mikeweil

On to disc two ..... (I'm a little late, just saw the answers are posted, but I didn't peek!) Track one: Two guys having fun with a Monk tune the name of which escapes me at the moment, don't have the time to check the fakebook. Well, this elictits mixed feelings - while I see the fun they had, this approach kills the sensitive architecture of the tune, which is a very important part of it - I'm very conservative in my taste towards the interpretaion of Monk's tunes, as it hardly works to toy with their structure. ***** for this rendition on a fun level, ** on a serious level. A juiced Bobby Hutcherson? Track two: That's tune Jaco played with Weather Report - his own Word Of Mouth Big Band? Only thing I don't like here is that the synths are too loud - most engineers make that mistake, as they determine the level from looking at the volume meter and not by ear, and since these signals have a different dynamic level, they appear to be too loud. I could have done without them, as the orchestral colors are nice and varied enough here. Track three: Another very interesting big band, but no idea who they are. I like that guitar in the band a lot, gives it a nice "progressive touch" - or is that two guitars before the end? The trumpeter plays too many stock phrases, for my taste - if he would take his time and play some slower soaring stuff on top it would be more powerful than the busy, fireworks approach he favors - the guitars are better here in pacing themselves. Nice arrangement - the type of big band I like. Who is this? Track four: You thrust some hard contrasts on us, Tom! Suddenly a rather classic mainstreamish trio approach. Don't know the tune - is that Jimmy Rowles at the piano? Bassist's intonation is too sloppy, for my taste. The pace at which they take it and how they keep it is perfect. Is that a downloaded track? If so, the high frequency and thus the sound of the cymbals, which is too low in the mix as usual, anyway, suffered a little too much. In the end I'd say it's not Rowles, who has a subtler touch than the pianist here. *** would be my rating. Track five: Hah - Delilah goes to Latin quarters. That organ is nice. Oh, they catch Eleanor Rigby at the ladies' room ..... I may know that flutist. Organist sounds familiar, too, but I don't have the time and inner calmness to investigate. Somehow Shirley Scott pops up in my mind, but I'm nowhere sure. Nice track, one of my favourites. If I could only name that flutist ..... Track six: This is a competent performance - the tenor saxist reminds me a bit of David Newman. Track seven: From the way they treat this standard, they are heavily influences by Ahmad Jamal, whom I happened to see live last night. Well. Drummer clatters and bangs a little - I don't know what to think of the pianist - some of Herbie's licks are there, too. The tenor is a little too much under pressure for me. Trying to blow his horn apart ..... Oh! what happened at the end? Geez .... Track eight: Darn that missing ending of the previous track! That tenor here, on the contrast, knows how to pace himself, and has tons of experience. A classy performance. Track nine: With all likelihood that slightly excentric scatting bassist is Red Mitchell - he's crazy, but I love it - I have a track where you even can hear his acquired Swedish accent while he scats. A bassist of world class, one of the great masters of the instrument - BTW this is a nice overture to the upcoming BFT 42 by Mr. Bassman! Thanks Tom, for the nice trip - wish I would have more time to listen to identify some of the players.

Still no idea what I would have to shell out for one! Please .....

Couldn't say it better - just want to add that the concept of a basic sax(es)-bass-drums group plus percussion comes through very clearly in this set. A very important contribution of Elvin as a bandleader, and perhaps his greatest period.

Tonight it's off to Mannheim to see the Ahmad Jamal Trio with James Cammack and Idris Muhammad - two legends I wanted to see before I grow too old to travel.

Was there any remastering when Van Gelder re-compiled the recordings for the 12" LP reissues? When one of the Miles Davis sessions was issued on CD for the first time on CD in the USA, Cuscuna found alternates that had no reverb, contrary to the 12" LP master tape.

I never found the Shank, let me know how it is, whenever you come around playing it! This is a very hot album!!!! burning alto all the way!

AFAIK only a few hundred copies duplicate that take. How much would a Chronicle LP set go for in mint condition?

These tracks are excellent but sound surprisingly muffled on the Mosaic. I have a German 1970's EMI pressing that sounds much more brilliant and dynamic.

We all better prepare ourselves by studying this page: http://www.allaboutjazz.com/php/article.php?id=1861

I made the big mistake to pay another visit to Zweitausendeins in Frankfurt after a doctor's appointment, and increased the pile of cheap Fantasy blowouts that await listening by another dozen, plus some other nice rarities (which are listed first) - the whole pile looks like this: Bud Shank: This Bud's for you (32jazz) Richie Cole with Brass: Kush - The Music of Dizzy Gillespie (INAK) Duke Ellington: Festival Session Duke Ellington & Count Basie: Battle Royal Max Roach: Deeds Not Words Cannonball Adderley & his Orchestra: African Waltz Paul Quinichette: Basie Reunion Willis Jackson: Nuther'n Like Thuther'n Phineas Newborn Jr.: The Newborn Touch James Moody: Moody and the Brass Figures The Prestige Jazz Quartet Ron Carter: Third Plane The Dynamic Sound Patterns of the Rod Levitt Orchestra Sonny Stitt & Don Patterson: Legends of Acid Jazz Vol. 2 Jimmy McGriff: The Dream Team Dave Ellis: State of Mind Sal Nistico: Heavyweights The Chartbusters: Mating Call Barbara Lea: Lea In Love This is Lucy Reed Helen Humes: Songs I like to sing Joe Albany & Warne Marsh: The Right Combination Wardell Gray Memorial Vol. 1 Benny Golson's New York Scene Guitar Moods by Mundell Lowe Art Farmer Quintet featuring Gigi Gryce Hampton Hawes at the Piano The DeJohnette Complex Lee Konitz: Peacemeal Gary Bartz Ntu Troop: I've Known Rivers and other Bodies Richard Groove Holmes: On Basie's Bandstand Idris Muhammad: Legends of Acid Jazz Junior Mance: That Lovin' Feelin' Charles Earland: Intensity Shirley Scott: Soul Sister Charles Earland In Concert .... and probably some more that are already sorted in - I have to avoid that place now!

Frankie Butz ....... he should be a household name on the German scene, if only for this incident and Playing with Albert. Never heard of him, though. But: it seems you overlooked this little ditty at the lower left of the article ..... :

Now that I had a chance to listen to this rare bird (a heartfelt thanks to the donator!) I can only join in and wonder why they didn't try and lean a little more towards the jazz audience. This music is a strange mixture between Booker T. & The M.G.s and Wes Montgomery's Verve sides - Brian Auger did some in that direction on his first LP. But this is a working band with a nice groove, giving its conga player much solo space; I find Viva Tirado by far the best track - I like it better than the Gerald Wilson version, where I like the jazz versions I know of all other tracks better. Still, one of the best realized Latin organ combo records I have heard.

(from the Jazz Times website)

BTW: Soul Stream was right: The Turbanator absolutely rips it up on this CD. Dr. fans, go get it before it's too late!

If you volunteer to do a Swiss rap on top with appropriate lyrics and all ..... I will always have an extra cowbell handy to throw at you if it gets too corny

Listed under rock????!!! Rarely heard a jazzier organ album. Perhaps the band name inspired that categorization ..... "Chartbusters" - I wish they were, and the originals they selected had been. Really a very good organ CD. One unexpected observation: On the very first track the voicing of alto and tenor together sounds almost exactly like a Varitone!

I think it was always a compromise between the producer's ideas and the musician's - All Star lineups are supposed to sell better, but the musician prefers his working band. Did you read Michael Cuscuna's notes on the Groove Holmes Pacific jazz releases that he had wanted to record his trio from the start but was forced into three other projects before they finally gave in? By the time they released it, he had switched to Prestige and scored his first hit with a trio recording .... If you have a good working band you want to give the players credit, and the best way to promote them is to feature them on your albums.

Well ..... I'm pretty sure a medium would rather give us a taste of Miles husky voice than Vince's vision of more remix projects with Bill Laswell and the like - the kind of thing most of us admire so much seems to be yesteryear's soundtrack to him.

The October issue of Jazz Times has a long feature on how the Miles estate (i.e. Vince) wants to reach you-know-who ...... not really encouraging.

Interesting: I heard Jarrett playing this kind of stuff before I encountered Abdullah Ibrahim - perhaps it depends on who you heard first. Of course I know you weren't serious - the proverbial corny congero will from now on stand tall among the ingenious organissimo board inventions ..... p.s. maybe I should write a tune with that title - "Corny Congero" ......

Perhaps he was wearing a gag (where's the smiley for someone playing vibes wearing a gag?) MG Maybe he was just in the mood to try and fool us all

Interesting how many heard South African piano in Jarrett - get this box set, you won't regret it! That live set is great. The hint towards Steve Swallow on track 5 triggered my memory to that "grey" session, too .... anybody call Don Alias corny? If he only wouldn't use such a high pitched conga - the old Cubans used these quintos only for soloing. That's one of the changes over the last thirty years in conga drumming that I don't like. Nice surprise that it is Hamp on track one - that Hinton CD is on my wish list for a long time.

Here are my guesses for disc one - sorry that I'm late to the party, but my crazy working schedule that thrusts unprecedented changes on me at least twice a week makes for a common scheme with each BFT: I get the disc, play it once and enjoy it, and then don't get around to listening for another two weeks ..... the usual disclaimers apply. Track 1: Great!!! Would buy it any second. Some very proficient slap bass technique that suggests the late Milt Hinton. I'm not sure about the doorbellist - not Hamp, I'm pretty sure. Nice dry sound, sans the motor-driven vibrato. Excellent, and a great opener. ***** Track 2: The sound of the alto playing the theme suggests Arthur Blythe. Bassist does not hit the notes right in the upper register. Is this some Horace Tapscott big band? Like the baritone in the section, has a very big sound. Hamiet Bluiett? Very energetic, but I don't feel the urge to listen to that once more. Track 3: I have that one, my favourite band of that pianist. Wore out the LP and am glad that the CD box has the unedited and unissued performances. One of the rare instances where I like the sound of a bass with pickup, and what he does with that little riff although he reportedly hated to play them, is magnificent. ***** Too bad the saxist left us a few weeks ago - I love his playing in that band. Track 4: No idea who this is. That's the type of modal hard bop so popular in the 1970's. Doesn't thrill me that much any more - I have stated here that I probably listened to too much of that kind of jazz. Soemtimes I have the feeling that the pianist's comping and the saxist are not really together. That guitar comping alongside the piano is a little too much. Solos could be shorter, for my taste. Don't like the sound of the bassist. Would have liked it better with either guitar or piano. Track 5: I know that from somewhere - rather forceful flutist. Neither Rahsaan nor Steig. That's a good track, and a very good flutist with a sound and concept of his own, but I like 'em a little less forced and more fluent. Hm, electric bass .... it's on my tongue ..... arrghh! Track 6: That opening figure is from some bebop vehicle - first had me thinking "Now when does he finally get around to continue?" But then the saxists drops in and plays another bop fragment against it. Well .... I often have the problem with live recordings like this and track 4 that I find the solos too long for home listening. Just me, of course .... They all play some nice things, especially that drummer, only would have preferred a shorter version. Track 7: Accordion ..... and tenor. This has a nice vibe. And the right dash of humor. The recorded sound of the accordion is very nice. A real surprise track. Isn't that some pop tune. Nicely done - like it very much. Track 8: Back to freewheelin' stuff. After listening to the whole track I find that fade-in somwhat odd, as the drums solo makes for a big change of pace. That drummer uses a very tightly tuned piccolo snare, sounds like the special type of heads the Remo company designed for marching bands to use (Falam heads?) - and he does some very fascinating things with it, like those scraping sounds - wonder how he does that. That highly original drummer saves the track for me - he knows his funky patterns, too. Who is this? Track 9: That soprano saxist has some almost old-style swing era phrases mixed in, but the exuberance of a much later era. He sure is the leader. Curious about who he is. Track 10: Yesterdays, very original way to start that tune. They obviously know it inside out and love it. He has something like Lucky Thompson's coyness on the soprano. Now could that be Lucky? I received so many live recordings of his last year that I kind of lost track of it all. Yes that should be Lucky. What a great player he was - nobody else sounded like this on soprano. That roaring applause is appropriate. Thanks, Tom, for a very nice trip. (Edited for a typo)

Has anybody else here the impression that the piano solo was edited out on the Columbia LP pictured above?

Just ordered the last two Sonny Stitt - Don Patterson twofer CDs on Prestige that are missing in my collection: Soul People and Low Flame.