always mad at Fantasy for not adding the tunes posthumously released to the CD versions of the OJC CDs ... now I finally have all of Booker's Prestige sessions on CD.

Priceless music, and story!

It's very nice, IMHO - rather loose, but not formless improvisations over a varied choice of tunes. Their interaction is great, Keezer has lightning reflexes. It's a bit short, but you get plenty of bonus material as downloads, live tracks etc., incl. a MP3 version of the CD - that more than double the length of the CD

Congrats! Great pic! (Now that I am finally in contact again with my daughter after 13 years, I no longer need to envy fathers with beautiful daughters or stepdaughters ... ... hope to witness a scene like that some day.)

That slender guy with a straw hat playing congas - could that be Jerry Gonzalez?

What's missing is the Larry Young trio session that was not released at the time, only on a fantasy twofer CD with the Gumbo session and a few unreleased Poindexter tracks.

Indeed - imagine I would have died without ever reading this ...

I think I have about 95% of all of Geoffrey's albums, so consider me a big fan. I'd buy any album just for him. He's amazing! Of all the players that were with Blakey or Ray Brown during their last years, he was the most inspired. p.s. I wrote reviews of the two Locke/Keezer CDs, i.e. The New Sound Quartet, for www.sa-cd.net http://www.sa-cd.net/showtitle/2600 http://www.sa-cd.net/showtitle/3277

He once dropped in with his locak tour manager to check out a venue where I happened to be playing with some local cats, and besides that his presence made us play much better, he was a very nice and easy going guy, telling about his his latest recordings sessions etc. Our pianist had a chance to play with him some months later, and was very uncertain about his playing, asked Joe repeatedly about it, but all he did was assure him that everything was alright. I saw him live almost every year over here before he hit his contract with Verve, found it great but the solos a bit lenghthy, and the concept a little repetitive. He was best when challenged by unusual musical environments, like when he was asked to play in a jazz-flamenco encounter at the Frankfurt Jazz Festival - Albert Mangelsdorff was in the same group, and that was really great! He had some exotic touch about his sound when playing this kind of music that was unique.

This one is nice too: All the solo etc. stuiff scattered over various RCA sessions, including the duets with Blanton, was collected on this CD:

I am lucky to have two headshells for my Thorens turntable, so I invested in a separate mono cartridge, and the sound is much better when I play back an original mono pressing with the mono cartridge. So when your turntable allows switching tomearm heads that easily, go for it. The difference really is the cut of the grooves and the way the stylus tracks them.

I think most people just don't know or think about killing musicians' earnings when copying or downloading. They seem to think that musician per se are rich people ...

Jim Wyble (g) Red Wooten (b) John Markham were all West Coast stalwarts. All recorded with Red Norvo, Markham also with Cal Tjader, but there is certainly more. All fine players, from what I have heard. Sounds like an interesting album.

Yeah!

Certainly would like to have the Trios, but don't have the funds right now, not even at half the price asked.

If your equipment detoriates gradually, you might not notice the change, and at some point it becomes part of your sound and you don't want to change it back. I was thinking about this part of African and African-American aesthetics, too - in African music it works nicely especially since much of the melodies are pentatonic and sound too simple without a dirtier sound. If a music gets harmonically more complex a distorted sound might counteract the musical intentions. But beyond all that it's a matter of personal taste, for the most part - and it depends on the type of music. Imagine a clinically clean toned blues ... since much organ jazz is connected to R & B it's no wonder many like a grainier sound - that's what I heard many organists say about Leslies. If I were an enginer I would carefully ask if they intentionally want that sound or simply can't afford the repair costs

Jack's explanation sounds plausible ... I much prefer the CDs with the sessions in complete form.

Just received an e-mail there's a new CD on ECM: Stories Yet To Tell Norma Winstone Trio, Norma Winstone, Klaus Gesing, Glauco Venier

Where can I find discographical details on this box? Or do you know if any of its contents are in the Dangologie Box from EMI France?

Bird .... James Spaulding Donald Harrison Hugo Read ... and Wolfgang Wittemann, the local hero in whose band I play.

Heard it in the cultural news of our local radio station this afternoon while driving, and while on the way home I caught the Monday evening jazz special they dedicated to her, including some interview passages - German writer Christian Broecking had been able to visit her while she was still in her own home a year ago. Very moving to hear her talking so frankly about the drawbacks after cutting the Freedom Now Suite. She probably was the first jazz singer I really got a message from - I cherish her Candid album, which I played every day after I got it back in the late '70's - thanks for a great life in music.