mikeweil

I'd say the three Mwandishi band albums as well as the Priester and two Hendersons are "dark electric" (not in a negative sense), whereas as the Maupin ECM is "daylight acoustic". That Maupin could do both is proven on the Mercury LPs and the recent duo outing with Patrick Gleeson "Driving while black".

Stitt played tenor with the same rhythm section on the two-part "Stringin' the Jug", recorded at the same session, but they never were released in one package. Ammons and Stitt had a band together at the time and often recorded tracks for release under either name at the same session. Sometimes one of them played baritone in the section behind the other.

Get the two first Eddie Henderson Capricorn LPs (both on one CD) until then .....

A friend of mine e-mailed ECM about this some years ago and got the answer that the master tapes were in bad shape - but they had told him the same about Priester's "Love, Love", which has been reissued on CD since then .....

I also remember Cliff Nobles' using the basic track of "The Horse" several times on the LP.

Yeah, that's the one!

According to my old Prestige disco Stitt didn't play on them and they were released under Ammons' name. I have the LP version of the Ammons 78 era and the credits there confirm this.

I had the LP back then - sold it after many years 'cause I was gettin' tired of listening to free music. What I kept was the poem to the cover - my introduction to the great E.E. Cummings. A friend gave me a burn recently. I listened again, and I found it's a great example of spontaneous duo playing. I only wish Holland would have a) played bass and b) a little calmer.

I remember a soul group's single where they had the same basic track used for both sides of a single, one side with some kind of vocals, the other side simply without them. Can't remember the group's name .....

This is a beautiful album. An underrated gem. Every single musician plays some great stuff on this. Bennie Maupin Charles Sullivan Herbie Hancock Buster Williams Billy Hart Freddie Waits Bill Summers

Again:

Well, yes there is that, but since recording order did not correspond to live set order, issues of key and tempo which would be considered for a gig can be ignored in the studio in the knowledge they will be sorted out at a later stage. And elements of the track sequence may have been planned even before starting the recording session. Restoring recording order can spoil the effect. I hear you - the ultimate solution would be a listing of the order not chosen to use one's programming keys ....

Some excellent Earl Grey tea I bought in Antwerpen earlier this year.

Wasn't SOUL FINGER by the BAR-KAYS, too? At least I have a single of this. When I bought the Bar-Kays lone Volt LP later I noticed that the LP had a different take of KNUCKLEHEAD!

The Mar-Keys simply were Booker T. & The MG's combined with the Memphis Horns. The Bar-Kays were Otis Redding's backing band. The others probably used different combinations of the Mar-Keys musicians I know that Albert King did for his lone Stax LP.

Happy Birthday from a rainy Rhine-Main-Area, too!

I jumped at this LP when it was issued, but was somehow disappointed, as much as I dig James Clay. I think the rhythm section was not the perfect match, and the sound doesn't do them tenors justice. It's so nice that they got around to record this LP, but it didn't really take off, IMHO. Great choices all around, Dan!

Great selections, Dan, and many surprises - thanks again! No wonder those vibories didn't sound like any vibes player I had in my mind - interesting that the phrasing takes on a somwhat conservative, swing-style turn - a vibist with mallets probably can achieve more flow. I heard about this album, but never saw a copy. That Dick Hyman was a very versatile chameleon, but Rosengarden and Haggart!!! Bob Haggart doing Jerry Jemmott - great! Will have to listen again with the answers printed out .....

I'm in, of course - PM on the way!

That was a single LP! Due to Connie Kay's abundant use of a crotale for a ride cymbal, this record makes a great tweeter test. Beyond that, it's the funkiest the MJQ ever got - listen to Percy Heath's bass grooves and John Lewis' bluesy comping, which is like a James Brown horn section undernath his elegant touch.

One must know that the particle size of gold layers is much smaller than those of aluminum layers, resulting in a smoother surface and thus less reading errors - many find the to sound better for that reason. Some classical labels, like MDG in Germany, manufacture mostly gold CDs for that reason.

Depends on how old you are .....

It's not listed any more on the Criss Cross website, so it should be OOP.

This has been discussed before: http://www.organissimo.org/forum/index.php?showtopic=22565 I'd buy a reissue of this as soon as it was out, but perhaps a MOSAIC Select of Burrell's 1960's Blue Note sessions is an option.