mikeweil

would you believe when I say I've chosen that for you I'm stunned ....... you certainly hit home with this one!

Track 5 is definitely not Harry Carney - I have that spinning right now. How can one mistake Carney's sound for this guy?!?! I have to admit David Friesen was on my mind, too, for track 12, but I don't know his more recent recordings. John Pattitucci came to mind, as well.

Okay, here are my guesses for disc 1, written while I listen the third time, without peaking or using other sources than my brain ... Track 1: Could be some Shorty Rogers unit or the Lighthouse All Stars, certainly a Californian group. This has to be listened to at full volume to get the vibe of this band - Stan Levey at the drums? That short fadeout is strange ..... Track 2: If you had used this as opener it would have been the perfect continuation after Catesta's trumpet feast closer ... Great track, but I have no idea who this is. Distant cousin of Woody 'n You - those folksy(?) chords in the piano remind me of something, but I can't put my finger on it. Very interesting, restless and projecting fun at the same time. I would have liked some short trumpet exchanges. Too short, definitely. Track 3: Those somewhat dissonant chords in the left hand are intentional, methinks, I take it at his attemt at breathing some new life into the Horace Silver / Ray Bryant lineage of piano playing, but I find it a little disjointed, and the closing is too abrupt. Track 4: Sounds like a reincarnation of Bola Sete filtered through Ralph Towner and gone progressive. This is something I would buy. Busy but meaningful and an integrated trio for sure - they listen to each other, the momentum is great. My favourite track so far. Track 5: The strings opening made me curious about what or who would follow. Was surprised it was a Mulliganesque baritone - I don't think it's Gerry, I'd rather guess some Prestonite tenor switching to baritone. Nice, but somehow this is you perfect example of a three-star-track. Track 6: OOOOH!!! This is the type of warm, low-register black female voice that gives me the goosebumps. Jeanne Lee type voice, but this is much to earthy and folksy for her. Wonder who that is. Excellent choice. I'll probably tap my head when I read her name. Great acompanists for her. I can't wait to learn who this is!!! A perfect track! Track 7: Great witty references to Duke's It Don't Mean A Thing and Birk's Works along the way. Another great track. This player knows his jazz history and is very creative. Yeah. Is this a French horn? Oh my God, another one for the bulging want list .... Track 8: Almost ECM-ish in sound, especially the way the drums are recorded. European guys? Guitar has some Scofield traits, but some of Terje Rypdal as well, without being as extreme as either one of these. Mr. Bassman wil love this, he plays with a guitarist in that style. Whos is this? Would like to hear more of this trio before I give a judgment. Track 9: That's less my cup o' tea - don't like the piano sound and his hard insensitive attack. His left is hand isn't really connected to his right, rhythmically. Just feeding chords in places not totally controlled rhythmically is not to my taste. Track 10: Two very competent clarinettists - didn't expect it to be a big band track. No idea. Nice, but not a must buy for me - though I like the slightly darker tone of the second soloist very much. Some German radio big band? Track 11: I know that theme!!! Arrgh! The fragility of the fluegelhorn sound is very attractive, and the instrumentation with the bowing in the theme is very nice. Another favourite! Track 12: tjobbe is very well versed in modern guitar stylings, it seems. I have to admit that strumming gets on my nerves after a while, and the bassist doesn't thrill me - too clean, overall. I like it a little more raw - although that again folksy innocence is somewhat appealing. Track 13: Starts out in a very interesting way. One of these modern piano trios from the Northern European world? Heavy Eddie Gomez influence in the bass solo. In the long run, I find all these Bill Evans derived piano trios a dead end street just like that Lovano et al. tenor lineage ...... Track 14: Hmmm ..... has the theme something to do with folk roots of the thematic material used in the tracks you chose? I know you are interested in these - but I never heard Jan Johannsen except for that Pettiford session .... Nice but too short. Track 15: Accordion? I don't know the current recordings of the practitioners of this box - but this is a very competent exponent. Still, not something I would buy. Track 16: I love that low ringing bass drum! That's the way these things should sound, not just a dead kick. Don't like the rather high colour of the clarinet and the chords the pianist chooses. But the drummer is nice. A litle too meandering for my taste. Track 17: I am relieved: At last a track I have and instantly recognize! Anything I'd say would give it away - except that I find this is some of the greatest sax section writing ever, by a band based near the town you live in, and that they play the shit out of it! Five hundred stars!!!! Track 18: I know the theme - one of those pieces Paul Chambers recorded with John Coltrane, the opening track on that Jazz West LP. Very nice version. Great big toned bassist - he almost quotes a Chambers original. Now that's a clarinettist I like! Not that squeaky upper register, but relaxed in the lower regions. Is this an alto clarinet? Nice to hear one of Bird's tunes on this horn. Who is this? Track 19: Another West Coast band? Kessel on guitar? No - more like Raney. Typical Californian swing in the ryhthm section, almost too casual.Well .... Track 20: A very beautiful arranegement in the Gil Evans lineage - even the piano playerr sounds a bit like Gil. Is this Maria Schneider's orchestra? Great choice for closers - calm, moody, enchanting. Thanks for those challenging choices - one of the most interesting BFTs this year, for me, at least! p.s.: Where's the Vince Guaraldi track? edited fur misbellings ... and more typos ...

Of course you are, Jim - I'm totally with you here. The way you run this board is GREAT!

Nothing new to say about it - even more compilations, even less reissues. My bank account is grateful for this model of jazz reissue policy.

I like Fancy Free, Kofi, and Electric Byrd, but he lost me after that. I cannot listen to that Mizell stuff.

I use Opera, had to wait a while due to my modem connection, but everything worked fine.

The Krall will grace my Christmas music pile soon - but judging from the download tracks (are they still there?) my biggest wish would be an Organissimo Xmas CD ....... c'mon guys, give it to us: plain cardboard sleeve, with a pic of Santa's boogalooing sisters on the cover ... That's one I always wanted to have - didn't know it was still available. To my delight it is available from Amazon.de via Caiman for just 9 EURO incl. shipping, which nicely fits into my very small Xmas budget.

Blue meanie here - although I find the option of choosing a skin by far the best!

I will keep some with really rare material if they are pre-recorded, and plan to transfer the rare and live stuff I have - I reckon the days are not very far ahead when there will be no more cassette machines. The sound quality is simply too low compared to other media.

I too heard that story and remember this was dicussed before - maybe on the old BNBB? Anyway - I tried to find out when I played that tune with a band, and got the story about the Danish folk song sung to little Sonny boy by his nanny. Can't seem to find any web source right now.

Just got used to the nu blu .... old peach starts looking fuzzy to me but now that I can choose ..... two organissimo fractions: the blues and the peaches, huh?

Is that the one with Pharoah Sanders and Herbie Hancock?

I think I had my first paying when I was around 25, but I was over 40 when music started to become my only paying job .....

BTW - how long did it take you to assemble this master collage?

Who plays any Duke Pearson tunes, these days? Or Wayne Shorter's, or Monk's, besides those played by everybody? Or McCoy Tyner's from his later Blue Note days?

I have a Koss: http://www.koss.com/

He obviously had some bad luck all along with his BFT - he was covered up in work when was to send the discs, and so on - shit happens, and when the answers are posted, I won't lose one more word about it. But I want them. If he'd just tell what's the game it would make it easier to stay patient. Just a simple list with only the basic info would be sufficient. Or has he lost his list?

The "today's active topics" link is still there on the starting page - maybe you can get the code from there, Jim?

What glitches?!?!?!?! I use OPERA and never saw any! The blue background makes the yellow orange in my avatar seem less bright

To each his own ......

I think this calls for action - at least some warning signal is in order.

Does this model need a tv screen as a display for the adjustments etc.?

I think stiff does not quite nail it - you have to play somewhat more straight in these time signatures, especially if the tempos are fast. In slow to mid tempos, you can superimpose a triplet feeling, but in fast tempos this is getting dangerous. It's a different rhytmic conception coming from musical cultures not knowing the concept of superimposing two different pulsations, but use one of them at a time. Otherwise the subdivisions are obscured an you are risking to get lost in the rhythm.

I sold mine when I got the Blue Note CD. What a debut (James Clay's)! And Sonny Clark is very prominent too - that version of Minor Meeting is my favorite.