mikeweil

For that reason Orrin Keepnews once produced a reissue compilation of several David Newman Prestige sides with the orchestra parts mixed down - just Newman with rhythm, no problem as the orchestra parts were overdubbed later. The irony is - he was the original producer just as well .....

I reckon the chances to get sober are better with alcohol and cigarettes than with records.

The cover scans of Latin Soul I have seen and the sources I have list this as a New Jazz issue with that number.

You can delete this thread yourself, if you wish - just go to your initial post, click full edit, and look for the appropriate button. (IIRC lower left)

RIP, but could it be he had too much beer?

Does the fact that copyright last only 50 years in Europe affect all this?

Yes, it's really a shame. That's why I kept my Swing LP (that was a great reissue program, btw). Same here! ... and agree on the DRG Swing series.

Concord Music Group news page

The label is "HEAR MUSIC" - the joint venture of Concord and Starbucks. Mitchell's is the second release after one by Paul McCartney. Well ..... she arranged and produced herself. Herbie's new release The Joni Letters is also dedicated to Joni .....

That Griffin is a fine disc - I'm glad I got it at the local Zweitausendeins outlet as it was on my wishlist since it came out. Still need about half of Griifin's OJCs .....

Are the CDs with the VACZ prefix SteepleChase reissues?

That session with Lucky was the first occasion where I really liked Berry's playing. Highly recommended, very elegant music. It's a pity "Blues for Frank" was not on the CD reissue - it's a great track!

Jim, I know you're busy, but could you change the CD inserts you made for the Xmas disc just a bit to fit these live tracks? Would be much appreciated!

Don't forget to let us members place advance orders!

JPC has it for € 69,99 and a release date of October 26 .....

Nice way to describe it - yes he was loud, at least when I heard him with Cecil Bridgewater and Odean Pope. Black Power on the drum kit. It must have been hard to pave your way with so many great drummers around in the 1960's: Philly Joe Jones, Art Blakey, Roy Haynes, Elvin Jones, Tony Williams ..... and they all were loud and powerful, in their way. Besides that sound it was the clear structure that I always appreciated - very well constructed - his solo pieces are great examples, and his solos in band tunes are just the same, where other drummers played just what struck their minds, he always composed, did theme and variations. Since he preferred drummerless bands from the late 1950's on (Coleridge Perkinson or Ronnie Mathews or Stanley Cowell certainly did not get in his way), this tight melodic tuning was a necessity. As someone said: he does the piano player's comping on the drums. He carved his niche, because technically, all the others were as advanced as he was, or more modern, and out came Max' melodies on the drums. Max was much more of a composer, a complete musician, than Blakey or Philly Joe, who were the closest, stylistically. He was much more of a composer than any other bop drummer! Yes I see Max' solo style go directly back to Baby Dodds and Sid Catlett, where Blakey and Philly Joe took him as a point of departure.

No longer listed on the Concord website. amazon.com shows used copies from $ 18.00 upwards, amazon.de has them for € 8.00 upwards, but I doubt these sellers acutally have it in stock.

This really is kind of a Jazz Messengers records with guests: Jay Jay, Cecil Payne (love him here!), and Patato. This is the best playing of Patato with Jazz musicians that I have heard. I prefer to listen to the two sessions separately - this was intended for two 10" LPs.

So that's Kühn? This is the first time I liked his playing! Uh! I have this?!?! Bingo! They should have made a whole album of this! A classical pianist! Kapustin is the composer? He's listened to a lot of Chick Corea et al. My hat is off since it sounds so spontaneous! Thanks again, great choices all 'round!

Carrothers? I have his duo CD with Stewart - another one with a bassist and drummer I couldn't listen to and gave it away. An interesting player, but a little too concerned with technique and chords, at times. Oh - no CD? I would have liked to hear more! An OJC to hunt? These Californians had that Brazilian groove down. Seems I should check out this guy. Hah! A band I recognized! Keyserling - I saw the Hampel band live with him, and didn't like him just as on this BFT. Graewe? He's come a long way ..... Plumber, stick to your trade - Third Stream it isn't!

More guesses, finally ..... Track 19: Nice sax trio - I like him the most, and I am sure I have heard him before, nice style, modern, but not too lost in navigating the changes, taking some interesting rhythmic turns. Like Getz², in a way. Drummer sounds like a crossing between Bill Stewart and Paul Motian, but I do not like the sound of his drums. Bassist is very good, but doesn't grab me as much as the saxist. What is this thing called jazz, this funny thing called jazz .....? Track 20: Starts as stately as a John Lewis arrangement. The flutist uses a little too much vibrato for my taste and is a little stiff in his phrasing - a classical guy? The tune is very interesting, especially its rhythmic setting. Sounds like it is all written out. Would have been nicer if the flutist had taken turns with the muted trumpet in stating the theme. In the end, there are too many repeats, not enough development. Track 21. I like my free style solo piano rather in ballad tempo, like Paul Bley in slow motion. Okay Sir, what do you wanna say? Track 22: same as track 21, in spite of the Monkish chords. What's the use of hinting at Just You Just me at the end when there's practically no relation to it during the impro? Track 23: Alto cat has a nice cutting tone, but wails a bit too much. Drummer's wailing, too. Nothing wrong about this, it's just that I've grown a little tired of this. Saxist has nice exuberant spirit in the theme statements. Track 24: Again: What is this thing called jazz, this funny thing called jazz .....? Other than that, same as track 21. Track 25 & 26: I tend to think these duets are for saxists only, or sax freaks, which I am not. I dunno, my fault, of course. Track 27: The conversational aspect of this makes it quite interesting. One of those pianos is prepared some? On the whole, it sounds too random for me, rhythmically. Track 28: Wild take on some Bach invention? He/she takes some chances with this. Yeah! Why not? Track 29: Two cellos? Not my favourite stringer, but they got humor. Hah! Peter and the wolf .... Why do celist play in the upper register when they get intonation trouble up there? Get a violin! And I'll get so far as to like vibrato with strings ..... Track 30: Another saxist I seem to know but cannot pinpoint. Interesting tone. Track 31: Warne Marsh and Gary Foster doing a Bach Invention? Jazz saxists will have to cover some ground before they can improvise counterpoint on that level! Track 32: More cello - If he'd use gut strings and lower string tension, I could like it. Track 33: Sounds like a jazz pianist's improvisory take on John Cage's Atlas Eclipticalis ..... is this one or two players. Hmmm .... would listen to more of these. Track 34: Happy ramblin'. Same as track 21, again. Track 35: I like this a little better. Do I hear a distant reference to a Monk tune? Track 36: Seems I'm more in the mood for calmer music these days. Two pianists again. Thanks again for the excellent programming, the thoughtful choices - a great compilation, it's only that I'm not in the mood for much of this. Not your fault! Very interesting ride, for sure! Now off to the others' guesses and the answers.

Right!

But in the case of Ampeg basses or bass guitar or even most pickups it transforms the bass into a different instrument. The Ampeg is to the bass what the Rhodes is to the piano.

There are great sounding bass amps and pickups (Schertler, to name just one) by now, but they are rather expensive ......