mikeweil

Bailey's another of those highly individual underrated drummers - he did a lot of uncanny things, like playing the high hat on the third triplet of every beat. Some things were simply in the air after the level of bop drumming with high hat on 2 and 4 and dropping bombs and snare accents had been fully developped, and opening up all limbs to other possibilities was mandatory to avoid repetition of old concepts. As far as breaking up the roles of ceratin parts of the set, like the high hat, is concerned, Alan Dawson was the most advanced. The snare/bass/high hat combinations he plays on some of Booker Ervin's Prestige sessions are very advanced - Tony's playing of the high hat on all 4 beats sounds conservative compared to this. Integrating the high hat in the game of fully developped independence is the hardest - Roy Haynes, Elvin, Tony,most others left the role of the high hat untouched.

Wallace Roney stated in an interview that he once played a Blue Mitchell phrase from a Horace Silver Blue Note session, and Tony immediately responded with Louis Hayes' drum fill from that track! Tony really studied the drummers before and around him.

Like his break on "KoKo"--which Metronome ripped as “a horrible, utterly beatless drum solo by Max Roach.” Yes, that's the one I meant - that comment suggests he was playing like Sunny Murray!

Depends on what "funky" is for you - if you mean the soul-type Atlantic records sound, Detroit, The Gentle Giant, and the other LPs cut around that time include some. In a little more modern way, the CTI LP Artphysiopsychic has a funky beat foundation all the way through.

Well, Roach is harder to distinguish from others when accompanying, maybe, but his solo style is easily recognizable. Keep in mind that he's a predecessor of all the others mentioned! The looseness they all have was only possible after he paved the way. His breaks on some Bird sides in the 1940's really opened it up. They were freer in style than anything played before. Klook and Max were the bridge from swing drumming to more advanced styles.

I've nothing against it except to say that I'm having great soul searching to confine myself to two 80 minute themed sets but that I really welcome the discipline. MG I strongly vote for keeping the 80 minute limit - I also believe in the sense of confining onself to this restricted time span.

Cal Tjader 7" single on Fantasy with "As I Love You" Vido Musso Galaxy 7" EP with Tjader as sideman

Put it down again! You just signed up for another BFT!

Done!

Dan's not the only one - I have this but didn't listen to it in a long time, and, BTW, I have the Randy Weston, too ...

As you wish! (I'm back online again, BTW ...)

Discs arrived today - I will join the party next week!

Great - I'll adjust the list sometime next week. couw - shall I just exchange MG's and your position?

It was an excellent performance focussing on Schumann's lifelong Bach reception - the encore was a Bach prelude and fugue from WTC II, fittingly. This will be broadcast on SWR2 in April. It was not a Graf but an Erard piano by the way, with a magical sound and many different tone colours depending on playing style and register.

Sorry, I won't be on this gig. I'm not part of Aynur's touring band right now, maybe later again. These people are more and more thinking project-like - same with Mikail Aslan's band who has some real nice Benelux gigs coming up in June but is somewhat losing the patience to go through the sometimes difficult and time-consuming process of working with non-kurdish musicians. There goes the world music fusion .... pretty frustrating: he has things im his head, but not the will to explain them or write them down. I have to see what the future brings. p.s. got your SMS but was busy at that time. As soon as I'm back online at home I will write more. Oh, sorry to hear these bad news! What would you think, is the Aynur concert worth going still? What kind of music does she play? The info in the Moods programme is pretty successful in not telling anything particular - probably they don't know, either... No problem about the SMS, I just saw the new programme right then and thought I'd write... Aynur is a powerful singer - could be discribed as modern folklore. Cemil Kocgün, her main accompanist, is a very nice guy and an excellent baglama player. I have no idea who else is in the band right now. Check Youtube for Aynur or Mikail Aslan and you will find some clips from our London or other concerts that will give you an idea of her singing.

That's the Concord I have -excellent!

Sorry to read this, too - he was to Prestige what Frank Wolff was to Blue Note.

All of the issued King sides of Bostic with Holmes and Pass are now on a Lonehill CD: Got it for a few bucks, couldn't resist - and it's great stuff!

What a coinicidence - just now that we are talkin' about him! R.I.P. I will spin some later today.

You're right once more, Jim - I hate to loose some of the "old" stuff, but you got to make room for something "new" to happen .... Those poppish Quintero tracks are damn good examples of crossover!

Oh, Changó is a tough orichá -don't mess with him!

That's a real nice one. Herbie Hancock had a similarly percussive scratcher on his Future to Future tour, introduced him "Can this guy play?" He could! There are three very nice instructional videos on New Orleans drumming, with Herlin Riley, Earl Palmer and others, that are a good view even for non musicians, they include plenty of good band footage performing live tracks. I see all three are now on one DVD: info and samples here.

Sorry, I won't be on this gig. I'm not part of Aynur's touring band right now, maybe later again. These people are more and more thinking project-like - same with Mikail Aslan's band who has some real nice Benelux gigs coming up in June but is somewhat losing the patience to go through the sometimes difficult and time-consuming process of working with non-kurdish musicians. There goes the world music fusion .... pretty frustrating: he has things im his head, but not the will to explain them or write them down. I have to see what the future brings. p.s. got your SMS but was busy at that time. As soon as I'm back online at home I will write more.

couw was scheduled for April. That's the month a stepper-inner should be able to handle.

Tomorrow night (January 26): Andreas Staier playing a Schumann recital on an original old Conrad Graf built fortepiano!