mikeweil

Me also reeceived one disc only - me burnem da other discs ...

... insert for "?": couw Durium deus62 tjobbe king ubu Mr. Bassman I suppose brownie will pass on a disc to Tom Storer?

Indeed!

As this post demonstrates, there are easier ways to get more boxes than posting ...

I bought this as an OJC LP many years ago and still like it. Will try to sneak it in during the coming week. An underrated album - but I think it makes even better comparison with Clark Terry's EmArcy debut LP, than with Dorham's Afro-Cuban.

Terra Brasilis is a wonderful album! Sabia in particular makes me dream .... On my copy, at least part of the musicians are credited: Antonio Carlos Jobim: vocals & keyborads Oscar Castro-Neves: guitar Bucky Pizzarelli & Vinnie Bell: guitars on Double Rainbow Bob Cranshaw: bass Michael Moore: bass on Double Rainbow, Falando de Amor, Two Kites & Marina Pascoal de Souza Meirelles: drums Grady Tate: drums on Double Rainbow Rubens Bassini: percussion

Well, Cano was a very successful bandleader of his own, but most of his stuff would be considered too commercial by most board members. He played some nice piano, but was not as heavy as Bebo Valdes or any of the great son pianist, Peruchín in particular. There was an RCA reissue of Deep in a Drum, of his Cole Porter LP, and a Fresh Sound / Palladium reissue of A Taste of Cano, two albums that are a satisfying listen for serious Latin Jazz lovers. But I strongly urge you to get this CD: He's the superior pianist, and his rhythm section is much tighter.

First of all, thanks for the great fun this disc brings me every time I spin it! But I do have a few questions: 1) Where is Oscar credited as the leader of this date? Or is this just an assumption of yours?

Well, I dopn't know what seh's saying, but what's printed behind her photo is "I like to feel sexy" ..... Much nicer to succumb to one's male fantasies.

Depends on wether you prefer to look or to listen .... verrrry sexy pic

Did you ever see it, I mean the real thing? I did ...

C'mon folks, some get the discs, never post their guesses (given they have any ) and never have a bad conscience. We all know sh.... happens, but it's still nice to admit it.

Be careful about your desires! I had a mouthful of it and guess one will be pretty much exhausted after taking in the complete helping. It takes even more attention to follow all the wild edits ........ Al, I urge you to take a safety copy of your SAS disc answers - I'm afraid this list will crash the board!

Some beautiful stuff - I'm glad I do have the Kansas City Six sides on the Vanguard box, as I severely reduced my CD budget. The programming was great too - I will take much more care about this on my next BT. Thanks a million times for this time capsule!

All non-European members, please contact Dana directly. I assume two US members adressed their request mistakenly to me - I passed them on, as I handle only the German/Swiss/Dutch discs. Thanks B-)

I'm afraid they don't sell as well as they should - which is sad, as they have a nice program and some nice artists. Godd mixture of older and younger musicians. But remember they are a classical label in the first place - I can recommend their recordings in that field as well - the Milhaud "La Creation du monde" is the best recording I have, original jazz band instrumentation with the proper feel.

BS&T were too perfectionist to these ears, except for the first album - Al Kooper created that band, but he made fun of it all. He still does. But that ending of Spinning Wheel was just plain corny compared to Al's deep sense of humor. They did a one hour live show during their time with Larry Willis (who also recorded with Joe Henderson at the time) which is nice, because it is a little more spontaneous than their studio albums. How's that live album? Is Willis on it? AFAIK Joe Henderson left before they hit the studio for the next album. No recordings with him, not even bootlegs.

What about Three Dog Night? No, Blue Cheer, or The Troggs ...

Just my thoughts! p.s. nothing to do with gettin' grumpy with age B-)

Of course you can treat Monk's tunes the same way you can treat any modern jazz standard, but methinks that misses the point. That's why I find Holman's or Wynton Marsalis' Monk beneath it - the problem start when you start improvising on the changes rather than on the tune itself, which regrettably is what the average musician does. Lacy, Weston et.al. played the tunes, that's why they succeeded. Bud Powell did, too, but he transformed Monk's music into his bebop piano world, as if it were the same tunes written by another man. I intended to provoke some discussion of Monk interpretations with my statement above - nice to see it worked .

... of course, jazz is to blame: it's the reason we're all here, after all!

I dare say it wasn't me who had the dirty thoughts .... ... Texans seem to be better at reading subtext

I thought maybe Hersch's participation might make this even more attractive for some here - Bloom and Hersch have a long standing friendship that resulted in several beautiful albums: Mighty Lights (1982, enja) As One (1984, JMT, now on Winter&Winter) Modern Drama (1987, Columbia, reissued on Koch) Slalom (1988, Columbia, reissued on Koch) The Nearness (1995, Arabesque) The Red Quartets (1999, Arabesque) Chasing Paint (2002, Arabesque)

I begin to understand why the term "jazz" is said to have sexual connotations ...

Does anybody here know the price this Lp set achieves on ebay or used Lp shops?