mikeweil

Got the Prez King, too, VERRRRRy nice! Gotta look for the others on King and Argo.

When preparing my BT CDs for shipment I looked for these, but they were so expensive compared to the bubble bags that the difference covered half the postage!

What label was that recorded for? Riverside, Jazzland, Prestige?

Now I remember that I bought The Three Sounds Live at the Lighthouse, and the music was some banal pop, although the CD was printed correctly ... the other copy the shop had was okay!?

I was glad I had all that stuffed typed, so I didn't look into Bruyninckx ... Of course there were numerous sessions for RCA and Mercury, Lou-Wa (no kidding!), Warwick, Tangerine, Pzazz, Cinema, Blues Spectrum, Black & Blue, and JSP. I have edited my post accordingly. That Pzazz LP cover you linked beats 'em all!

Got it a few fays ago, and love it! Deep music, and much more profound than the early Impulse Trios I got today. Here's the real heiress of the Coltrane legacy!

Just received and listened to this one: This is the bassist of the Gégé Telesforo band, Dario Deidda from Salerno, with the same young pianist, Juan Oliver M., and drummer Stephane Huchard plus various guests (including Gégé on one track), doing an array of grooves between jazz and all types of music. Very enjoyable and recommended to everybody who liked tracks 2 & 12. This guy is equally accomplished on acoustic or electric bass - grooves on the big box like Christian McBride!

Of course you're right, John. Perhaps I should say it changed to more strictly standardized system with mechanical sounding implications narrowing individual approches - we all complain many younger musicians sound alike, don't we? BTW, the answers are complete now. Much work to search out these f)(/&$%=)§ pics! poooh!

Of course I didn't mean to imply this. But basically I think each of the cultural zones in the world has a slightly different feel for musical time: European, African-American, Oriental, Indian, East Asian are only the most important. If you pay attention and grow up in the right environment, you cross borders, and that's what a lot of "white" jazz musicians did. I agree that a standardized training system tends to overshadow this "ancient knowledge" of rhythm - it is one important factor why jazz soloists of even second or third grade sounded so remarkably individual.

That comment from the site Claude linked (thanks!) hits the point: Again, money. It is true - e.g. on German ebay Korean DVDs are sold that are virtually identical to their expensive US counterparts.

As Claude said, most newer DVD players can handle any regional code, or you can have them upgraded - requires exchange of some chip or so. When I bought mine last year they could do this for EURO 25,00 - I had to wait for less than ten minutes!

That sums it up for me.

If "natural" means "African derived" I will go with you here, Jim. My thesis is that African-Americans never lost their special feeling (innate or educated) for rhythmic structuring. According to Prof Gerhard Kubik's research, to whom I owe a lot in my understanding of this matter, Africans have a "metronomic sense", i.e. an inner perception of strict time, allowing them to place sounds relative to the beat without losing their reference to the beat - they can play endlessly with it. All these phenomenons of playing behind the beat, on the beat, or driving the beat without accelerating can be explained with this and underline my experience that any true understanding of rhythm always has to develop the ability to perceive two rhythms simultaneously. In the simplest case, this is the beat and some pattern played on top of it. Just like harmonic thinking only makes sense if you have your basic chord in mind. This conscious playing with the beat is what fascinates me about the music, and if you want the music to groove you - there is no other way to achieve this. Since much of the blues is closer to its African roots than jazz, it is clear to me that blues-educted players might have that more than others. (See Kubik's excellent book "Africa and the Blues" on this matter.)

You wanna switch positions?

You're both right, I suppose!

"Sunburst" is better, IMHO. It has a funky but very loose feeling, Harvey mason does a great job propelling the band, George Duke kicks ass, too, Alphonso Johnson is great on that one. "Heritage" has a Paul Jackson beyond his best days with the Headhunters, Patrice Rushen cannot match Duke's mastery, Mike Clark did not have his best day, and the tunes and arrangements are not very exiting. Compared to the former disc it is second choice. I got it when it was newly released and was disappointed.

Perhaps they wanted to show the connections: trumpet - Blue Note - and as you might have guessed Eddie Henderson did a Lee Morgan tribute some years back.

This is the only latinized track on the album - you should hear him sing "Polka Dots and Moonbeams" - happy as a lark ..... But he had the groove down, fer sure. He was a serious musician. Remember Zappa used him on "Andy"? And that he played all guitars and keyboards on "A Real Mother For Ya", everything but the horns and drums? OTOH Tjader was a much more serious jazz musicians than most will believe. Check out the many jazz dates on Fantasy - and remember he was Charles Mingus' favorite drummer before he met Dannie Richmond!

I was only in it for the dirty words you threw at me ... ..... which leads me to ask one serious question: From the remarks of several members in their signup e-mails, I must have some kind of "reputation" on this board. Now I thought after this Blindfold Test I would know some more about that, but do I?

Be warned that the Bernie Worrell disc is all funk except for 2 tracks (15 minutes) of the Worrell/Parker/Williams organ trio and two tracks with a string quartet (conducted by Karl Berger, no less). The remainder is stone funk from the Clinton clan - George, that is. ---------------------- The Karl Denson seemingly had much wider distribution in the USA than I thought - but some didn't like it on first listen ?

Bruyninckx says Lorez Alexandria recorded unreleased material for Blue Note: Los Angeles, August 10, 1971 unknown personnel, Monk Higgins & Jack Wilson, arrangers - I wish I knew - Happiness is a thing called Joe - Medley: By myself / Alone together Los Angeles, September 15, 1971 Teddy Edwards tenor sax, other unknown, same arrangers - Until it's time for you to go - You'r gonna hear from me - We've only just begun - Wave - Something Was this ever released or whatever? Thanks!

... and sideman dates with Johnny Hammond Smith, Etta Jones, Red Garland, Clea Bradford, Shirley Scott, Eddie Bluesman Krikland, plus a ahndful of arranger's dates.

I must admit that I find Nelson the tenor player even more appealing than Nelson the arranger - just my thing. All of the Prestige albums he's on feature engaged playing and his unique tenor sound. E.G. on his first Impulse LP Thje Blues and the Abstract Truth his solo on the first track always steals the show - noone, I say: noone ever played tenor like this!

They used that track to fill the album of leftovers from the vaults - perhaps they wouldn't or couldn't complete the June 1, 1962 big band session with Oliver Nelson. There must have been some problems, as Forrest didn't record again as a leader until 1978!