mikeweil

So these are 78's you have? The facsimile of one in the booklet of the Fantasy CD reissue looks like a 7" 45 rpm single.

Yes, basically the same label owned by the same people.

All four of Tjader's Skye albums - remastered in great sound by Steve Hofmann, although there are musically better albums by Cal, IMHO - are currently on sale at DCC Blowout for cheap prices!

I have made good experiences with a CD cleaning spray - cleans the surface of fingerprints and the thin hue on the surface every CD has, improves laser tracking and thus the sound. I always wash my hands before handling them or touch them only on the edges - I hate those players where you have to touch the surface to handle th disc.

I had both of Kenny Burrell's Ellington doubles, and Jimmy Smith plays organ on a few cuts. The info in Bruyninckx on these is correct. I have this LP, and the liner indeed says "Jimmy Smith - piano" on two tracks: Good Ol' Lady & The Swinging Groove Merchant. Recorded at P-D Recorders, Hollywood, August 1981. The other tracks were recorded at other locations and dates with different personnel. You want more details?

There are only 41 cuts, all others are faked by editing: CD One 1. I Love You, I Love You 2. Confession Blues 3. Alone In This City 4. Can Anyone Ask For More? 5. Let's Have A Ball 6. Rockin' Chair Blues 7. If I Give You My Love 8. Can't You See Darling? 9. This Love Of Mine 10. How Long Blues 11. Blues Before Sunrise 12. A Sentimental Blues 13. You'll Never Miss The Water 14. Ain't That Fine 15. Don't Put All Your Dreams In One Basket 16. Sittin' On Top Of The World 17. I've Had My Fun 18. See See Rider 19. What Have I Done? 20. Honey Honey 21. She's On The Ball CD Two 1. Th' Ego Song 2. Late In The Evening Blues 3. Someday 4. I'll Do Anything But Work 5. I Wonder Who's Kissing Her Now 6. All To Myself 7. Lonely Boy 8. Baby Let Me Hold Your Hand 9. I'm Glad For Your Sake 10. Baby Won't You Please Come Home 11. Kissa Me Baby 12. Hey Now 13. The Snow Is Falling 14. Misery In My Heart 15. Let Me Hear You Call My Name 16. Why Did You Go? 17. I'm Wondering And Wondering 18. Walkin' And Talkin' 19. Guitar Blues 20. Back Home This is the track listing from the Ebony issue, a Fresh Sound sublabel - they were the first to do a definite edition, with an extensive booklet and the story of the many bootlegs and edits. Jordi Pujol's greatest production job, IMO. I bet the edition you ordered, Jim, is copped from the Ebony. Go here and click on "The Birth of a Legend".

Mike, you take the words from my mouth ... Thanks, Jack! Now if we could find someone with a copy of Galaxy 705, master numbers and all ... I doubt the second take of Lullaby and I Want To Be Happy on a Galaxy 705 exist until I get first hand info of a copy somewhere. Tjader recorded Happy for Savoy and with the later Quintet - see the thread on the Fantasy 8019 LP.

So this is BT 23 .... I have a hard time to comment on these selections ... because I love 'em so much. This disc is pure enjoyment, I could have handpicked most of this stuff myself. I enjoy the pensive mood of many tracks, and all of it makes me listen, taking up much more of my time than I have to spare these days, but it is such a rewarding listen. Seems I have a new favourite among BT discs. Thanks a lot, it was well worth the wait (I mean your waiting - glas it was a little less than two years to compile the playlist, and you made excellent use of that time! The usual disclaimers apply to these impressions at first, second, or third or even fourth listen. Well, I have an even harder time trying to get this disc out of the player for the second one ... no googling or AMGing here, no peeking, not the least. Track 1: Some madman hitting the doorbells. His sound is terribly familiar, but at this tempo you cannot do very much as far as rhythmic variation is concerned, so I'm not sure. "Bebop", the tune. I'm sure I have heard or even owned this, but I'm not a fan of these fast exercises, nothing much do do but hammer straight eighth notes. During a car ride later I kept thinking that I must have that track, and yes, suddenly I found the answer: The man that looked like Leonard Feather and sounded like ...... Back home I pulled the LP from the shelf. This is not my favourite from an otherwise very fine disc. The leader comments on this piece: "This is faster than I've ever recorded before and it's faster than Dizzy's original version." Curious whether anybody else figures this one out ... Track 2: Ha, Monk's "Green Chimneys", from a rare CD - rare in the meaning of being one of a kind. I'm curious how the others find this track. I love this CD and the story told in the liner that many will not believe, but I think it is the plain truth. Another trait from African culture - leaving your body to make room for some spirit to use it for his expressions. Now if people in religious trance do this they have no memory what happened while they were out, but in case of a spiritually higher developped person you voluntarily give room to the other spirit - this is what happened here. I like it that he plays a short chorus here, which he rarely does on that disc. He really studied Monk's music - in a way you have to stay that close - Monk's spirit is so strong! I noticed the same short tape flutter at the beginning I heard on my disc - I wonder why this escaped the otherwise fussy engineer. Track 3: Monk's "Ask Me Now", short and sweet, too short, would have liked to hear them play a little, to show their take on it. The funky drums together with the tap dancer is a very nice idea. More, please! Track 4: I hear Milford Graves in this, one of the true original drum masters. This is at least two players, maybe his duo with Sonny Morgan on ESP? I have it on LP but no time to check at the moment. I'm not that much a fan of free playing, but Graves always struck me with his strong vision and personality, he makes me listen because I feel he does it to serve the music and not just to get his rocks off. This man is so atuned to ryhthm itself that the way he plays it connects directly into some spiritual rhythmic stream. Track 5: Almost Neo-Tristano school, but swinging a lot harder. Like the more energetic sons of Warne Marsh and Lee Konitz. Interesting, would like to hear more, especially how they do medium or slow tempos. Track 6. Now this track had me sitting down to listen. I like the way guitarist paces himself and shapes the music very much, although I'm not a guitar freak. I'd say it is his date, would have liked a little more organ, which reminds me of Larry Goldings - but is is perfect the way it is. I will put this on my purchase list. The way they build an keep that mood is magnificent. Track 7: Very pensive and dreamy, beautiful. This is what I love about these blindfold tests - I get to hear music I never would consider giving a shot. I have no idea who this is - some ECM record? I wouldn't have expected a clirinet to come in after this guitar - the way he plays it it sounds almost detuned, but it isn't. Very well done. Curious who this is - I envision myself exclaiming my disbelief when the truth is revealed. Track 8: On one side, I always found that the development of more "freedom" in jazz was a one-sided affair in a certain stage: greater freedom with respect to melody and harmony, but rhythmically not very interesting. I would be bored to death being a bassist having to walk in quarter notes all the time. This is something the Ornette Coleman Quartet did cultivate at some time. Don't take me wrong, he and the drummer play that very well and I like this track, it's just a general thought on a necessary step in the development. The combination of trumpet and guitar is rare and works well here. The guitar and trumopet couldn't do their thing without the steady pulse provided them by bass and drums. Some of it works only if the walking bass is there, by the contrast between those lines. No idea again, and again curious. Track 9: Another interesting combination, guitar and vibes. Ellington's Main Stem, a very nice blowing vehicle. Like what they make of it. This is a vibist coming straight from the Hampton school into modern bop without incorporating too much of Bags, which I like. Not sure who it is - this is going to be expensive! Track 10: There are several subsconscious streams running trough that BT: A strong Monkian one, a guitar stream, and a vibes stream! This is Ellington's African Flower, a beautiful tune, played a little too fast for my taste. Is this Gary Burton and Larry Coryell from the 1960's? The bent notes on the vibes - he almost overuses it - and the borrowed rock/blues licks in the guitar made me think of them. Is there some distortion in the original recording in the vibes? These guys have too many chops, and can't control them in the sense of giving them real deep meaning - this tune is much better when played a trifle slower. Compare with the Duke's version on Money Jungle. Why don't they take their time a little more? Then it would have been a five star track, so it's too much a display vehicle for their virtuosity. Track 11: If this isn't Andrew Hill, it is someone heavily influenced by him. A million stars for this track! I will buy this!!! Love the writing, the unpredictability of the tune structured in varying numbers of bars, the dark, fat tone of the trumpet, that still has lyrical sweetness, the dark sax - or is this bass clarinet?, the sparingly used piano. It is the pianist that makes me hesitate - Andrew uses dissonances in a peculiar way that is missing here. These are real masters, saying so much with relatively few notes. I played this track several times in a row. Could this already be from the new Mosaic? Oh my aching bank account ... Track 12: More of this well-paced stuff. I don't like that style of sax playing, but I hear his message, and it is appropriate here. I appreciate a well done track, even if some of the characteristics are not to my taste. Track 13: I care very much about this particular style of piano playing - we all should care. Anybody still repeating this extreme misunderstanding of this master musicians' style, that had no or bad piano technique, should sit down at one and try to play exactly like this - and find out how hard it is to do. The master was in very fine form that day, and didn't have to use any of his trademark dissonant chords, which he did in a later recording of the tune, but the arpeggios and that peculiar pacing, are all there. The onliest ... Track 14: Another must buy!!! I risk a guess and say it is Teri Thornton's Riverside disc, which rides high on my wish list. Anyway, I like it, the arrangement is great, the singer has that type of voice making me want to say "I will be doing anything for you, baby", ..... what more can I say? This: I want this now! Track 15: This tenor cat sits high in my books, a nice tune nicely played, even if some think he played only two solos, one slow, one fast - can't be right, as this is mid-tempo - I like these two solos in any of their incarnations. He makes that bird sing ... Yeah, I hear ya, brother. Track 16: A nice way to wrap up disc one: Just like Artie Shaw passed when we were discussing mmilovan's BT which featured a track of his, the news of JImmy Smith's passing is still fresh when we listen to this - what a stream of consciousness! Kenny Burrell, for sure - Grady Tate? Did he say Mojo? I passed over most of his Verve albums as I don't like the big band stuff, but this seems one to get. What a nice disc! Now how do I get it out to get the second one in ....

I only found 708, by the Apollo's, and numbers higher than 730. I have the info on that Musso session - Tjader played vibes on it. A third track was added for an EP issue in the 4000 series.

Stereojack is the lucky owner of the Fantasy 10" LP and PM'd me the tracks: The correct LP number is 3-9, as noted on the Fantasy CD reissue, not 3-7! Jepsen seems to have initiated this wrong issue number. Jack also informed me that Jepsen "substitutes I Want to Be Happy for Three Little Words, and omits Ivy altogether." Still I wonder what the two takes of Lullabye mean and why there are four tracks including these two takes listed as issued on Galaxy 705. Two different pressings or an error?

I just typed in Fantasy 8057 at GEMM.com, and what did I get? An album titled Mambo with Tjader .....

Lord again seems to have copied most from Bruyninckx, except for the Galaxy 701 single. Both have the number of the 10" LP as 3-7 . The Fantasy CD reissue gives number 3-9 - I wonder why they ignore this. According to http://jazzlabels.klacto.net/fantasy.html/ 3-7 was a Brubeck Quartet LP - but Bob Coughlin's online Brubeck disco does not have this issue - and I trust him on this. The Klacto site has 3-9 for the Tjader trio. That Galaxy 705 is a strange bird - four tracks - weren't these singles? - and two takes of Lullaby? I smell an error.

Well, not quite nothing .... I doubt they used the Brubeck Trio version for a later stereo LP - but this is again the Ellington tune, not the Waller/Williams Now that 1961 version ... I thought the last Tjader Blackhawk recording of his first tenure with Fantasy had taken in place in 1960 - the Live And Direct and Demasiado Caliente LPs had material from this session. But Bruyninckx lists just this one track "Just Squeeze Me" as issued on a Fantasy LPS (!) 8057, and I have no idea what this LP was. The Stallings LP was recorded in 1961, OTOH.

Cal Tjader made his very first recordings as a leader for Galaxy, a Fantasy subsidiary, in 1951, after the Dave Brubeck Trio had to disband after the pianist's swimming accident on Hawaii. It seems there were more tracks recorded and issued on Galaxy singles than were reissued on the Fantasy 10" LP 3-9: ____________________________________________________________________ John Marabuto (piano) Jack Weeks (bass) Cal Tjader (vibraphone, drums, bongos) San Francisco, California, August 1951 Ivy Galaxy 702 ?, Fantasy LP 3-9, Fantasy FCD-24764-2 Give Me The Simple Life - - - ____________________________________________________________________ John Marabuto (piano) Jack Weeks (bass) Cal Tjader (vibraphone, drums, bongos) San Francisco, California, September 1951 11141 ? Lullaby of the Leaves Galaxy 705 ?????? Charlie's Quote Galaxy 702, Fantasy LP 3-9, Fantasy FCD-24764-2 11143? These Foolish Things - - - ____________________________________________________________________ Vince Guaraldi (piano) Jack Weeks (bass) Cal Tjader (vibraphone, drums, bongos) San Francisco, California, November 1951 11150 Vibrathrape Galaxy 703, Fantasy LP 3-9, Fantasy FCD-24764-2 11160 Mambo Chopsticks - - - 11170 Lullaby Of The Leaves Galaxy 705 11180 I Want To Be Happy - - - 11164 Three Little Words - - ____________________________________________________________________ My questions are: - are the issue numbers of the Galaxy singles correct? What about the two master numbers for "Lullaby of the Leaves"? Was Galaxy 705 an EP with four tracks? Or released in two different versions? What does the Jepsen disco say? Any help would be greatly appreciated.

I haven't heard the Stallings LP so far - missed the OJC LP reissue several years ago. The CD is due out in April, I will get me this at once. There may be an instrumental or two on that LP. The Stallings LP was 3-325 / 8068 - that seems too far removed from 8019, unlees they held back release for a years or more.

R.I.P. a real pioneer figure ...

Done! You shall never be the same again afterwards! Indeed! The consequences are .........

... oh the logistics of a BFT mailing ...

Got the CD yesterday - one hot mutha of an album! Some of the hottest Latin jazz recorded around this time - 1960! This was a hotter band than Mongo's - who only assembled one two years later and included that very same trumpet player and arranger, Marty Sheller. Bobby Porcelli was in Mongo's band in the late 1960's as was bassist Bill Salter. GEM - this means something like "germ" in English - a rhythmical germ, so to say. Just short percussive tracks to open and close the LP sides. I'm afraid I willö have to go hunting for the other Sabu albums I don't have - this is really hot - Willie Bobo's groove and agility and Mongo's power.

That's what I did with several other OJC titles now on SACD.

search and ye shall find! Strange - I looked at amazon.com, but no matter how I typed my search, there was no cover image available. Thanks!"

Got me the Fantasy SACD Hybrid of Gil Evans & Ten yesterday - the first issue to use the rediscovered stereo tapes. The sound quality is drastically improved, even on the CD layer. Prestige's first stereo session. I understand they originally did not issue in stereo as there was only a small market for stereo LPs in 1957, but then why were these tapes presumed lost for so many years? Just the usual tape vault mess? Anybody knows the story behind this?

If they recorded in genuine stereo as early as 1954, they were pretty advanced at Fantasy ... and it sounds great! But then why did they stop recording in stereo? It is known that stereo tape machines in those days were not very reliable, and there was not much of a market for stereo LPs in these days.

Now that I relistened to this material on headphones I think you're right, Bill. Only Guarachi Guaro from the 3-221 OJC conterpoint OJCCD-274-2 is mono, as well as the 1956 tracks. But the other 1954 quintet tracks from September 1954 that are available on OJCCD-271-2 Mambo with Tjader are all mono, even those supposedly issued in stereo on the 8019 LP. Stereojack, have you re-listened to the LP: Are all tracks in stereo? And that Squeeze Me track puzzles me, as it isn't mentioned anywhere else. I will have to get me a copy of 8019 some day.