mikeweil

Now that I've posted my guesses for #26, I take the courage to signup here, too..... I will gladly take over the forwarding to other particpants from Germany, Austria, and Switzerland - with temperatures here rising above the 30° C mark every day, we're all in Schwitzerland ..... Mail sent!

At last scored a listeneable vinyl copy of this rare item:

I sold mine three years ago .....

The recording by Jean-Francois Heisser & Georges Pludermacher on Erato is excellent. It is available as low price in the Warner Apex series. Very interesting work, composed on request of Paul Sacher in Basle, like the Music for String Instruments, Percussion and Celesta a few years before.

Bought the 8 CD Bartok Piano Music box by Zoltan Kocsis yesterday - the price was € 49,99 at a local Saturn branch - cheaper than Amazon. Good booklet and the discs in simple paper sleeves. Remastering is excellent - very good bargain and the perfect entrance into the Bartok piano world. Ordered the string quartets by the Hungarian Quartet, a double disc at mid-price available from Universal - thanks for the recommendation! The latter is avaialable new for $ 12,94 from Amazon/Caiman.

Something in that vein crossed my mind, too ...... talk about eye-catching thread titles!

This is old knowledge - it has been tested on milk cows and plants with similar results. Interesting that ancient Inidian musical theory say similar things on the bad influence of these "rock beats" ..... and if you play them louder, it gets worse.

Sorry I'm so late with this, but now that I can take some time to listen in a more relaxed mood I actually like some of this music a lot better than at my first two cursory listening sessions. There was simply too much work to do and too little time to listen to any music at all. This was written without looking at the others' guesses. Track 1: Nice freestyle big band for openers. No Idea who they are, but like it, good soloists throughout, though nothing mindlblowing. Only complaint would be that the piano (and its player) sound somewhat superfluous in this context - I also find it sounds too neutral and is recorded and mixed like it was removed from the rest of the band. That Huapango style final part is a great idea, but I would have preferred a less wailing tenor solo and a less rockish attitude of the drummer when he gets excited - there is so much you can do with these 12-pulse multi-beat rhythms. Now the trumpet player is more on it. Who are they? Track 2: This trumpeter has a Milesian sound, but plays more conventionally and is technically more assured - this performance suggests an older player to me, or a rather conservative one. Nice but not spectacular, once again the piano sounds very neutral. Drummer's too low in the mix. Track 3: Probably some circular breather - I prefer music that breathes in and out with a rest once in a while. Nice initial ideas, but methinks it goes nowhere. More like a technical exercise, not so well executed. Listen to some Eric Dolphy!!! Track 4: Clarinet and drums. Hmm ... not enough rhythmic variation in it for me on the drummer's side. Why do they fade out? Interesting clarinettist. Track 5: That sax solo does not say too much to me, and I find they doo that tango-tape rhythm too fast and restless. What do they need to get off? I prefer it a little less restless, in general. Don't like the sound of the sax section. Again the bassist and drummer do not know what to do with the 12-pulse hemiola rhythm (under the trumpet solo). I have listened to enough of these wailing saxists in my life, don't want it any more. Please, get your rocks off before you go into the recording studio .... Track 6: Ooh! Verrry nice combination low horns and this (Italian?) folk style singer, I like this un-artificial singing much more than the educated sophistication of most jazz and classical singers. Italian band? Nice violin - or some gamba type instrument? My favourite so far! Track 7: Starts out very interestingly, I just thought it might sound better without the drummer, just the percussion, when another of those darned wailers lifted his horn ... Reminds me of Gato Barbieri's Impulse stuff - but this type of thing doesn't thrill me. Haden-style bass. Had to make sure that lyrical sounding fluegelhorn playing Meditacao or some other Jobim was the same track. Bassist and drummer (in fact, most jazz bassists and drummers, IMHO) need to get more deeply into Latin rhythm styles - they play the rhythms, but there is not enough alma (soul) in it .... Can't figure what this juxtaposition wants top tell me. Percussionist is nice, drummer is fumbling around too much. They're not together in the statement of the theme after the paino solo. Okay, and then the bass or cello is taking apart again - or he thinks he does by running up and down the fingerboard. Definitely not my cup of tea. Track 8: Two lonely clarinet souls at sunset - nice - I would listen to more of them to find out what else they can do. Nice mixture of classical duet influences and jazz styles. Track 9: Oh yeah - I hear your message, brother! Late 1970's black power music? Bass and drums are not really together - metronome-wise they are, but their groove is not. Overall, nice. I would have expected (and liked) more rap or vocals. Who is this? Track 10: Nice drum sound - something in this vein is on my next BT project list - oh, but mine doesn't venture into funk. Nice. Trumpet is swell. Like it that they play the funk in long phrases. Oh, and back again to Dixieland. Clarinet & Clave ... these guys got chops, ideas, and humor. 'Bone is swell, too. Something I would buy, definitely. Some of the horn players doing the percussion when not soloing? That 3/4 every eighth bar in the closing theme is nice. Who is this!!!??? Track 11: Taking us back to dreamland for closers - now let's wait where it takes me. These oriental scales remind me of something. Well, they're not exactly having a nightmare, but a little action ... I think it would have been more compelling if the percussionist would have stayed in a more reflective mood. For my taste, he's not enough on the beat in the faster rhythmic part, relying too much on rudimental stuff and not interlocking with the pianist's patterns, who tries hard to engage him in dialogue. Oh - now he gives in and plays fast whirlybird stuff too, that seems to work better with that drummer. But it spoils the inticacy of the piece. Sounds like the percussion was inside the piano, at least part of it. Nice idea, but I'd do this differently. Too much hyperactivity in the percussion. But a very appropriate closer! Tracks 6 and 10 definitely are my favourites in a challenging program. Very interesting selections - Thanks a lot!

Now when are we going to get some answers?

One must give Fantasy credit for being quite substantial in establishing multi-disc box sets - IIRC the Miles Davis Prestige box (I still have the LP version) was the first of its kind. Mosaic was several years later.

I was referring to the US scene - who remembers him there - besides experts on this board?

There are more than you think: Miles Davis - Complete Prestige John Coltrane - Complete Prestige (sans Miles sessions) Sonny Rollins - Complete Prestige Thelonious Monk - Complete Prestige Thelonious Monk - Complete Riverside Wes Montgomery - Complete Riverside Bill Evans - Complete Riverside Bill Evans - Complete Fantasy Sonny Rollins - Freelance Years (Riverside, Contemporary, Period) Art Pepper - Complete Galaxy Art Pepper - Complete Village Vanguard Modern Jazz Quartet - Complete Prestige Eric Dolphy - Complete Prestige Art Tatum - Complete Pablo solo Art Tatum - Complete Pablo group Charles Mingus - Complete Debut Dexter Gordon - Complete Prestige etc. etc. My wish list: Mongo Santamaria - Complete Fantasy & Riverside Cal Tjader - Complete 1950's Fantasy Studio Cal Tjader - Complete 1950's Fantasy live Cal Tjader - Complete 1970's Fantasy & Galaxy Don Patterson & Sonny Stitt - Complete Prestige & Jazzland Don Patterson - Complete Prestige (sans Stitt) Booker Ervin - Complete Prestige Latin Jazz Quintet - Complete Prestige

A slipped disc was the first I thought of, second was a dislocated nerve. Whatever it is, only a doctor can tell. Following the advices to bend your knees and taking care to put only as little weight on the back as possible etc. is crucial. I keep my fingers crossed, Jim!

I'm looking for something that strikes me as being original, authentic, and creative. That, of course, can show in stylistic details comparable to those you described in your approach to Indian music. It don't mean a thing if it ain't got that swing, you know what I mean?

Had only a cursory listen in a shop, but I think I will pick it up at one of the next occasions. Any idea why they dropped the name YaYa3?

king ubu included a live ballad recording from Swiss radio on his recent Blindfold Test - ask him for a copy of the complete broadcast. Masterful mature playing. Do a web search - he is involved in some chamber jazz project that looks pretty interesting. Wonder nobody mentioned his sole ECM LP The Jewel in the Lotus which I find very beautiful. I also like his alto flute very very much, and, of course, his bass clarinet. I remember Horace Silver or Lee Morgan compared Maupin to Henderson in their ability to take a solo to an irresistible climax - very fitting.

There were two of thes Affinity LPs. Some of the best live Wes there is. Sound's excellent, too.

http://www.mighty-quinn.net/Home.html http://www.mighty-quinn.net/Current.html http://www.mighty-quinn.net/Future.html Sometimes dreams do come true!

Indeed: Seems that they intend to reissue all that rare stuff from Pacific, UA and Blue Note that Cuscuna and the Blue Note heads will not take a risk at.

Hmm ... I suspect it has something to do with one Patti Allen? ← Not as much as it does with "Bulgarian Bulge"! ← Before Milcho Leviev took a plane to California after leaving Bulgaria, he stayed in Frankfurt for a few weeks, recording with the local radio station jazz group, and leaving a bundle of LPs in their archive. When Underground came out, Ulrich Ohlshausen (the local jazz radio moderator) dug out the LP with the original Bulgarian Bulge, played by some Bulgarian folk musicians who swung the hell out of that tune in a most relaxed fashion that made the Ellis band sound stiff in comparison, believe me. I LOVE Bulgarian music - saw some of the best dance/music troupes during our vacation there last year. Check out some of this music, you will love it, Jim. These cats swing like mad, and play these ryhthms as naturally as breathing. I know Leviev had sent a copy of that same LP to Ellis, which earned him an inviation to join the band. I almost saw his Bulgarian quartet, but they were denied visa shortly before the tour ...

This must have been among my first 50 or so jazz LPs - once a week while my parents shopped groceries, I thumbed through the cutout bins of some record shop near by. I always wondered why Curson didn't make it a little bigger - isn't he in the same league as Johnny Coles or Richard Williams? I have four of his LPs from that time, and also remember his very good playing on Mingus Presents Mingus on Candid. Just on the edge between outside and inside playing. The title track is one of the most moving tributes to Dolphy ever done.

Not your fault - I should take my time readin' dem posts ...

Hmm ... I suspect it has something to do with one Patti Allen?

Sorry, I listened twice to the test disc but think I need more concentrated listening before I comment, but so many other things are keeping me busy - maybe later this evening, I hope!

So, Jim, what do you think is the best Don Ellis on Columbia? At Fillmore is, methinks, better suited for a more conventionally oriented big band fan wanting an impression of Ellis than the recently reissued Tears of Joy with its experimental orchestration. Seems we're getting all of Ellis' Columbias one by one, on different labels - Columbia, Koch, Wounded Bird. Too bad we don't get any bonus material - there should be more in the vaults from these concerts.