mikeweil

Mr. Bassman recently gave me a summary of how Jaco messed up that gig - nice to read it in JM's words. I wonder if he approved of the release .....

Concerning the Fantasy sellout remainings: It seems they have only a few titles left and still not sorted out their stock. I haven't seen new additions in the Frankfurt shop for the last three months.

Mike, are you certain about that? The tracklist of the Shearing CD lists recordings made between 1947-53, i.e. in the public domain. I haven't checked the other CDs in the series http://www.zyx.de/main/artist.cfm?artist_i...aeger_vinyl=0#a You're right about the Shearing being public domain in Europe. But these CDs are made cheaply, with little care, and after distributing Fantasy one would expect a little more respect from them.

"Geknoedel" is also very nice ... here in Hassia we would call this translation engine "Babbelfisch"!

I informed him about his error - sorry if I spoiled the fun for a possible relisting .... but ..... maybe we will find out how dumb he really is.

Sometimes one can't tell the difference: Tal Tjader

Never would have recognized Klarwein from the excerpt they used as a cover - have to admit I find the whole pic much better. A Klarwein cover on a Blue Note LP - who would have thunk it .....

Anyone have a cover scan? Mati Klarwein - what label is this on?

Up to remind me of posting the photo of king ubu, Mr. Bassman and myself made on the occasion of our gig near Zurich on April 29 ......

Anyone here got a release date for Germany?

I have one of those in the basement, or rather the more powerful 420 model. It cost me DM 500 when it was new. It sounds a trifle harsh compared to the Pioneer I have now, but did a reliable job all of the time.

Happy strumming for many more years to come!

It's rather common knowledge to Coltrane specialists. The mixup was reported in the british jazz magazines at the time! No idea how many copies went with the wrong music! Then I wonder why he doesn't mention it ...

Belated Happy Birthday, fellow Teutonian! re. the photo - it will be posted in the appropriate thread once Mr.B. has e-mailed it to me ....

Another for this beautiful album. I wish Rhino or Mosaic would have done John Lewis justice and given him the box set treatment.

Yes it's not a latin album, but very beautiful - one of the better jazz with strings albums, IMO. My only complaint would be that the strings are a bit loud in the mix.

A Krazy Kat LP reissue of Ray Bryant's 1955 Gotham recordings.

That's my take. My understanding is that Trane was using acid when he recorded "Om". I see no evidence that this had a particular impact on the recording. Unlike Simon, I think it is a largely successful outing, though it has more of the feel of a "jam" as opposed to a carefully constructed session like "Meditations". I think Trane's tenor solo is better than the one on "Meditations" and I think Pharoah's main tenor solo is one of the best he ever recorded and one of the outstanding tenor sax recordings in this idiom. There is some disconnect between the rhythm section and the horns, to be sure, but that is characteristic of most of the late '65 dates where Elvin and McCoy are playing behind Pharoah and with Rasheid, though I would freely admit that "Evolution" is quite the exception. Well, in a sense it's a string of solos bookended by the OM chant (but with a bit of Om chanting in the middle of Pharoah's solo). But there's also a distinct change in vibe (to my ears) in the middle of it. You go from the major soloists (Coltrane, Sanders, Tyner) playing with a degree of fire to a more reflective/quiescent thing with (I think) flute and then bass clarinet. There's a kind of twilight kind feel to it. I don't think the music is bad, although I don't much like the chants. The Coltrane solo I find intense but somehow rather obscure. The Sanders I agree is very good. Tyner's is kind of serviceable. What I don't really understand is why the minor soloists are there - what Coltrane was trying to do. I mean that's much of the second half of the recording in this unified (to my ears) rather reflective vibe which contrasted with the first half fire - but why? I don't think the second half's bad music - it works in a certain way - but... Of course I have my theory as to why he began to play like this...And it ain't drugs. The 9th Book of the Bhaghavad Gita in the Prabhavananda/Isherwood translation (straight out of it). The way Coltrane uses it is akin to a theme. Beginning and ending with it and with the one word chant "Om" in the middle - and then he talks about Om in the sleevenotes as well. So for him it's something important. Simon Weil Couldn't agree more - it was important to him, and that's what counts.

You should let David Wild know this, in case he doesn't! http://home.att.net/~dawild/

Near guess. But not Bryant. Was he ever in the New Orleans scene? Probably not ... I have a Krazy Kat LP ith some Bryant tracks in that style - recorded for Gotham in 1955. (The LP was released with Bill Jennings name stated first.)

I knew you wouldn't like the drum machines, Mike. But I thought you might get this one. I don't have so much modern African music, although I like to listen to it - so much other music to buy ...

Kenny Clarke was enough of a technician to open a prestigious drum school in Paris with Dante Agostini.

I always found those comments about anyone in that league having more tecnique than someone else pretty boring and off point. Klook couldn't have played like Max, and vice versa - so what?

Finally got a chance to listen into this ..... 1. Helen Humes!!! They raided the joint, and she raided the audience. Great, always loved her. 2. One of those drum machines firmly in use in an African studio. Ivory Coast? Nice, but I still wish they would get back to their traditional instruments, which sounded so beautiful. This music is pure postive life attitude. Good singers! How come you've got such a large collection of this? 3. From Africa to the Carribean - some Reggae with real corny synths .... oh well ... I'll pass this on. 4. That girl's voice sounds pretty familiar, but I'm not the one she wishes to be with her. She knows what she's talking about, that's for sure. 5. Nawleans stuff? Very nice percussion effects. I'd buy that in a minute! A very young Ray Bryant recorded a handful of pieces in that style, but I would have to search the LP ... 6. Lady Be Good - the violinist is no Grappelli, although he tries to copy his attitude. But he hasn't got a tenth of his chops. Well ... sorry my thumb is down. The tenor is a nice player, however. 7. Johnny Lytle? Never heard him use orchestra bells. But that's his attitude. 8. If there weren't so many guitars I'd opt for a Meters session. That drummer sounds like Zigaboo Modeliste. And the craziness is there. 9. I almost expected Barry White to start singing. A little too sloppy tenor, nd bordering on kitsch, to these ears. NMCOT. Much too long, for its substance. 10. Electrified sax? John Klemmer's one Cadet LP with Lynn Blessing (?) on vibes. Eruption? A Mosaic Select of Klemmer's Cadet LPs would be nice. They were underrated, in retrospect. This has touches of Bitches Brew. Nice. Ramsey Lewis also covered that tune - People Make The World Go Round. Hmm - can't find this tune in the Klemmer disco ... More when I'm back from the Swiss gigs. (edited for typo)