mikeweil

That was one hot mother of a band - rhythmic fireworks all the way. Too bad he couldn't keep it together, although all involved asked the manager to make it possible.

In a certain way, Les' take on the In a silent way etc. experiments. I loved it back then - a local DJ featured it as a model for large group improvisation, and I got me the album after that. Haven't listened to it in a long time, but it left a lasting impression.

I'd rather see some 10" reissues of stuff that never was on 12", like the Fantasy Cal Tjader Trio .....

I agree - I have the Leon Thomas, and have to admit that's the only album of his I can listen to ..... I also have Nelson's Swiss Suite and find it a worthy addition to your list. For an impromptu all-star band at a Montreux festival with little rehearsal this smokes pretty well - and where else do you get to hear Gato Barbieri and Eddie Vinson on one record?

We've seen a few reissues of Cannonball's Capitol material (other than the tansferred Riversides) in recent years, so there's a bit of hope left. Maybe that's a Select project - late Adderley live or miscellaneous?

She is very much alive! Even has her own website: http://www.anitaoday.com/ ← She is, but I remember I read somewhere she reduced her performance activities due to health problems ....

..... and here's something I posted a long time ago:

I would add 1972' "Birds of Underground" on MPS to the above list, it is a representative recording of his working group of the time with Heinz Sauer and Gerd Dudek on reeds, Buschi Niebergall on bass and Peter Giger on drums - a facet of his work that may be least known to non-European fans. As far as the Konitz/Tristano influence is concerned - of course Mangelsdorff acknowledged this, but also the influence of Charlie Parker et al. I think it was the more intellectual appearance of the cool school that was more attractive at the time, as the hard bop school with it R & B tinge was harder to relate to for them - it was too close to the rock'n'roll craze of the time, and dance music and mass hysteria was the last thing German jazz musicians wanted to seriously deal with. When that was over, there was no fear of contact anymore with rock grooves, as is shown by his collaborations with Jaco Pastorius, Al Mouzon and the like, or the United Jazz and Rock Ensemble or the Klaus Lage Band.

Don't see any other way, either, except sorting out and selling CDs you noticed you don't like or listen to any more. Space is limited, not only the budget .....

Well, I'm surprised, and, I must admit, pleased that I got so many soloists even though I didn't know the albums. That Nelson is something to get, for sure. And I hope we will see an expanded CD version of the Adderley some day soon. Thanks, JIm - a lot - for this enlightening experience!

Thanks for these deep looks into your record shelves .... According to the liner of the Caney CD reissue of the Cachao Panart LP, this session was recorded in La Habana, Cuba, in 1957. This date is confirmed by the Diaz-Ayala discography.

R.I.P. ... just read about this on the news page of the local TV station, situated in his hometown of Frankfurt. One of the towering figures of German jazz has passed. I saw him live several times - living so close to his hometown it was almost impossible to avoid seeing him live. An inspirational figure for the whole scene. I saw him on TV on occasion of his birthday recently, and he looked somewhat tired and aged, but I had no idea he was that seriously ill. Very sad news. He once talked about laying down the trombone completely at a certain age and after his house was paid off - it was rather silent around him in recent years, and I sincerely hope he had enough time left to enjoy his retirement.

Eicher always admitted he got the trio record with Peacock from Bley as it was issued, as an album ready for release, produced by Bley himself. The sessions for this overlap with others IIRC.

I preferably listen to blindfold test discs while doing such things .........

The liner notes in the accompanying data sheet in Japanese are dated to 1974, that fits into above story. If I ever get the equipment to transfer this to CD I will let you know. Maybe I should sell this on ebay some day ..... how much does it go for?

Gave this a spin during breakfast. Somewhere in between In a Silent Way and the first Weather Report. On side one, Zawinul on Rhodes, Vitous on acoustic and Cobham play the title track, which is a rocky Vitous original (some bowed bass solo overdubbed), and Ron Carter's Mood. I like Zawinul better here than on any other album, I must admit. Side two starts with McLaughlin, Vitous on electric bass and piano (overdubbed), and Cobham doing Water Lilie, which could have made it to Weather Report's first LP as far as the mood is concerned; Shorter's Dolores with just Vitous and Cobham, two basses, arco overdubbed, similar to Mountain in the Clouds from Infinite Serach; and Vitous' It Came From Nowhere, an experimental rockish track with Vitous and Cobham, both oberdubbing electric piano and a second drumset. A nice one - now that Legacy reissued even the more obscure Japanese Hancock LPs, why not this one? Or rather some of the newer reissue labels, Wounded Bird, Water, or Rock & Groove?

You sure it wasn't Tiny Brooks?

Hmmm... thanks for the rec but it's a bit pricy at $95... Guy ← I didn't know they readjusted the retail price for this - I bought it for DM 50 many years ago, and it was available that cheap for some time.

Okay - on to disc two - everything written without peeking or using AMG etc.: EINS: C'mon Jim - you could have edited off the announcement - would have been a great teaser with the samba beginning and lots of guessing on the alto cat ..... "The Happy People" - George Duke I hear, and King Errison, who was the fastest man on congas before the arrival of Giovanni Hidalgo. This will be on CD soon, I hope. ZWEI: Apart from the machine gun collage at the beginning this reminds me of Stan Getz' record with Eddie Sauter (maybe this was an inspiration). My guess would be this album. I always loved this player - very passionate and personal style. This should be an LPR reissue soon! (If it is the one I linked too ...) DREI: On to the next saxist in unfamiliar context. Hank Crawford was the first to come to my mind, but some sounds very very much like David Sanborn, who was influenced by Crawford. Great, tasteful, classic string arrangement. Grand stuff. I would buy this. VIER: Should be Etta Jones with Houston Person - a great pairing. Person is one cat that is taken for granted, but evolved into one of the great classic tenors around, and this one here shows how good he is at playing obligato, finding his place and saying his part without obscuring the singer. FÜNF: Ah - the drummer actually was the first I recognized, and that led me to the rest. There was some discussion about this drummer on the "least favorite drummer" thread. Now here you can find everything that makes him unique. They all were in top form on that day, I even like the trumpeter (whose record date it was and who is not among my favorites - his solo is like a textbook of his trademark tricks). A splendid album made in one day - hell, they even cut another great album on that December 9th, 1969 date! Another one that should be on CD!!! (Both of them would nicely fit on one ... that Blues would have been my choice, Jim.) One of the greatest jazz pianists ever at work. They swing like mad!!!!! SECHS: The first track on this disc that leaves me clueless. Two pianists ..... that theme the left one plays sounds strangely familiar. No clue, but I kind of like it. obsessive ostinatos vs. lyrical powerplay - curious who this is. SIEBEN: Again, no idea, although I'll kick myself for not recognizing the saxist. (My backside still is aching from the kicks after reading it was Rollins and Maupin on disc one ....) He sounds to me like soprano is not his first horn. Big band feature track? ACHT: Steeldrum, bass and congas. The pans tend to sound bangy when you hit them too hard, which is the case here. Not all the notes on this pan are properly tuned - wouldn't have happened with a pan made by Germany's leading pan maker, E.C.S. Nice combination, nicely played. Ray Anderson? Does the bonist play the steeldrum? And the drummer doubles on congas? Whew? Who is this?!!!! In case this is Ray Anderson, he plays the congas, and the drummer the pan - BassDrumBone? NEUN: Yesteryear's forecast - the tempo is somewhat heavy-footed. The edition with Alphonso Johnson and Ndugu? The synth sounds are somewhat corny on this one, but Shorter plays some of his greatest R&B styled solos ever. But the vocals are superfluous ..... okay this was supposed to be fun music. This track shows some of the best and some of the lesser sides of the band. The clap machine belongs to the latter. ZEHN: Another band I probably know. The congas are awfully high in pitch. 1970's stuff, good players, perhaps a little over-energized, but well done, as far as the horns are concerned. This is the kind of Rhodes I like. The drummer plays as if the conga drummer wasn't there - I would have given up after a track or two. ELF: ......................................... (insert smiley drifting off into space) Thanks, Jim, for this again very enjoyable trip - looking forward to your next one p.s.: edited as I forgot the link re track 2 ...

Yes - never heard of any other issue.

Details

Same here. Had a listen in the record shop today after picking up a gift for a friend, and liked it so much I took it home. It's true, the more you listen, the more the Billie comparison becomes superficial. A statement by Dan Oulette in the July down beat issue made me think: The last two sentences nail it for me ..... Her choice of songs is indeed interesting. She shouldn't be taken as jazz, but in the common ground between jazz, folk blues and French chanson. In this field, I think, she fares quite well. Would like to see her live. I like the new album a lot - and I like the way it is recorded as well.

I had a closer look at the cover of my LP - - and I'm not sure these socks really button up. Could be some ribbon sewed in ....

Looks good only with matching shoes and polo shirt ..... .... and only on congeros, I might add

I bought this one right away back then - got a good review in the German magazine Jazz Podium, and since I always liked Vitous, I went for it. Why SONY Japan never reissued this on CD is beyond me. It is not earth shattering, but an interesting early fusion melange, very open settings, Vitous overdubbing electric, or even electric piano, everybody leaves a lot of space in the music for the others, like a Bitches Brew stripped down to the very essence. The complete line-up is only on part of the album. It is totally different from his US debut Infinite Search, which is powerplay, in comparison - Purple is not exactly restrained or thoughtful, but takes its time much more. Perhaps Vitous doesn't like it anymore?