mikeweil

I agree on the "extra" Jo Jones brings to a Tatum session compared to Bill Douglass. I always shied away from Tatum as his dazzling virtuosity is almost too much to bear, but now I can see what makes him so great. Thanks for the inspiration to buy this (the box set, that is.) I like the natural sound the engineers gave the groups on these sessions - like it much better than the way RVG recorded similar lineups in the same year. I understand this was mono, but the CD sounds like there is a noticeable difference between the channels - WTF is this? Anybody else noticed this - or is it remastered this way only on the box set?

I'm not that much of a Flip fan, but got this one rather cheap and think it's a very nice disc!

Okay, I can assure you rockefeller center is alive and kicking in Vienna, he just reduced his board activities due to some new job he's preparing for. Wish him success! He was already at the club with his girlfriend when Mr. Bassman and myself arrived. The meeting was verrrry nice, the band was great, verrrrry entertaining, witty moderations by bass trombonist Ed Partyka, who did a hilarious WASP preacher parody vocal in one number. Great compositions by doorbellist Flip Philipp, arranged mostly by Partyka, excellentb band with a stunning original 20 year old alto saxist in the reed section - all three doubling on bass clarinet, making it the only small big band with three of these axes and a vibes-bass-drums rhythm section. These guys swung, we had a great time - the best jazz gig I heard in years! The club is nice and recommended for Vienna visitors - but from May to September there are no concerts as they concentrate on their beautiful biergarten. Sorry no photos to document this inofficial organissimo members summit, and no reports on the rant about various forum members

such as: Lunch for Sale Lunch Letters My One And Only Lunch Beautiful Lunch All You Need Is Lunch but what to make of: I Lunch You I Lunch America Lunch Me Or Leave Me I Lunch L.A. and My Fair Chipette I'm In The Mood For Lunch I Can't Give You Anything But Lunch Lunch is better the 2nd time around You're killing my lunch

Equal temperamentis a tuning system making every instrument out of tune except for octaves, because no other interval is pure!

All of them? -_-

No idea if RC was at the concert - was hard to get into the audience part from the stage at this theater, and I have no idea what he looks like - but Mr. Bassman and myself will be at the Blue Tomato tonight. Sorry ubu - we lost so much money on this gig on additional train tickets due to some visa problems with the Turkish members of the group - wrong information from some official embassy people (!) - that another train ticket is not in the budget Off to Viennese coffeehouses!

You won't regret it - some of the meatiest grooves I ever heard. I remember Don adressed the polite Frankfurt club audience saying "We don't want you to sit still, we want you to go crazy!"

In case anybody wants to join us: Saturday, April 8, 2006, at the Blue Tomato. To further water your mouths, the liner notes from their latest CD - hope I can buy a copy from them.

Read about this only now - very sad news. Such profound feeling! R.I.P.

Okay - a first attempt to clear this up - please help me out if I'm missing something or if anything is incorrect. (Compiled using the sources linked above.) -------------------------------------------- Nola Penthouse Studio, New York, October 20, 1960 Ted Curson - trumpet Eric Dolphy - alto sax, bass clarinet, flute Charles Mingus - bass Dannie Richmond - drums (solo on 6) 1 - Folk Forms No. 1 (13:01) 9005 2 - Original Faubus Fables (aka Faubus Of Fables) (9:03) 9005 3 - What Love? (15:19) 9005 4 - All The Things You Could Be By Now If Sigmund Freud's Wife Was Your Mother (8:33) 9005 5 - Stormy Weather (13:23) (Arlen) 9021, 9033 6 - Melody From The Drums (9:21) (Richmond) 9042 -------------------------------------------- Nola Penthouse Studio, New York, October 20, 1960 Ted Curson - trumpet Lonnie Hillyer - trumpet Eric Dolphy - alto sax, bass clarinet, flute Charles McPherson - alto sax Booker Ervin - tenor sax except on 1 Jimmy Knepper - trombone Britt Woodman - trombone on 3 Nico Bunink - piano Charles Mingus - bass Dannie Richmond - drums 1 - Reincarnation Of A Lovebird No. 1 (9:17) 9042 2 - Vasserlean (aka Weird Nightmare) (6:36) 9019, 9042 3 - MDM (19:07) 9021 -------------------------------------------- Nola Penthouse Studio, New York, November 11, 1960 Ted Curson - trumpet except on 1 Lonnie Hillyer - trumpet Eric Dolphy - alto sax, bass clarinet, flute except on 1 Charles McPherson - alto sax Booker Ervin - tenor sax Paul Bley - piano Charles Mingus - bass Dannie Richmond - drums 1 - Bugs (8:25) 9026 2 - Reincarnation Of A Lovebird (6:55) 9026 3 - Lock 'Em Up (6:41) 9021 -------------------------------------------- Nola Penthouse Studio, New York, November 11, 1960 Roy Eldridge - trumpet Jimmy Knepper - trombone on 1-4 Eric Dolphy - alto sax, bass clarinet, flute on 1-4 Tommy Flanagan - piano Charles Mingus - bass Jo Jones - drums Mysterious Blues (8:35) 9022, 9042 Body And Soul (13:45) (Green) 9026 Body And Soul (alternate) (10:45) 9042 R & R (11:48) (Eldridge/Brown) 9019 Wrap Your Troubles In Dreams (3:48) (Moll/Koehler/Barris) 9022 Wrap Your Troubles In Dreams (alternate) (3:50) 9042 Me And You (9:52) (Eldridge/Mingus/Flanagan/Jones) 9022, 9042 --------------------------------- All compositions by Charles Mingus unless otherwise noted Stereo issues Candid 9005 Charles Mingus Presents Charles Mingus Candid 9019 The Jazz Life Candid 9021 Mingus Candid 9022 Newport Rebels Candid 9026 Reincarnation of a Lovebird Candid 9033 Candid Dolphy Candid 9042 Mysterious Blues

Is that take different from the one on "Mingus" - I have that. I old the Candid Dolphy CD because it duplicated so many tracks, and I didn't need all those alternates. If one of you could add timings, I could compare.

When I saw him last summer he played very well - all known phrases, but the way he did it was great. There is enough talent in that band to get some out of it.

The Gitte is still available, although it seems to be a limited edition: bureau-b.de - scroll down the page. These two were included in the limited second Campi box.

Thanks - this helps. Unfortunately he doesn't list the takes issued on "Candid Dolphy". Me dumbhead obviously sold this CD ...... If there was a session based disco for Candid, it would be best. Nothing like this?

Is there an online discography for the original 1960-61 Candid sessions? Or one of Charles Mingus? I'd like to clear up the discographical mess with various issues mixing and sometimes doubling material from different sessions. Thanks!

He assured he will resume posting some nonsense .....

Seems like a meeting in a Vienna jazzclub could happen .....

Received the Tatum Group box this afternoon, and to my delight it is the LP sized version. I used to shy away from this because of 1) the price and 2) Tatum's overwhelming virtuosity, but it turned out I can take it much better now. Glad I filled this gap in my collection.

Oh yes - when I joined Jennifer & Band it turned out they had For the Roses from that album in the book, and the saxist who had done the arrangement asked me to accompany him in Don's style. I gladly obliged, and now all the more so. I wonder what was the cause of his death - I told another percussionist and he asked some insiders on the Frankfurt music fair, including LP's Martin Cohen, but they had no idea.

Victor Feldman looked like Leonard Feather, but sounded like Wynton Kelly. (Bet you know who said that?)

I asked the same question two years ago: click here!

Do a headstand!

I intended to catch them at Darmstadt on Thursday, but have to leave to Vienna for a gig on Friday in the evening .... too bad. You don't have too many chances to see so many greats in one place. Would have been a great display of jazz legend to show to my wife. I saw Golson in Schwetzingen last year, and he was playing fantastic, and a very nice man to talk to he is. Thanks for sharing!

Now that I have recovered a little from the shock ...... he was very special. He had the Latin feel, but he had the jazz feel as well, and in a heavily groove oriented way. On traps he played some of the meatiest funk you will ever hear - check out the Steve Grossman reissue - and still had the free form sophistication that was whirling around the set like Elvin. I bought all of these LPs back then. I saw them during their first European tour at the Sinkkasten in Frankfurt, and they were groovin like mad. Talk about greaze - plenty here. Don played a long conga solo introduction to Stevie Wonder's Creepin'. I approached him during intermission, and he showed me how to do the moose call on the conga - I was just beginning then. He was so nice, encouraging, friendly - always having a good time while playing. He had the Latin groove and the jazz flexibility, on a rare level. His discography is enormous. I saw them again on the later tour with Kenny Kirkland and Bob Mintzer. My thoughts are with Gene Perla - he lost his best friend and section mate of a lifetime. There couldn't be more contrast on stage - Perla looking like Elvis's younger sybling, rather pale skin, in a blue/grey suit, playing a transparent acrylic bass, and the dark colored Afro haired Alias in jean and black t-shirt. The old photos on the Stone Alliance Webpage tell the story.