mikeweil

Thanks Chuck, that should be the one. According to AMG he sings on part of the tracks.

Here 'tis, and I can get it from amazon matketplace for less than 14 EURO for the double

A friend is searching for a Chet Baker album he once had, where he sings all Billie Holiday songs? Is there such an album? If so, is it available on CD? Thanks, as always!

Where can I get that? Any links? Well, here is the AMG entry, but how's the liner notes (those in the Ebony box were exhaustive) and where can I get this?

When I put my first copy of The Three Sounds Live At The Lighthouse in the player, there was some pop stuff coming out of the speakers ... the other copy the shop had was okay

Crown, aka Modern. aka Kent, aka Bihari brothers licensed stuff from Fantasy and other West Coast labels. Nothing bought, just a license for a limited period of time. If they licensed properly, why in all the world did they retitle, and did they do it with the other labels' consent?

IIRC Crown almost always reissued material from other labels in the weirdest combinations, retitled more often than not, and the sound quality is worse than other issues. I experienced that with some Tjader tracks on Crown LPs. The other stuf was weird retitlings, too. These were sold cheap, AFAIK. The Ray Charles material is best on the Ebony box available from Fresh Sound - this material was re-compiled, re-edited etc. ad nauseam. Don't know about the Witherspoon.

Could you post a track list (watch out for take numbers!), or is one on AMG or elsewhere? All of this was reissued by Mosaic, I don't remember if all were available as CDs, and some was on Blue Note CDs, so maybe getting a burn of the tracks from other sources as a copy of this exact box might be easier. I only have three of the later Blue Note CDs with Hall and Johnson tracks.

Go to the article page, click on the buyer's name to go to his profile page. There should be a contact option somwhere - you can send him an e-mail from there, but without seeing his adress.

What amazed me most about this disc besides Moran's undisputed grasp of jazz history and styles, is Sam Rivers' timeless modernity - he sounds fresher and less inhibited and more creative and fearless than pretty much any other saxist that came after him. The prototype modernist.

Now that we know, he can roll over and rest in peace ...

My sincere condolences to Mr. Rivers - what would the jazz scene look like without devoted wives like Ms. Rivers .....

Indeed

Same here ..... I refused to buy Jimmy Smith's Xmas disc this afternoon: I said to myself "Naw, I rather want Organissimo's renditions without big band to sit next to Vince Guaraldi and Diana Krall" .... Thank you so much guys, this is a serious case of mind readin'!

Happened to find the Savoy CD of his for just € 4.00 the other day - I love his lyrical fragility and boppish agility at the same time. Blakey called him the king on that Café Bohemia live session - rightly so!

Spinning this right now, the mailman brought it an hour ago - I hope he hasn't got X-ray sight ... Since I hardly know the originals, it all works out pretty nicely for me. If one wants for a rockish organ trio, he may go for it. And the combination of double bass and organ works fine here. The recorded sound is great! Watch your subwoofers!

You're closer than you think, Jack! Yes, there's definitely a Tyner influence - I always think that when I heard this guy.

At last I found a suitable method of working my way through these discs: Listening once or twice, then a third time while writing down my notes. Here they are: Track 1: A wild guess would be the Big Band des Hessischen Rundfunks (or Westdeutschen Rundfunks or whoever) with John Scofiled guesting - I know they did a project like that. This is very well done and features good soloists, but is not quite my cup of tea. I don't hear enough relation of what that flashy trumpeter plays to what the band plays behind him. No real band spirit, at least not like the bands I admire had - Clarke/Boland, Jones/Lewis et al ..... Track 2: I would call that a jazz bolero - strange neutral bass sound. The horns play the theme very nicely, I like their subdued tenderness. Benny Carter? If not, someone who plays a perfect imitation. That perfect saxophone section writing would certainly fit. One of the great sax stylists, a star in jazz heaven, he inspired all the others in that ensemble to excellent solos. Upright bass with pickup: The notes, but not the sound of the instrument. But they all play very well - timeless stuff. Track 3: Marvin Gaye's "What's Going On" - played rather casuallly here. Nothing of the charm of the original, which never fails to move me to tears. Insensitive drummer banging too loudly on his snare - a sensitive backbeat is very hard to do. Pianist is nice, but captures none of the poetry of Gaye - I never would dare to play that tune if I hadn't something very original to do with it - but in this case it is impossible to get even close to the atmosphere of the original, which I cherish. (Just my thoughts, of course.) Track 4: Dizzy's "Con Alma" - that alto sounds pretty much like Cannonball. Organ? Huh? No, not Cannon. I'm curious who this is. How's the rst of this album or concert? Track 5: Nice big band voicings in the Evans - Brookmeyer wake, but the soloists do not capture my attention, like in most big bands - too many notes and textbook licks. But the chart is played and written nicely. Track 6: This makes me lose my patience: the bass sound is awful, although the interplay is good. At least until the pianist starts the double timing and somewhat loses control over his left hand, which "garners" along ... that pseudo backbeat is bland. Much too long for what they have to say. Sorry, but this gets a from me. Track 7: They capture the groove and mood of Miles' famous original so well it makes me smile. Oh - soprano sax. And vocals ... I know who this is, I saw him sing that live with a local rhythm section at one of the annual summer concerts in the botanic gardens in the city where this was recorded. But this here is some of the best he ever did. He captures the essence of these lyrics better than everybody else. Very underrated musician, a true original on the soprano, and one of the first before Coltrane to play this horn in modern jazz. When I remember his career with all its ups and downs I get somewhat angry .... A true all-star band, with Germany's most swinging drummer, yes he was the swinginest! I regret I sold another LP he was on - I should have kept it only for him. Saw that trumpeter live, too ... and it was in the hall where this was recorded that I saw my second jazz concert ever. They turned the building into a modern multiplex cinema a few years ago - it had great acoustics, but I guess the technical equipment was much too old for today's requirements. Oh yeah, this one brings back memories - out of context this track really sounds great. I could have bought the LP a few years ago but shied away when I read the price, but now there is a great sounding CD ..... wonder if anybody else gets this. Track 8: Nice sensitive tenor, but no idea who it is. Track 9: The drummer was the first I recognized. He was discussed on this board several months ago. The rhythmic intricacies in the theme are a little shaky, but the concept is great. I have that LP. One of Europe's better pianists, and a highly original drummer. But I find a later studio LP of them even better. Track 10: Herb? Ellis, I presume. Barney Kessel the other. Very nice good time closer! Thanks a lot for the ride, and for the reminder to dig out two rare German albums! p.s. I didn't peek - but my comments to a previous post were inserted here, that damn new edit settings placed them here instead in a new post!

Well, we all know who we are and what we all think, don't we? Hey - one for sexiest album covers thread !

That Tjader live date from the Blackhawk is excellent, some of the best straightahead playing I have heard from Cal & Co. Used copies are easily found on ebay or Gemm.com - not a single track has made it to CD. Only Los Bandidos is live - the other is obviously a studio track. Furthermore, Barretto is only on the studio tracks on that LP, Armando Peraza is probably the conga drummer on the live session, which features Cal's working band of the time. There is a discussion about this on the Cal Tjader Forum. That discographical entry is one of the many errors in the standard discographies concerning Cal's recordings. So far I could find not much information about unissued live material for Verve - but it is likely there is more in the vaults, considering the alternate takes etc. from the studio sessions - and they didn't record just one live track, that's for sure. That Verve didn't record Cal's working bands more often probably has two reasons: Verve's polished "produced" studio approach and the fact that Tjader and the Verve label were located on different coasts.

Finally one I don't have to buy! Will give it a spin .....

Fernando Ortiz described them in his book La Africanía de la Música Folklórica de Cuba, first published in La Habana in 1950. There were several reprints, but I doubt it was ever translated. There is a short description of Ortiz' remarks on the Clave, which he considered another of the basic celulas rítmicas on this web page, but that's all I could find about it on the web. When I retire I will write a book about that stuff .....

As I said you will find a lot of Ragtime tunes fitting the pattern, but some actually use it: Scott Joplin's Mexican Solace is the first to come to my mind. Listen to the left hand. That Jelly Roll tune Duke City mentioned is another great example. I think it was there allatime, but 4/4 straightahead playing dominates most of the time (regrettably). BTW: Calypso tunes most always use it - check out those great anthologies on Rounder Records.

The intro and arguement (as on the original lp) is on disc 3 of the Monk/Prestige box. Oh the pleasures of an aging brain ..... of course it's there - they had left it off the Miles Davis box set ... whatever that means.