mikeweil

R.I.P. People like him are so important.

Thanks for the elaboration - I will have to re-listen and maybe then I will understand the differences. I do not know enough about pianistics to understand why Hakim sounded so stiff.

For a John Lewis fan, essential stuff. The notes in the VSOP reissue booklet are enlightening for the context of this music.

That's what I always thought about him. Those chromatic runs drive me mad.

Looks good, but l am not sure that l need this. What l would buy instantly is a box set with all the Blue Stars of France recordings, which are scattered over so many releases.

Well, bare feet sure have a sexy potential, but not always.

Hagetisse - De Vermikte Stilte Van Het Zijn

https://www.fremeaux.com/en/7036-art-blakey-the-jazz-messengers-live-in-paris-3561302586229-fa5862.html From the Frémeaux site: Art Blakey was among the most influential jazz drummers in the world, and his Jazz Messengers were a legendary band: you only have to look at the amazing number of great soloists it revealed in three decades (fifties to eighties.) This set contains live recordings the Messengers made in Paris on 13 May 1961 – it was the band’s golden age, fea­turing such wonderful instrumentalists as Lee Morgan and Wayne Shorter in its ranks, notably playing titles like “Moanin’” and “Blues March”. The music here is played at fever pitch by young musicians who groove like thunder; as a kind of transcription of Blakey’s version of the hard bop revolution, it probably comes very close to perfection. Patrick FRÉMEAUX The Live in Paris collection by Michel Brillié allows listeners to hear previously-unreleased recordings (made at concerts and private- or radio-sessions) by the great 20th stars in jazz, rock & roll and song. These “live” takes, and the artists’ rapport with their audiences, gives these performances an additional soul and sensibility in counterpoint to the rigorous demands of studio recordings. Particular care was taken when restoring the sound of these tapes in order to meet CD standards while preserving the original colours of the period. Patrick FRÉMEAUX & Gilles PÉTARD CD1 1 The Summit 10’21 2 Band Intro 01’44 3 Yama 12’04 4 Close Your Eyes 12’22 5 Dat Dere 09’56 6 Lost & Found 16’34 7 Round Midnight [First Concert] 12’15 CD2 1 Kozo’s Waltz 17’53 2 Those Who Sit and Wait 10’34 3 Night in Tunisia [First Concert] 11’40 4 The Theme 01’58 5 Round Midnight [Second Concert] 10’59 6 So Tired 12’37 7 My Funny Valentine 06’59 CD3 1 It’s Only a Papermoon 14’36 2 Noise in the Attic 12’26 3 Moanin’ 10’42 4 I Didn’t Know what Time it Was 05’47 5 Blues March 12’34 6 Night in Tunisia [Second Concert] 16’32 BOBBY TIMMONS (PIANO) • JYMIE MERRITT (DB) • WAYNE SHORTER (SAX TEN) • LEE MORGAN (TP) • ART BLAKEY (DMS)

There is also this, in case you haven't heard about these recordings:

It may be for Jim's busy working schedule and organissimo no longer being his only or central musical endeavor. The bookmark that JSngry posted always works for me, btw.

I had totally forgotten that I bought this two years ago! Good singer, great album. Seems she likes to pose barefoot:

Reinhard Goebel's explorations of neglected contemporaries of Mozart and Beethoven are priceless.

Yesterday, disc 6

Thanks - I wasn't that close to him, not as with Tom Nicholas. Oh well, the masters that inspired us are passing, one by one .... that's life.,

Drummer Billy Brooks, whom most board members will know for his association with Woody Shaw and Nathan Davis in the mid-1960's, died on August 21. https://www.derbund.ch/nachruf-auf-billy-brooks-das-unikum-am-schlagzeug-298478936077 I was fortunate to see him perform in an all-star band with Sal Nistico and Benny Bailey. He was completely entranced and deeply connected with the music, feelling every nuance of the sounds he elicited from his drumset. A unique drummmer personality.

Some of my favourites, too, a dream team. He was one of the greatest, and never played an uninspired note. R.I.P.

I'd rather say they coined their styles from the same wider palette of influences, resulting in some similarities. They were born only three years apart. Look at all the Philadelphia sax players and how different they sound, although they shared ideas etc., Golson, Jimmy Heath ....

The Charly Antolini drum feature CDs had a reputation as potential speaker killers in Hi-Fi circles. They were aimed at audiophile circles and lived up to that reputation. They feature a rather direct sound without much room ambiance. This one is good, too, if you are interested in German neo-bop: This one I would have to listen to before I say anything about the music:

What's heard in the video clearly was beyond the comprehension capacities of any German rock fan or tv host of the time. No neat song structures - even The Flock or B,S & T had that.