mikeweil

I have to warn you I am biased as a lover of historic keyboard instruments and gut strings ..... For me the best deal as a complete package is Jos van Immerseel's 10 CD box with his own orchestra Anima Eterna (which is 'Immerseel' - eternal soul - in Latin) - they play like one, not soloist opposed to ensemble, lively without extremes. Everyone I played this to has loved it. It is available on Channel Classics. It has concertos # 5, 6, 8, 9, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24, 25, 26, 27 & 28. I appreciate Bilson very much but thought Gardiner's conception not as convincing - same with his take on the Beethoven Concertos with Robert Levin. Levin did most Mozart concertos with Hogwood on Decca, but they're all single CDs and OOP - the label cancelled the project after 3/4 of the package. His recording of concertos 1 - 4 (on harpsichord) is the perfect gap filler for then Immerseel package. He plays improvised embellishments in the repeat passages. A beautiful recording of the concertos KV 107 was made by Pierre Hantai and le Concert Francais on Opus 111 (harpsichord again, excellent!). Immerseel has the best piano of them all - a Viennese style fortepiano by Christopher Clarke that has been called the Rolls Royce of fortepianos by envying colleagues. A truly marvellous instrument - there is a great Mozart/Haydn solo piano disc with it on Globe which serves as a perfect appetizer for historic pianos.

R.I.P. I have to admit I always found him more sympathetic than Shatner ....

Bought it on Monday. The music is fine, but the cover indeed looks blurry on the left an right extremes, and the European Blue Note people had the bad taste to print their damn "copy controlled" logo on the bottom right of the photo! This is the first time I cursed that device ....

Very well put!!! I may do injustice to Steve Smith - but his music leaves me cold.

have you heard cobham on charles earland's "intensity". i find it to be powerful but very responsive organ band playing. very impressive to my ears. not that this attones for all of his other missteps. ← No I haven't - I will keep an eye on it.

la banda sin saxó:

Thanks, Chuck! No liner notes - sounds like a reply to Coltrane who stated on some Impulse LP he would prefer to do an album without any notes, but never got around to get it done that way! Tony kind of said, okay, just do it! Another observation: On my CD, the last tracks sounds like it was edited (i.e. cut off) in the middle of the bass solo at 10:25 - sounds strange. At 19 minutes, they should have some playing time left for side two, even in 1965!

Sorry, I wish there was and should have pulled the CD first ....

Some I really dislike: Buddy Rich - simply cannot relate to his personal vibe, and simply not my taste. OTOH I like Bellson, who has comparable chops, but much more taste. (Jim, have you heard Bellson on Duke's Big Four on Pablo? This might change your mind!) Billy Cobham - except for some very early records, like Ron Carter's on Embryo, or Miroslav Vitous' on SONY. Steve Smith. Jon Hiseman. Most of them unsubtle fusion hammerers.

Harvey Mason: I think he is great!!!! Have you heard his last trio record on RCA? He's got a lot beyond flawless technique, and uses his chops with taste and dynamics where others are just bashing. Jimmy Cobb: His elegant swing is beyond dispute, and it is this lightness compared to Philly Joe or Art Taylor that I like very much for a change, and he swings. He swung as hard as anybody in Cannonball's on the EmArcy sessions! Louis Hayes: He was beyond me for many years, until I saw him live in Woody Shaw's band (actually he was a co-leader), and then I got him, or he got me. It is not easy to understand, but a very personal way of advanced modern hard bop drumming.

I see what you mean, but knowing him personally, I know what he wants to do with this, and can assure you some is pretty daring, especially if you see it in the context of a jazz player from India, where it was almost considered blasphemy for a traditional tabla player to go into things like that .... I can understand why he wants to push the band, as most players (and fans) tend to think the drums are too loud and/or obtrusive. He is a master in his own right and does some incredible things rhythmically - do you know the live John McLaughlin record from the Royal Festival Hall? He's great on this, and not unsubtle or intrusive at all.

You made a similar statement before on this board, Jim, and I had that in mind when I heard some local big band a few weeks ago, and thought: Hell yeah, Jim's right!

Hell, he made eight! ← C'mon Jim - you know I was talkin' about the 1960's!!! Of course I have all the others and love 'em, but that's a totally different story.

BTW - my copy of the 1987 Blue Note CD doesn't have any liner notes, just the credits .... ..... but there were some on the LP? I can't remember. If anyone posted them here I'be very grateful.

I think you're into something here. Tony was very young (19) and very aware of what was going on around. I remember some statement he had rather played with Cecil Taylor. He virtually grew up with Sam Rivers around in Boston, who was one of the most advanced and complete players on the scene. So this records is his past and present. It was Tony who talked Miles into calling Sam Rivers into the band. Somehow I wonder what it was beyond money, exposure and the great rhythm team that kept Tony in Miles' band - he was so daring. Even after he left Miles - his Lifteime was much rawer than Miles' electric bands. At the same time he was a true African-American intellectual. I wish he would have made more records as a leader for Blue Note.

Thought I had posted this is off my wish list, but I see I didn't. Like it a lot, great organ sound, but the drums are too low in the mix. If they were louder, it would be even greazier. ... and perhaps then mama would dance some and get over her complex!

Sorry for the typo; What I wanted to say: as the material Tolliver has released over the years is much more than three CDs (the usual size of a select box, I'm afraid they might give us a bit of everything, but nothing in complete form. We'll see as soon as details are revealed.

Hopefully this will give Tolliver's work the exposure he deserves. In any case, I'd prefer complete sessions over an anthology covering all sessions, but only in excerpts.

Sorry but I can't see Mosaic release the Tolliver material when he reissues all of it, one after another, on his own label. No mention of this on the Tolliver website .... What is the source of this info?

Feliz cumpleaños!!!!!!!! (sorry I'm a little late .....)

Hate to quote myself .... ← Ah yes, my bad! However appropriate your guess is (and it's a darn good one!), it is, however, incorrect! Morris the (big) Cat wants you to know that! ← So it's Morris Jennings? It's a way to play that song, and it probably would sound dull or at least static if he had stayed in the original feel. p.s. I've looked it up - neither Cleveland nor White nor Jennings .... that bassist, the ubiquitous one, would have been my second choice and was my first thought - I just assumed he would have enough good taste not to overuse that lick ...... and that drummer - I don't know too much of his work of the time. Oh well .... there is a common ground between blindfold test guessing and playing poker ...

link - at least that's an edition with the complete session plus some bonus material. (it's the lowest number in that series - scroll down the page) Sorry brownie, this is definitely not a calypso!!!

Now track 6 is my rule # 1 item here - my only excuse is I bought this for the magnificent title track and rarely got beyond it - or my attention didn't.

Hate to quote myself ....

We're in for some deep insights into Jim's collection here .... the usual disclaimers appply. Okay here I go - listened several times through both discs but my first impressions remained vital until this writing. Maybe they will change after reading others' guesses ...... EINS: How high the B3 .... Good spirits, though the first tenor's intonation bugs me some. But good spirits, as I said, throughout and all of them. Brother Jack McDuff with two horns would be my guess. Or is it the two horns of Quartet Out guesting with Organissimo? I'm not that much a fan of fast playing like this, but this works fine for me. Good 'n' greazy. ZWEI: This waters my mouth!!!! You could have sent at least the recipe along with the discs. No doubt about that singer, but never heard this. DREI: Oye mi saxo cubano!!! Two of them!!! And the greatest rhythm section in Havana in the late 1950's to early 1960's. Have that one, the original cover is priceless and an inspiration for generations of double bass players ... One of the best descargas ever done. VIER: A freebop jam session on Yardbird Suite. Is this from those Newport jam sessions on a series of Cobblestone LPs? That tenor sounds familiar, but I can't determine who it is. Trombonist sometimes has a smooth tone similar to Bennie Green, but no - this is not him. No - cannot securely name any of the soloists here. Is this the same guy playing tenor and soprano? Rahsaan? Probably not. Hmmm ..... FÜNF: That bit of applause at the beginning sounds like one of those big halls they used for the Jazz at the Philharmonic concerts. Strange alto. This guy has some chops problems, probably an older guy - the changes are too advanced for him. Pianist makes references to Bach's inventions but without real polyphonic playing. The bass and drums team is much better. Two retired guys they dug up for some concert. I dunno - as a producer I would have left that in the can. SECHS: More JATP? Eldridge? This swings real hard, almost forced. But they have it together. Some old masters at work. Willie Smith? Now who was that Christian-style guitarist at JATP? Kessel? Too bad it fades out just as the drummer gets his solo. SIEBEN: A jugful of dreams ........ NMCOT, but great in its own way. I bet this is a Chicago recording sessions with Cleveland Eaton sliding up and down the fingerboard ad nauseam, and Maurice White - or who was his partner with Ramsey Lewis on drums? Don't know whether I like that double time feeling during the corusses. But that tenor was one of the great ones. ACHT: I should know that singer .... probably one of those I kick myself for not recognizing. Old horn masters too. Very nice, almost timeless - some daring stuff behind the singer. NEUN: This is one of the things I probably heard on AFN's bandwagon radio show broadcast every Sunday morning - sounds too much like Basie to be anybody else. Lockjaw on tenor. Sonny Payne? This kind of thing defined a whole 'nother era of big band playing. Ebullient! So much positive power. ZEHN: Can't remember the name of that tune ... or does it just use changes similar to those of "Sunny"? Is this a Varitone alto? I wouldn't buy this ... Stitt? Jim, this is an important part of the era you grew up in, isn't it? ELF: Randy Weston's "Hi-Fly". The vibes is pretty much into Hamp, occasional grunts included. Would like to know who this is. ZWÖLF: One of the tunes Chick Corea wrote for Getz. Since Jim hates Getz clones and this is not Getz, some guy emulating Getz in a very peculiar way, like a player from an older generation trying to incorporate Getz. I hear some Gonsalves phrases ... Tynerish piano solo ... interesting. DREIZEHN: I could listen to this man reciting for days!!!! His voice was so sexy ... no wonder women were standing in line waiting for entrance in his bedroom. He could have seduced me with this voice. And the celeste playing - nobody could sound this music box sound so bluesy .... Five hundred stars. VIERZEHN: Someone should make a BT with R&B exclusively!!! I love this!!! Red Prysock or one of these master honkers! Amos Milburn? FÜNFZEHN: Stan the man and his lovely wife little Miss Cott. It dawns on me I should have more of this couple's music in my collection ...... SECHZEHN: Mellow Jazz, for sure ..... wish they would hire jazz musicians to record real jazz jingles than just using existing CDs.... SIEBZEHN: Ooooooh ..... what a great closer!!!!!!!! Again, I should recognize that singer .... oh, honey, I will ..... this is timeless stuff.