mikeweil

They didn't even do that tune - the CD was simply titled Duets, recorded in 1988 for Nippon Phonogram.

I have Grant Stewart's 1995 session More Urban Tones with Peter Bernstein, Peter Washington & Billy Drummond. Spinning it now. His tone is different from the other younger tenors around, somewhat thicker, there certainly is some Rollins strain in it. He has a looseness in his playing that I do not hear with the others.

The Impressions twofer CD has them both - I'm relieved.

Both Marshall Allen and Pat Patrick are on the 1970's Roulette LP SR 42063, Olatunji (the late Nigerian drummer), playing some very nice African highlife music.

There is some essential stuff on it not available anywhere else at the moment, especially the Harry Carney and Billy Strayhorn sides, and all the takes of Machito's Tanga. Ralph Burns and George Handy tracks are rare, too. The photos are great, the price is nice. Go for it!

RIP A real great musician, equally good on vibes or drums, small group or big band. Subtle with Bill Evans, powerful with the Clare Fischer big band. Always tasteful, and a real pro. IIRC he was one of the first to feature Gary Burton on one of his LPs.

They're available on this CD, which I like a lot - great debut recording! Just donated the few bucks I have on my PayPal account.

Can't help it, liked the old buttons somewhat better ... but I can live with this. It's more the font than the buttons itself, however. Thanks for the good work, Jim!

These Great Jazz Trio discs came as a nice surprise at a time when Tony Williams was thought to be straight into fusion drumming, applying his new heavy sound to a bop trio. Great stuff, and very well recorded! All those I have are fine albums!

Thanks, your royal highness, for this exqusite selection! Take my bows! The usual disclaimers apply. Track 1: Beautiful rendition of "Old Folks", very informal, like in a small club. Reminds me of the scene with Ben Webster (is this him?) playing in a café in the film "Quiet Days in Clichy" (the older one with the guy who looked like Henry Miller). Really very nice, full of tenderness. A gem! Track 2: Fletcher Henderson? Early Ellington? I let others do the identifying Have a lot of their works but too little time to listen. Like it. Is this from a movie due to the fade-in and the shortness? Track 3: Same band? Is this Hawk? I could be totally wrong ... Track 4: "I'm in the mood for love". Same tenor? Some rare stuff. Hawk again? In spite of all the wobbling, a great rendition. Track 5: Rather stiff version of "Mop Mop" - the ryhthm here lacks the elasticity, the subtle off-beat phrasing of the versions I have. Thumb down Early Hamp? Heavy metal doorbells. When I hear this I really start appreciating Red Norvo's relative elegance compared to this hard-hitter. Very stiff swing feel throughout. A white band ? Oh, and that corny vibrato in the last note of the trumpet ... (shudder). Track 6: Blessed relief, only that I'm sure I have this somewhere or know the tune but cannot name it. These players all sound familiar, especially the trumpet, but I can't put my finger on it. Something to kick my ass for after I read what it is ... Sounds a lot like a Horace Silver tune, but the pianist is not Horace. Track 7: If king ubu could assign the post of a court singer, it would be this lady! Indeed a very rare item, if one has a look into her discography. Well, there is an early single on Roost and an obscure Atco LP .... Y'all know who this is, don't ya? Track 8: Accordion, and a very good practioner, of all things! Too virtuoso to be Mat Mathews. Art Van Damme? I have to admit I never heard him. Very good. Like it. He swings! Too many versions of "Whisper Not" to search AMG ... Track 9: "When will the blues leave" - too sober for me - I don't like it when people play Ornette's or Monk's tunes like it was bebop with chord changes. This style belies the modernity of the music, pulls it back into some earler style. They are all good players, and I wouldn't complain if they played a Parker tune, but for an Ornette tune this is as bad as Wynton playing Jelly Roll. Track 10: Can't identify these players, but appreciate the consequence they apply to their playing - when I hear stuff like this I always ask myself if they really can control their individual playing and interaction at this pace or is at least part of this random utterings? Don't want to sound too negative, though - maybe I'm just not in the mood for this. It's good, and I like it a lot better than much of what I've heard in this style. More to follow - I won't peek until then!

Another big thanks for a very thoughtful compilation, and your very personal comments, which I appreciate very much about these BFT discs. Never had so many things and didn't recognize: I have the Hope on LP, but rarely listen to it; Have the Mingus even longer and now on CD, but ditto; and have the Baby Face, which I love, and didn't get it . But I did recognize Jamey Haddad! It's a crazy jazz world, after all. That Matt Wilson is one of the greatest and coolest drummers to hit the scene in the last decade. I was sent a DVD sampler from one of those drummers conventions, where all the guys hit hard and play as many fills as they can squeeze in and solo all the time, and he brought his regular quartet and sat in front of it with just a snare drum and a pair of brushes! Just like Papa Jo Jones on one Newport Jazz Festival, when he humbled all other cats with just a hi-hat. I will get this. Didn't know there was a keyboard bass player on the Sun Ra - the original LP didn't credit him. How to identify Arthur Taylor? He has a certain way of playing his breaks and solos that is different from the rest, rushes the time a little, although he clearly comes out of Max and Philly Joe. Play them side by side and you will get it. And he plays his hi-hat a little harder than the rest, which annoyed Miles, who found it was too loud and obstrusive. The modern close miking technique obscures this aspect about a drummer's set: The balance between cymbals, hi-hat, snare, toms and bass is different with each drummer, but you can hear this only with simple overhead miking. Close miking makes all components sound as loud as the engineer mixes them, not as the drummer plays them. That's why I like the old Contemporary LPs so much: There you can hear their real set sound much better than in Rudy's studio, where they tend to sound all the same.

Any chanace that Lee was supposed to play that session?

C'mon brownie, why didn't you tell me last year ?!?!

For those interested in lesser known conteproraries of Haydn, Mozart and Beethoven, the German period instruments orchestra Concert Köln has devoted many CDs to these: Kraus, a Swedish composer, is perhaps the biggest surprise. The series was heralded by the press, I have most of them, and all are worth a listen. Their discography is in German, but you will find out which works are on which label.

Riverside Prestige Contemporary ... and the general link, in case you search for another label: http://www.jazzdiscography.com/Labels/ ... or artist: http://www.jazzdiscography.com/

I was considering a Blindfold Test disc with all Stevie Wonder covers ..... I have to admit I don't remember what I voted for - they're all great, some have more great songs, especially Innervisions, but Songs in the key of Life impressed me back then for its overall conception and grandness, like a peak prepared by the other albums.

I've never seen an SACD of Stanley Turrentine's Time album. I do, however, have the SACD of Tommy Turrentine's Time album. Aren't you mistaking one for the other? Claude must have mixed up Stanley and Tommy Turrentine - only the Tommy was on SACD. I too got them from CD Connection - highly recommended. Do these Japanese CDs include the bonus material? And does the Booker Little sound like it was dubbed from LP? Fresh Sound also has Time reissues - has anyone heard them or even compared the sound?

Terry Plumeri - He who lives in many places a very rare musician-produced LP from 1975 (recorded in 1971) with Herbie Hancock, John Abercormbie, Michael Smith on drums - Plumeri plays bass. He was with Roberta Flack at the time. Some type of "soft fusion" - but no easy listening, just not rockish.

This interpretation sounds to me like you've never seen the LP size foldout cover - nobody snorting anything on there, but five Africans in light grey woolen or linnen robes, the front man holding a walking stick, a long one like those used by shepherds. The left part features a group of fish swimming towards them, a boy sitting on a rock above them watches the fisherboat "Dominique" in the middle of the picture only the nose of which can be seen on that CD cover. The walking stick expands beyond his head, resting on his right shoulder ... Seems to be no complete LP cover on the web, wish I had a scanner ....

From the LP liner: In a way this was an early stage of Eastern Rebellion. Seems that Mobley couldn't make it due to his health condition. Clifford Jordan joined, followed by George Coleman, Bob Berg, and Ralph Moore.

This is a very mystic (foldout) cover that needs the size of an LP - the reason I kept this when I got the CD. Robert Springett did that - as well as the Sextant cover - the Tutsi dancers on th latter were taken from a photograph or a still from a movie, so I wonder whether he used a photo for the Crossings cover as well - it appears to me it might be some Koptic fishermen's mystery, like the bible (New Testament) transposed to Africa.

I think the version of Water Torture on the Crossings album is far superior - James Levi from a post-Headhunters Hancock band was a lead-footed Motown drummer. I saw that edition of Herbie's band live and was disappointed - they couldn't compete with the original Headhunters I had seen in 1974. Still, there are so few albums in that style, I cherish them all. Most of both Mercury LPs should fit on one CD. Click here for a Maupin discography (still incomplete). The Jewel in the Lotus is the jewel in Maupin's discography - an acoustic free form /fusion hybrid beauty!

Just read this is scheduled for DVD release later this year.

German French One hour of this band on Thursday night, March 10, 2005 at 00.50, that is 0.50 am (technically the 11th of March), with Anthony Coleman , Brad Jones , E. J. Rodriguez , Roberto Rodriguez. This was filmed by Anaïs Prosaï at the Festival Banlieues Bleues 2003.

They don't need this board when all the stuff is at least temporarily available there - a substantial part of this board is rant about all the stuff that is not available ...