mikeweil

Konrad Hünteler's recording of Telemann's solo fantasias: on Musikproduktion Dabringhaus & Grimm. He plays a unique flute by a famous Baroque wind instrument maker, Jacob Denner, of whom many oboes have survived, but only this one flute, which was discovered in a Nürnberg house before it was laid down. I heard him play this in concert - it is so beautiful! His other recordings of baroque or classical music on this label are all played on this flute and highly recommended. Bach's flute sonatas with Karl Kaiser and Musica Alta Ripa on the same label were highly praised by German citics.

That pretty much sums it up for me, too!

I'd rather start a new sign-up thread - you've told us so often this is not the sign-up thread that it might be confusing. You could-re-title, but when some members start reading the thread ... A new thread would enable you to have the participants list on the first page etc. with doing so much re-editing etc. Just a recommendation, of course. I will link to anything you set up. Remember the Easter holidays are later this month - some might be on vacation. Starting the discussion early in April might be fine.

Geoffrey Keezer turned down an offer to join what was to be Miles' last band - he had an offer to go with Blakey at the same time on James Williams' recommendation, and chose Blakey because he had been dreaming about becoming a Jazz Messenger ever since he started playing jazz piano. He told this in an interview on GMN.com.

You would expect Carlos Santana to go jazz with Herbie, Wayne, and Tony on board - instead it's them going rock, and in a not so inspired sounding fashion - that's what makes Swing of Delight so disappointing to me. I sold it after a few years, didn't jell. Herbie's much more inspired on, say, Andy Summers' Charming Snakes.

Those pling plongs sound more like a guitar to these ears. Bruyninckx lists Kenny Kersey for the two tracks I mentioned in my previous post. But he lists Kersey or Pee Wee Tinney for most tracks, except Up on Teddy's Hill - will have to re-listen more carefully tomorrow - my wife wants to sleep and asked me to turn off the music. More to come.

Well, he played electric piano on his first duet LP with Jack deJohnette on ECM, Ruta & Daitya, and did it very well. I like him best of all Rhodes players with Miles, he was the most daring - on the Live/Evil sessions, on key detuned, and the way he used it was so creative, using it like some weird scale or percussive color at the same time. Jarrett knew Charlie Haden hated playing bass riffs, and still had him play a lot of them when Haden was a member of his quintet - obviously he learned his lesson. Sometimes the challenge of doing something you dislike or don't know yet brings out something new in a musician.

Most of the time, some more relaxed, mid-tempo jazz. A Teddy Wilson piano trio on Black & Blue was a favourite for many years. But it changes all the time. Often it is some baroque music, preferably harpsichord or lute music.

In his Monk discography for Jazz Podium magazine (why the heck didn't I write a date on the photocopy???!) Hans Lukas Lindenmaier listed only two tracks with Monk from that date, Stompin' at the Savoy and Charlie's Choice. Will have to spin this tomorrow for aural evidence. Edit: Swing to Bop and Charlie's Choice are two names for the same track, I noticed.

Please post the total amount here at the end of the month. Thanks!

I got it from Cadence last year.

That was a Duke Pearson album for Jazzline with a two trumpet frontline (Byrd and Johnny Coles) reissued under Byrd's name on Black Lion.

Forgot to mention: John Abercombie plays guitar on most albums, and much more wild stuff than on his own organ projects!

Palmer is one of my favourites. He made another CD with Blythe for Soul Note with Rashied Ali (!) on drums. He's not liked by everybody, but I dig what Jim calls his "nutty" side. Here's a list of his albums: Improvising Artists IAI 1003 Jeff Palmer - Solo Organ - Outer Limit Statiras SLP 8081 Jeff Palmer - Laser Wizzard Soul Note 121 201 Jeff Palmer - Abracadabra Audioquest AQ 1014 Jeff Palmer - Ease On Reservoir RSR CD 137 Jeff Palmer - Shades Of The Pine Soul Note 121301-2 Jeff Palmer - Island Universe Soul Note 121302-2 Phil Haynes - Live Insurgency - Set 1 Music Arts Co. MAC 2001 Jeff Palmer / George Garzone – Opposite Voltage C.A.P. 949 Jeff Palmer – Burn‘in The Blues Some of them are hard to find; all but the first two were on CD. Some info here. If you have trouble finding some of the CDs, PM me about the sources.

The ones I have all sound excellent, although partly very different, as done by different engineers, including Pierre Sprey of Mapleshade (the Larry Willis with Gary Bartz). Musically they're all very good, too - when I got the Willis Tribute CD I thought "Why doesn't Herbie (to whom it is dedicated) make such a CD every now and then?" The Victor Lewis and Joey Calderazzo discs are great, if anyone's interested. Have the Palmer/Blythe, and love it, another trippy disc. Second the recommendation for the Wallaces.

I should add I applauded Al, but at home! (Insert handclapping smiley)

Duh! Al, you nailed that tune, and stopped me scratching my head to the bone to remember where I knew it from! What a shame - my favourite Byrd album - but haven't listened to it in years, and ubu's version is not this one, of course.

Wolfgang Dauner - the first to own one of two V.C.S. synthesizers in Europe - George Harrison had the other one!

Christy Doran? Although he's not obscure.

Are his initials W.D.?

It's gracious you interpret his identification of the drum to his advantage, but I'm sure he was talking about the Indian instrument you pictured - laymen rarely know that Egyptian use of the word unless they listen to belly dance music, which is rare among jazz fans . This nice picture shows all the drums an Egyptian might call a "tablah":

I'm pretty sure that's a Hohner Electra piano - especially if it's a European band, Wurlitzers were imports and damn expensive, thus rarely found in Europe. Gordon Beck coaxed a beautiful sound out of his Hohner Electra. Darbukkas or darabukkas are found in all Arabian countries as well as Turkey (where there are sometimes called dumbek or dümbeg) - the traditional drums were made from clay: is the type for "classical" music folkloric instruments may look like this: This is the traditional way of holding and playing the drum (please note that this is a left-handed player or the pic was reversed): Modern instruments are made from brass: or from aluminum (the cheaper ones): Professional drums for belly dance accompanists look like this: They are made from some metal alloy and covered with artificial leather. To confuse things, the Egyptians call this drum a tabla or tablah (which is the Arabic generic term for drum). There are many shapes and sizes, as a picture search for drabukka, darabuka, tablah, dumbek or any other spelling will show. The Persian Tombak or Zarb also belongs to this family of drums, but its playing technique is much more elaborate. (This drum was not quite correctly labelled a Persian darbukka!)

Okay here's my remaining commentary on disc 1 - I have to admit I'm in my critical mood, nevertheless I enjoy listening to this disc a lot! Track 11: Booglaoo me some, king! Definitely a Hohner Electra piano (whose sound I like a lot), and a Varitone sax, most likely a 1970's item. The theme is clearly Horace Silver inspired. Too short to evaluate this! Track 12: Bowed chordal bass drone and sax. Somewhat careless darabukka drumming. These things are hard to play with a good round sound. Needs very good control of your finger position to get a clean full deep tone. I prefer a more elegant way of playing these drums. Of course, a nice experiment. Sounds like he plays the drum holding it between his knees like an African Jenbe drum, instead of placing it on his left upper thigh with the head pointing towards the audience, which is the traditional way and involves a much more intricate technique. Don't like the sax player somehow. Sorry. Track 13: Again the random creation question pops up in my mind. This kind of emotionally charged expression is not my taste. Take your time, leave some space in the music ... Just me of course, I do not get their message, and that's my fault. Track 14: Now that's more to my taste, the way it starts. I like this subdued funkified style. European players? The bassist sounds European to me. Would like to hear more of them. Some Vernell Fournier influence in the drums, the famous Poinciana pattern, but Fournier had more groove - and Crosby and Jamal complemented each other, where the players here play besides each other. Nice but not a classic. Sometimes the drummer almost kills the groove with his loose variations. All three are too anxious to say their thing. Good players, but I prefer more tightly knit units and more bottom in the bass - he should try and really hold his low notes. Well, the audience liked it, and that's what counts. Track 15: Nice writing, I like the way he(?) gradually adds the instruments instead of throwing them all in at once. I love bass clarinet in the ensemble. Nice trombone solo, its fragility, like the mood of the piece. Saxist is noodling a little too much for my taste, but he knows what he wants to say. I will never like the sound of bass pickups. Overall, nice. Who is this? Track 16: Typically European take on funky patterns, intellectuallized, including a Rhodes piano, sax writing sounds like Rahsaan gone section, some crime time influence, in 7/4 and wailing. I like this kind of stuff. They are losing the groove during the a capella sax passage. Trumpet solo is not up to the quality of the writing to these ears. Same for the sax solo. Strange harmonic conception in the trombone solo. But the theme I really like. The cowbell in the out chorus is superfluous. Much better writing than soloing here. Same group as 15? Track 17: Frisell? Or someone influenced by him. Ornettish soloing. What else did they play? Track 18: You're welcome, king!

I have the Fresh Sound LP reissue of the Vault - not sure whether they also released a CD of this. Very collgeial move to feature Burton! Didn't know there was a second LP. Very well said - "a nice performance"! How he fit in with Bill Evans on short notice when he visited California with Cuck Israels is a marvel!

There are two astonishing takes of Love in the middle of the air by Dee Dee Bridgewater and Reggie Workman, composed by and released under the name of German/Polish composer Heiner Stadler on Labor Records - very hot, intriguing stuff!