mikeweil

... all the more considering the general condition he was in at the time! I love that solo! (And the looks Lady Day gave him.)

Great!!!

R.I.P. - what a life! I always liked his tone from his first session with Teddy Charles for Prestige - Sonny Clark's first, too! Wardell Gray was on that session. Oh yeah ...

This will have to wait until next year - it probably won't arrive before the holidays. Please post your reminder early in November next year!

I give up ....

Recycling birthday threads - nothing unusual enough for celebrating our Texas Titan, JSngry! HAPPY BIRTHDAY!!!

I once saw Savall or another of these groups perform Spanish music with a couple of dancers - terrific!

I think going for the audiophile vinyl market would be an option.

Same here.

R.I.P. I bought "Contrast" from a cutout bin many many years ago, but was a little disappointed. On the whole, a somewhat bland record. I found out later he had played with Mongo Santamaria, and liked him a lot better there.

That's a disappointment ... I still hope for a Mosaic single of this.

I'd say Blakey made Monk swing the most in a conventional sense, but he sounded more elegant with Klook or Shadow Wilson, and Frankie Dunlop is my hero 'cause his drumming is as Monkish as it can get, and he gave Monk complete freedom as far as intricate rhythmic variation is concerned, which is invaluable.

... as well as three more Prestige Lps by Patterson!

Finally scored this rare LP on ebay: Been looking for this for several years now - there was a "buy it now" copy but at too high a price for the condition it was in, and now there were two copies offered - I had one competitor while bidding, and he outbid me on on the first copy, and I had the suspicion he wanted the second as well (?) but backed out at $ 41.00 - the next to last gap in my Don Patterson collection closed! Now cross your fingers for me that it arrives in time for Xmas!

Another recommendation for 7-zip.

For anybody not wanting to spend the big bucks, I recommend this rather new recording by Jaap ter Linden on Brilliant Classics - I haven't yet listened to all of it, but it seems to be on the level as Bylsma or Wispelweij.

I read an essay by Dutch violinist/conductor Sigiswald Kuijken last evening on the subject of the use of violoncello in Bach's church music, and was rather surprised to read that according to latest research Bach rarely used the type of cello we know today, but a violone - a type of smaller double bass - or a type of larger viola in cello range that was arm-held rather than between the knees. The solo cello suites probably were intended for such an instrument as well. Whew! Know I am waiting for a first recording on a "violoncello da spalla"!

Of course there are some red book CDs sounding better than some SACDs - there are many factors involved. But physically, the statement that there is no difference is nonsense. It's measureable - and, to my ears, it's audible. High resolution displays its advantages best onrecordings in natural room ambience with a minimum of microphones, and I don't see too many of them on the list of samples chosen. If you compare CD and SACD stereo layers of Hybrid discs you will always hear a difference. I tested a lot of friends and even those less invloved in HiFi heard the difference.

After living with the Marantz for half a year, I really can recommend it. Only one very minor disadvantage - you don't hear any sound when using the scan function, and it is very slow - otoh it may be for technical reasons, and it is very precise. It displays the CD text only for SACDs, not on red books CDs even if they contain some. Well, I can live without that. It sounds great, that's what counts!

to Dan: to Jim: :tup :tup :party: :party:

Just an idea: is there something like a cost-o-meter, showing the current amount of costs for the year so far, a possible leftover debit from the previous year, and the amount of donations, and sum total, so members could throw in their donations whenever it is appropriate? I think we users should take the responsiblity for the board as far as possible, financially. Any surplus donations could go into the next band CD and given to members with a discount or other special conditions, if the band wants to.

That should be self-evident, but if a disclaimer helps, go ahead!

You're welcome - if you have any questions, go ahead!

I don't think so but can see why one could ...

Finally, the remaining tracks revealed - sorry to be so late, but a very bad cough that's still not gone completely and the Christmas preparations took most of my energy. # 8: Ray Vega Latin Jazz Sextet: Prayer of Jabez (Ray Vega). CD pa'lante (Palmetto Records PM-2079, 2001) Ray Vega trumpet; Bobby Porcelli alto sax; Igor Atalita piano; Boris Kozlov bass; Willie Martinez drums; Wilson "Chembo" Cornell congas. Recorded October 15-16, 2001 at Maggie's Farm (Palmetto's own studio). Puerto Rican Ray Vega is one of the newer generation of Latin musicians who navigate jazz as convincingly as Latin dance music. I chose this for its resemblance to records with Cuban percussionist on Blue Note, like Kenny Dorham's - Vega cites this as an influence. This particular track was inspired by a biblical passage in Chronicles 4:9-10. Bobby Porcelli is a great alto saxist who can look back on a 50 years long career, staring in Tito Puente's orchestra and playing hardbop with T.S. Monk. This CD has great sound, too , as all Palmetto recordings. See http://www.palmetto-records.com/ for a short portrait of Vega. # 9: Donald Harrison: Slowvisor (Eddie Palmieri). CD Free To Be (Impulse IMPD-283, 1999) Donald Harrison alto sax; Brian Lynch trumpet; Eddie Palmieri piano; Christian McBride bass; Carl Allen drums; José Claussell conga, percussion. Recorded at Clinto Studios, New York, August 18-20, 1998. Harrison, Lynch, and trombonist Conrad Herwig were Eddie Palmieri's horn section for several years, after the famous pianist decided he had enough of salsa vocalists and looked for a jazz horn section. It was an invaluable learning experience for all three of them - Herwig once stated in an interview, he had to learn that in such a band, everybody was a drummer, even the horn players! The groove on this tune reminds me of some of Eddie Harris' Atlantic groove tunes - nothing spectacular, basically dance music. Palmieri turns in a great duo with McBride (great big tone!) as an intro, and then they're off - Harrison plays a nice solo. This CD delivers a nice cross section of many styles, just like some of Eddie Harris' .... I like Harrison a lot, his tone, his openness towards different styles, his rhythmical awareness. I am again disappointed that nobody recognized one of the most distinctive stylists, Eddie Palmieri, that is! Shame on y'all! # 10: John Santos & the Machete Ensemble: Chango Pachanga (Arsenio Rodriguez). CD Machetazo! ten years on the edge (Bembé Records CD 2018-2, 1998). Bill Ortiz trumpet; John Calloway flute, tenor sax, arranger; Wayne Wallace trombone; Jeff Cressman trombone (solo); Melecio Magdaluzo alto & baritone sax; Rebeca Mauleón piano; David Belove bass; Paul Van Wageningen drums; John Santos congas, batá, timbales, bongos, bell, guiro. Recorded at Bay Records, Berkeley, California, 1991-94. John Santos is one of the greatest percussionists from the Bay area, and his Machete Ensemble one of the best bands. Although the horn players all have lots of jazz experience, this is a Cuban band with jazzy solos. Changó is one of the orichá, deities going back to the West African Yoruba religion still practiced in Cuba and spreading over the Latin population in the US as well. (So much for the celebratory aspect of this track!) Pachanga is a Cuban dance popular in the 1960s, similar to Mambo but with easier steps. The horn lines reflect the vocal melodies sung in praise to the orichá, the rhythms are the toques asscociated with him. Note this is a tune by the legendary blind sonero Arsenio Rodriguez, one of the pioneers inventing the modern conjunto and the use of African elements in the Cuban musical heritage. This and other great CDs of this band are available through CD Baby. # 11: Chico O'Farrill: Delirio (César Portillo de la Luz). CD Carambola (Milestone MCD-9308-2, 2000). Chico O'Farrill arranger, conductor; Arturo O'Farrill piano, musical director; Michael Phillip Mossman (solo open), Jim Seeley (solo muted), Jon Owens, Matt Hilgenberg, Kenny Rampton trumpets; Gary Valente (solo), Papo Vázquez, Sam Burtis, Jack Jeffers trombones; Jimmy Cozier (alto solo), Marshall MacDonald, Mike Migliore (tenor solo), Peter Brainin, Max Schweiger saxes; Andy González bass; Steve Berríos drums, timbales, percussion; Joe González bongos, bell; Roland Guerrero congas, woodblock, bell. Recorded at Clinton Recording Studios, New York, July 2000. This is from one of the three beautiful CDs this great arranger recorded at the end of his career for Milestone records - I selected them as Album of the Week. What can I say? This is a classic beauty, nothing less or more. One of the greatest arrangers in jazz and Cuban music. # 12: Pancho Quinto: Bolero En Medio Del Carnaval (Enrique Fernández/Octavio Rodíguez). CD Rumba Sin Fronteras (Riverboat Records TUGCD 1031, 2003). Pancho Quinto batá; Octavio Rodríguez batá; John Santos batá; Miguel Miranda batá; Alexander Nápoles bells; Enrique Fernández all saxes. Recorded at different studios over a number of years. Ironically, to make this recording took several years. The basic tracks were recorded on one day during Pancho Quinto's 1998 tour through the US - he was over 80 at the time, if I'm correctly informed. Several years later he was able to complete the album with some overdubs. This includes some of the wierdest Cuban grooves I have heard in my whole life! This is way beyond the rhythmic comprehension of most jazz drummers. The title is self-explanatory for a connoisseur of Cuban music: A bolero is a melodic ballad - played here by the soprano sax - and the reference to carnaval applies to the rhythm patterns, which are all typical for Cuban carnival dances, but played here on the sacred drums of the santería, the batá - usually they are played on drums called bokú, sounding much like congas but in conical shape and of lighter build to carry them around by a neck strap, and gallétas, narrow bass drums, and metal percussion. So this is a romantic ballad among the hectic drumming of carnival - even the background sax choir plays a rhythmic accent shared by bass drums and dancers alike. If you want to hear some high level Cuban drumming go for this - very amazing stuff. Omar Sosa has a guest appearance on a few cuts. Pancho Quinto's other CD is just as great, by the way. Here's a photo of this old master: # 13: Miguel Angá Díaz: Dracula Simon/Round Midnight (?/Monk-Williams-Hanighan). CD Echu Mingua (World Circuit WLWCD 071, 2005). Since I have only a promotional copy of this I was sent for reviewing I don't have the complete credits; Miguel Angá Díaz plays a set of several conga drums here. One of the greatest percussion talents to come from Cuba in the last decades, Miguel Angá Díaz was unexpectedly found dead in his Barcelona appartement in August, 2006 - he died from a heart attack. He was only 45 and had just released his first CD as a leader, which covers a variety of styles, almost to the degree of obliving his identity. But somehow it was a stunning debut making the percussive world curious for more, so the news of his passing was quite a shock. Not everybody among you seemed to recognize the melody of Round Midnight played on a set of tuned conga drums. # 14: María Rivas: Swing Con Son (Billo Frometa). CD Muare Angel Falls Records AFR 1101, 1998) see credits of track # 1 for details. The title of this track could be the motto of this BFT Swing and Són, the US and the Cuban genre. I find this singer is marvellous: Notice how she quotes Bud Powell's Parisian Thoroughfare at the beginning of her scat solo. Well, this is it. Thanks much for participating. I sincerely hope this inspired you to dig a little deeper into the world of Cuban rhythms.