mikeweil

I remember Tadd Dameron saying something like that ...

Leeway you are right, the credit is yours. BTW I posted a compilation of Blindfold Tests some time ago and Miles' was there http://www.organissimo.org/forum/index.php?showtopic=15048 Sorry, my fault -_- I overlooked this - too busy with other things ...

Oregon's members all were: Ralph Towner: guitar, piano, mellophone, trumpet Collin Walcott: sitar, tabla, congas, percussion, guitar, dulcimer Glen Moore: bass, piano, violin Paul McCandless: oboe, english horn, soprano saxophone, bass clarinet

I heard them play some things that really were boring, where the whole band was noodling away on the same rhythm and Morrison was almost too drunk or high to really sing on top. Musically, they were not so thrilling. But the message they had ..... as a whole, that is something else. Funny - I happened to see an old clip on TV a few nights ago where I thought "what jazzy rock band in all the world is this" - and the the camera, after the organ solo, took a turn, and I recognized Jim Morrison. So I know they had some chops, too.

Who said it? Maybe Miles Davis, sounds typical to him. Ta-Daaa!!! You're good! This is the second you guessed correctly. It was Miles Davis in a Blindfold Test - but the track played to him was by Buddy Collette ...

Too bad you're not crazy about a marcha - which it definitely is, take any textbook on Brazilian rhythm and compare. It is unfair to limit Brazilian music only to bossa nova, samba, samba cancao and the like - although I noticed jazz lovers and players alike often have problems to relate to more defined rhythms like the baiao, xaxado, frevo, marcha, partido alto, you name it ... same goes for many Cuban rhythms. It takes a different concept to improvise on them, which you have to study. Whoever described that rhythm as a "hustle" certainly was into one to survive!

Members I will pass on discs to of BT 22: couw king ubu deus62 durium Mr. Bassman

I think some RVG recordings start sounding strange when Rudy opens and closes mikes to control the bleed ... Re the blame is on the musicians, too: Jim Anderson said something in that direction in "his" thread in the Audio forum, that drummers and all used to concentrate more knowing they would have to do the whole track all over again when they made a mistake. He noticed a lessening concentration and feeling knowing you can replace a part or passage, which depends on isolation to be done. I noticed many listeners are so used to the artificial ambience present on most recordings, they find a recording with a more natural sound to be amateurish. Too bad. I also agree that many instruments sound best when recorded at a cerrtain distance, but when recording via overdub you get a lot of problems when you do it that way. The room makes the sound, and a virtual room ain't no room at all, in a certain respect. I will be involved in a lot of recording with overdubs, part by part, in the next three months - I hate to do this, but we will make the best of it, as this is a very important record for our band.

Are you saying jazz recordings don't use compression? Of course not, in fact the narrow dynamic range of analog tape is some kind of compression, too. Like Allan Lowe i think it depends most on the people who use the equipment - I have both analog and digital recordings that sound like crap, and others that are beautiful. But it is not the medium per se. I keep saying we underestimate the effect of our listening habits.

Yes, but you must also send a PM to the Test Master, in this case danasgoodstuff. In cas nobody else covers The Netherlands I could pass on the disc to you - then please PM or e-mail me your street adress. I take care of Germany and Switzerland in this BFT.

Unbelievable these doctors haven't found an answer so far! I will keep my fingers crossed for you!

Zweitausendeins now has the new long boxes at much lower prices than other retailers: Complete Bitches Brew EUR 35.99 Complete In A Silent Way EUR 29.99 Complete Quintet 1965-68 EUR 45.99 Miles / Gil Evans EUR 45.99 Miles / Coltrane EUR 45.99

In a way, some of this sounds like moaning the vanishing of horsecarts once the automobile was invented. Given it is used properly and with taste, any digital recording method is by far superior to analog tape as far as dynamics and resolution are concerned. Remember direct-to-disc recording was invented in the 1970's to avoid the narrow dynamics of analog tape? Listening habits die hard. And fool us all the time - that's why compression works so well with pop music listeners. I've discussed this many times with a friend who knows a lot about engineering and we agreed that most arguments by fans of analog recording are either irrational or nonsense - matters of taste nonwithstanding. I think the basic approch to recording - live to the recording medium, with natural room ambience and high quality microphones - is much more important.

Jack Hitchcock played vibes and trombone like Tyree Glenn. Roger Glenn plays flute and vibes. I remember Keith Jarrett did an early Atlantic LP where he played everything except the string quartet!

Cal Tjader played not only vibes, but also piano, drums, bongos and timbales.

Ray Crawford - I think he was the first to play that bongo imitation on the guitar, at least he was the most inventive at it. Very overlooked, and very under-recorded. I LOVE the stuff he recorded with Ahmad Jamal. John Collins - of all early modern guitarists, he had the most beautiful tone, IMHO. I could cry every time I think of that lost Blue Note 10" session from 1954 with Milt Hinton and Kenny Clarke .... Of those already mentioned, Joe Puma and Barry Galbraith I always enjoyed very, very much. Consistently inspired and inspiring playing.

All Prestige session Lem Winchester participated are available as OJC CDs (or on Prestige twofers CDs). You can find his discography here.

Blakey? According to the liner of my CD it was Philly Joe Jones who played that track (Ed Thigpen did the others). p.s. Only after posting I noticed Big Al already corrected this. Jim, you seem to refer to that reissue under Coltrane's name with the Blakey stuff on Bethlehem included.

Warne - would suit him well, but it was a very outspoken black musician who said that.

Now where's the fan?

I just listened to a Jazzland LP by Wild Bill Moore (available on Milestone MCD-47098-2), with Johnny Hammond, and a bassist - Joe Benjamin, and Ben Riley and Ray Barretto, and this rhtyhm section cooks like mad. There is a great moment when Banjamin uses his bow with Hammond giving him great backing, etc. From a musical standpoint, a bassist with Hammond can be damn good! Did he record with a bassist on more than this album?

If so, you'd be the first I would tell!

Three more from me!!!

Doesn't sound like any of these to me ...