mikeweil

I'll second that emotion. I'm particularly fond of Open Your Eyes You Can Fly. Yes, all of them have some interesting things, but all of them suffer from Keepnews' over-ambitious production work, IMHO. For me the Montreux live album works best.

Well, I can see what you want to say - but this is Brazilian experimental music and not jazz, and for their time in their context this was far ahead ..... I find these longish tracks very interesting, and I think I get their message. I am also a bit surprised about the rather lukewarm reactions to the two Arista LPs Identity and Promises of the Sun, the former with Egberto Gismonti, Herbie Hancock and others, the latter with a tight working group including Hugo Fattoruso, one of his few fully realized albums as a whole. But as I said - you have to judge these from the Brazilian perspective, the jazz point of view doesn't do them enough justice.

That Decca issue left off some tracks because CD time limitations and Orrin Keepnews' choice of tracks.

My wife, just looking over my shoulder, is getting curious about the contents ..... of the underwear, that is

Happy New Year to you too! I have that CD and love it! I know Willie Coleman only from the Latin Jazz Quintet, haven't heard of any other recording he's on .... the Tom Lord Discography index lists him on two sessions - that would be the two with the Quintet.

The Bear Family website says Vol. 1, 1955-1959 ...... 11 CDs ......

This would get larger than 6-8 CDs, for certain: 1 CD Peacock/ABC 1 and a half CD Atco, UA 3 CDs Roulette then her self-produced for Bet-Car 3-4 and then all the Verve albums. As great as her style was, all in one place would be too much of a good thing for me. A Select of the Roulettes would be fine, however, IMO.

Seems to be in very good condition: http://cgi.ebay.de/ws/eBayISAPI.dll?ViewIt...Y_BID_Stores_IT

Watson started his career as a pianist and did a whole album of jazz standards as a pianist for Cadet in the 1960's - I Cried For You (reissued under other titles) - be warned of his vocals! But his piano playing is pretty fine on that one, and his groove is great!

Would be great - I owe you something! Still got my adress?

There would be some type of black music ......... for sure.

As of today, nothing ... ... I hope I was on the list. Just saw tjobbe had received his more than a week ago - what shall we do?

I'm spinning Historically Speaking right now - that version of East St. Louis Toodle-O is so different from the original, slower tempo, totally different mood: This is not a simple revamping of material, but a very creative treatment of his own book.

That Jack Millman - is that Jack Sheldon? His tune Pink Lady was on the second Curtis Counce Group LP on Contemporary.

That's the issue I have - too bad Blue Note never reissued the complete album - it's very nice!

Does "debut" mean it is Wilder's first gig at the Vanguard? If so, it's long overdue! Yes, wish I could be there - is his trumpet tone still that gorgeous?

That would probably be the most fitting obituary there is! R.I.P. Mr Weinstock - thanks much for your efforts!

Sorry no, but I will check this out - there are not too many on this subject. Some I have been reading with various degrees of satisfaction are: Vernon W. Boggs (ed.): Salsiology. Afro-Cuban Music and the Evolution of Salsa in New York City Excelsior Music Publishing Company, New York 1992 - a collection of essays by various authors, might help to fin some pieces of the puzzle Charley Gerard and Marty Sheller: Salsa. The Rhythm of Latin Music. White Cliffs Media Company, Crown Point, IN 1989 - a basic musical and historical introduction, okay as a first step. John Storm Roberts: The Latin Tinge. The Impact of Latin American Music on the United States. Original Music, Tivoli, NY 1985 - Robert has a somewhat scattered writing style, but there are some interesting bits and pieces along the way .... John Storm Roberts: Latin Jazz. The first of the Fusions - 1880's to today. Schirmer BooksNew York 1999 - a pretty thorough covering of the subject - I'd recommend it. Alejo Carpentier: Music in Cuba. University of Minnesota Press 2001 - a classic, originally published in 1946, finally translated. It covers the Cuban classical composers for the most part, but is indispensable for a complete picture of Cuban music. Peter Manuel (ed.): Essays on Cuban Music. North American and Cuban Perspectives. University Press of America, Lanham 1991 - an indispensable collection of essays. Dr. Olavo Alén Rodriguez: From Afrocuban Music to Salsa. [pi'ra:nha] Berlin BCD-PIR 1258 1998 - a book and a CD of musical examples, perhaps the best introduction to the subject by a leading expert. There's probably more ....

Lambert, Hendricks & Ross did that piece twice: for Columbia (it is on that Legacy double CD with all their Columbia recordings) and live for RCA at Basin Street East. A great lesson in bass players' characteristics. He has it all down: their tone, the typical phrases, the swing feel. All that is part of a bass players sound. The unique combination of pet phrases with a specific sound and time feel gives them away. The use of pickups obscures these characteristics - I find it hard to distinguish between them when they use picksups. It takes away the personal sound part.

I have to admit I enjoyed Morello the most on two LPs from the early part of his career: a Blue Note 10" from 1954 by Tal Farlow, where display a unique feel with brushes; a rare Intro LP from 1957 titled Collections with no leader credited - it was an all-star date to take advantage of a Morello visit to California with Brubeck and featured Red Norvo, Art Pepper, Gerry Wiggins, Howard Roberts, and Ben Tucker; part of it can be found on the Art Pepper Omega Blue Notes and the Mosaic Select. The more polished he played, the more I lost interest in him. It's a school in its own right - it just doesn't interest me as much. I had that RCA CD, but it didn't sustain my interest.

Clay's discography is clear evidence that he's underrecorded. That debut LP was marvellous! Here's all I could find (CD issues): A+M CD 5258 - Don Cherry - Art Deco Amazing AMCD-1021 = Meteor CDMT 023 - David Newman - Return To The Wide Open Spaces Antilles 422-848279-2 - James Clay - I Let A Song Go Out Of My Heart Antilles 314-510724-2 - James Clay - Cookin‘ At The Continental Blue Note CDP 7 84440-2 - Lawrence Marable - Tenorman Fresh Sound FSRCD 195 - Lorraine Geller - Memorial Heads Up OXCD3017 = 101South Records 7128-2 - Joe McBride - Grace Milestone MCD-47065-2 - Wes Montgomery - Alternate Takes Milestone MCD-9252-2 - Wes Montgomery - Encores, Vol.1 Original Jazz Classics OJCCD-089-2 - Wes Montgomery - Movin‘ Along Original Jazz Classics OJCCD-158-2 - Red Mitchell - Presenting Red Mitchell Original Jazz Classics OJCCD-1075-2 - James Clay - The Sound Of The Wide Open Spaces Original Jazz Classics OJCCD-1790-2 - James Clay - A Double Dose Of Soul Personality PRS 23007 - Ray Charles - Ingredients In A Recipe For Soul Vogue 655018 - Frank Morgan - ? LP only: Soultex SLP-10181 - Roger Boykin Contemporary C-14024 - Billy Higgins - Bridgework Jazz Mark 104 - Paul Guerrero - Texas Tenors

I dunno, but I noticed the influence of Tony's new heavy drumming style was all over the progressive rock scene after "Believe It" was out.

Yes indeed. I've always felt this is why Mason never recieved the props he was obviously due. It seems it was his own choice to make a career as a studio musician - before he joined the Headhunters he was with Gerry Mulligan and George Shearing. He does jazz sessions once in a while - there is a nice one with Ron Carter "When Skies Are Grey". His last release as a leader was a straightahead trio record - I started a thread on it when it came out but it was largely ignored. Check it out, it's a good record.

I've seen the band live with Mike Clark around the time Thrust was released - Herbie did some kind of snake charmers' act with a remote control of his synth during Chameleon - trying to make a show. If you hear that on the live recording without seeing him, it sounds like he was out of ideas. It was a rather weak show part, compared to what rock acts did at the time, and also compared to the musical fireworks the band displayed in other numbers.

You've hit the nail on the head here ... that's exactly what it sounds like! And that's perhaps the reason I like it.