mikeweil

I'm actually grateful for everyday it is delayed, as I couldn't afford it before Christmas ....

This rhythm pattern is common to all Afro-Carribean music - the Cubans call it tresillo, meaning triplet. It is the subdivision that comes closest to a triplet while keeping the 8th note pulsation in a 4/4 meter. It is found in Spanish music as well, actually throughout the world. Its origins are impossible to determine, but it certainly is older than jazz itself and the superimposition of two metric patterns as described in my previous sentence is typical for African rhythmic structures. It probably came into New Orleans via the Carribean islands and was as common to early jazz as the marching two-beat, or even played more often. In fact, most Scott Joplin tunes work perfectly with a tresillo bass pattern - try clapping this to The Entertainer - and I read a hypothesis that most tunes were played with that bass line, but since this requires more technical skill at the piano, i.e. independence of both hands, publishers of sheet music insisted it was printed with a walking bas, which was easier to play for amateur musicians. The same applies to early recordings - a tresillo bass requires more intricate dance steps than those the white audience was familiar with. The same phenomenon, BTW, applies to modern recordings of African or Oriental pop music, where the disco beat is added to make it sellable worldwide - stating the beat in a way that obvious was unknown in African music prior to global media industry. Still today, most jazz fans can relate to a straight 4/4 beat much easier than the tresillo, although the younger generation hailing from New Orleans tries hard to re-introduce it - the New Orleans marching band patterns used by most drummers from down there are a great example. It is one of the basic ryhthm cells - as the Cuban musicologist Fernando Ortiz calls them - of Cuban music - most bass patterns - the tumbaos imply it.

I expect to hear that as a bonus to your next BFT - meanwhile I regret I didn't ask for a copy, but it was simply too much at the time. -_-

I was afraid so - although I think Fantasy should have done that a long time ago instead of reissuing the music in the scattered fashion of the old LPs. Completing sessions is always a good thing, IMHO. Medjuck, I believe that Disc 3 of the Complete Prestige Monk box fits the bill. IIRC the "false starts and arguments" have never been released. At least they're not in that box. But all the music is there, that was spread over 3 different LPs and their CD counterparts.

It makes so clear how fragile our lives are when someone our age dies - my thoughts are with you, Jim.

Thanks for reminding me of moving this to the pile of Xmas discs I keep handy this time of the year .....

I was feeling lost and lonely, phew .....

Well, y'all will suppose I ordered this just for the cover - and I have to admit it is one of sexiest I have seen - but still: what am I in for with these organ trio treatments of Black Sabbath tunes? http://www.kindofblack.com/

I feel much the same way .... couldn't say it better

Clare Fischer is great on electric piano. You can hear more of this on another Tjader twofer CD Here and There on Fantasy - the live material comes from the same concert as that on Cuban Fantasy. There was a rare solo LP on Revelation Great White Hope! with two tracks on Rhodes, the remainder on organ. And he played electric on his two MPS latin jazz LPs.

The problem is: Each disc format, 10" LP, 12" LP, Compact disc, has its playing time limits. IIRC Milt Jackson recorded only five sessions for Blue Note, one as a leader, two with Thelonious Monk, one as a pianist on a Fats Navarro/Howard McGhee session, and later one as a featured guest with Hank Mobley. The first four all were issued as 78's first and then as 10" LPs. Nobody believed the 12" LP would practically force the smaller LP format out of business only a few years later. So when Alfred Lion wanted to reissue this material on 12" LP he had to re-assemble and sequence the tracks with respect to LP playing time and musical coherence. Plus, there were some alternate takes worthy of release. But there was no way two complete sessions would fit on one 12" LP. So he spread the two sessions with Monk and Bags' own among two 12" Lps including a few alternates. For CD issue, you face the same problem: All material from these three sessions will not fit onto one CD, perhaps if you leave off the alternates. I think its the better solution to keep sessions intact on reissues. But for most collectors, a bit of nostalgia plays a part: you want to recapture the feelings you had when you first encountered the music, and this seems to be much easier for most people when they listen to the tracks in the same order. I think it's as simple as that. I too sometimes expect to hear tracks in a certain order, but I also use random play every once in a while to get a new listenting experience - but when I asked for this I found practically noone here seems to practice this, too. I agree with Daniel A that session order sheds a different new light on the music - as a reissue producer I would decide separately each time beacuse it doesn't work the same always. For similar reasons, I would opt for new liner notes or at least additional new ones to eliminate some meaningless commentary or put it into perspective.

6 hours exactly here, too.

Same reaction as previous poster

It may have to do with the amplifier/speaker combination used and / or the way it was recorded: direct input and / or microphone placed in front of the speaker.

I thought Land's playing was okay, but the rhythm section not up to par - that's why I sold my copy.

Couldn't get in here this morning - accessing the backroom was no problem, only had to register once more. I experienced crashes last night. I thought it was my old machine ....

Most people, Giddins included, seem to forget that the first LP issues of this music were in 10" LP format - the mixup of material from different sessions only appeared when this music was reissued on 12" LP. Why are the historical first issues on 10" LP ignored? Just because most have never seen one? The Blue Notes make much more sense in that format: sessions were mostly complete (except for alternate takes added to later issues). The 12" LP he refers to was the first reordering! Ridiculous!

Carney never got the recognition he deserved as a major soloist, methinks, maybe the fact that he rarely recorded as a leader played a part. Always in the shadow of Mulligan ... and this continues even in the case of the reissue of his Verve strings LP, which was added to Ben Webster's strings albums - they should have made it a CD of its own with the magnificent tracks for the Jazz Scene anthology as bonus tracks. IIRC Carney play bass clarinet only on the first track?

Here 't is:

Hah - Mr. Bassman already sent me an e-mail that he suspect John Scofield among the guitarists - he's out recording a demo this weekend and will post as soon as he finds the time.

yeah Mr. Weil.. you already have or have heard one where he plays as leader...you own/listened to a later one that I do rate higher but have therefore not chosen it Hmmm .... is this our Californian Chameleon guitarist? (link) no, you need to check out some one else....... I'm puzzled .... .... if you are talkin' about Rypdal: the track on Randy Hersom's BT is the only track so far I have heard I will have to turn Mr. Bassman to this track, he knows more modern guitar stuff than I do.

I'm gonna see this group tonight (sorry, English part of the site doesn't seem to work). I'll probably do a duo project with that Senegalese drummer next year ....

Forgot to mention I found this guy inspired whenever I encountered him, especially on Andrew Hill's or Russell Gunn's records:

yeah Mr. Weil.. you already have or have heard one where he plays as leader...you own/listened to a later one that I do rate higher but have therefore not chosen it Hmmm .... is this our Californian Chameleon guitarist? (link)

Done!