mikeweil

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!

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.